An easy recipe for Black Forest Cookies that only takes about 40 minutes of prep time and about 11 minutes of baking time, per sheet.
Please note that we do recommend you chill this dough at least 30 minutes before baking.
Inspired by the classic German dessert - Black Forest Cake - these rich and chewy chocolate cookies won't disappoint.
Many people mistakenly believe that black forest cake is named after the Black Foest mountains in southwestern Germany.
However, the unique dessert name is actually a reference to the distilled tart cherry liquor that hails from the same region - Schwarzwälder Kirsch(wasser) - commonly referred to as Kirsch in the US.
The customary chocolate cake derives it's flavor from the Kirsch and it's distinct taste.
These cookies don't contain any alcohol, but you won't even know it's missing after the delicious dark chocolate and tart cherries combine to create a flavor explosion with every bite.
We recommend you use the highest quality chocolate you can find in order to achieve the best flavor.
Preheat oven to 350F degrees and line baking sheets with parchment paper; set aside.
In a large heatproof bowl, place 8 ounces chopped chocolate and butter and then set bowl over pan of simmering water. Stir chocolate and butter until smooth and completely melted.
Remove bowl from heat and whisk in granulated sugar and dark-brown sugar. Stir in eggs until smooth.
Whisk dry flour mixture into melted chocolate mixture just until combined - be sure not to overmix.
Fold in chocolate chunks and dried cherries.
Press plastic wrap directly onto surface of dough and refrigerate about 30 to 45 minutes, or until firm.
Bake about 11 to 13 minutes, until edges are firm but not darkening.
Remove cookiesfrom oven and allow to sit on sheets for 1 to 2 minutes before transferring to wire racks to cool completely.
This recipe yields about 3 dozen Black Forest Cookies.


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On "Downgrading" Your Relationship
Louisa February 6, 2017 Relationship Fluidity & Beyond, Tips & Tools
Justin Trudeau's dad Pierre once said, the essential ingredient in politics is timing. Whilst it may be true, it reminds me of those cheat sheet headline hacks--as wise as they are trite. The essential ingredient in [insert weighty concept here] is timing. The business world has many similar ones which are as widely applicable--Begin with the end in mind [Stephen Covey], or Just because something doesn't do what you planned it to do doesn't mean it's useless [Thomas Edison]. Timing, incorporating unexpected but still useful changes and planning ahead are as crucial in personal relationships as they are in professional ones. Yet how we all applaud the gurus of the world when they declare truisms little thinking to apply them to where we need them most.
We examine how the space in our house accomodates to our individual needs and how our household duties or work schedules are divided to support our joint finances, the growth of our children and our own needs.
Many of my monogamous friends' relationships are breaking down. Most of them involve children and it's heartbreaking to see the fall out. The majority of those splitting up look at my own open relationship, and say 'I wish we could do something like you've done'--to which I reply, 'I think it's too late for that.' But they don't refer to the fact that my partner and I have an open relationship per se, because contrary to common slippery-slope beliefs open relationships are not contagious. They refer to the fact that one partner and I have never split up, but that we stopped having sex three years ago, maintain separate bedrooms and have other romantic partners. We have so far achieved that most elusive of all states--good friends, and co-parents--we still live together, still love each other and for the foreseeable future will be partners, in all but one sense of the word. As we also have children, I can think of no better arrangement.
Yet to call it an 'arrangement' diminishes the magnificence of what we've achieved, the pride I feel everytime we embrace one another and the love for one another that still beats in our hearts. I sincerely believe we've achieved what we've achieved because our relationship was already open and has been since its inception. Our relationship was open and sexual. It is still open but non-sexual. Timing in our case, was everything. Because if it wasn't obvious, open relationships require a lot of work. They require working on your self-esteem, shifting perspective on jealousy, fear and insecurity to view them as starting points instead of relationship destroyers. And this can only be done when you are not in a time of crisis i.e. when your relationship is not already falling apart. But if you've done the work already, you are far less likely to split acrimoniously. It's more likely that you'll be able to keep the good stuff and ditch the stuff that isn't working.
