It could just be down to nesting hitting me hard, but the title says it all really - is it just me or do other people go through stages of loving the way you've styled your home, and feeling fed up with everything in it? But while ripping everything out and starting again would be a bit extreme (and definitely giving my husband grounds for divorce), there are less drastic things you can do - so I thought I'd share my plans for some small tweaks to freshen things up a bit.
The good thing about being a fan of neutral decor means that if you get bored or fancy a change you can easily add some colour to a room to spice things up.
Ideally I'd love some new sofas in our lounge, however for now I'm thinking some new cushions will freshen them up enough. I've recently fallen in love with Peony & Sage fabric (I'm quite late to the party, I know!), and would love to have a go at making some cushions in some of their country inspired fabrics. How cute is their Busy Bees pattern?
Our bedroom was one of the first rooms we redecorated when we first moved into our house, and being on quite a tight budget, so I made the lampshades either side of our bed using a cheap lampshade and bit of grey ribbon.
A couple of years on and I feel they need a bit of a refresh. I've seen these gorgeous rustic lamps from The Farthing which would look fab here. I'm also thinking of updating our bedside tables too, perhaps with a lick of paint and some new handles.
This is totally me jumping on the eucalyptus bandwagon that's everywhere at the mo, but I'm desperate to add a bit of life to my bathroom. I've been on the lookout for some artificial greenery similar to the stems below from Brissi, which I know would be perfect for our bathroom. However I'd also love a go at drying some real eucalyptus too - any tips on how to do this though would be much appreciated!
I've also been wanting to add some greenery out in our conservatory for a while, and am on the lookout for a large fern or houseplant to bring some nature indoors ahead of the summer.
I've also got my eye on some cactuses to create a display for our outdoor table and chairs - which, once the brighter weather makes an appearance, I will be giving a lick of paint to.
There's SO many other bits and pieces I want to update too (namely the entire kitchen!) - but with a baby now just days away from making its big arrival, I think this will have to do for now!
What are your tips for giving your home a quick and cheap refresh?


text:
Shay Chu
Product Designer | Polyglot | Blogger | LinkedIn: https://www.linkedin.com/in/shaychu Portfolio: https://shaychu.com
He eats/she eats/it eats
The Loom of Language by Frederick Bodmer, edited by Lancelot Hogben
In The Loom of Language: An Approach to the Mastery of Many Languages, the the author, Frederick Bodmer, argues that the third-person present conjugation (of regular verbs) in English serves no purpose and that it should be eliminated for the hypothetical aim of making English into a more logical and…
Why I Write My Blog Posts Using Oxford Spelling
Oxford spelling uses the spelling that is closest to a word's etymological origin. For example, we spell the word 'organization' with a z because the Medieval Latin word from which it derived had a z. We spell the verb 'to analyse' with an s because the Greek root had an…
A UX Language Analysis on the Solomon R. Guggenheim's Ticketing Page for Desktop
The Solomon R. Guggenheim Museum
The Solomon R. Guggenheim Museum is a modern and contemporary art museum in New York City. The museum became a part of the UNESCO World Heritage List in July 2019. Domestic and international visitors go to see the museum every year. …
French Word Spellings that don't Reflect their Pronunciation
Once you've learned the general rules for French spelling and pronunciation, like not pronouncing the final letter of words, you may find that it's generally consistent except for certain cases like the following.
French femme
IPA /fam/
English translation: woman; wife
N.B. Anglophone learners of the French language…
French words that are spelled the same in Latin
French is a romance language, so it's no surprise that some words resemble those of Latin. What is surprising is that some French words still have the same Latin spelling even though the French pronunciation of the words differs from the Latin pronunciation of them.
French et
Latin et
English translation: and
French est
Latin est
English translation: third-person singular present conjugation of the verb to be (e.g., he is, she is)
French non
Latin non
English translation: The French word non means no in English while the Latin word non negates a sentence in Latin.
Do you know other French words like these?
False Cognates
False cognates are pairs of words that sound similar and that have a similar meaning but actually have different etymologies.
Japanese ありがとう (Pronunciation: arigatō)
Portuguese obrigado
English translation: thanks
English much
Spanish mucho
English (to) occur
Japanese 起こる (Pronunciation: okoru)
Mandarin 弯 (Pronunciation: wān)
English round (object)
And lastly, the famous example of a false cognate between English and the extinct language of Mbabaram:
English dog
Mbambaram dog
Do you know any other false cognates?
Third Time's the Charm
The phrase "Third time's the charm" is often said in English. Interestingly, there happens to be an equivalent Japanese phrase with a different etymology than that of the English one.
That Japanese phrase is
It basically means third time's the charm.
Are there other equivalent phrases in other languages?
Certain words are different genders in French and Italian
There are 2 grammatical genders in French and Italian, viz. masculine and feminine. While Latin, the language from which they were derived, had 3 grammatical genders, viz. masculine, feminine, and neuter, the neuter gender became merged over time with the other 2 grammatical genders.
Through centuries of history, certain cognates have different genders in French and Italian.
French art (masculine)
Italian arte (feminine)
English art
French fleur (feminine)
Italian fiore (masculine)
English flower
French planète (feminine)
Italian pianeta (masculine)
English planet
French dent (feminine)
Italian dente (masculine)
English tooth
French mer (feminine)
Italian mare (masculine)
English sea
French vidéo (feminine)
Italian video (masculine)
Do you know any other French-Italian pairs like these?
Characters with Different Meanings between Chinese and Japanese
In linguistics, false friends, or faux amis, are words that look the same or similar in writing between 2 languages, but actually have a different meaning.
An example of a faux ami between English and French is the French word déception, which looks like the English word deception but actually…
Breakfast, Lunch, and Dinner in French
In France,
Breakfast is petit déjeuner, i.e. little déjeuner
Lunch is déjeuner
Dinner is dîner
And in the Canadian province of Quebec,
Breakfast is déjeuner
Lunch is dîner
Dinner is souper
So why is the vocabulary used in France and in Quebec different for the meals of the day?
There was actually a period in the past when both regions used déjeuner for breakfast, dîner for lunch, and souper for dinner, but after the French Revolution, i.e. after the British gained control of Quebec as a result of the Seven Years War, the French started to have breakfast later. So they began to call the midday meal déjeuner and the meal before noon le petit déjeuner (i.e. the little déjeuner).
Therefore, it is the Quebecers who have kept the original sense of the words déjeuner, dîner, and souper.

redpajama_set_name: RedPajamaCommonCrawl


text:
namespace CC.Cumps.Configuration
{
    using CommonDomain;
    using CommonDomain.Core;
    using CommonDomain.Persistence;
    using CommonDomain.Persistence.EventStore;
    using NEventStore;
    using NEventStore.Dispatcher;
    using StructureMap.Configuration.DSL;

    public class EventStoreRegistry : Registry
    {
        public EventStoreRegistry()
        {
            For<IStoreEvents>().Singleton().Use(x => CreateEventStore(x.GetInstance<IDispatchCommits>()));

            For<IRepository>().Use<EventStoreRepository>();
            For<IConstructAggregates>().Use<AggregateFactory>();
            For<IDetectConflicts>().Use<ConflictDetector>();
        }

        private IStoreEvents CreateEventStore(IDispatchCommits bus)
        {
            return Wireup.Init()
               //.LogToOutputWindow()
               .LogTo(x => new Log4NetLogger(x))
               .UsingInMemoryPersistence()
               /*.UsingSqlPersistence("NEventStore") // Connection string is in app.config
                   .WithDialect(new MsSqlDialect())
                   .EnlistInAmbientTransaction() // two-phase commit
                   .InitializeStorageEngine()
                   .TrackPerformanceInstance("example")
                   .UsingJsonSerialization()
                       .Compress()
                       .EncryptWith(EncryptionKey)
               .HookIntoPipelineUsing(new[] { new AuthorizationPipelineHook() })*/
               .UsingSynchronousDispatchScheduler().DispatchTo(bus)
               .Build();
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
"I cannot think of a better location for the Horace Mann statue than the gateway to downtown Franklin"
From the Milford Daily News, articles of interest for Franklin:
The town will unveil a statue of native son - and father of public education in the United States - Horace Mann this weekend, some 221 years after his May 1796 birth.
The ceremony will begin at 11 a.m. on Sunday at the intersection of Emmons and West Central street. Statue committee co-chairwoman Deborah Pellegri said coffee and pastries - sponsored by the school department - will be available beginning at 10 a.m.
State Rep. Jeffrey Roy, D-Franklin - a member of the statue committee - will be speaking, as will State Sens. Karen Spilka, D-Ashland, and Richard Ross, R-Wrentham.
"Javier Cevallos, the president of Framingham State University will be there," Roy said. "Horace Mann founded Framingham State as one of the first teachers colleges in Massachusetts."
http://www.milforddailynews.com/news/20170502/franklin-to-unveil-mann-statue-sunday
looking through the surrounding wall at the statue base in the rain
Labels: Horace Mann, Milford Daily News, statue


