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Tea With Chris: Filles du Roi
Tea With Chris is a roundup of recommended links, posted every Thursday. Here are a few of our favourite things from the Internet this week:
Chris: I am in, let's say, a melancholy mood, so this proto-FAQ of the most annoying responses Jaime Hernandez received to Love & Rockets was strangely cheering:
Margaux: I guess there are only so many faces – Doppelgangers.
This is the best thing in the world – My Parents' Reaction to the Les Misérables Movie (The Original)
Carl: A trio of parables:
a. I find the New York Times ongoing online series about anxiety very soothing, either because I share the anxieties or because (whew!) I don't. This week, however, it reached a new level by inviting the great Hungarian novelist Laszlo Krasznahorkai to contribute this piece that is about anxiety but quickly becomes about bullying and then quickly about fascism and then – something else. Especially noteworthy if you remember our conversation about what's going on in Hungary.
b. From the Kafkaesque to the fairy-tale-like, I enjoyed Heather O'Neill's Montreal sex fantasy in Hazlitt's Tabloid Fiction series, especially the way it folds in the real-life history of the filles du roi of New France to explain the everlasting mystery of why people in Quebec are so pretty.
c. And then there is this amazing story of a Russian family that cut itself off from civilization. Feel free to draw wildly inappropriate conclusions, like all the people in the comments afterwards, but read it.
Speaking of being cut off from civilization, reports have surfaced about the Pere Ubu ballet in the 1980s that I always thought was a myth. And someone has written a book about the great British eccentric musician Kevin Coyne.
I don't know if this video for one of my favourite songs by The Ex, State of Shock, was made by a fan or was somehow officially commissioned, but it's perfect:
Here is a documentary about Can.
And goodbye this week to the poet Anselm Hollo and to the improv musician and conductor Butch Morris.
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Filed under carl wilson, chris randle, linkblogging, margaux williamson
Bob Wiseman, "mothface@yahoo.ca" and other titles on Giulietta Masina at the Oscars Crying (2013)
Bob Wiseman, Tracy Wright & Sky Gilbert.
Bob Wiseman's new album, Giulietta Masina at the Oscars Crying, sets a series of challenges like crossword-puzzle clues. Each title is syntactically structured "[Subject] at [Location/Activity]," almost as if in an index. Together they ask: What difference does it make whether we get exactly what a song is about?
The subjects can be anything from cultural or political figures to personal friends: Neil Young at the Junos, The Reform Party at Burning Man, Aristide at the Press Conference, or Portrait of Phil at Various Times in a Closet. The one cover song both fits and breaks the mold, Sam Larkin's Children at Play. (Here's the original on Rdio.)
And one title plays on the fact that this is also the syntax of email: mothface@yahoo.ca, the address of the Toronto actor Tracy Wright (previously discussed here), who broke many of our hearts when she died at age 50 in 2010 of pancreatic cancer.
The song tells the story of a time in the 1980s* when Wiseman agreed to act in a play Wright wrote "that made no sense" because he figured no one "in their right mind" would put it on, but then theatre artist Sky Gilbert signed on to produce it in his Rhubarb experimental-theatre festival. As a result, Wiseman sings, "I always knew that I had nothing in common with Sky Gilbert." The line is repeated over and over, anthemically, in harmony.
Hearing it first at last week's launch concert at the Tranzac Club in Toronto, it started annoying me: Who outside a small Toronto arts circle gives a shit how Bob Wiseman feels about Sky Gilbert? Why write a song picking on Gilbert anyway?
Then the lyrics cross-cut to Wright's memorial, when Gilbert got up and said just what Wiseman was feeling and thinking about her, and moved him to tears. It turned out the two had something in common after all: "the love of you." And I came close to tears myself.
I wondered whether other people, who hadn't known Wright or who Gilbert is, would be so touched. Would they even keep listening up to the final twist? It made me ask, too, if the electricity of the launch, where many members of the local music community were renewing frayed connections, would come across to an outsider, and whether that mattered.
These are questions Wiseman's album prods: the effects of reference, and specificity versus so-called universality.
The particularity of Wiseman's subjects is part of his modus operandi as an artist engagé, a creative activist: the naming of names, the preservation of place, the marking of dates and times. Early in his solo career, he wrote songs that gave a blow-by-blow account of the Union Carbide disaster (live, starts about 0:55) or implicated the president of Pepsi Cola by name in the assassination of Salvador Allende. (A move that infamously got the first thousand copies of his first major-label album destroyed.) You could describe it as a Brechtian gesture of counter-propaganda, or as keeping shit real.
But it's never solely political. It's in Wiseman's voice, a harmonica-like needling without a hint of false gravitas. It's in the way he'll often interrupt a catchy melody with a dissonant solo or silly backup vocal, recklessly undermining what might have been some kind of "hit." It's in the cranky energy and nearly painful innocence of his writing, which attest that these aren't positions struck but art made by following the tracks of his preoccupations.
He sounds like a regular person who's ruefully aware that his complaints can't reroute the flows of power, but can at least take satisfaction in sharing and laughing or weeping over them. If some personal situations won't be transparent, perhaps listeners will connect anyway with having relationships and experiences that are exactly that, obscure and opaque in the supposed big picture of news and celebrity. Just like our own. And no less crucial to us for being so.
I do have affection for certain email addresses. Maybe your loved ones' familiar @'s also set off a warm and quiet hum.
Purposefully or not, the variations Giulietta Masina plays on the "X at Y" formula work through a range of possibilities about how we'll relate to the subject of a song. Neil Young at the Junos, for instance, treats a figure Wiseman can rely on his audience feeling like it knows well, then tries to say something unexpected – neither hagiographic nor cheaply skeptical – about him.
The title track unfolds most like a riddle: When Wiseman started playing it at the launch, my friend and I said to each other, "Do you have any idea who that is?" Then partway through I said, "For some reason I'm thinking about Fellini." And just as I was looking her up on my phone, Wiseman sang the final words, "8½." Giulietta Masina was Fellini's actress spouse.
I only later discovered that Ruby Bates at Grad School, one of my favourites, is about a woman who'd been an accuser in the racist 1930s Scottsboro Boys rape case, but later recanted her story and was vilified for it. I haven't identified the second woman, more contemporary, described as dying in an ambulance in the last verse, and am glad I haven't.
I knew right off who the protagonist of Robert Dziekanski at the Airport was – the Polish immigrant the RCMP mistakenly tased & killed at the Vancouver airport in 2007, and then whitewashed. A straight protest song, a bit obvious. Then I read a college student's review of the album who was startled to find out or be reminded of this event six long-to-him years ago.
Finally there's this guy Phil in the closet, along with someone named Rob Noyes who apparently dies, and "the campers of B.B. you've heard so much about." No clue. But I'm stirred by its final plaintive lines about wanting to repay Phil, "it's awful," for "being there at the airport or hospital." Would listening to the song about Tracy feel like this to others, like an emotional mystery?
My misgiving about Wiseman's songwriting is that he often is too literal for my tastes, even if I see why. This album, more than any since his now-storied debut In Her Dream, when he pretended to be singing songs by someone named "Wrench Tuttle," unsettles that directness fruitfully.
In his new book Missing Out: In Praise of the Unlived Life, the psychoanalyst and critic Adam Phillips has a chapter called "On Not Getting It." He investigates how our drive to get the point, to nail down the meaning of a joke or a poem, to understand ourselves, to truly "know" other people (especially our lovers, our families), may become an evasion of other ways of existing and of allowing others to exist with and apart from us.
In Bob Wiseman's more literal songs he gets at things worth knowing for certain and stating clearly, most often how an injustice has been perpetrated or excused. But there are things worth being clueless about, worth never knowing – such as not knowing what we do and don't have in common, so we can be surprised when perhaps we need to be. Such as not knowing how to repay certain debts when all that really can be done is to acknowledge them.
Music has an unusual capacity to say a lot without knowing everything or even much at all. We can "get" a song's texture and its atmosphere without wanting to "get" all its content. We can hear it many times and only "get" something like "blah blah blah Gilbert, blah blah blah Gilbert … the love of you," and yet treasure the song.
Phillips quotes the notoriously elusive poet John Ashbery as saying that he writes as he does because if all you do is tell people things, they stop listening. But if they only overhear, they will be curious. On this album Bob Wiseman has things he wants to tell, but also lets us eavesdrop on him talking to himself or to others, about things we might not know or even need to know. The sites from which he sings can be nearby or at a distance, his phrases sharp or indistinct.
By ranging this way, by not always demanding we understand him, he implies that it is okay if we, his listeners, aren't utterly knowable too. By extension the people he sings about, at his best, cannot be captured and summed up, not reduced only to political subjects but allowed to be humans like the one who is singing about them.
At the least, a cop and an immigrant, Neil Young and Jean Bertrand Aristide, the Oscars and the airport, the halls of parliament and an ambulance all are, and acknowledging that may be to admit they share something unnameably more than everything that isn't** – including so-called universals such as patriotism, duty, righteousness.
In this sense, being specific, if you are specific about a great many things, might be a different program than we at first thought: less like itemizing a legal brief, and more like giving up on coercion.
* This section originally said Wiseman and Wright were dating at the time; Wiseman writes to tell me I misread his use of the word "girlfriend" – they were just friends.
** The basic idea about things that exist having existence in common is someone else's that I heard, read or was told about recently. I don't remember the source. My elaboration on it is my own (mis)interpretation.
Filed under carl wilson, music, poetry
Tagged as Adam Phillips, Bertolt Brecht, bob wiseman, false gravitas, getting it, Giulietta Masina, Jean Bertrand Aristide, John Ashbery, literalism, Neil Young, psychoanalysis, reference, Robert Dziekanski, Ruby Bates, Scottsboro Boys, Sky Gilbert, Specifics and universals, this politics thing, tracy wright, Tranzac, who cares, Wrench Tuttle
by b2tw | January 29, 2013 · 3:14 PM
Carl's Tuesday Musics: Marker Starling, "Author"
Marker Starling is Toronto's Chris Cummings, who recorded a series of great albums of "visual music" under the monicker Mantler until jazz musician Michael Mantler (apparently taking out whatever were his own frustrations over his stature in the world as he approached 70) threatened this little-known Canadian artist with legal action and forced him to adopt a new name. No matter, no matter, the beauty carries on, with Cummings' ownmost amalgam of smooth R&B, disco, organ music, sex and poetry. Just stand back and gape at this opening acrobatic sequence:
Like a face bears a noble expression, it's not the words you love, it's the voice of the author. It's not the story spoken, but the impression furnished.
In dusky theatres of old, in auditoriums dark with age, the speeches actors would unfold, the poems fluttering from the stage: garlands of love, daggers of hate, waistcoats and gloves, prop pieces of eight, fiery hues for burning at stake.
Better pay your union dues: They'll write a part for you.
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Filed under carl wilson, music, poetry, Tuesday Musics, TV/video
Tagged as author, Chris Cummings, litigious excess, Mantler, Marker Starling, value
by b2tw | January 29, 2013 · 3:40 AM
Little Boxes #125: Snow Crush Killing Song
(from Black Blizzard, by Yoshihiro Tatsumi, 2010)
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Filed under chris randle, comics
Tagged as Yoshihiro Tatsumi
Margaux's Friday Pictures – Melanie Rocan
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Tagged as Melanie Rocan, Paul Petro
Tea With Chris: Tila Ascending
Chris: My friend Steph recorded an EDM track about Tila Tequila transcending our plane of existence: "YOU USED TO BE ON REALITY TV / BUT NOW YOURE SOMEWHERE BEYOND 3D / DARK SECRETS FROM ILLUMINATI / DONT TRUST THEM IS WHAT YOU TAUGHT ME." And then a Tila Tequila conspiracist commented on the Youtube page.
As an antidote to every lip-synching-related headline from the past week, some swirling parallelism.
I think illustrated tweets appeal to me in part because of how mediated they are, deliberately rendered spontaneity.
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Tagged as Beyoncé, fanfiction
Carl's Tuesday Musics: Francis Bebey, "Pygmy Divorce"
Bio, found on YouTube: With the sudden heart attack of songwriter, poet, and novelist, Francis Bebey, on May 28, 2001, Cameroon lost one of its most creative artists. The recipient of the prestigious Grand Prix Litteraire De L'Afrique Moudio for his first novel, The Son of Agatha Moudio, in 1968, Bebey went on to scribe several additional novels and scores of poems and songs. Active until shortly before his death, Bebey released two albums of his songs — Dibiye and Mbira Dance — to celebrate his 70th birthday. His compositions were covered by John Williams and the Kronos Quartet. According to Stelio Farandjis, secretary general of the High Council of Francophonie, "(Bebey's) voice, his flute, his guitar, and especially his heart and his faith, enchanted the large ones of this world like the humblest among the humble ones." Born in the Cameroonian capital city of Douala, Bebey was educated in his homeland and in the United States.
Much of his work was rereleased last year by French label Born Bad. Here's Robert Christgau's review.
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Filed under carl wilson, comedy, literature, music, Tuesday Musics
Tagged as Born Bad, Francis Bebey, Pygmy Divorce, Robert Christgau, vaudeville around the world