Whilst I don't suggest that everyone open their relationship in order to safeguard against a statistically likely but undesirable split, I would suggest that because we already knew more than most that relationships change as the people in them change, we were more realistic than most couples who start out believing that their relationship will always be sexual and end only by death. We have worked hard on recognising, accepting and adjusting to change. We have a rolling mortgage which we choose to recommit to when it comes up. We examine how the space in our house accomodates to our individual needs and how our household duties or work schedules are divided to support our joint finances, the growth of our children and our own needs. But there was one thing we had which we couldn't get with a monogamous relationship. We had already worked through all the demons you have to wade through when your partner falls in love with someone else, whilst keeping our own intact.
Like other parents, we prioritize our children which also means that I honour his role as father as he honours my role as a mother. But we also value each other as people. That means we are still family, and supportive of one another's romantic relationships. Our romantic partners are deserving of respect and worthy of care, whether or not we get along with them as individuals. We've both been in a situation before where we haven't been able--for various reasons--to get along with our other partners. Those are treacherous waters indeed. And nigh impossible to navigate if you don't first allow for the fact that your partner's choice of partner has very little to do with you. If my partner has needs and desires which are differently met by different people, this doesn't make me or him any less worthy.
In those times perhaps more so than others, boundaries are ultra important - both in their definition and mutual respect of them. They must be carefully drawn so that they do not amount to a tacit veto--it's counterproductive to say that other romantic relationships are valid without actively supporting or accomodating their evolution. If your partner has nowhere to entertain, or to indulge their intimate inclinations because you cannot abide romantic encounters in your mutual home, then this limits a relationship.
It hurts. Of course it does.
Other solutions may require using your joint finances for their hotel bills or travel costs.
It may require that you redefine your idea of how you use your space, or you may simply need to work out your territorial issues.
It may require that you juggle childcare, taking on more or less household work and being highly flexible whilst dismantling any resentment that may arise.
It may require unpicking the boundary to examine the root cause and finding another way to satisfy those requirements. It may also require your absence. In short it is work. It is the pragmatic work of the rational mind acknowledging, accomodating and examining the reality of emotional reactions and the reptilian instincts.
So it is all those things and more. We did it, but we did it before it was really tested. And when the time came we grieved. But less than we would have, because we knew that we had the tools to support us through the transition and beyond, to this brave new stage in our relationship.
[Update: That transition has lasted 6 years now, and it's still going strong.]
Tags:Relationship Fluidity, Transition
Relationship Fluidity

redpajama_set_name: RedPajamaCommonCrawl


t is an eternal verity in the history of mankind that when any structure or institution, in its aspect as a repository for the dedication and aspirations of human beings, becomes disestablished by whatever means, then a residual loyalty and affection will endure upon the foundations of all that has been invested in spiritual and intellectual terms, material outlay notwithstanding.
To Scottish Patriots, whose key focus remains fixed upon a Nation state which has, to all outward appearances, ceased to exist several hundred years ago, such loyalty and affection are patent assumptions of everday life. Ostensibly destroyed by internal and external enemies in 1707, Scotland is lent a continuing and substantive existence by the nourishment of our ongoing patriotic commitment and constant political vigilance. The sovereign state which was Scotland seems to have ceased to exist, and in significant areas of human structuration it largely has. However, as a beautiful, sacred and eternal concept, Scotland has remained very much alive in the hearts and minds of its patriot devotees with the material reflection of all these poignant human desires about to yield the sweetest fruit known to mankind. We believe in Scotland's hidden powers: the present is theirs, but all the past and all the future is ours.
Nor is this present humiliating settlement the first occasion on which our people have looked upon the outrage to their country. Between the time of Alexander III and the accession of The Liberator, Robert Bruce, there lived a generation who knew only destruction and loss, an era of unmitigated national grief, the time of the incomparable William Wallace, cornerstone and slaughtered hero whose shining example will live forever in the consciousness of our whole people.
In reflection of the material ruin of The Scottish Nation, the once proud Knights Templar found themselves defenceless in the face of cruel persecution, deprived of substance or estate and denigrated by the pan-European sovereign office which had once extended them recognition. Scotland and The Order of Templar Knights have shared the experience of eclipse in all the palpable areas which had once denoted their singular marks of uniqueness.