text:
Chopper Over Dubai
There's no better way to see Dubai – a city of sand, glass, and history – than from the vantage of an Agusta 109E helicopter in the clear blue sky.
Private Helicopters
Tyler Roney
Dubai is a city of decadence and conspicuous consumption – of fine dining and luxury hotels and penguins in the desert – and there are few better ways to experience the largest and most populous city in the UAE than from the air.
The Burj Khalifa, Palm Islands, and deep blue water are best seen from the vantage of the birds. There are, unsurprisingly, quite a few options for those who wish to take a whirl over Dubai – and more to see beyond.
12 Minutes Over Dubai
– Dhow You Believe in Magic?
– Arabian Nights: Glamping in the Desert
– 7 Minutes in Heaven: To the Top of the World by Chopper
There are many ways to see Dubai from a chopper, but, reliably, Helidubai has the most diverse packages. For those interested in checking out the main points Dubai has to offer on the quick – including the Palm Jumeirah and Burj Al Arab's iconic architecture – one option is a thrilling 12-minute helicopter expedition highlighting Dubai's iconic cityscape.
This circuit commences from the Dubai Marina Helipad and journeys over The World Islands – an impressive collection of 300 man-made private islands roughly constructed in the shape of a world map.
ABOVE: Chopper resting on the Dubai Marina Helipad.
Continuing along this aerial passageway, riders will find a close-up of the iconic Burj Khalifa: the mega-skyscraper that is both the tallest free-standing structure in the world and the tallest building in the world overall. Soaring over this architectural masterpiece at 2,715 feet is certainly a highlight of the trip.
Other focal points include views of the Dubai Canal – one of the world's greatest urban transformations that winds through Dubai's main artery, Sheikh Zayed Road, and connects to the Arabian Gulf – along with the Godolphin and other monuments at the Business Bay. Passengers will also be flown over the Jumeirah coastline. It's a quick, thoughtful buzz over Dubai.
Burj Al Arab and Old Dubai
ABOVE: Helicopter flies by the Burj Al Arab.
Once again taking off from the Dubai Marina Helipad, this slightly longer flight glides over smooth Dubai shorelines and crystal-clear beaches. Aerial sights include the Palm Jumeirah, an incredible tree-shaped island known for its glamorous hotels, posh apartment towers, and fine dining – as well as The World Islands and The Atlantis Hotel, a majestic five-star beauty offering private sandy beaches and stunning views of the Arabian Gulf. The area also features the world's only seven-star hotel: the famous Burj Al Arab.
ABOVE: Flying over the Palm Jumeriah.
Accentuated on this 22-minute airborne journey is the destination often referred to as the heart and soul of the city: Old Dubai. Although often overlooked by tourists, this section of the city showcases historical buildings reflecting rich Arabian architecture and traditional-style wooden dhows (boats) and bustling souks (marketplaces).
The view over the Heritage Wind Towers, The Old Souk, and Dubai Creek is an inspirational flyover experience that mixes tradition with upscale luxury.
Odyssey Tour
ABOVE: Flights over Dubai with Helidubai are in an Agusta 109E helicopter.
Starting with expected white-sand Jumeirah Beach, Burj Al Arab, and The World Islands, passengers can continue on to the ultimate sights before moving onto Dubai Creek – part of the new Dubai canal that extends through the Persian Gulf – as well as some other impressive focal points, including Ras Al Khor Wildlife Sanctuary and the Jumeirah Marina, an affluent residential neighborhood with waterfront high-risers.
ABOVE: Passengers ready to lift off over Dubai.
In addition to these lead-in destinations, passengers will navigate over the Meydan Racecourse, a horse-racing grandstand over a mile long that can accommodate over 60,000 spectators, as well as the Jebel Ali Port and Jebel Ali Palm – an impressive artificial archipelago with the ninth-busiest port and largest man-made harbor in the world. A vantage of Emirates Hills – the famous gated community named after "Beverly Hills" mainly home to expatriates – is also encompassed in this circuit.
Also, for ultra-luxe passengers, executives can hop from building to building in the Agusta 109E helicopters at Helidubai.
Travelogues by Remote Lands curates exclusive travel stories for the discerning traveler. With the contacts and resources of Asia's premier bespoke travel agency, Remote Lands, Travelogues generates tales from dozens of countries throughout Central, East, and Southeast Asia to give visitors a unique sampling of experiences found nowhere else.
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An Emirati Cultural Journey
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Where to Stay in Style for a Luxury Dubai Expo 2020
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Top 15 Travelogues Articles of 2018