I took my family (Myself, My Wife, and 3 boys aged 7,4, & 1) to Legoland in Southern California. This was the first vacation we have taken in 7 years just for fun. All other trips were to visit someone for some event. We were able to use to funds to stay in the Lego Castle on the grounds of the amusement park and really ensure our boys had a great experience. I can't tell you how amazing it was to know I could give that experience to my boys without concern for cost or scrapping to save money here or there.
Overall this experience gave me the chance to create moments in my family's lives without me being distant or distracted where we could grow closer with each other. My oldest 2 boys were challenged to overcome fears in the unknown and especially with heights. They pushed themselves and found new confidence in stepping outside our comforts. And my wife and I were able to spend a week together focused on what means the most to us – our family. We have never been able to do that before.
Gabriel Eyerly is a Data and Research Consultant in Qualtrics' Provo, Utah office. He holds a Bachelors of Exercise Sports Science from Texas Tech University.


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This article was originally published in the New York Review of Science Fiction #326, November 2015
Science Fiction became literature in the half decade after World War II. Not because of any intrinsic rise in the quality of the works, not even because rockets and atomic energy had moved from the pages of fiction to the front pages of newspapers. Science fiction became literature purely and simply because it began being offered in hardcovers rather than confined to pulp magazines.
The availability of a book in hardback meant everything to 1940s cultural standards. Bookstores could carry them and give them the imprimatur of class. Libraries could place them on shelves next to the most respected authors. Newspapers could review them, and that very presence implied they must be taken seriously and judged by the same standards as other fiction. The New York Times started a semi-regular column called Realm of the Spacemen in 1950, an acknowledgement of the field that it conspicuously lacks today. Though the era of Wells and Verne was long past, and from a time before the very term science fiction had been coined, they were name-checked constantly and the resurrection of their prescient treatment of onrushing technology conveyed an aura of respectability over a once-scorned outpost of fiction.
The mainstream publishing industry knew nothing and cared less about science fiction (a term then starting to encompass fantasy for marketing purposes, which I'll shorten to the more modern f&sf). It had to be proven to them that such books could sell. A multitude of f&sf fans saw an opportunity and started an equal multitude of small presses. One stands out.
Gnome Press lasted longer, produced more titles, and sold more copies than any of the other small presses. It published 32 books by SFWA Grand Masters: the first eight – Robert A. Heinlein, Jack Williamson, Clifford D. Simak, L. Sprague de Camp, Fritz Leiber, Andre Norton, Arthur C. Clarke, and Isaac Asimov, plus an additional six – Frederik Pohl, A. E. van Vogt, Poul Anderson, Hal Clement, Robert Silverberg, and James Gunn. (One other, Harry Harrison, drew a cover for a book jacket, proving mostly that his future lay as a writer.) These names define what we think of today as classic f&sf – the Golden Age.
Martin Greenberg and David A. Kyle together founded Gnome in 1948 but Kyle concentrated on the production end and left in the early 1950s; Greenberg always handled authors and decided what got printed. As with every editor he had his personal tastes and predilections; he plundered the pages of John W. Campbell's Astoundings and Unknowns, which dominated and defined the decade, for dozens of stories and novels yet made sure to find material in lesser publications, inside the field and out, especially in the 1950s. More, he understood both the power of a well-respected name and the need to build for the future with those just starting: several of those Grand Masters were published in the dawns of their careers. Gnome was therefore a reasonable microcosm of the field, not merely a greatest hits retrospective.
Today we can't read that list of names without noticing that all, with one exception, are male. Eighteen of the first 19 Grand Masters were, in fact. Most people would consider that representative of the Golden Age as well. Gnome confounds that. Of 72 fiction titles in its 14-year lifespan, nine were written or co-written by four woman: C. L. Moore (under her own name and in collaboration with Henry Kuttner under the pseudonym of Lewis Padgett), Leigh Brackett, Wilmar H. Shiras, and Andrew North (a pseudonym of Andre Norton). That far higher percentage carries its own kick: none of the four (or six) names are immediately recognizable as female, and two are indisputably (and intended to be) male. Is Gnome to be commended for disproportionately publishing women or condemned because it hid woman from an audience that seemingly catered only to males? Or is our entire current appraisal of the Golden Age skewed by nostalgia, biases, and faulty memory?
When the story of f&sf is recounted, as told by numerous women themselves, it is of a field so overwhelmingly male that women were, deliberately or by implication, shut out from it. Editors did not want to buy stories from women; if they did, they altered or invented names to hid their femininity, doing so on the presumption – or actual sales experience or feedback from readers – that female names did not sell and might even actually repel buyers. The group memory says that women were secondary, underappreciated, discouraged, or hidden and therefore lacked the easy pathways into the field that men took for granted. The evidence for this is often from statements like those by Alice Sheldon, who admitted that she deliberately hid her real identity under the pseudonym of James Tiptree, Jr. , a ruse that was successful for nearly a decade, because she'd "had too many experiences in my life of being the first woman in some damned occupation."
We have the tools today to provide a numeric context for those feelings thanks to Partners in Wonder: Women and the Birth of Science Fiction, 1926-1965. Written by Eric Leif Davin and published in 2006, it is a masterpiece of scholarly fieldwork. He went through, page by page, literally every professional science fiction magazine published in America during those 40 years, recorded the name of every listed author of fiction, did as much digging as possible to determine their true name and sex, and checked every title page, introduction, letters section, and coming soon page to see if the female authors were referred to by their gender by either editors or readers and if those references were positive.
His findings, spread throughout a dense 315 pages and summarized in a long series of tables, belie any claims that women were excluded from the f&sf magazines. (Pure fantasy magazines, like Weird Tales, are relegated to a subsidiary set of tables. Unknown, John W. Campbell's fantasy companion to Astounding, is, however, counted.) In fact, he found 203 female authors of 988 stories, and that does not include a few dozen names that simply cannot be traced to individuals. He separates his tables into the years 1926-1949, 1950-1960, and 1961-1965. In 1926-1949, a fortuitous grouping I'm calling the pre-Gnome era, the period from which the vast majority of Gnome authors emerged, the numbers are smaller though still far from zero: 68 authors of 288 stories, including 5 stories given female pseudonyms by male writers. Unfortunately, Davin does not provide the total number of stories published, but from other sources a quick estimate is that 50 magazines appeared in an a typical year with an average of eight stories per issue. That's 400 stories a year of which women contributed about 12, or 3%.
Gnome's numbers look pretty good against this background, and even better if you dive deeper into the data set. Those four women were about 10% of the 46 authors whose fiction Gnome published in book form. Of individual titles, 64 were by men, 7 by women, and two by the man/woman team Henry Kuttner and C. L. Moore, writing as Lewis Padgett. This base of ±10% by women holds true if one checks the stories in Greenberg's six anthologies (out of 63 stories, 3 were by women (E. Mayne Hull as E. M. Hull, C. L. Moore, and Judith Merril), and 2 by Lewis Padgett) or in Judith Merril's four (1 by a team, again Kuttner and Moore under their real names, and 6 by women: 3 by Zenna Henderson and 1 each by Shirley Jackson, Mildred Clingerman, and Carol Emshwiller). This is a far higher percentage than any of its small press contemporaries, none of which published more than a single book by a woman.