However, the bright burning concept of Templarism and the perfervid and yet fully rational belief that human spirituality can and does rise above the things of this earth, in order to make even simple sense of our condition as a species; this concept then has survived all the damage that ill-disposed Princes and their patronage could inflict. All the damage inflicted by successively and concomitantly the ascendant Bourgeoisie with their prerequisite pallid, trite and tedious respectabilities, the crass pseudo-intellectualism of the Gauchist revolutionary tendencies, the modern epidemic of materialism and the remorseless passing of generations. Et in arcadia ego. Thus with our ancient, sacred and enduring Scottish nation; the means to kill it has yet to be devised.
The belief that Templarism has survived in tangible form in Scotland alone, remains a potent and vibrant folkic article of faith. The esoteric tradition which has been built upon that survival, realising in Freemasonry its most vernacular and populist vehicle (though there have also been the shady, secretive and elitist cults which have scarcely broken the surface of common awareness) is evident to those with eyes to see.
Templarism concerns self-sacrifice and a spirituality which transcends materialist priorities and challenges the assumptions upon which these rest. Templarism owes its survival to its Scottish redoubt, and to an extent, the ancient regime of Scotland owed its existence to Templarism. The new Scotland will be our Temple restored upon these earlier solid foundations and crafted from the same durable masonry. The keystone of our patriotic agenda for the new Scotland will concern the fostering of that sense of spirituality and altruism which is the timeless and priceless heritage of the Order of the Temple.
hen the sovereign order of Knights Templar, established in Scotland with the founding of the Preceptory of Balantrodach in Midlothian in the year 1129, fell under the impact of a condemnatory Papal Bull in 1312, this described a powerful parallel with the contemporary destiny of Scotland. As a consequence of the entire country being at that time in a state of excommunication from the Roman Church, the Pope's writ did not run in Scotland. Thus, Templars from all over Europe were able to find sanctuary here and were well disposed and superbly equipped to assist Robert Bruce in his military campaign, participating in the epic final victory of Bannockburn in 1314.
With the success of the Scottish cause and the subsequent withdrawal of the spurious English claims to hegemony over Scotland, national excommunication was lifted. Scotland being thus restored to the mainstream of Christendom, the Templars retired to Argyll in order to preserve their integrity secure in isolation from the centres of political and religious authority, transmitting nonetheless, that strong arcane tradition which remains to this day, an integral strand of the resilient patriotic web which maintained Scottish National Independence throughout four hundred blood stained years and which, submerged by the obscene betrayal of 1707, inevitably reasserted itself through Templar participation in the birth of the modern movement for Scottish self-determination.
During the violent centuries between Bannockburn and the conclusion of this current bizarre and unnatural union with our primary and most consummate enemy, Templars emerge at several crucial junctures, in manifest witness to the survival of the core of the order and its lofty ideals. In 1330 Scottish Templars led by Sir James Douglas set out for the Levant with the heart of Robert Bruce, reaching Spain before falling in battle against the Moslem invaders of Europe.
In 1344 David II founded the Garde Ecossaise, a euphemism under which the Order of Knights Templar sheltered until the reformation of unhappy memory. For over 200 years the Garde Ecossaise enjoyed the membership of the most prominent families in the land, advancing Scotland's National Interest by an unswerving devotion to the French service throughout the Hundred Years War.
In 1440 Sir William St Claire (or Sinclair) began the building of Rosslyn Chapel which has served since that time as an allegory of Templar Wisdom. The Sinclair and Hay families have shared the leadership of the Order of the Temple in Scotland since before the suppression of the order elsewhere and continue in prominence into modern times.
At the time of the Reformation, Templar interests were protected by the submergence of the order into a clandestine existence under the leadership of David Seaton, emerging again in the loyal service of the Stewart Dynasty at the time of Charles I and Charles II. The peerless Marquis of Montrose enjoyed the accolade as did his kinsman, John Graham of Claverhouse, Viscount Dundee, who died wearing his Templar Regalia under his breast armour, at Killiecrankie in 1689.
In 1705 the Statutes General and Election Charter of the Order were published in Edinburgh in the form still in use today.
Having campaigned arduously against the surrender of 1707, but recognising, nonetheless, the bitter reality of this union with our ancient enemy, Templars have striven ever since in secret and openly to organise and to maintain discipline in anticipation of any opportunity to damage this unconstitutional arrangement and to advance the sacred cause of Scotland.