text:
1Early Life & Education
3Selected Exhibitions & Bienniales
Italian artist
Portrait by Michael Avedon, 2011
(1952-03-23) 23 March 1952 (age 70)
Architecture (University of Rome)
Painting, drawing
francescoclemente.net
Cover of Francesco Clemente Pinxit, artist's book, 1981
With self-portrait, San Francisco, 1991
Francesco Clemente (born 23 March 1952) is an Italian contemporary artist. He has lived at various times in Italy, India and New York City. Some of his work is influenced by the traditional art and culture of India.[1] He has worked in various artistic media including drawing, fresco, graphics, mosaic, oils and sculpture.[2] He was among the principal figures in the Italian Transavanguardia movement of the 1980s, which was characterised by a rejection of Formalism and conceptual art and a return to figurative art and Symbolism.[3]
Early Life & Education[edit]
Born in 1952, Clemente was raised by a family with aristocratic roots in Naples, in Campania in southern Italy.[4] As a child, Clemente was artistically inclined: he grew up writing poetry, painting, and studying classical languages and literature in school.[3] In 1970, he briefly enrolled in the Sapienza.[3] Just before completing his degree, Clemente decided to leave the program, turning instead toward fine arts. Yet, the young artist remained in Rome, immersing himself in the artistic milieu of the city and the art history it offered.[5]
Rome and the 1970s
In Rome, Clemente surrounded himself with artists, writers, and poets, such as Alighiero Boetti and Luigi Ontani, who had come to the city at about the same time,[5] and also with the American Cy Twombly, who lived there.[1] Clemente's generation came of age amidst the politicization of Italy. And, amid this background of political strife, conceptual artistic strategies and the dogmatism of Arte Povera prevailed.[6] The dominance of Arte Povera and Conceptualism sprung from revolutionary political change that characterized the end of the 1960s in Italy.[7] Yet, Clemente turned away from the tenets of Art Povera––those of which embraced nature, found objects, everyday materials----such as rags, wood, iron, and natural elements or industrial waste.[8] Despite his close involvement with these artists associated with the Arte povera movement, and his interest in others such as Pino Pascali and Michelangelo Pistoletto, Clemente preferred to work on paper. He made ink drawings of dreams and recollections of his childhood, and in 1971, in his first solo show, exhibited collages at the Galleria Giulia in Rome.[1]
Clemente & India in the 1970s
Clemente & Boetti: Surrounded by anti-capitalist and anti-imperialist activities in Rome, Clemente looked away from Western Europe. In 1971, Clemente traveled to India for the first time and later visited Afghanistan in 1974 with his friend and mentor Alighiero e Boetti.[9] Boetti was ten years older than Clemente, and the two shared the impulse to turn away from Western ideals of order, ambition and power, and instead towards virtues of the East. Clemente was intriguied in "the esoteric…and the seductive" aspects of Boetti's work, as Clemente himself describes–––the very "border between order and chance, a space where anything can happen."[9] Their analogous movements Eastward, Clemente says, were "symmetrical and complementary."[9] For Boetti, the model was Afghanistan, where much of his work was crafted. However, Clemente looked towards the traditions, rituals, and imagery of India and explored an introspective, symbolic method of painting.
In 1973, Clemente decided to establish a studio in Chennai (then Madras)[2] and immediately became enamored with both the religious and folk traditions of India.[1] Clemente lived on and off for ten years in India, where he studied Sanskirt as well as Hindu and Buddhist literature, educating himself in the library of the Theosophical Society of Madras, which he first visited in the mid-1970s.[3] During this time, Clemente thoroughly read Western psychoanalytic thought: Clemente read books by Michel Foucault, Gilles Deleuze, and Félix Guattari.[10]
In India, Clemente absorbed himself the culture, craftsmanship, and folk art traditions. He learned from and collaborated with Indian miniaturists, papermakers, and sign painters. Francesco Clemente Pinxit, a 1980–81 series of twenty-four gouaches on antique hand-made rag paper, is a collaboration between the artist and young miniaturists from Jaipur and Orissa, who painted the decorative elements.[1][3][11]: 88 The artist found inspiration in the rich colors and graphic sensibilities of Indian decorative art. Clemente was also interested in the androgyny, sexuality, and physicality with which the region's gods and goddesses were portrayed in Indian artistic craft and culture.
Clemente came to prominence in the late 1970s and cemented an international reputation with his participation in the 39th edition of Venice Biennale in 1980.[12]
New York, the 1980's, and the Downtown Scene
Clemente visited New York for the first time in 1981, bringing with him a series of gouaches on large sheets of paper joined with hand-woven cotton strips, produced in India and sometimes in a dialogue with local billboard painters. Water and Wine was painted in India in 1981: the work is dominated by an image of a beheaded cow with a rope around its middle that recalls a piñata.
In 1982, Clemente officially moved to New York City, where he began working out of a studio loft in downtown Manhattan with his wife, Alba.[13] He continued to study Sanskrit in New York in the early 1980s. His combination of radical innovation with an antique sensibility immediately caught the eye of peers and critics alike, with contemporary American curator Henry Geldzahler predicting at the time that Clemente would go on to become the first European artist to vitally influence the New York art scene since the influx of surrealists in the 1940s.[14]
In New York, Clemente continued to collaborate with painters such as Andy Warhol and Jean-Michel Basquiat, and with writers like Allen Ginsberg, Robert Creeley, John Wieners, Rene Ricard, Vincent Katz, and Salman Rushdie.[15] Morton Feldman and Clemente also worked together in Clemente's Broadway studio. In 1983, Clemente collaborated with Warhol and Basquiat on a group of works. He simultaneously developed various book projects, including three unique works created with Ginsberg.
Clemente also created murals for the now-demolished Palladium nightclub in New York (1985). He painted a monumental fresco of a hermaphrodite-like figure running as a fan floats atop. The work was titled Tutta la Vita (All through Life), much like a collection of short stories by Alberto Savinio.[16]
His early large canvases, painted in 1981–1982, were exhibited in 1983 at the Whitechapel Gallery in London and then in Germany and Sweden.[1]
Clemente (right) with Andy Warhol, Jean-Michel Basquiat and Bruno Bischofberger in 1984
With Raymond Foye, Clemente published The Hanuman Books.[17] A series of books published between 1986 and 1993 out of the Chelsea Hotel in New York, The Hanuman Books featured some of the biggest names in avant-garde culture and has since acquired a cult following. The name and format were influenced by Indian prayer books collected on a trip to India in 1985. Throughout the 1980s, Clemente continued to travel to India; he also sojourned in southern Italy and the American Southwest.
The Funerary Paintings: The Funerary Paintings is a series of paintings which Clemente began in the late 1980s and were worked on for a ten year period. The death of many of those in his circle during the AIDS crisis (including Beuys, Warhol, and many others) shifted the tone of his work.
In 1986 the John and Mable Ringling Museum of Art in Sarasota, Florida, mounted a travelling exhibition of his work.[3]
Clemente in the 1990s
In the 1990s, Clemente visited Jamaica and began working in a studio in New Mexico.[3] Cera punica is the wax fresco method Clemente employed during this time. In 1995, Clemente took a trip to Mount Abu in the Himalayas, Clemente painted a watercolor a day for fifty-one days in between taking walks and meditating.[3]
Ginsberg & Clemente: In June 1995, Allen Ginsberg and Clemente traveled together to visit the Château de Chenonceau in the Loire Valley. Clemente created a series of pastels titled Ex Libris Chenonceau, and the series was first exhibited in the Château de Chenonceau. Ginsberg immediately began writing the "Pastel Sentences": one-line poems that each corresponded to a pastel on display. Pastels had been an integral part of Clemente's practice since the late '70s and form a unique material link between the eclectic references he employs and his own potent vocabulary of images, figures, and symbols. Night (1994) is from this series of pastels. In the 1990s, Clemente took up watercolors, inspired by William Blake (whose work he referenced in 1983 and 1984 in his collaboration with Allen Ginsburg). For Clemente, watercolors allowed him to fuse the personal and spiritual, as well as the familiar figures and abstract forms.[18] This can be seen in Clemente's Book of the Sea series.
La Stanza della Madre (Mother's Room) at the Guggenheim Bilbao: In 1996, the Guggenheim Museum in Bilbao commissioned Clemente to paint the 17 large-scale paintings. The work, La Stanza della Madre (Mother's Room), evoke the large-scale decorative murals of Medieval and Renaissance palaces. [19] In these works, references to elements found in nature interlink with elements from Indian culture, religious history, and astrology.[20] Clemente's commission for the Guggenheim coincided with a revival of figuration in painting. Clemente rapidly became seen as one of the leaders of the "return to figuration," dubbed the Transavanguardia in Italy (by art critic Achille Bonito Oliva) and Neo-Expressionism in the United States. This acclaim coincided with Clemente's move to a New York loft with his growing family.
Clemente's Dormiveglia series: 1998 was quite a prolific year for Clemente as well. In 1998 his work was used in the film Great Expectations, directed by Alfonso Cuarón.[3] Clemente's Dormiveglia series was also created in 1998 in New York, and takes its title from the Italian expression connoting the state between sleep and awakening and captures the state in which reality intrudes into the realm of dreams. The series was exhibited in 2016 at the NSU Art Museum Fort Lauderdale, Florida.[21]
Clemente created a mural and lampshades for New York's Hudson hotel, which opened in 2000.[3]
In 2002, Clemente was elected to the American Academy of Arts and Letters.[3]
In 2008, Clemente further explored his interest in collaborating with performing arts projects when he exhibited portraits of eight stars in the concurrent season at the Metropolitan Opera in an exhibition entitled The Sopranos at the Arnold and Marie Schwartz Gallery Met in New York.[22]
Encampment is a group of immersive sculptural works in a multi-part, thirty-thousand square foot installation exhibited at Massachusetts Museum of Contemporary Art in North Adams, Massachusetts in 2015.[23] The work was created in collaboration with local wood-block printers and artisans in Rajasthan. It was inspired by the many camouflage tents Clemente saw along the border of India and Pakistan during his time there.[23] The exhibition included six painted canvas tents, which, as Clemente noted, "were generated by reflection on my own life, and my own needs; it was as if I didn't have a home, but wanted one."[23] Created from 2012 through 2014, the structures create a village of tents, with painted human figurines and motifs within. The patterns are reminiscent of the Indian Army in Rajasthan.[23]
In his recent series, Gold on Gold, 2016, and Shadow, 2017, Clemente integrated Indian miniature paintings, a continuation of the collaborative practice he began long ago the 1980s with his series Francesco Clemente Pinxit.[24]
Selected Exhibitions & Bienniales[edit]
Clemente participated in the Biennale di Venezia in 1988, 1993, 1995 and 1997; in documenta in Kassel, Germany, in 1992 and 1997; and in the Whitney Biennial, also in 1997.[2] Solo shows were held at the Philadelphia Museum of Art in 1990;[25] at the Sezon Museum of Modern Art in Tokyo in 1994; at the Galleria d'Arte Moderna of Bologna in 1999; at the Solomon R. Guggenheim Museum in New York in 2000; at the Museo Archeologico Nazionale di Napoli in Naples in 2002–2003; at the Irish Museum of Modern Art in Dublin in 2004; at Palazzo Sant'Elia in Palermo, in Sicily, in 2013; at both the Coro della Maddalena in Alba and Santa Maria della Scala in Siena in 2016; and at the NSU Art Museum in Fort Lauderdale, Florida, in 2017.[2][3]
Clemente's work has been presented at numerous international institutions, including Nationalgalerie, Berlin; Museum für Gegenwartskunst, Basel; Philadelphia Museum of Art; Royal Academy of Arts, London; Musée National d'Art Moderne, Centre Georges Pompidou, Paris; Galleria d'Arte Moderna, Bologna; Guggenheim Museum, New York; Guggenheim Museum Bilbao; Sezon Museum of Art, Tokyo; Museo Archeologico Nazionale di Napoli; and Galleria degli Uffizi, Florence.
2020, Francesco Clemente, 7-23-2020,vVito Schnabel, St. Moritz
2020, Francesco Clemente, Watercolors, Lévy Gorvy, London
2018-2019, FRANCESCO CLEMENTE: WORKS 1978-2018, The Brant Foundation NY
2016, FRANCESCO CLEMENTE: ENCAMPMENT, MASS MoCA, North Adams, Massachusetts
2014-2015, FRANCESCO CLEMENTE: INSPIRED BY INDIA, The Rubin Museum of Art, New York
2004, Francesco Clemente: New Works, Irish Museum of Modern Art
1999-2000, Clemente, Solomon R. Guggenheim Museum, New York NY
1990, FRANCESCO CLEMENTE: THREE WORLDS, Philadelphia Museum of Art
Clemente lives in Greenwich Village.[26]
Paper tent at the Kochi-Muziris Biennale in Kochi, in Kerala, India, 2014
265924 Franceclemente, asteroid
^ a b c d e f [s.n.] (2012). Clemente, Francesco. Grove Art Online. Oxford Art Online. Oxford: Oxford University Press. Accessed April 2017. (subscription required)
^ a b c d Clemènte, Francesco (in Italian). Enciclopedie on line. Rome: Istituto dell'Enciclopedia Italiana. Accessed March 2017.
^ a b c d e f g h i j k l Francesco Clemente. Guggenheim. The Solomon R. Guggenheim Foundation. Accessed March 2017.
^ "Francesco Clemente Paintings, Bio, Ideas". The Art Story.
^ a b Alex Bacon (3 May 2013). Francesco Clemente in Conversation with Alex Bacon. Brooklyn Rail.
^ "Francesco Clemente - Projects - Vito Schnabel". www.vitoschnabel.com.
^ "Arte Povera - What Was the Arte Povera Movement?". 7 December 2021.
^ "Arte Povera Art Movement – History, Artists and Artwork – Artlex".
^ a b c Francesco Clemente (2012). TateShots: Francesco Clemente on Alighiero Boetti. London: Tate. Accessed April 2017.
^ McKENZIE, Dr JANET. "Francesco Clemente: Mandala for Crusoe". www.studiointernational.com.
^ Stella Kramrisch (1990). The Twenty-Four Indian Miniatures; in: Ann Percy, Raymond Foye (1990). Francesco Clemente: Three Worlds (exhibition catalogue). Philadelphia: Philadelphia Museum of Art. Pages 88–109. ISBN 9780847812974..
^ "Guggenheim Museum - Clemente". pastexhibitions.guggenheim.org.
^ Kay Larson (19 November 1990). On The Line. New York. ISSN 0028-7369.
^ "Clemente in the Eighties: Fragments of a Faith Forgotten". 8 February 2021.
^ "Francesco Clemente - Clouds - Exhibitions - Vito Schnabel". www.vitoschnabel.com.
^ http://www.francescoclemente.net/images/literature/Pamela%20Kort.pdf
^ "Francesco Clemente - Artists - Vito Schnabel". www.vitoschnabel.com.
^ https://www.levygorvy.com/viewing-rooms/francesco-clemente-watercolors/
^ https://www.guggenheim.org/artwork/23
^ https://nsuartmuseum.org/exhibition/francesco-clemente-dormiveglia/
^ https://www.metopera.org/visit/exhibitions/past-exhibitions/the-sopranos/
^ a b c d "Francesco Clemente: Encampment | MASS MoCA". massmoca.org. 19 March 2015.
^ "Francesco Clemente: Watercolors - Lévy Gorvy". www.levygorvy.com.
^ Francesco Clemente: Three Worlds. Philadelphia: Philadelphia Museum of Art. Archived 30 March 2011.
^ Kurutz, Steven. "What Do Anna Wintour and Bob Dylan Have in Common? This Secret Garden", The New York Times, 28 September 2016. Accessed 3 November 2016. "The house is part of the Macdougal-Sullivan Gardens Historic District, a landmarked community of 21 row homes, with 11 lining Macdougal Street and 10 running parallel on Sullivan Street."
Seidel, Max. Francesco Clemente: The Tarots. Hirmer Publishers. 2012. ISBN 9783777445212
Clemente, Francesco; Hollein, Max and Walcott, Derek. Francesco Clemente: Palimpsest. Moderne Kunst Nürnberg. 2012. ISBN 9783869842257
Danto, C. Artur. Francesco Clemente: The Sopranos. Charta. 2008. ISBN 9788881586981
Clemente, Francesco; Walcott, Derek. Francesco Clemente: Three Rainbows. Charta. 2009. ISBN 9788881587452
Clemente, Francesco; Danto, Arthur. Francesco Clemente: A Private Geography. Charta. 2011. ISBN 9788881587957
Jain, Jyotindra. Clemente: Made in India. Charta. 2011. ISBN 9788881588091
Ammann, Jean- Christophe; Clemente, Francesco. Francesco Clemente: Works 1971–1979. Charta. 2007. ISBN 9788881586509
Matthews, Harry. Singular Pleasures. Dalkey Archive Press. 1999. ISBN 9781564782335
Clemente, Francesco. Francesco Clemente. Charta. 2000. ISBN 9788881582822
Babini, Luca. Francesco Clemente: Art and Life. Aperture Foundation. 1999. ISBN 9780893818722
Rushdie, Salman. Francesco Clemente: Self Portraits. Gagosian Gallery. 2005. ISBN 9781932598247
Clemente, Francesco. Polaroids, Celebrities and Self-Portraits. Jablonka Galerie. 2001. ISBN 9788391307526
Fahey, David; Clemente, Francesco. Sante D'Orazio: A Private View. Prestel Publishing. 2006. ISBN 9783829602471
Clemente, Francesco. India. Twelvetrees Press. 1989. ISBN 9780942642308
Rimanelli, David. Francesco Clemente Paintings 2000–2003. Gagosian Gallery. 2003. ISBN 9781880154946
Clemente, Francesco. Francesco Clemte: Fifty One Days at Mount Abu. D'Offay, Anthony Gallery. 1999. ISBN 9780947564773
Fischl, Eric; Ammann, Jean-Christophe; Young, Geoffrey; Clemente, Francesco. Eric Fischl: It's Where I look...It's How I See... Their World, My World, The World. Mary Boone Gallery/ Jablonka Gallery. 2009. ISBN 9783931354329
Auping, Michael. Francesco Clemente. Abrams, Harry N., Inc. 1985. ISBN 9780810907720
Colombo, Paulo. Francesco Clemente. Electa. 2006. ISBN 9788837043469
Avedon, Elizabeth. Francesco Clemente. Knopf Publishing Group. 1987. ISBN 9780394747873
Katz, Vincent. Life Is Paradise: The Portraits of Francesco Clemente. Powerhouse Books. 1999. ISBN 9781576870532
McLure, Michael. Francesco Clemente Testa Coda. Rizzoli. 1992. ISBN 9780847814695
Percy, Ann. Francesco Clemente: Three Worlds. Rizzoli. 1990. ISBN 9780847812974
Percy, Ann. Francesco Clemente: Three Worlosi. Philadelphia Museum of Art. 1998. ISBN 9780876330845
Warner, Marina. Francesco Clemente: The Book of the Sea. Gagosian Gallery. 2002. ISBN 9781880154779
Shapiro, David. Francesco Clemente. Parkett Verlag AG. 1986. ISBN 9783907509593
Valli, Giambattista. Giambattista Valli. Rizzoli. 16 October 2012. ISBN 9780847835713
Denninson, Lisa. Clemente: A Retrospective. Abrams, Harry N., Inc. 1999. ISBN 9780810969179
Crone, Rainer. Francesco Clemente: Pastelle 1972–1983 Prestel Verlag GmbH & Co KG. 1984.ISBN 9783791306421
Eccher, Danilo. Francesco Clemente. Allemandi, Umberto & Company. 1999. ISBN 9788842209171
Walcott, Derek. A Conversion, exhibition catalogue. Deitch Projects, New York, Edizioni Charta, Milano 2009.
Rushdie, Salman. Being Francesco Clemente, in: Francesco Clemente: Self Portraits, exhibition catalogue. New York: Gagosian Gallery, 2006. Pages 5–10.
Kort, Pamela. Francesco Clemente in Conversation with Pamela Kort, New York, 26 March 2011; in: Francesco Clemente, Palimpsest, exhibition catalogue. Schirn Kunsthalle, Frankfurt, 2011.
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AC using state parameter: collapsed