The problem with Davin's book is that it is a screed in a good cause, that of showing women did write f&sf. To do so it is required to take statements like Sheldon's literally rather than metaphorically. No one else to my knowledge asserted that women were truly completely excluded from f&sf, either among writers, readers, or editors. Davin presents the necessary numbers; readers must supply the necessary context. When he cites a long list of men and women claiming that women writers were excluded from f&sf, we should read that as a memory of a time when women were more than merely a low percentage of total authors; they were an almost certainly lower percentage of important and memorable writers. They existed, they were praised, but only a handful cast the long shadows that made them come instantly to mind decades later as exemplars of the field. Out of all the 68 entries in Davin's pre-Gnome era list of women, Moore's is the single name which can be considered for inclusion among that handful, a true star of the field.
A standard taxonomy is almost universally deployed, by fans, by editors, and by other writers. On top are the stars, the major figures who define the field, whose names sell magazines, whose stories both adulating fans and envious competitors look forward to. On the next level are the journeymen (even the name is historically indicative), with solid work, known readability, and some immediate name recognition. And then there are everybody else: the one-shots, the short-timers, the fast-faders, the wannabes, the slumming mainstreamers, the occasionals, the oddities, the accidents. As I hope should be obvious, "everybody else" is not a euphemism for dismal. Their stories ranged from brilliant to awful; they are lumped solely by lack of prolificness.
Davin's appendices reveal that of the 67 women not named Moore in his 1926-1949 listing, only a literal handful, five, published more than ten stories, a very low bar considering that Moore has 55 credits. (Serializations count as one credit, but would have brought the name into more tables of contents.) Leigh Brackett, a top journeyman, is a distant second at 34. The others are the team of Dorothy and John De Courcy, Margaret St. Clair, Leslie F. Stone, and E. Mayne Hull. Only St. Clair had a name that was an immediate identifier of a solo woman. Whether Hull should be counted is now a matter of contention. Some have argued, from Campbell's letters, that he placed the name on A. E. van Vogt's overflow work. A brief mention should be made of Amelia Reynolds Long, who just misses with exactly ten stories. When F. Orlin Tremaine edited Astounding he ran three stories by A. R. Long before expanding her name to the full, identifiably female, appellation. Few other than dedicated fans would be able to recognize these other names in 1950.
This dominance in terms of number and reputation pops out of the Gnome data; women would be a much lower set of percentages if it were not for C. L. Moore. She accounts for five of the nine books by women, three of the five stories in Greenberg's anthologies, and one more in Merril's. Moore wasn't merely good; she was instantly recognized as special. When Farnsworth Wright, the editor of Weird Tales, saw her first submitted story in 1933, he declared it C. L. Moore Day, an excuse to stop reading slush and risk spoiling the moment. Sam Moskowitz, who tells this tale in Seekers of Tomorrow, also says that he handed the story to E. Hoffman Price, then a superstar of the pulps, asking him "Who is C. L. Moore? He, she, or it is colossal!" That story, "Shambleau," would become a Gnome title and appear in an anthology on average twice a decade for the past 80 years. F&sf is not different from any other field of entertainment. It is star-driven. Publishers were more likely to put out titles by stars, anthologists were more likely to include stories by stars, and Grand Master Awards are more likely to be a listing of stars. Stars dominate contemporary perceptions and perhaps disproportionately dominate memory.
And the audience wants to know more about stars. In the 1930s-1940s world of multiple pseudonyms, few fan get-togethers, and a near total lack of book jacket information, could readers know who the person behind a story was and did they care whether it was a man or a women? Davin insists his research proves that readers knew and didn't care.
[Moore's] gender became publicly known to fandom only a few months after her debut, "Shambleau," appeared [in the November 1933 Weird Tales]. Julius Schwartz and Mort Weisinger revealed it in the May 1934 issue of their fan magazine, The Fantasy Fan. Weird Tales itself explicitly referred to her as female in its September 1935 issue. And when Moore herself published a letter in its reader column, she made no attempt at concealment, signing herself, "Miss Catherine Moore."
Reader reaction to Moore's debut in Astounding [in November 1934] was warmly receptive. Among those writing letters to praise her first story were Robert A. Lowndes … and E. E. Smith, both explicitly referring to Moore as a woman. … Similar letters praising Moore and referring to her as a woman can be found in the Astounding issues of February, April, and December 1935; February, 1936; and February 1937.
Insiders clearly could know, but not every fan read every letter column in every magazine – even those fans who sent letters to magazines. On the archive site efanzines.com I found a 2004 reminiscence by A. Langley Searles, whose name pops up in the letter columns of Startling Stories and Unknown in 1939, admitting that "For a very long time I thought Leigh Brackett and C.L. Moore were men, and then I met them… In those days it was commonplace to make those mistakes." [SaFari, Vol. 3 No. 2, FAPA 266, February 2004] Davin quotes Marion Zimmer Bradley as saying that Moore used initials to disguise her work not from chauvinist editors but from her bosses at the bank where she worked as a teller. Fiction writing and most especially weird fiction writing could certainly led to unemployment by association during the Depression. A pseudonym might have been safer but the mere use of initials connoted a man.
What of those who might be fans without being insiders? The best evidence we have that not everyone knew comes from Henry Kuttner himself. Kuttner was a budding writer: his first published story appeared in the March 1936 Weird Tales. Nevertheless, he was such an outsider that when he wrote a fan letter to Moore he had to send it to the Weird Tales offices to be forwarded; moreover he addressed it to "Mr. C. L. Moore." The date of the letter is unknown for certain, though one source gives it as 1938. If so, things moved fast from there: they were married in 1940, their Lewis Padgett joint pseudonym started appearing in 1941, and an alternate joint pseudonym Lawrence O'Donnell followed in 1943, with the result that almost all Moore's work after the early 1940s was under other names. According to Moskowitz, this wasn't to hide Moore's name but Kuttner's. His early writing had such a "tarnished reputation" that a new name was thought to be essential.
Once is happenstance, twice is coincidence, four times is conspiracy, to paraphrase Ian Fleming. Did Gnome's readership know that they were reading works by women? Publishing f&sf in hardcovers had created an entirely new audience for the genre over and above the magazine fan community, many of whom would encounter f&sf for the first time through libraries and booksellers rather than newsstands or drug stores. Although the conventional wisdom would have it that Gnome concealed this information, it actually trumpeted the news.
No observant reader could miss the fact that Gnome's first book by Moore, Judgment Night, had been written by a woman; the front cover flap forthrightly refers to the author as "her" twice. So does the advertising copy in the Gnome 1953 catalog. Moore's gender is even more pointedly stated on the flaps of her next Gnome collection, Shambleau and Others. There she is called Miss Moore twice as well as "the wife and collaborator of Henry Kuttner." Her last collection, Northwest of Earth, again has her as Miss Moore on the flaps. Yet as soon as we reach out to praise Gnome, a confounding fact rears: Greenberg seemingly took care to hide her identity as half of the Lewis Padgett team. Virtually all publishers did in the 40s and 50s, for unexplained reasons. Insiders knew. At efanzines.com, the April-May 1947 issue of Fantasy Review references matter-of-factly "Henry Kuttner and wife C. L. Moore, writing as Lewis Padgett and Lawrence O'Donnell." The three Padgett titles Gnome published made it clear that Padgett was Kuttner; each had an "other books by" page that listed "Fury by Henry Kuttner" but never mentioned Moore's name at all. The O'Donnell teaming was also passed over. Judgment Night collected four Lawrence O'Donnell stories without ever mentioning they had first appeared under that name. Some readers must have been surprised by seeing them under Moore's authorship. True, confusion over which stories were joint and which were not reigns until today. Many of the Padgett stories were Kuttner's alone, including all the Gallagher stories collected in Gnome's Robots Have No Tails. Those O'Donnell stories in Judgment Night are thought to be Moore's alone, unless that's circular reasoning from their inclusion. Even so, ascribing all the other Padgett and O'Donnell stories to Kuttner became a common convention in anthology tables of contents, and probably caused the drastic dip in Moore's status that followed. At the time, though, Moore's name sold. Why the always desperate-for-money Greenberg would suppress a good fraction of her potential sales is one of many mysteries about Gnome's operating procedures.