The 1715 Jacobite Rising was instigated by a confederation of patriotic interests, chief among the Templars, who had been active for eight years beforehand creating the climate for this enterprise by stirring up Jacobite and Scottish Patriotic Fervour. In that year, the oath of fealty of the Order was transmitted in an updated form for the next generation, when it would influence another much more calamitous uprising.
In 1745, during his army's occupation of Edinburgh, Prince Charles Edward Stewart held a reception at Holyrood Palace for Scottish Templars, appearing in their midst in the full regalia of the Order. Following the failure of this campaign and the departure of the Prince for France he was followed by many Templars who continued to agitate, travelling tirelessly between Scotland and France.
In 1752, upon the eve of a further planned Rising, Lord Elibank, a prominent Jacobite and Templar Knight, having secured a post near to the usurper George and secured his favour, was vested with responsibility for the extermination of the Hanoverian congenital idiot. This suicidal commission was withdrawn when the entire venture was confounded by the execution of Dr Archie Cameron, its chief architect.
After the setback of the Jacobite failure, the order fell into a state of hibernation with only a small core to transmit its doctrines through several generations. During this period a leading Scottish Templar of the Sinclair lineage became the only foreign born American ever to become the President of The United States. Napoleon's ethnic Scottish Field Marshall Jacques Mac Donald accepted the accolade while visiting his ancestral homeland and the noteworthy patriot, Sir Walter Scott, held high office in what was at that time, a necessarily clandestine organisation.
The then head of the Order was a major player in the birth of the Society for the Vindication of Scottish Rights in the 19th century and Templars played a significant role in the work of that organisation, and in the later Scottish Home Rule Association.
Templars were instrumental in the foundation of the Scottish Party which emerged with others to form the new Scottish National Party (SNP) in 1934. Templar Knights were influential in the formation of the Siol nan Gaidheal Organisation in 1978 and this organisation, since the death of Chef Mondial, Francis Sherry, now carries the responsibility of articulating continuing Templar concern for the general condition of Scotland and the eternal charge of serving the nation in spirit and substance; the land, the people and their living culture, no matter the cost.


What does F125 stand for?
There is a full programme of Wirral 100 races - Formula 125, 125ccGP, 250ccGP, Formula 400, Formula 600, F600 Steel-framed, 650 Twins, Powerbikes, Forgotten Era and Pre-injection, Classics and Sidecars, each with a qualifying race and three championship races, each scheduled to be run over eight laps.
If he wants to take it further, kids from12 years onwards can get an ACU licence and race in the Formula 125 club championships.
He then moved into Formula 125 machines over the National Circuits in 2009 and won that championship too.
Sammi Tasker, 15, triumphed at East Fortune, East Lothian, at the weekend on her bright pink Aprilia to win Melville Motor Cycle Club's Formula 125 title.
Teenager Ferguson, from Hartburn, won the North East Formula 125 Championship.
9% pure sea salt, Modjo Hydrade has created Formula 125 - the perfect blend of electrolytes, vitamin C and all natural flavors and colors needed to achieve an amazing isotonic with a great smooth taste.
Numbers in the GP125 Class remain much the same this season, while the Formula 125 Class for 12-17-year-old riders has increased again, with the youngsters moving up from Mini Mottos to the larger 125 machines.


Motorway A14 to Bari, then S.S. II6 exit Conversano, then S.P 240 to km 700 (via Conversano, 157).
The Semiramide Palace Hotel meets the most demanding requirements of our business and leisure travelers.
The suggestive location, the warm hospitality, the professionalism and the typical Apulian cuisine are the secrets of the Semiramide Palace Hotel.
Rooms with panoramic views of the surrounding countryside.
Elegant rooms equipped with all modern comfort.
For an unforgettable stay, both overlooking the pool.
It's not just food, It's a poem of tastes.


Australian High Commissioner to Sri Lanka Robyn Mudie , and two other officers from the embassy visited the Northern Province to monitor Australian sponsored development projects yesterday. The visiting delegates also met Northern Chief Minister C.V.Wigneswaran in Jaffna .
Speaking to media the Northern CM said; the Australian high commissioner discussed about the obstacles faced by the council in working independently. The obstacles faced due to political pressures and the issue regarding the Chief Secretary were discussed he said.