Eight months have passed since the Allied powers of Britain & France had declared war against Germany for its justified invasion of Poland. The Allies have ignored Hitler's numerous pleas for peace while amassing their armies in Northern France, close to France's border with Belgium. Other than low-scale British and German maneuvers in Norway and Denmark, the great bloodbath known as World War II has not yet begun and can still be avoided.
The tiny states of Belgium and The Netherlands / Holland (both members of the Globalist League of Nations) claim to be "neutral." In reality, under the pressure and influence of mighty England & France (also members of the League of Nations) the two mini-states have been assisting the Allies in their preparation for an attack upon Germany - which had quit the League of Nations in 1933. On May 10, 1940, Hitler orders the invasion of the Low Countries.
Britain, France, Holland and Belgium were all members of the Globalist League of Nations. Germany took the fight to them in self-defense.
During better times, Hitler (left) and von Ribbentrop (right) enjoy a good laugh.
Even if, for the sake of argument, we were to reject Germany's claim as being a false propaganda pretext for war, a la 'Weapons of Mass Destruction', the question remains: why do the 'court-historians' continue to conceal such serious allegations from us? Why are we not given all of the data so that we can make up our own minds? What are they so afraid of? The truth?
In the belief that "there are two sides to every story", we are posting abridged reproductions of the May 10 and May 11 Times articles containing the von Ribbentrop allegations. A few bits of highlighted analysis are also included. The full originals can be viewed by copy-paste-enlarging the article images.
But a de-emphasized article from that same Times' issue did present a different version of events -- an 'inconvenient' version that has long since 'disappeared' from history.
BERLIN, Friday, May 10 - Foreign Minister Joachim von Ribbentrop at 9 o'clock this morning announced that Reich forces had launched military operations Holland, Belgium and Luxembourg to "protect their neutrality".
Earlier it was reported that German troops had occupied Maastricht, the Netherlands, and had "landed" contingents in Brussels, probably meaning parachute troops.
He said the time had come for settling the final account with the "Franco-British leaders."
"France and Britain dropped their mask." said Herr von Ribbentrop. "The alarm in the Mediterranean was a feint behind which the Allies were preparing an onslaught on German territory which the Reich could not tolerate."
The notes handed to The Hague and Brussels simultaneously with a shorter note to the Grand Duchy of Luxembourg just prior to their invasion by Germany accused the Lowlands with having been overwhelmingly partial toward the Allies, adding that the attitude of the press was objectionable to the Reich.
"In the life-and-death struggle thrust upon the German people, the government does not intend to await an attack by Britain and France inactively allowing the war to be carried through Belgium and Holland onto German soil. The government, therefore, has issued orders to safeguard the neutrality of the two countries with all the military means of the Reich."
The second point of the memorandum charges that Holland, in conjunction with certain Belgian circles, lent herself to support attempts by the British Secret Service to bring about a revolution in Germany. An organization allegedly was built up by the Secret Service on Belgian and Netherland soil enjoying the "fullest support" of the Netherland and Belgian authorities including members of the general staff. The "plot" was aimed at the removal of Chancellor Hitler and the setting up of a government in Germany ready to work for the destruction of the unity of the Reich and agreeable to the formation of a powerless federation of individual German States. (Just like today's pathetic attempts at a 'Color Revolution' aimed at weakening Putin in Russia).
The next day, buried inside of the paper, the Times published von Ribbentrop's full statement.
BERLIN, May 10 - Foreign Minister Joachim von Ribbentrop called foreign correspondents to offices this morning and read them a memorandum which explained the reasons why Germany invaded the Netherlands, Belgium and Luxembourg.lock this morning announced that Reich forces had launched military operations Holland, Belgium and Luxembourg.
The German government has directed a memorandum to the Royal Belgian and Royal Netherlands governments in which the Reich government asserts that it is in possession of evidence and news which carries incontrovertible proof that an Anglo-French attack on Germany is immediately imminent and that this attack will take place against the Ruhr over Belgium and the Netherlands.
Images below added - French and Belgian troops invaded the industrial Ruhr in a 1923 shakedown operation. A new invasion of the Ruhr would be the most logical place to deliver a painful blow to German industry.
Therefore, the command has been given German troops to insure the neutrality of these countries with all the Reich's military means of power.
The German government has long been aware of the major British-French war policy. It consists of extension of the war to other lands and the misuse of their people as auxiliary mercenary troops of England and France.
The last attempt in this direction was the attempt to occupy Scandinavia with Norway's assistance in order here to create a new front against Germany. Only though Germany's intervention at the last moment was this intention nullified. Germany has produced documentary evidence, therefore, before the world public.
As the Reich government already has long known the true aim of England and France, prepared carefully for an impending attack against Germany in the West over Belgian and Netherlands territory to the Ruhr territory. Germany has recognized and respected the integrity of Belgium and the Netherlands and naturally has provided that these two countries shall preserve the strict neutrality in case of war between Germany and England.
Belgium and the Netherlands have not fulfilled this condition They have, indeed, sought so far to preserve the outward appearance of neutrality, but in reality both countries have completely and one-sidedly favored Germany's enemy and have made clear their intentions.
... the measures of the Royal Belgian and Royal Netherlands Governments in the military sphere speak even clearer language and they give an irrefutable proof of the true intention of the Belgian and Netherlands policy.
The Netherlands coastal territory constituted an equally open and unsecured gate for British aircraft. The Reich government in repeated communications had drawn the Royal Netherlands Government's attention to a violation of Netherlands' neutrality by English planes. Since the outbreak of the war British fliers practically daily have been coming from the Netherlands and have appeared over German terrotory.
Sixthly, still crasser proof of the true Belgian and Netherlands attitude, however, is the deployment of mobilized Belgian and Netherlands troops, directed exclusively against Germany. While at the beginning of September, 1939, Belgium and the Netherlands divided their troops on their frontiers comparatively evenly - but paralleled to to intensified cooperation between Belgium and the Netherlands General Staffs and England and France - sometime later on the western frontiers these countries were completely denuded of troops and the entire Belgian and Netherlands troops were concentrated on the eastern frontiers of both countries confronting Germany.
Seventhly, this massing of Belgian and Netherlands troops on the German frontier occurred at a time when Germany had concentrated no troops at all on its frontiers facing Belgium and the Netherlands and while England and France on the contrary had gathered strong motorized offensive armies on the Belgian-French frontier.
The Netherlands undertook their measures at a time when they were expressing their neutrality and while England and France were massing their troops.
Eighthly, documents in the possession of the German Government prove that the preparations made by Britain and France on Belgian and Netherlands territory for the attack on Germany had already reached an advanced stage. Thus, some considerable time ago all obstacles on the Franco-Belgian frontier which might have impeded the advance of the Anglo-French forces were secretly removed.
Airdromes in Belgium and Holland were inspected by British and French officers and improvements duly carried out. Means of transport were stationed in readiness on the frontier by Belgium and recently advanced staff and troop units of the British and French armies arrived in various places in Belgium and Holland.
These facts as well as additional reports which have become more frequent in the last few days, are undeniable proof that the Anglo-French attack on Germany is imminent and that this attack on the Ruhr (valley) will take place through Belgium and Holland.
If, despite this, Belgium and the Netherlands still persist in making a pretense of policy of independence and neutrality, this cannot, in the light of these indubitable facts, be regarded as anything but an attempt at deception as to the real intention of Belgian and Netherlands policy.
In view of this state of affairs, the German government can no longer doubt that Belgium and the Netherlands have determined not only to tolerate the impending Anglo-French stroke, but to support it in every direction, and that the agreements reached between the general staffs of the two countries and those of Britain and France can only serve this purpose.
The German Government further declares that Germany does not intend by these measures to attack the integrity of the Kingdom of Belgium and of the Kingdom of the Netherlands or their possessions, or their property in Europe, or in their colonies, either now or in the future. (German troops behaved impeccably during their 4-year stay in the Low Countries, even saving their artworks from Allied bombardment (so-called 'Nazi looted art"). Ironically, it was the Globalists who would later strip Belgium and Holland of their colonial possessions.) The Belgian and Netherlands Governments today still have it in their power to safeguard the welfare of their peoples at the last moment by ensuring that no resistance will be offered to the German troops.
Later that same year, von Ribbentrop's Foreign Office published a 50-page English version paper detailing its allegations.
Allied intrigue in the Low Countries further documents concerning the Anglo-French policy of extending the war.
Full text of White book no. 5, published by the German Foreign Office.
Soon after the rigged Nuremberg trials had ended, on October 16, 1946, Joachim von Ribbentrop was hanged. When he was escorted up the steps of the gallows and asked if he had any final words, he said: "God protect Germany. God have mercy on my soul. My final wish is that Germany should recover her unity and that, for the sake of peace, there should be understanding between East and West. I wish peace to the world."
Nuremberg Prison Commandant Burton C. Andrus later recalled that, immediately before the hood was placed over his head, Ribbentrop turned to the prison's Lutheran chaplain and whispered, "I'll see you again." Members of the US Army cremated Ribbentrop's remains and scattered them in an unmarked location.
The noble and capable statesman was hanged and then cremated.
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Located in Seattle's 48.3-acre Volunteer Park, the beautiful, historic conservatory, completed in 1912, is one of the few remaining original Victorian glass houses in the country. Its five display houses are home to tropical plants, palms, ferns, cacti, and other seasonal plants. There is usually a $4 admission fee for adults, but admission is free on first Thursdays and Saturdays. Admission is always free for kids 12 and younger.