Similarly, Leigh Brackett is referred to as "Miss Brackett" on the front cover flap of The Starmen and Wilmar H. Shiras is "Mrs. Shiras" in the About the Author section on Children of the Atom's rear flap. Both used their birth first names; there is no evidence that either sought to confuse anyone. Brackett was part of the Los Angeles fan and writing scene from 1939; she left only when she married fellow writer Edward Hamilton in 1946. They shared similar tastes in f&sf, with both writing swift-paced planetary romances of a sort that didn't appeal to John W. Campbell and went out of style in the 1950s. Her one Gnome novel, The Starmen, received mixed reviews, reviewers finding the space opera routine at best. She was known for writing hard "masculine" prose. Gardner Dozois, in The Good Old Stuff, cites the "legend" that her first novel, a hard-boiled mystery called No Good From a Corpse, drew a call from Hollywood after director Howard Hawks told his assistant to "get me that guy Brackett." No quote from Hollywood can ever be assumed to be true and not the invention of some clever writer, but the source of the legend can be pinned down as John Leonard Carr does in his dissertation, Leigh Brackett: American Science Fiction Writer – Her Life and Work:
Hawk's surprise – and one wonders, his discomfort – at discovering Brackett to be a woman was widely reported at the time, and became an item in a Hollywood gossip column. Hedda Hopper, Hollywood's professional gossip, informed readers that Hawks told his agent, "This fellow would make a good screenwriter for The Big Sleep; get Mr. Brackett for me." In spite of his astonishment at being confronted by a fresh-faced young woman, not yet thirty, he stuck by his decision. Brackett, naturally, told the story of her original interview with Hawks many times; it was as stapel [sic] of her interviews. [p. 60]
Brackett was not quite the flower naively waiting to be plucked as this makes her out to be. Carr also notes that she had had a credit on a Republic quickie in 1944 and that Hawks contacted her through her agent, indicating she was actively pursuing more screen work. The anecdote does serve to emphasize her ambiguous name and the vast gulf between the insider fans and the outside world even within Los Angeles.
Wilmar H. Shiras – the H stands for House, her maiden name – was as quintessentially an outsider oddity as Brackett was an insider's insider. She published a mere three stories in Astounding to which she would add two more when Gnome published Children, comprising almost the totality of her career in the field. Her identity as a woman was apparently not known even inside fan ranks. The fanzine Fantasy Review, so quick to reveal insider pseudonyms, didn't have a clue. In the April-May 1949 issue, reviewer Kenneth Slater looks at the issue of Astounding with "Opening Doors," the sequel to "In Hiding," and calls the author "he." Conversely, the Reno Evening Gazette on October 29, 1953, reported that a book group had reviewed a book by "Wilma H. Shiras." Her hometown newspaper in Oakland ran a feature story on her next to their review of Children, revealing that she had married at 18, and now struggled at home with "two boys, three girls, five cats (four Siamese, one 'plain'), two dogs, and two large aviaries in the back yard." Shiras, who was 45 at the time, also had returned to college to complete the degree she had abandoned for marriage, and was doing translation for a New York publisher "on the side." When asked "How do you cope with all this?" she responded "By not doing housework." Tropes are tropes for a reason. The reporter noted that the original story, "In Hiding," a work of soft science fiction about mutated supergenius children, had caused a "furore [sic] in the science fiction circles," presumably because it was so, well, womanly.
If Moore, Brackett, and Shiras are forthrightly announced as women, what are we to make of the two Gnome young adult (YA) books subtitled "A Dane Thorson – Solar Queen Adventure"? Both Plague Ship and Sargasso of Space are credited to Andrew North. Neither have an About the Author section. Indeed, not a single word is said about the author. Greenberg absolutely knew the author's identity: Andre Norton was his editorial assistant at the time. For the first time, a marketing strategy may have been involved and justified. Whatever the attitude about female writers or protagonists in the world of f&sf might been, the YA world was fixed and locked. Everybody in it, from editors and publishers to the librarians who were the most important buyers of the books, believed beyond any doubt that boys read books by men about boys. The other five YA books Gnome published – Mel Oliver and Space Rover on Mars, by William Morrison; Starman's Quest by Robert Silverberg; and the series Undersea Quest, Undersea City, and Undersea Fleet, by Frederick Pohl and Jack Williamson – had male protagonists as well. It is only very recently that publishers have dared buck this trend to any degree. It is as certain as anything about Gnome can be that these YA books were deliberately hidden behind a male name.
Why Andrew North, though? She could logically have used Andre Norton, a name that already sounded male, that was the author's legal name, that was picked precisely because it appeared to be male, and that she adopted because she "expected to be writing for young boys, and the male name was expected to increase her marketability," according to her biography on her tribute website, andre-norton.org. The answer is prosaic. She had already done three novels and three anthologies for World Publishing Company. It's always been common for prolific authors to adopt pseudonyms when they worked for competitors and that appears to be the simple answer here.
Only a small nagging fact remains. Norton's first three science fiction short stories were published under the name of Andrew North before she became affiliated with World. The first two, "The People of the Crater" and "The Gifts of Asti" were in Fantasy Book's first issue (late 1946 or 1947) and third issue (1948), and "All Cats are Gray" appeared in Fantastic Universe, August-September 1953. Although Fantasy Book has terrific cachet today as the first magazine to publish a Cordwainer Smith f&sf story, it was mostly a fanzine created to publish Crawford's friends in Los Angeles, then figuratively even more distant from the New York center of publishing than it was literally. Crawford knew the midwesterner Norton from back in the 1930s when she submitted a story to his Marvel Tales, which died before he could publish it. Norton perhaps wanted a separate name for her genre stories or perhaps didn't think this piece up to her standards. Whatever the case, the North name lived on to be placed on a third Solar Queen volume, 1959's Voodoo Planet. When the fourth book, Postmarked the Stars, appeared in 1969, her real name was too valuable to leave off and later printings of all the titles have prominently featured the Norton name.
Gnome finally died in 1962, when the prospects for f&sf as a genre were so gloomy that writers were fleeing the field. None of the prophets of the future saw the paperback revolution about to take off, or the New Wave changing the preferred subject from outer to inner space, or female editors like Cele Goldsmith welcoming a new crop of woman writers into Amazing and Fantastic. Gnome died because Greenberg was a poor businessman, but semi-amateur insider presses couldn't hope to battle with mainstream publishers who almost universally created f&sf lines and printed up paperbacks by the millions. Golden Age writers felt extremely dated by the 1970s; to many it seemed like f&sf had rebooted and history started with SFWA and the Nebulas in 1965.
Two complementary truths emerge from the Golden Age. The field was predominantly male; writers, editors, readers, publishers, fans, artists, every possible grouping contained probably 90% men. Yet that remaining 10% was significant. Women were not singled out and marginalized by their gender, not unwelcomed, not rejected out of hand. They faced the obstacle of being a small minority and the low level of support and encouragement that resulted, but they received credit and approbation proportional to their numbers. The larger society, the one that so many insiders felt alienated from, had more to do with the infrequency of a female name in a table of contents than blackballing by the club. The meaning of those names, their fame, their influence, their respect, their legacy was at potent in their time as it is today. An equivocal victory for the field, perhaps, but not a shameful one.