Efforts taken to improve the economic status of war widows and low income families, land acquisition by the military in the Northern Province. were also discussed the CM said. Australia promised to grant assistance on implementing skills development programmes and take necessary steps to support us in this regard.
The Australian delegates visited Kilinochchi also.


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10 Real Reasons Subway Is Disappearing Across America
10 Subway Items You Can't Get In America Part 2
Toni Sassi
Love it or leave it, Subway is the top fast food restaurant with 42,000 outlets worldwide. Since 2016, they've been closing many of their outlets and keep doing so exponentially every year since. There is lots happening behind the scene, but these are 10 Real Reasons Subway is Disappearing Across the Country.
10. Super Rapid Expansion and Too Many Outlets
Subway's rapid expansion has backfired and hurt business. It's been a victim of its own success. It quickly saturated the market with over 27,000 locations in the U.S. alone. They were opening outlets within blocks of each other and handing out franchises like candy. Fierce competition and a bad economy have led to some Subway outlets to be less profitable. Customers are also very discerning these days on how they will spend their money. Subway's only strategy has been to open more stores, it's so ubiquitous, that customers leave one restaurant to go to a closer location around the block if they do not like the restaurant's service or store conditions. Ultimately the outlets just cannibalize each other. It seems that Subway's only marketing strategy was to open one store after another and then let's see which one survives. With this method of thinking you will eventually run into trouble, and they have. They started to close many of the stores that were less profitable and in too close proximity of one another. Instead of focusing on changes to their menu, they focused on statistics. Now their bad business practices have come back to bite them in their foot-long sub.
9. Loyalty Plan Rewards is Worthless
Since 2016, Subway has shuttered more than a thousand stores in the US and counting. They're aware that their business has been steadily declining and bleeding money. They started a revitalization and marketing plan in 2018 for improvements to the customer experience. They have been promoting things like digital menu boards and a mobile app, along with a loyalty program to help encourage repeat customers. Subway launched the MyWay Rewards program, where customers will earn four tokens for each dollar spent. When they hit 200 tokens, they get a $2 reward. That is $2 in rewards for every $50 you spend, which is not really a good deal after all, just do the math. To boot, false starts linked to software difficulties and syncing each store's POS systems with the mobile apps made things difficult. There has also been talk of fraud, as in addition to the virtual tokens, Subway rolled out special "surprises" to loyal customers. But how a person got one of these rewards is dubious. Apparently, you won't know you've earned your reward until you get it. The Subway Loyalty reward program seems to be more beneficial to them than the customer.
8. The Foot-Long Scam
The foot-long dispute left many people feeling cheated. This lead in part, to a decline in sales and also pushed away many of their loyal customers. It all started in 2007, when a television station in Arizona reported that three of Subway's "Giant Sub" sandwiches, were not actually 3-feet long, but actually 2 feet 8 inches. The same scenario repeated itself in 2013, with the "Foot-long" sub. This time it was shorter than 12 inches. After lots of backlash on Facebook, they changed their tune to say that the "Foot-long Sub" was not the actual size but more of a trademark name. Subway in turn tried to sue other businesses who were using the term foot-long in advertising, when in fact it wasn't even trademarked to them. The application to trademark the term was only submitted after all the hoopla started. Subway never got their trademark for the foot-long as it was determined in court that the term was too generic and can be used by anyone. But we are still left with the notion that we are not getting what we came for.
7. Bad Leadership
Subway is an American privately-owned company started by Fred Deluca in 1965, in Bridgeport Connecticut. Its humble beginnings started when Fred borrowed $1000 from a family friend Peter Buck to start Pete's Super Submarines. His goal was to earn enough money to pay tuition for medical school. Though neither the first nor the second restaurants were financial successes, they continued to expand their operations, and in 1968 changed the name to Subway and began franchising out the restaurants. By 1974, they had 16 locations throughout Connecticut. Ten years later, they opened locations on the West Coast and across the US. The 80's and 90's saw expansion into the Middle East and Europe. Subway also began opening stores in Walmarts, and had surpassed the number of McDonald's locations. The decision to add so many new locations led to over expansion and eventually had a negative effect on the business. In 2015, Fred DeLuca died of leukemia and his sister Suzanne Greco became president and CEO and quickly addressed the situation. In 2016, she began restructuring and eliminating the less profitable stores, experiencing a large loss in locations for the first time.