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By Vince BrooksApril 27, 2016July 13th, 2021One Comment
In last week's blog post, we learned about the efforts of two Richmond businessmen who lobbied to add an exception for non-Christians to Virginia's Sabbath breaking law. An early 20th century criminal cause found in the Norfolk County (Chesapeake) court records illustrates that even this exception did not fully clarify the crime of violating the Sabbath.
Charles Bibbins and 27 other Norfolk County men employed by the Eustis Smelting Works were found guilty
by a justice of the peace for violation of the Sabbath (Commonwealth v. A. Berson, et. als.). They appealed their convictions to the Norfolk County circuit court. The defendants were not being accused of "laboring at [their] own, or any other trade, or calling" on a Sunday, as Messrs. Levy and Ezekiel were in 1837. Rather they were convicted of being "engaged in business as merchandise merchants […] after sunset on Saturday and during the day commonly known as Sunday." In essence, they were accused of violating "the exemption as to the Jews" by resuming their work on Saturday night rather than waiting for Sunday.
Arrest Warrant, Charles Bibbins, 1909, Commonwealth b. A. Berson, et. als
Judge Lawless
Eustis Smelting Co., Sanborn Map Co. Plate 66, 1903.
The case resulted in a ten-page opinion from the ironically named Judge J. T. Lawless, written in the form of an abbreviated dissertation on the history of the Sabbath. His Honor contended that prior to the enactment of the 1779 law by the General Assembly, "[a]t common law, the legal right existed in all persons to enter into contracts, to engage in works of labor, and to prosecute generally their usual business or calling on Sunday."
The exception was added in 1849 to alleviate an undue hardship on those keeping the seventh day as the Sabbath, which then forced two days of rest on them, one through religion and the other through secular law. The issue, as Judge Lawless saw it, was the definition of "the seventh day" in the exception statute. Does it mean a civil day, 24 hours from midnight to midnight, or an artificial day as determined by some other entity? Citing the Cyclopedia of Biblical, Theological, and Ecclesiastical Literature (Vol. IX, p. 190) and other sources, Judge Lawless made the case that the seventh day of the Hebrew week began at sunset on Friday until sunset on Saturday. Further, he claimed that this definition was "universally recognized" and "has been such from the earliest days of recorded time."
Determining that the drafters of the 1849 exemption statute were aware that the excepted class, those observing the seventh day of the week, would continue to observe the day in the manner of "their forefathers from the remotest generations of mankind," Judge Lawless found the 28 defendants not guilty.
The Jewish exception to the Sabbath breaking statue was added seventy years after the original law, and Commonwealth v. A. Berson, et. als. clarified that exception nearly forty years after its enactment. As society continues to discuss and debate the meanings of "religious liberty," we can take some comfort in knowing that our forbearers had no more definitive meaning in their time. They redefined and reinterpreted in successive generations.
–Vince Brooks, Senior Local Records Archivist, with Claire Radcliffe, State Records Archivist
Blue LawsCharlotte ChristianChesapeake (City)First Freedom: Virginia's Statute for Religious Freedom (Exhibit)JudaismNorfolk Countyreligionreligious freedomreligious liberty
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Frankie Liles says:
Thank you, Vince, for writing and posting these
very interesting blogs on religious freedom and Virginia. I'm also passing them to my researcher in England, who also is interested in this subject.


How many of you have visited Oregon or actually live there? Did you know that Oregon legislators have enacted several laws that will make you question their origin? Every Friday at LawInfo.com we dedicate one blog to the strangest laws from around the world.
On Weird Law Friday, we can poke fun at just about any country around the world, and this week it's going to be England. The United States is also home to some pretty strange laws, many of which we doubt are even enforced.
It's time for more weird laws from around the country! As many of you may already know, every Friday at LawInfo.com we reserve one blog to discuss the origin of some of the strangest laws from around the world. This week, our focus will be on Idaho and the weird laws that residents of Idaho are forced to abide by.
As many of you may already know, every Friday at LawInfo.com is dedicated to a set of weird laws from across the country. Today's "Weird Law Fridays" blog will focus on the "The Big Apple" and the weird laws that residents of New York City must abide by.
I've been on a Netflix binge the last few weeks, and my current show of choice is "Hart Of Dixie" starring Rachel Bilson. Since the show takes place in the fictional town of Bluebell, Alabama, I figured it would be fun to dedicate today's blog to the weird laws from Alabama.


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Филипп Трофимович Демченков (1915—1975) — подполковник Советской Армии, участник Великой Отечественной войны, Герой Советского Союза (1942).

Биография
Родился 27 октября (по другим данным — 26 ноября) 1915 года в деревне Стайки (ныне — Ельнинский район Смоленской области) в семье крестьянина. Окончил семь классов школы, работал на Второй Московской государственной электростанции. В 1939 году он окончил школу лётчиков Гражданского Воздушного флота в Батайске, работал пилотом в Южно-Казахстанском управлении ГВФ. В 1940 году он был призван на службу в Рабоче-крестьянскую Красную Армию. С началом Великой Отечественной войны — на её фронтах.

К декабрю 1941 года младший лейтенант командовал звеном 150-го скоростного бомбардировочного авиационного полка 46-й авиационной дивизии Западного фронта. К тому времени он совершил уже 146 боевых вылетов на бомбардировку скоплений боевой техники и живой силы противника, нанеся ему сильный урон.

Указом Президиума Верховного Совета СССР «О присвоении звания Героя Советского Союза начальствующему и рядовому составу Красной Армии» от 12 апреля 1942 года за «образцовое выполнение боевых заданий командования и проявленные при этом отвагу и геройство» удостоен высокого звания Героя Советского Союза с вручением ордена Ленина и медали «Золотая Звезда» за номером 687.

В июне 1942 года был сбит на территории, контролируемой фашистами, получив тяжёлые ранения. Н. И. Власов на лёгком самолёте У-2 ночью на минимальной высоте пересёк линию фронта, совершил посадку между двумя шоссе в районе станции Миллерово, по которым двигались войска противника, и подобрал на борт Демченкова и под огнём противника доставил его на свой аэродром.

После окончания войны продолжил службу в Советской Армии. В 1949 году окончил Военно-воздушную академию в Монино. В 1958 году в звании подполковника он был уволен в запас.