redpajama_set_name: RedPajamaCommonCrawl


Before you jump into today's Book Talk, check out my interview featured yesterday on Marilyn Almodovar's blog, Writing on the Sunny Side of the Street. If you want to know what my writing routine is like, what my inspiration was for NOT A DROP TO DRINK, or who I'd like to have dinner with, check out my interview!
WAAAA! This book sounds so intense! And I'm seeing this fabulous cover EVERYWHERE! Congrats, Ellen!!


It sounds like you have quite the "Grand Gathering" planned for your family's first Walt Disney World vacation. Your family will create such wonderful memories you will cherish forever.
Your question cut-off, so I'm not sure what you were asking specifically, but you don't need to worry about traveling with a large group on a Disney vacation. We returned from a recent visit where we had 30 in our group, and we were able to enjoy activities together throughout our trip. If you are having trouble making dining reservations, try looking for 2 groups of 4 rather than for the entire party. While the restaurants can't guarantee you will be sitting together, they will try to accommodate the request as best as they can. When making FastPass+ selections, you are able to go back into My Disney Experience after first selecting the FastPasses and select a different time. Try this option to wiggle the times around to include everyone. Also, sometimes we enjoyed splitting up and doing different activities and FastPass+ gives you the flexibility to do just this.
If you haven't already, I recommend looking into the Memory Maker service. It offers unlimited pictures and gives you the flexibility to link all of your party members together into one Memory Maker account. This way everyone will be able to save pictures to the same place and if you do split-up, you won't miss capturing any of the magical moments of your vacation.
If you have a specific question or concern I can help you with, please come back and let me know.


text:
class ApplicationController < ActionController::Base
  include Concerns::Accounts

  protect_from_forgery prepend: true
  check_authorization unless: :unauthorized_controllers

  rescue_from CanCan::AccessDenied do |exception|
    redirect_to root_url, alert: exception.message
  end

  before_action :authenticate_user!, :set_default_nav
  before_action :configure_permitted_parameters, if: :devise_controller?
  before_action :set_user_cookie, if: :user_signed_in?

  private def unauthorized_controllers
    devise_controller?
  end

  private def set_user_cookie
    cookies.signed[:cable] = {
      id: current_user.id,
      expires_at: 30.minutes.from_now
    }.to_json
  end

  private def set_default_nav
    @active_nav = 'home'
  end

  private def after_sign_out_path_for(_resource_or_scope)
    new_user_session_path
  end

  private def sort_direction
    %w[asc desc].include?(params[:direction]) ? params[:direction] : "desc"
  end
  helper_method :sort_direction

  private def backend?
    self.class.to_s.split("::").first == "Backend"
  end
  helper_method :backend?

  private def registration_enabled?
    Rails.application.secrets[:registration]
  end
  helper_method :registration_enabled?

  private def invoice_limit_reached?
    !current_user.admin? && Rails.application.secrets[:demo] && current_account.invoices.count >= 2
  end
  helper_method :invoice_limit_reached?

  private def api_domain
    "//api.#{Rails.application.secrets[:domain]}"
  end
  helper_method :api_domain

  private def store_current_params
    key = (params[:controller].to_s + "_" + params[:action].to_s).to_sym
    session[key] = params.reject { |k| %w[controller action format].include?(k.to_s) }
  end

  private def stored_params(action, controller = params[:controller])
    key = (controller.to_s + "_" + action.to_s).to_sym
    (session[key] || ActionController::Parameters.new).to_unsafe_h
  end
  helper_method :stored_params

  protected def configure_permitted_parameters
    devise_parameter_sanitizer.permit(:sign_in, keys: [:otp_attempt])
  end
end