Проживал в Смоленске, работал в кинопрокате. Скончался 4 сентября 1975 года, похоронен на Новом кладбище Смоленска.

Был награждён двумя орденами Ленина, орденами Красного Знамени и Отечественной войны 2-й степени, а также рядом медалей.

Примечания

Литература

 Молодцов В. В. Филипп Трофимович Демченков. Смоленск, 1962.

Лётчики Великой Отечественной войны
Похороненные на Новом кладбище (Смоленск)

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I started STREET TRACK LIFE as a personal outlet for my photos, videos and opinions back in 2010. Since then, the company has grown and become a retail, import and distribution outlet for a number of highly respected brands and companies specialising in aftermarket wheels, suspension and exterior parts.
Our office is located just outside of Alderley Edge, Cheshire (United Kingdom) and visitors are welcome by appointment. Please feel free to check out our showroom and discuss your requirements with us.


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What happens if I receive a Surrender Notice for an unlicensed motor cycle?
If WA Police believe you have ridden an unlicensed motor cycle on a designated road you will be issued with a Section 80P Surrender Notice, as the nominated person on the notice you must surrender the unlicensed motor cycle to the nominated location within the time frame stated on the notice. If you fail to surrender the motor cycle you will be subject to a $2500 fine for failure to surrender the motor bike.
80P. Surrender notice
This section applies if —
a police officer reasonably suspects, in relation to a motor cycle, that the motor cycle has been used in circumstances described in section 80O(1)(a) to (c); and
it is impracticable for the police officer to impound the motor cycle under section 80O(2).
The police officer may give, personally or by registered post, a notice (a surrender notice) to —
a responsible person for the motor cycle; and
if that person has not reached the age of 18 years, a responsible adult, as defined in the Young Offenders Act 1994, for the person.
The surrender notice cannot be given more than 28 days after the day of the suspected use of the motor cycle.
The surrender notice must be in an approved form and contain a statement to the effect that, because of the suspected use of the motor cycle, it is required to be surrendered to the Commissioner for impounding.
The surrender notice must specify the following —
sufficient details of the motor cycle to identify it;
the time and place of the suspected use of the motor cycle;
sufficient other details of the suspected use to identify the grounds for giving the notice;
if known, the name of the driver of the motor cycle during its suspected use;
the place at which, and the time of day during which, the motor cycle and its keys are required to be surrendered under this Subdivision;
the last day on or before which the motor cycle and its keys are required to be surrendered, being the 7th day after the day the surrender notice has been given.
The surrender notice must also include the following —
a statement to the effect that this Subdivision contains law about the notice and the impounding of the motor cycle;
a statement as to the effect of sections 80Q(1) and (2), 80S, 80T and 80U;
a statement as to the effect that if the motor cycle is confiscated under section 80T, it may be disposed of under section 80V;
a statement as to the effect of section 80W.
Why was my unlicensed motor cycle impounded?
If an unlicensed motor cycle is ridden on a designated road then it will be subject to being seized under Section 80O of the Road Traffic Act. A designated road is the area between property lines and includes any footpaths and the verge area. Please refer to Section 80N Terms Used for further information.
80O. Police power to impound unlicensed motor cycle used on road
This section applies if a police officer reasonably suspects that —
a motor cycle is being used on a road; and
the use constitutes an offence under the Road Traffic (Vehicles) Act 2012 section 4(2); and
the motor cycle was not, at any time during the period of 2 years immediately before the day of the use —
licensed under the Road Traffic (Vehicles) Act 2012; or
the subject of a permit, or number plates, issued under the Road Traffic (Vehicles) Act 2012 section 13.
The police officer may seize and impound the motor cycle within a period of 28 days after the day of its suspected use.
The Commissioner is to ensure that, as soon as practicable after a motor cycle is impounded under subsection (2), notice of the impounding is given to —
The notice must be in an approved form and specify the following —
the time when the motor cycle was impounded;
the address of the place where the motor cycle is stored;
if known, the name of the driver of the motor cycle during its suspected use.
The notice must also include the following —
a statement as to the effect of sections 80S, 80T and 80U;


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Q: Adding a days to date column I have a document library with two custom columns (Report Date) and (company name). One company name can have few different Report dates. Is there anyway we can get the highest date using Power Automate?
As you can see in the image below Company Name X has two Report Date. How can I get the 30/06/2021 using power automate?

A: You can do it using "Get files(Properties only)" by selecting the order of date column as desc and Top count as 1. You can pass the company name as well in filter query.

and to get the exact value of Company name and dates , you can use Parse Json

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Technology startups are coming of age in India, and technology campuses are not far behind. Students of technology are experimenting with ideas that could spawn a new era of innovation and new technology based ventures. So we can support engineering faculty to guide students in generating IP for their technology and secure their technology? Building Intellectual Property at Academic Institutes addresses this challenge by helping you integrate technopreneurship and intellectual property management with engineering education on campuses across region.
Acropolis Yi Net under aegis of Confederation of Indian Industry (CII) in association with NEN National Entrepreneurship Network has setup the Intellectual Property Protection Centre (IPPC) at Indore, with state of the art IP assistance ,promote & facilitate IP activities across the engineering colleges in the state. IPPC Acropolis Indore will focus on Innovators, Academia and communities, in an integrated manner, which is vital for the technical institutes & State both in terms of Industrial growth & overall Socio Economic development. It is a single window for capturing new developments across the institutes & region and assisting them for filing for intellectual property with CII IPFC.
IPPC Acropolis Indore will render almost all kinds of IPR assistance & preliminary services – like Patents, Copyrights, Designs, Geographical Indications etc . It conducts a number of workshops and programmes to boost IP awareness among academic & startup ecosystem in the region.
(2) Advice and guide researchers on the importance of IPR, especially Patents, with the help of NEN & CII IPFC.
(4) Encourage faculty members to carry out Patent searchers to fine-tune their research.
(7) To disseminate information on rules and restrictions relevant to IP protection.
• To create awareness and provide guidance to academic and non-academic staff of institutes in the region on the practices and the rules of intellectual property rights (IPRs) specially patent filing with support of NEN & CII IPFC.
• Cell has endeavourer to create understanding about general IPRs like Trademarks, Patents, Copyrights and Designs, and unconventional rights like Indications, Product Varieties and Topographies of Circuits etc .


Does your web site call for the use of CNAME records? What exactly are CNAME Records? How to create one?
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If you have a semi-dedicated server from our company and you wish to create a CNAME record, it will require no more than a few clicks to complete this task. The plans are handled through our in-house built Hepsia hosting Control Panel where you will find a section committed to the DNS records of the domain names and subdomains hosted inside the account. To set up a CNAME record, you'll only have to choose the record type and the hostname (domain or subdomain), enter where the latter is going to be forwarded to and save the modification. The new record is going to be active almost immediately in our system and will propagate worldwide within a few hours. Changing or deleting an existing CNAME record in the account is equally simple and takes a click. In case you experience any troubles, you can go through our detailed help article, watch the short video on the subject that we have added in the CP, or just contact us for help.


Melissa earned her B.S. in exercise physiology from the University of New Orleans. Outside of teaching and coaching, she enjoys playing sand volleyball, working out, music festivals, doing yard work, fishing, relaxing on the beach, and spending time with her children.


text:
On Public Secrets, Forensics, and the Sting Fearing Virus
This is the third research note from Shaunak Sen, one of the short-term social media research fellows at The Sarai Programme.
Credit: Hall of Female Secret IDs.
In his characterization of the 'public secret' Michael Taussig hints at the element of 'active not seeing' involved in the perpetuation of that which is generally known but cannot be spoken of [1]. Despite being consigned to a "shadow existence", the public secret preserves itself and survives only by repeating itself ad infinitum as a/the secret [2]. As a powerful form of social knowledge and a structuring base to institutional power, secrecy survives as much on knowledge as it does on concealment. Corruption as many have pointed out, is a classic template for the 'public secret': that which insists on being commonly coded but cannot be enframed within official public narratives. The video sting short-circuits this logic – by hyper-playing the secretive act/gesture in loop ad nauseum across media platforms. The mundane act of corruption, otherwise part of one's everyday, gets immediately recharged into an active moment of desecration. Institutions that aren't routinely sacred suddenly get charged and re-sacralized when faced with the crisis of defacement. It is this 'drama of revelation" that activates outrage (and subsequently the media event) at the face of the visualization of that which is Taussig calls the "secretly familiar" [3]. In the previous post I had revisited an inaugural moment of video transparency in India, and tried to sketch out a brief techno-material history of truth-construction over the previous decade. In this post, I look at large-scale intra government stings (stings carried out by vigilance departments on other government officers which go largely unreported by the media), forensic laboratory setups that validate sting videos as permissible evidence for the court-room, and finally segue into a broader philosophical question of what it means to disclose something (which will form the basis of the next two posts).
Bakasur vs the Spy-Cam / aka the Virus that Dies When You Move into the Light
Credit: OPEN Magazine.
Dilip Kumar, a 1987 batch IPS officer, served as the chief of the Anti-Corruption Branch between 2007-2009 ; and subsequently as the ex Joint Commissioner of Police, Vigilance in Delhi. Gupta is arguably one of the primary initiators of intra-government stings in India – he introduced the use of audio and video recordings to sting corrupt officials across a range of government departments. He was also an active member of a small core team that drafted the Jan Lokpal Bill, which the Anti Corruption movement in 2012 figureheaded by Anna Hazare sought to instate. Kumar also oversaw the setting up of the anti-corruption helplines introduced by erstwhile Delhi Chief Minister Arvind Kejriwal (DIAL 1031) in Delhi. In 2013, he wrote a children's fiction book called Bakasur – based on the mythological Hindu demon Bakasur known for his insatiable hunger, that came to stand as a metaphor for the corrupt. The story follows two young boys from Bhopal who come to Delhi and witness the effects the demon has wrought on the capital city. Recently retired, Gupta has tied up with several schools in Vishakhapatnam to initiate what he has christened the 'anti-bakasur brigade': a network of thousands of children who would be schooled not only against the ills of 'virus of corruption' but also trained in being able to undertake basic video/audio stings.
The following contains excerpts of an interview, wherein Kumar lays out a brief history of anti-corruption / transparency laws in India, the introduction of sting material as a prominent intra government tool for the Vigilance based agencies during his tenure, and the forensics infrastructure in the country that aid in whetting digital evidence sourced from stings before being produced in courts. The profile-based interview also gives a glimpse into an emergent attitude towards transparency in the previous decade, that culminated in different kinds of information activism strains both within and without the government.
The Sting Camera as Cure
Look, corruption is a virus. It is a disease. The corrupt are suffering from a sickness and the only cure is to make it visible, to bring it out in the open. We have to quarantine the afflicted people through social boycotts – making the virulence completely transparent is the only effective medicine we can administer [4]. The fight against this virus has been ongoing for years now. Unseen corruption had reached alarming levels by the time of the China war (1962) and the Government of India famously appointed a Committee under Sh.K.Santhanam, MP, for suggesting means to tackle it. In addition to various suggestions, the Committee recommended amendment to the definition of the expression 'Public Servant" in Sec 21 of the Indian Penal Code so as to include Ministers and parliamentary secretaries. It was realized that the ambit of transparency had to be increased. The CBI also took shape in this exercise.
The 1980's brought in a new kind of darkness within government affairs, and also the concept of "committed bureaucracy" – bureaucrats 'committed' to the Government and not to the Constitution emerged, dividing them into 'my officer", and "his officer". The whole problem in the final decades of the previous century was that corruption was always a blind-spot – even honest officers knew it existed, how it worked and perpetuated itself, but it was impossible to give tangible evidence of it, to visibilise it. The Vohra Committee report and the Hawala commission showed just how bad it was, and if you look at the yardstick of the ratings of Transparency International, despite all the measures of our Prevention of Corruption Act 1988 the Berlin-based International NGO. Their Corruption Perception Index (CPI) of 1998 ranked India at 66 in the list of 85 countries. Tehelka's Operation Westend (and NDTV's expose in the high profile BMW case) was a path-breaking alternative for many of us! Exposing the corrupt was tantamount in this war and technology was the only way ahead.
The Early Use of Stings
We'd always heard of large-scale dealings that involved complicit officers/ministers etc, but since it was almost impossible to get hard evidence, convictions would be very rare. There would be some cases involving phone tapping but they would be few and far. I headed the Anti Corruption Bureau between 2007-2009. At first I removed all the different ranks of officers who would come between me and the complainant – I would meet them directly, unmediated by any other human or technological medium. We started using sting material. You wouldn't believe it but we used devices brought by complainants – cell phones for audio recording etc, the department had nothing of its own! Different SIM cards and cell phones were all we were armed with. Some of the richer complainants started bringing their own more sophisticated devices like – button spycams, tie cameras etc. During my tenure we had 60-70 stings and with a high prosecution rate at that! Look, one had to be very careful. I made sure that there was no entrapment – no one kept a bag of money before an officer if it wasn't solicited beforehand. The main way to nail them was the demand. See the officer doesn't actually have to accept cash, or get caught in the action of taking the bribe, just the demand for it is enough to legally prosecute him or her. That's all we needed on record.
We also had to be very careful against motivated/false cases – for which I started demanding a pre-sting. Only after a convincing recording about the demand etc. was available, traps were organized by us. These were very delicately and carefully scripted and directed. I know the ways in which a corrupt officer can try and wriggle out of a corruption allegation – "it was thrust upon me" is very common. So we would train the complainant for very long – what he would be careful not to say/what to say/how to sit/how to act etc, all in accordance to what would be required in court. We made some very high profile arrests. We caught a big licensing fraud network in the Transport Department, against an SHO of a major police station in South Delhi, against policemen in the Crime Against Women Cell, against a Crime Branch officer in Delhi Police and so on. We did a major, and very painstakingly put-together sting against a Deputy Commissioner of MCD who was demanding 2 crores from a businessman for de-sealing the latter's premises even though the Supreme Court had issued de-sealing orders. Very often a single sting would bring into the light a wider web of 20 other individuals – the infected often get exposed in one fell swoop!
Credit: KRC Video Productions.
On Stings as Evidence
I often get asked this. There is no ambivalence about the admissibility of the evidence so collected! There never has been, even if you look at the history of magnetic media based evidence in India. The Apex Court in Ziyauddin Burhanuddin Bukhari v. Brijmohan Ramdas Mehta, AIR 1975 case clearly laid down that tape-recorded speeches were "documents as defined by Section 3 of the Evidence Act", which stood on no different footing than photographs. In another case in 1986 (Ram Singh v. Col.Ram Singh, AIR 1986 SC 3) the court only suggested that all due measures need to be taken to ensure that the tapes haven't been tampered with in any way, and the audio should be clear enough to determine that the voice can be matched with that of the accused. In every single case FSL opinion is sought to check on doctoring and voice identification. Its very important to get recordings to be transcribed very systematically as the makers of the transcripts can be used as corroborative witnesses. Which is not to say the FSL can't be corrupt, some video/analysis labs are also very corrupt – we used to send it to 2-3 labs in order to ensure authenticity. (The Truthlab in Hyderabad is a popular lab these days for voice checking.) The courts are realizing that digital material is very very reliable – any tampering will always leave gaps, stutters or some kind of footprints behind so it's completely intractable. Full transparency and technologies that provide us that are the way ahead.
On Bakasur
Yes I wrote a children's book called Bakasur. Bakasur was a demon with insatiable hunger – no matter how much food you gave him, he would always demand more, plundering vandalizing everything around him. The story is around 2 young boys Pradeep and Ravi, who come from Bhopal to spend a holiday in Delhi. As they move around in Delhi their preconceived ideas about the city collapse entirely as they see the widespread corruption and amorality there. A lot of incidents in the book are directly taken from the many incidents I myself witnessed in all these years in different vigilance departments. Look AAP is based on two basic ideas – anti-corruption and decentralization. While I was interested in the former, Arvind (kejriwal) was interested in the latter and our interests came together during the Anna movement. (the two are not unrelated, for curbing corruption decentralization is a must, which is why transparency will be a searing political issue for many years to come now.) An ombudsman autonomous of the government is a must in stalling corruption – when you install anti-virus in your computer, Norton is independent of the software right? Only then can it protect the software. I've started an intitative called anti bakasur brigade in Vishakapatnam. Thousands of schoolchildren across various schools will join this – we'll try and foster hatred against the pathological condition that corruption is.
Mengele's skull.
Credits: Small Worlds Project.
The only antidote to the aforementioned 'virus' for Gupta is exposure – the movement from darkness to light, from opacity to transparency. Clandestine registers of visuals and sounds become then the only manner of exterminating the malady. As the sting video simultaneously becomes the symptom, the X-ray test, and the medicament to the disease, forensics become the space to inscribe and enact the public secret as well as head in the direction of that putative "truth" that Walter Benjamin suggested was "not a matter of exposure of the secret, but a revelation that does justice to it" [5]. As the work of Eyal Weizman and Thomas Keenan suggests, the field of forensics itself has undergone something of a paradigm shift in the last few decades [6]. Various commentators have described the second half of the 20th century as the "era of the witness/era of testimony". This epithet owed itself to the widespread public attention the era accorded to "testimonies, truth commissions, and interviews" [7]. Weizman and Keenan suggest that a radically new moment gets inaugurated around the internationally followed forensic investigation of Josef Mengele's skull [8]. With the onslaught of various new technologies International Law increasingly became "more attuned to the communicative capacity of things, of things speaking… between themselves and to us" [9]. In their epistemic digging of the word Keenan and Weizman find that the word forensics comes from the latin word forensis which means forum, and refers to the practice of speaking on behalf of objects in front of a whole collection of people. The speaking objects in the forum are presented by an interpreter/translator who can ventriloquize for them and build an argument [10]. The interesting idea foregrounded here is that forensics is largely the presentation of an interpretation [11]:
Indeed, there is an arduous labor of truth-construction embodied in the notion of forensics, one that is conducted with all sorts of scientific, rhetorical, theatrical, and visual mechanisms. It is in the gestures, techniques, and turns of demonstration, whether poetic, dramatic, or narrative, that a forensic aesthetics can make things appear in the world.
A brief chat with a forensics technician Ashok nods at a similarly arduous process of interpretation that goes behind the authenticity checks that all digital evidence usually are mandated to go through forensically [12]:
Material from cell phones or audio-recorders are often low quality, i.e. the information they save is very low quality (be it resolution or audio wavelengths). The first step before commencing any test usually is 'enhancement'. In videos it involves using filters to change brightness, contrast, crop and resize the image, sharpen edges, or often adjust the speed of playback to reach a frame rate wherein the actions are easier to follow and understand.
The next stage then is 'authentication/detection'. In audio recordings, if the ambient noise changes suddenly, then it might be a change in recording environment, which in turn suggests tampering. Volume levels and sample tones also provide the distance dynamics in the place where the recording has taken place and is a sure-shot way of telling when tapes have been doctored. Cases often include taking the voice sample of people of the accused and matching it with those on tape. Full certainty is never achieved, one has to take a call based on the relative similarities in pitch, tonal quality etc. Similarly with video changes in lighting, spatial dimensions, breaks in the video can be caught by isolating and zooming in on one part of the frame (preferably a static object) and analyzing it through the duration of the video to catch unexplained changes. During the famous Watergate scandal, the investigators were looking into the mysterious 18 minute gap in the audio clip in which the then president Richard Nixon is heard discussing the 'lapse' with a senior staff member. On closely analyzing the tapes the investigators found that the 'volume of the AC hum' provided clues about where the conversation took place. It was a calculated hunch that worked brilliantly for the forensics expert there. This is largely detection work – one is given material and one has to take educated guesses based on the clues it gives.
As hoards of stings directed at different political factions break out with alarming speed today, the clamour for forensic validity becomes even shriller. Various stings in recent years have been later discovered to be disingenuous, and the number of journalistic stings that actually get presented as evidence in courts is disproportionally low to the number executed. Unlike the PIL, another transparency tool, the sting's modus operandi has often been to performatively expand itself out as a media event. A large number of video stings involve well-known public figures/representatives of public institutions, and inhabit a kind of affective ecology where forensic sciences have to take on the burden of convincing not only scientists, government lawyers and courts but also the general public [13]. Weizman and Keenan argue that "Law and science have different methods for determining facts and act differently in relation to probability. And public opinion has its own relation to probability" [14]. Multiple players, from TV commentators, print-news stills, online videos, gif-s, blogs etc become some of the polymorphic sites on which different kinds of forensics get played out. Amidst these innumerable contesting voices, FSL labs often become the primary platform of 'unmasking' the 'truth' behind the sting.
Yet 'Enhancement' and 'Detection' both open up interesting questions that fly in the face of these beliefs. Enhancement procedures often leads to the implicit changing of the material at hand. Scaling in to magnify one particular hand gesture, changing the speed of an action etc can often have effects on how the material is read. The exercise of augmenting the clarity of the file can easily give a definitive slant to the semantics involved. In this curiously, forensics practice seem to echo practices of sting video editors in news channels who use filters, highlight a particular gesture with a red circle etc and keep looping it ad nauseum to increase the 'effect' of a sting (discussed in the previous post). The packaging and construction of a 'truth image' oddly resembles its postmortem dissection: forensics begets evidence as much as corroborating it. These techniques underscore the heavily interpretative nature of forensics. The process of bringing into light is fraught with unstable circuits wherein the material's meaning is mutable from the moment of its outbreak right up to the forensics table.
This brings us headlong into an even more slippery broader question – what does it mean disclose something? In the next post I approach this question by examining citizen stings that have gone on to become veritable media events in the recent years.
[1] Taussig, M.T. 1999. Defacement: Public Secrecy and the Labor of the Negative. Stanford University Press, Stanford, Calif. P.50.
[3] Ibid, P.51.
[4] These interviews have been shortened and paraphrased. The material is sourced from a personal interview and a paper published by the interviewee. A detailed history of corruption related cases, statutes and laws can be found in the interviewee's published articles.
[5] Walter Benjamin (2009), cited in Taussig [1].
[6] Keenan, Thomas, and Eyal Weizman. 2011. Mengele's Skull. Cabinet. Issue 43. Forensics. Retrieved from http://www.cabinetmagazine.org/issues/43/keenan_weizman.php.
[7] Weizman, Eyal, and Tina Di Carlo. 2010. Dying to Speak: Forensic Spatiality. Log. 20. Fall. Retrieved from http://archive.forensic-architecture.org/wp-content/uploads/2012/06/Dying-to-Speak-LOG.pdf. P.125.
[8] Josef Mengele, an officer in the concentration camp in Auschwitz was infamous for his selection of prisoners to be sent to gas chambers and for carrying out often fatal experiments on prisoners. Mengele fled after the war ended and hid anonymously for the rest of his life. In 1985, the police of Sao Paolo, Brazil claimed to have found a body that could belong to Joesph Mengele. In Weizman and Keenan's account [6]:
Mengele was in a sense the last remaining Nazi war criminal of any significance, and his death would effectively put an end to the era of Holocaust trials and to the search for perpetrators—leading forensic analysts from several countries converged on the Medico-Legal Institute labs in São Paulo. Besides the Brazilian investigators, an official American team was dispatched, as well as a West German group, and Israeli officials were also present. The Weisenthal Center sent its own group, including the legendary Oklahoma-based forensic anthropologist Clyde Snow, who after a career in the United States had just begun to train the Argentine students who would go on to become the Equipo Argentino de Antropología Forense (Argentine Forensic Anthropology Team), the world's first professional war crimes exhumation team. The wide array of forensic evidence called for an equally diverse collection of experts: analysts of handwriting, fingerprints, dental records and X-rays, photographs, documents, and clothing were all involved in the investigation.
[9] See [6].
[12] Name changed.
[13] See [6].