redpajama_set_name: RedPajamaGithub


text:
TORCH FLASHBACK (1999): Mankind wins the WWF Title at Halftime Heat during Super Bowl
Feb 7, 2010 - 4:09:49 PM
The following is the cover-story from Torch Newsletter #533 from February 1999 detailing Mankind (Mick Foley) winning the WWF Title from The Rock in a taped Halftime Heat segment that aired during the NFL Super Bowl.
Torch VIP members have instant access to thousands of Pro Wrestling Torch back-issues covering the top stories in the wrestling industry from the past 20+ years. VIP-sign-up.
Pro Wrestling Torch Newsletter #533
Cover-Dated: February 6, 1999
Headline: Mankind regains WWF Title at Halftime Heat
By Wade Keller, Torch editor
Vince McMahon hoped to bring new awareness to the WWF product through a Super Bowl halftime special and a $1.6 million second half commercial. The "Halftime Heat" featuring Mankind defeating The Rock to capture the WWF Title in an empty arena match drew a 6.6 rating, the highest rated match of the entire weekend and the widest viewed WWF match in cable history. The match did not receive critical praise, but the second half commercial has. The commercial has also received the ire of the American Family Association (AFA).
The WWF commercial featured Steve Austin, The Rock, Undertaker, Sable, and Mankind. They said the WWF doesn't contain violence or sex and that wrestlers are good role models. Meanwhile, in the background, there was a lot of violence and sexual innuendo. The commercial was shot at the actual WWF Titan Tower headquarters, including a massive fight in the open lobby with people falling over the balcony. The commercial ended with Vince McMahon standing outside. As a fireball shot out of a window of Titan Towers and a man plunged to the ground, McMahon smiled and said, "Get it?"
The commercial was a message to media critics and non-fans who think that if someone watches wrestling, they must think it's real. McMahon is trying to redefine the WWF as an "action-adventure series." Figuring that many people watching Halftime Heat were not usual WWF viewers, during the match he described the WWF. "You're watching action-adventure, that's what the WWF is," he said. "It's soap opera, it's Road Runner, elements of One Life To Live. It's like Hollywood and Broadway and all points in between. There is nothing quite like the WWF, the number one ranked television show in all of cable television."
The WWF did raise its mainstream awareness with the commercial and halftime show. The WWF commercial received positive reviews across the country in newspapers and on news broadcasts. It made many lists of the best commercials during the Super Bowl.
The AFA disagreed strongly with the critical praise. In an alert sent out to members on Monday, they urged members who were offended by the commercial to file an indecent broadcasting complaint with the Federal Communications Commission (FCC) against their local Fox affiliate. "The commercial in question promoted the WWF and included a woman lying on a desk with her legs spread open with a man thrusting between her legs in an obvious depiction of a sexual act.," wrote the AFA. Dennis Miller, National Field Director of the AFA, believes Fox violated federal broadcast laws with the WWF commercial. Miller said: "AFA has observed a dramatic increase in sex, profanity, and violence on television in the last 20 years. We're amazed at what has been broadcast, but Fox and the WWF have gone beyond what the FCC finds acceptable and we believe that Fox should be penalized for this one."
The AFA alert specifies that the FCC has defined indecency as "language or material that, in context, depicts or describes, in terms patently offensive as measured by contemporary standards for the broadcast medium sexual or excretory organs or activities." The AFA says the simulated sex scene on the desk meets that definition.
Ironically, McMahon's campaign set out to insulate the WWF from such criticism since the slogan implies if you don't like what the WWF is doing, you simply "don't get it." Leading into the Super Bowl there had been signs of momentum building against the WWF's current approach including articles critical of the WWF in the Chicago Sun-Times and New York Daily News last week. The Winnipeg school board controversy continued with the chairwoman of the Winnipeg School Division trustees, Lori Johnson, saying: "We're not interested in helping the (WWF) improve their public image. You can't come in and say, ?tay in school, don't do drugs, and now we're the good guys.'"
Vince McMahon used to argue the WWF was "wholesome family entertainment." Now he makes fun of that slogan during a Super Bowl commercial. Right now it appears profitable to be controversial since Raw has never had a more successful run. In fact, they earned bragging rights this week when PPV numbers came in from January. For the first time ever, a wrestling event (Royal Rumble) drew more buys than a Mike Tyson boxing event.
WWE FLASHBACK: Kane character debuts 18 yrs. ago today in first-ever Hell in a Cell match - Undertaker vs. Shawn Michaels
HIAC FLASHBACK: Kane beats Undertaker in HIAC match 5 yrs. ago today, plus Randy Orton vs. Sheamus for WWE Title
ROH FLASHBACK: The aftermath of Joe vs. Kobashi 10 years ago today


Super Miners is a new game from Infinite Dreams, makers of the famous Sky Force. Join Miss Rusty and Dr. Drill in their incredible underground adventure. Help them finding treasures hidden in the mines all around the world. Incredible graphics and sound, over 100 levels to complete, single and multiplayer modes. All of this will keep you entertained for hours. You can even share your high scores online.
FileGuard by Symbianware integrates into your system and becomes a guard for your special files. FileGuard allows to decrypt files on the fly and encrypts them again after the view/edit operation is finished.
The famous shooter is now available for the Nokia 7710! Sky Force from Infinite Dreams is an ultimate classic arcade shooter, with 3d interactive objects, outstanding graphics, special effects, soundtrack and 100% of pure gameplay. See how to push the limits of your Nokia 7710 to the maximum. 7 amazingly pixeled environments, tons of enemies to shoot and good old Earth to save. Try it, you won't be dissapointed.
MapViewGPS by Wild Mobile is a well known, freeware, advanced GPS navigation and moving map software for Symbian OS phones, 100% compatible with OziExplorer maps and data files. The first public beta version is now also available for Nokia 7710.


text:
Michigan man mows 58,000 square-foot "TRUMP" sign into lawn
ALMONT, Mich. – It's a massive sign of support of presidential candidate Donald Trump — mowed into an 8-acre lawn in Lapeer County, Michigan.
"I was cutting out there one day and I said, well, it would be pretty neat to put a sign in here," explained Almont resident Wally Maslowsky to CBS Detroit. "Being that I've got a design background I just kind of came in the house and laid it out and plotted some points kinda like you're doing a survey when you're laying out a basement for a house."
Maslowsky, a General Motors retiree, said the project took about four or five hours over the weekend to complete on his rural property, CBS Detroit reported.
"If you were to go from the front of the T to the back of the P, it's 330 feet parallel; and top to bottom 176 parallel," Maslowsky said, making the entire thing a little over 58,000 square feet.
Maslowsky, who has a standard Trump/Pence sign in his front yard, said he noticed a lot of support for the Republican nominee in the area.
"I decided, well, I could do this; so just for the heck of it I did it," Maslowsky said. "I mean, that's what retired people do to keep busy, right? …Either that or sit in front of the TV and get old."
View of the massive Trump sign in rural Michigan seen from a helicopter. CBS Detroit
Maslowsky said he hadn't really planned to promote his masterpiece, but his daughter-in-law posted pictures to Twitter.
"And I said, 'well, you know, I didn't do this for the news or anything, I'm not looking for any kind of publicity,' and she says, 'Well, why'd you do it?' I said, just for fun, just to do it! Let the planes see it when they fly over."
Trump disavows racist chant at family's urging
In the face of outrage, President Trump is trying to disavow a racist chant from his own supporters at a rally in North Carolina. CBS News has learned that the president's own family is part of the reason for his decision. Paula Reid reports.


text:
I rom in Siria si identificano con la comunità anticamente di lingua domari, comunemente nota come Dom e Nawar (e semplicemente "zingari" in inglese), stimata in numero di 100–250.000 [1] o 250–300.000 persone. [2] La stragrande maggioranza è sedentaria. [1] Ci sono gruppi semi-nomadi, alcuni si spostano fuori dal paese. [2] Ad Aleppo, la comunità Dom è probabilmente la più grande, mentre si dice che vivano anche a Damasco, Homs e Latakeh. [3] La comunità è fortemente emarginata nella società e viene chiamata Qurbāṭ ( ʾərbāṭ ad Aleppo) e Qarač nella parte settentrionale, e Nawar (ampiamente usata nel Levante) altrove. [3] Questi termini sono usati per vari gruppi che condividono principalmente il profilo socioeconomico. [3] La comunità è divisa in clan. [3]

Si ritiene che i Domari siano emigrati dall'India attraverso la Persia. Sembrano essere stati una casta nomade indiana specializzata in oggetti in metallo e intrattenimento. [4] La loro lingua è indo-ariana, strettamente correlata all'India centrale e all'India nord-occidentale . [4] Il linguaggio Dom (Domari) in Medio Oriente è noto come Nawari . [5] Il Domari mostra influenza turca, curda e araba. [5] I Dom hanno inoltre avuto una deriva linguistica verso l'arabo.

L'esonimo "Nawar" potrebbe essere talvolta usato in modo offensivo, denotando uno stile di vita spregevole e immorale che li associa a mendicanti, itineranti e ladri.

Durante la guerra civile siriana, ci sono stati diversi rapporti riguardanti Dom siriani rifugiati in Turchia, Libano e Giordania.

Note

Bibliografia

 Williams (2001), The Gypsies of Syria, Dom Research Center
 Herin, B. (2012). " The Domari language of Aleppo (Syria) " Linguistic Discovery 10 (2), 1-52.