text:
package reversi.GUI;

/*
 * Possibly use "GridLayout" class.
 * Not sure of the limits, still checking.
 */

import java.awt.*;
import javax.swing.*;

/*
public class guiBoard extends JFrame {

	//DisplayGui();

}*/

/*
 * Variable will allow switching between menu display and game board display
 */
/*private void variableGameState( int state) {
	switch (gameState)
		case 0:
			//TODO: Display everything
		case 1:
			//TODO: Display menu
		case 2:
			//TODO: Display board
			//TODO: Display game
			//TODO: Display pieces (sprites)
}*/

/*
 * Paint method based on variable state
 */
//public void DisplayGUI(Graphics2D gfx) {
	//int gameState;

	//if(gameState = 0)
		/*
		 * Draw/redraw: variableGameState(0);
		 */

	//else if(gameState = 1)
		/*
		 * Draw/redraw: varaibleGameState(1);
		 */

	//else if(gameState = 2)
		/*
		 * Draw/redraw: variableGameState(2);
		 */

	//GridLayout reversiLayout = newGridLayout(8, 8);
	//addComponentsToPane(getContentPane());

	//setSize(800, 800);
	//setVisible(true);
//}

//private void addComponentsToPane( Container contentPane) {

//}


"Anonymity should be waived for all future gamete donations in Council of Europe member States," PACE said today, after a debate in plenary session in Strasbourg. In adopting a recommendation based on the report by Petra De Sutter (Belgium, SOC), the Assembly stated that the right to know one's origins must be balanced against the interests of the other parties involved in sperm and oocyte donation: those of the donors, the legal parents, clinics and service-providers, as well as the interests of society and the obligations of the State.
The donor's identity would not be revealed at the time of the donation to the family, but to the donor-conceived child upon his or her 16th or 18th birthday, who would be informed (ideally by the State) that there was supplementary information available on the circumstances of his/her birth. The donor-conceived person could then decide whether to access this information and whether to initiate contact.
The waiving of anonymity should have no legal consequences for filiation: the donor should be protected from any request to determine parentage or an inheritance or parenting claim, the parliamentarians said. They added that the anonymity of gamete donors should not be lifted retrospectively, except for medical reasons or where the donor has consented to it.
PACE also recommended that member States run a national Donor and Donor Conceived Person Register in order to facilitate the sharing of information and enforce an upper limit on the number of possible donations by the same donor.
The Parliamentary Assembly invited the Committee of Ministers to deliberate on whether these recommendations should ultimately become legally binding.


text:
| BRILL: No more side doors
Cynthia Brill
BRILL: No more side doors
Cynthia Brill 3:57 am, Sep 19, 2019
In September 1969, Yale's small band of first-ever coeds stepped onto the campus. I was one of them.
When I arrived at Trumbull College, my assigned residential college, I was led to a heavy wooden entryway door. The person showing me in handed me a key and said, "This is the key to your room." I entered a storybook room with leaded windows and a fireplace. It was all mine.
"What are the rules?" I asked, having spent my freshman year at Smith College, which heavily monitored our movements and had nightly curfews, and where an explanation to a cranky house matron was your only path to being let back in to your room after hours.
Rules? There were no rules. I had my own room and my own key.
I had been emancipated, finally, from a world in which you went from your parents to Smith to a husband. But emancipated to do what? Freedom can sometimes be bewildering, especially when there are no mentors, no role models, no institutional girdings underpinning your journey. None had gone before us.
My path to Yale was reflective of many of my first Yale women cohorts: I came from a large middle-class, suburban public high school. Senior year, my guidance counselor, who had never heard of the Seven Sisters, curtly informed me that I was "on my own." Little did I know that learning to move ahead on my own would become key to finding my way into and through college. I landed at Smith, a blind choice that I quickly recognized as a completely discordant environment from my coed freewheeling high school, largely populated by private school girls.
As soon as Yale announced in the fall of my freshman year that it was coeducating and seeking women transfer students, I pounced. Alone as I was, I filled out the application and rounded up a couple of Smith professors to write letters of support. In retrospect, during my freshman year I was an outspoken exception in classes to my mostly passive, polite classmates.
It was hard to be a woman at Yale in 1969. There were few of us and fewer resources. My little entryway housed all 12 of the sophomore women who had arrived at Yale that month and been assigned to Trumbull. There were meager athletic offerings, little in the way of specialized health care and even less academic counseling — and some of it came in the form of professors hitting on us. Women professors were scarce. Women, in short, were scarce, except on weekends when the mixer buses brought them, still, to the campus.
In the spring of my first year at Yale, the entire campus was shut down over May Day demonstrations. Then, in my junior year, there was a dining hall strike that shut down all of the campus dining rooms. We were given a book of vouchers on a shoestring budget and told to buy our meals at local eateries. These were some of the many incidents during my time at Yale that evinced the turbulent political times in which we found ourselves. Somehow, we all swam with the tide and held our heads above water.
Again, as in high school and at Smith, senior year at Yale I was "on my own" with no mentors or academic or career advisers that I can recall. I took the LSAT and went on to law school.
We were called superwomen by The New York Times, and we were supposedly selected by Yale in part for our resilience. An extraordinary percentage of the first women — nearly 90 percent — sought to prove everyone right by going on and getting graduate degrees.
My experience at Yale learning how to navigate a male world taught me how to endure the humiliation of having to go into "Ladies'" side entrances to private Wall Street eating clubs when, after law school, law firm partners would take me to lunch. There was even a side entrance at our own Yale Club in New York.
We endured. We learned to navigate. And 50 years later, we're proud of that — and proud to have done our part to ease the path for the women who followed in our footsteps, so that they could pursue their dreams and careers — without having to go through those side doors.
Cynthia Brill '72 received a J.D. from New York University Law School. She currently serves as General Counsel to NewsGuard Technologies Inc. She can be reached at cbrill@brillbusiness.com.