Voci correlate
 Rom in Iraq
 Nawar

Gruppi etnici in Siria
Popolazione romaní

redpajama_set_name: RedPajamaWikipedia


text:
Computer Software Jobs»
Jobs That Do Not Need People Skills
by Neil Kokemuller
Technology has increased job opportunities that don't require people skills.
1 Careers for Introverted Personalities
2 The Top Careers for Introverts
3 The Salary for a Commodities Trading Analyst
4 What Kind of Job Can You Get With an Advertising and Marketing Communications Degree?
Good people skills generally improve your ability to get jobs and perform well at them. Very few jobs require no people skills at all. However, some jobs require very little face-to-face involvement with people. If people skills aren't a core strength and you prefer jobs with more independent work, there are several viable opportunities to consider.
Software engineers write computer code for new software programs. While many work in office places, they typically spend hours a day in complete isolation working on projects or tasks. You may need to interact with a manager just enough to get direction and collaborate with team members in meetings. However, a high level of people skills aren't necessary to succeed in this high paying job. Median 2010 annual income for software developers was $90,530, according to the U.S. Bureau of Labor Statistics.
Some accountants work in businesses to analyze financial transactions and prepare accounting reports. Others work in private practice and prepare financial reports and taxes for numerous clients. Despite the need to interact with managers or clients, accountants don't need a lot of people skills to get work and succeed. It is more important they that have strong organizational skills along with the ability to accurately keep records and prepare reports. Accountants and auditors, who analyze a company's financial records for accuracy, earned a median 2010 annual salary of $61,690, according to the BLS.
Research encompasses a number of job opportunities that have few people skills requirements. Medical and science researchers spend most of their time in labs conducting experiments and recording data. Marketing researchers study data for companies and assess opportunities to market to specific customers. Business analysts review other types of data collected by companies for use in making operational decisions. Financial analysts review stock and bond performance and offer guidance to companies on investments. While pay varies by research type and employer, financial analysts earned a 2010 median income of $74,350, according to the BLS.
Graphic designers create visual illustrations using computer software design programs. They usually work in agencies or independently. While the graphic designs are created for employers or clients, graphic artists spend most of their time in front of the computer roughing out design concepts and then finalizing the work after client review. Successful independent designers may earn more income, but the 2010 median salary for graphic designers was $43,500, according to the BLS.
Bureau of Labor Statistics: Graphic Designers
Bureau of Labor Statistics: Software Developers
Accountants and Auditors: Bureau of Labor Statistics
Bureau of Labor Statistics: Financial Analysts
'Lawyer' Ranks 6th of Best Jobs for Introverts
Best Jobs for Introverts (And for Extroverts)
Yahoo! Education: Top 8 Careers for Introverts
Neil Kokemuller has been an active business, finance and education writer and content media website developer since 2007. He has been a college marketing professor since 2004. Kokemuller has additional professional experience in marketing, retail and small business. He holds a Master of Business Administration from Iowa State University.
Kokemuller, Neil. "Jobs That Do Not Need People Skills." Work - Chron.com, http://work.chron.com/jobs-not-need-people-skills-8688.html. Accessed 16 July 2019.
Kokemuller, Neil. (n.d.). Jobs That Do Not Need People Skills. Work - Chron.com. Retrieved from http://work.chron.com/jobs-not-need-people-skills-8688.html
Kokemuller, Neil. "Jobs That Do Not Need People Skills" accessed July 16, 2019. http://work.chron.com/jobs-not-need-people-skills-8688.html
The Average Salary for Finance Majors and Accounting Majors
Job Description for an Equity Dealer
Management Consultant Jobs
What Certification Do You Need to Be in Cost Accounting?
Masters in Accounting Jobs
Jobs in Mass Communication & Journalism
How Do Accounting Skills Transfer to a New Career?
What Are Common Jobs for Left-Brained People?
Attitude & Skills Needed to Succeed in the Accounting Profession
Financial Careers for Introverts
A Job Description of Agri-Commodity Trading


text:
Travellero Tour Operator
Ancient maritime republic, an enchanting place with unique landscapes
Duration? 3 nights 7 nights 14 nights
Number of guests and rooms Number of guests and rooms
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Marina di Pisticci
Grisolia Lido
Isola di Capo Rizzuto
Marina di Cutro
Marina di Sibari
Pizzo Calabro
Rossano Calabro
Val Camonica
Marina di Ginosa
Savelletri di Fasano
Torre Canne di Fasano
Isola di San Pietro
Marina di Sorso
Marina di Butera
Marina di Patti
Marinella di Selinunte
Valle di Primiero
San Martino in Campo
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<1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
Amalfi is a municipality in the province of Salerno, Campania, an ancient maritime republic that gives its name to its famous coast, which was acknowledged as Unesco's world heritage in 1997. It was founded by the romans and in 1800 it became the first maritime republic: it competed with Pisa, Venice and Genova for the control over the Mediterranean sea. The maritime codex of Amalfi, known as "Tavole amalfitane", had a great influence until the seventeenth century.
Amalfi is one of the most famous tourist destinations of Campania's coast, known and appreciated all over the world for its artistic and natural beauties, crystal-clear sea and the hospitality reserved to the tourists. The picturesque and unique city centre is located on the rocks of the Lattari mountains. It is a romantic place full of alleys, little squares, villas placed against each other and mountains overlooking the sea.
The centre of Amalfi is made of alleys and narrow streets where it is possible to taste the delicious "cuoppo" (fried fish-based specialty) and is dominated by the Duomo dedicated to Sant'Andrea, with a facade made with decorated mosaics and a majestic staircase that leads inside. From the portico of the Duomo it is possible to reach the Chiostro del Paradiso and the Basilica del Crocifisso. Walking through narrow streets and winding flights of stairs, the tourists finally reach the monumental cemetery that overlooks Amalfi and the centre of Atrani, and the ancient convent of San Francesco with its beautiful courtyard. In the ancient times, Amalfi was also famous for its paper industry: there is the Museo della Carta, located in an old watermill where the machines that were used to produce the paper are preserved.
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Copyright © 2019-2020 Travellero Tour Operator Authorization Campania Region No. 195 of 10/03/2010 - All rights reserved


This lovely, spacious property located across the street from Bennett Flat Meadow, enjoys the ever changing flora and fauna all year round! The house features very spacious rooms. Great room with a large rock floor to ceiling wood burning fireplace; family/rec room for entertainment and extra sleeping; and 2 large decks front and back. Recently stained exterior and well maintained interior. EZ to take care of landscaping, with lots of sun. Short walk to trails, tennis, pool & other recreational amenities.


text:
/* -*- Mode: C++; tab-width: 4; indent-tabs-mode: nil; c-basic-offset: 4 -*-
 *
 * This Source Code Form is subject to the terms of the Mozilla Public
 * License, v. 2.0. If a copy of the MPL was not distributed with this
 * file, You can obtain one at http://mozilla.org/MPL/2.0/. */

#ifndef _nsDiskCacheDevice_h_
#define _nsDiskCacheDevice_h_

#include "nsCacheDevice.h"
#include "nsDiskCacheBinding.h"
#include "nsDiskCacheBlockFile.h"
#include "nsDiskCacheEntry.h"

#include "nsIFile.h"
#include "nsIObserver.h"
#include "nsCOMArray.h"

class nsDiskCacheMap;

class nsDiskCacheDevice : public nsCacheDevice {
public:
    nsDiskCacheDevice();
    virtual ~nsDiskCacheDevice();

    virtual nsresult        Init();
    virtual nsresult        Shutdown();

    virtual const char *    GetDeviceID(void);
    virtual nsCacheEntry *  FindEntry(nsCString * key, bool *collision);
    virtual nsresult        DeactivateEntry(nsCacheEntry * entry);
    virtual nsresult        BindEntry(nsCacheEntry * entry);
    virtual void            DoomEntry( nsCacheEntry * entry );

    virtual nsresult OpenInputStreamForEntry(nsCacheEntry *    entry,
                                             nsCacheAccessMode mode,
                                             uint32_t          offset,
                                             nsIInputStream ** result);

    virtual nsresult OpenOutputStreamForEntry(nsCacheEntry *     entry,
                                              nsCacheAccessMode  mode,
                                              uint32_t           offset,
                                              nsIOutputStream ** result);

    virtual nsresult        GetFileForEntry(nsCacheEntry *    entry,
                                            nsIFile **        result);

    virtual nsresult        OnDataSizeChange(nsCacheEntry * entry, int32_t deltaSize);

    virtual nsresult        Visit(nsICacheVisitor * visitor);

    virtual nsresult        EvictEntries(const char * clientID);

    bool                    EntryIsTooBig(int64_t entrySize);

    /**
     * Preference accessors
     */
    void                    SetCacheParentDirectory(nsIFile * parentDir);
    void                    SetCapacity(uint32_t  capacity);
    void                    SetMaxEntrySize(int32_t  maxSizeInKilobytes);

/* private: */

    void                    getCacheDirectory(nsIFile ** result);
    uint32_t                getCacheCapacity();
    uint32_t                getCacheSize();
    uint32_t                getEntryCount();

    nsDiskCacheMap *        CacheMap()    { return &mCacheMap; }

private:
    friend class nsDiskCacheDeviceDeactivateEntryEvent;
    friend class nsEvictDiskCacheEntriesEvent;
    friend class nsDiskCacheMap;
    /**
     *  Private methods
     */

    inline bool IsValidBinding(nsDiskCacheBinding *binding)
    {
        NS_ASSERTION(binding, "  binding == nullptr");
        NS_ASSERTION(binding->mDeactivateEvent == nullptr,
                     "  entry in process of deactivation");
        return (binding && !binding->mDeactivateEvent);
    }

    bool                    Initialized() { return mInitialized; }

    nsresult                Shutdown_Private(bool flush);
    nsresult                DeactivateEntry_Private(nsCacheEntry * entry,
                                                    nsDiskCacheBinding * binding);

    nsresult                OpenDiskCache();
    nsresult                ClearDiskCache();

    nsresult                EvictDiskCacheEntries(uint32_t  targetCapacity);

    /**
     *  Member variables
     */
    nsCOMPtr<nsIFile>       mCacheDirectory;
    nsDiskCacheBindery      mBindery;
    uint32_t                mCacheCapacity;     // Unit is KiB's
    int32_t                 mMaxEntrySize;      // Unit is bytes internally
    // XXX need soft/hard limits, currentTotal
    nsDiskCacheMap          mCacheMap;
    bool                    mInitialized;
    bool                    mClearingDiskCache;
};

#endif // _nsDiskCacheDevice_h_


text:
Jackson couple livestreams intimate wedding ceremony amid coronavirus outbreak
Couple holds socially distant wedding during coronavirus pandemic
By Summer Tadlock | May 23, 2020 at 10:46 PM CDT - Updated May 23 at 10:57 PM
JACKSON, Miss. (WLBT) - The coronavirus pandemic has forced couples to postpone their wedding dates, but one Jackson couple decided to take a leap of faith and tie the knot.
The coronavirus outbreak didn't stop Shuretta and Terrance Bell from saying 'I do.'
"I shed some tears. A lot of tears," said Terrance Bell
Most people are surrounded by friends and loved ones on their wedding day. Hugs are exchanged, and rooms are full but getting married during a worldwide pandemic looks a little different.
"Through this pandemic my fiance and I had to redo everything. We had to redo colors, our guest list, everything. We had to adjust our lives. But because of God and the love we have for each other we wanted to go through with it anyways," said Shuretta Bell.
"It was rough in the beginning but we managed to make it happen regardless of what's going on."
Joy, celebration and love filled up the walls inside Parkview Church of Christ in Jackson.
The couple tied the knot during an intimate wedding with close friends and family and even streamed it live for those who could not attend the ceremony.
"We are missing a lot of our friends and family today.The pictures and reception we had planned it's nothing now. We will just go home and mingle with our 20 friends outside."
Those in attendance practiced social distancing. The newlyweds say they decided to take a leap of faith and keep their wedding date.
"It is so important for us to have this weeding and not just go to the courthouse because the church is sacred and that is what I wanted to do. My fiance agrees so we decided to live it out and be happy as one."
"Don't let this pandemic stop you, just go with it."
For the Bells, it wouldn't have been a wedding to remember without their family's full support.
"Family and friends support is so important and I am thankful I have friends here from Ohio and Texas. They all came here to share this day with us and I am thank God for them."
Copyright 2020 WLBT. All rights reserved.
Summer Tadlock
Multimedia Journalist
Summer Tadlock is a multimedia journalist for WLBT and Fox40 News in Jackson, MS
Nearly 500 miles of road in Florida could be renamed 'President Donald J. Trump Highway'
U.S. Route 27 runs from Miami all the way to the state's border with Georgia, spanning 481 miles.
Josh Carter
Former Reeves staffer among pardons granted by Trump
David Lamar Clanton worked with then-Senator Tate Reeves on the campaign trail.
Sharie Nicole
FOX's Chris Wallace praises Biden's inaugural address, says it's best he's ever heard
Miss. politicos react to presidential inauguration
Bills would stop a third landfill from coming to Madison Co.
Madison Co. residents might not see golf cart legislation in 2021


This product is expected to be available April 2019.
Our popular Riviera collection is a light and easy design using premium teak frames, durable Batyline mesh material and stainless steel hardware. Arrives fully assembled.
Douglas Nance teak chairs and teak folding dining chairs are well known for comfort and high value. Premium teak, stylish designs and excellent craftsmanship keep us a leading provider of fine teak furnishings.


This summer has been a uniquely difficult one for many of us committed to the cause of a new economy, especially with Britain's decision to leave the European Union.
But one thing is now clear. There has never been a greater need for a new economy or a more important moment to act than right now, because a storm that has been gathering for decades is firmly upon us.
A torrent of wealth and power is washing away the fragile footholds established over the past century with money, information and people becoming ever more mobile in a global and now digital economy.
Too many feel they have lost control over their lives and are now being left behind by changes in the economy, technology and climate even while being promised false solutions or a parody of control that threatens to make matters worse.
Yet, in the midst of all this upheaval, a surge of energy is being generated that can crack open new possibilities for change, and change now, not at some distant point in the future.
The New Economics Foundation exists to drive this change and give people the tools they need to take real control.
Instead, we are rooted outside the traditional boundaries of politics. We care most about people's everyday experience and we will work with communities of all kinds to help them take control.
This is a Foundation for ideas and new solutions that thinks — and then acts.
Also, in an era where we must co-operate to survive, we will always seek to overcome what divides people and never shut ourselves off from the world or turn our backs on those different from ourselves.
The Foundation will forge new partnerships with institutions with real power ranging from devolved government and city mayors to business and trade unions, communities, campaigns and movements.
What follows in this document is an agenda for people to take more control over the decisions and resources that affect their lives today and a plan for how we can all begin to change the whole system tomorrow.
I hope they are the kind of projects that can inspire people across the country really to take control.
I look forward to working on them all with you together.


4 years old, in full fruit.
This numex twilight has been trained to grow over a rock, over the years it will look like its grabbing the rock as the roots thicken. Its happy to grow indoors on a sunny windowsill … but you will need to treat it with some artificial light during the winter so it carries on living to make it through to next season.
One of the most decorative chillies we've ever grown, although the guides we've had say they grow "multi colour" the only colours we've seen is a deep purple … but it looks amazing. The "Numex Twilight" produces an abundance of small, 2cm (¾") upright peppers with a medium-hot flavour.
This compact variety works very well as a bonsai and is very striking as an ornamental edible that can be grown indoors, outdoors on the patio, or in the greenhouse for even heavier yields.
The plant is in full fruit (and consequently heavy) its currently wired into position until roots thicken enough to support the weight of the plant and fruit.
This is going to look great over the next few years, the non supportive roots are starting to prune themselves and the healthier, deeper, more established ones are starting to thicken.
Its planted a green ceramic bonsai pot with a matching drip tray and its in a mix of John Innes – as recommended and used by leading bonsai experts); Akadama ( Japanese soil ) – for free drainage,high air content, water retention; and kyodama – for superior water retention, great root development (and can also help keep slugs snails and root aphids away).