6. Subway Franchisee Revolt
Buying a Subway franchise used to be a great opportunity for many small business owners who didn't have much capital. As early as 1995, lawsuits were launched by franchisees claiming that Subway misrepresented their asset value and they were being forced out of their own business due to management's questionable practices. In a study, Subway emerged as the biggest problem in franchising and appeared as one of the key examples of every abuse possible. Subway Corporate oversees every location to the minutest detail via inspectors who ensure that the stores conform to their highest standards. These inspectors were sometimes other Subway competitors whose only benefit was for their own pocketbook. Too many infractions meant corporate would eventually take back the store from the franchisee. It sometimes was given to the inspector who then closed it to cut out competition. Franchisees were left to watch helplessly as those rivals snatched up their stores that they'd worked so hard to build.
5. Serious Competition
Another real reason Subway is closing a lot of their outlets is the fast- growing competition from other similar sandwich shops who are doing things better. When Subway first entered the US Market in 1965, there was very little competition, aside from Big John Steak & Onions in Detroit and Blimpie in New Jersey (which has eerily similar colors in their logo). Subway basically had a monopoly on fast food submarines and sandwiches for decades. They were able to make huge profits and open thousands of outlets and grow exponentially. The 80's saw new competitors like Quiznos, who offered the same menu but with variations like toasted bread. These days the trend continues, and we are seeing other popular and profitable submarine chains like Charley's Philly Steaks in the Mid-West, Jimmy John's in Illinois, Firehouse Subs in Florida, and many more independent restaurants specializing in submarines. It was easy enough for Subway to adjust to Quiznos demands by just adding the option for customers to toast their buns. But with other chains flooding the market, offering a variety of items and a much better quality, Subway has not been able to keep up with demand. Due to their refusal to innovate, their profits have considerably declined, as customers are going to the next best thing. While the others continue to grow, Subway has been forced to take a reality check and a really close look at the way they were doing things.
4. Their Motto "Eat Fresh" is stale.
Subway arguably invented the idea of fresh fast food years ago, but they did not live up to expectations. Their slogan was built on the concept that their submarines were created on the spot with fresh ingredients. They even went as far as calling their employees "sandwich artists". But if you've been to a Subway lately, you may have noticed that the food is highly processed and not so fresh. It's not your imagination, and there's a reason why. After speaking to a many franchisees and managers, it was discovered that many Subway locations only get shipments of produce weekly. While Corporate denies this, those on the front lines are singing a different tune. A Subway employee revealed lots of the produce they receive are often near expiry date. The lettuce is brown and wilted, tomatoes are mushy. In 2015, Subway introduced a new marketing campaign called, "Founded on Fresh". The campaign focuses on Subway's past history, and features Jonathan DeLuca. The new campaign focuses strictly upon the quality of their products, fat content, calories, and weight loss benefits to draw back its loyal customers. But momentum has been lost, people have lost confidence in Subway and have moved on to better things. Americans who once praised and loved Subway's offerings are now jumping ship because of concerns over their highly processed meats and sauces. What Americans see as healthy has evolved, and Subway is lagging behind.
3. Stagnation at Subway
While everyone has jumped on the health food craze and more fast food chains are changing to innovative menus to please a larger clientele, Subway has been slow to change or innovate in every respect. Staying status quo for decades, from their menu to décor, they have been stagnant, refusing to develop anything new or be too experimental. They were the last ones to jump on the breakfast and wrap bandwagon, and even that did not win over many customers. These days, with the new generation of millennials, who are really super conscious about what they eat and what goes into their food, Subway just doesn't cut it. More environmentally conscious millennials are looking for food that is locally produced, of free trade, non-Gmo, plant based and free of antibiotics. It seems that eating fresh and losing weight is not their only primary concern. Subway should have seen it coming as far as healthy goes – they did invent the slogan a while back. But they totally missed the boat on this one. They have not made any serious changes to their menu or ingredients. They did introduce wraps and some different menu items but they were not that innovative. Other fast food chains have moved ahead with the times (even McDonald's phased out artificial ingredients). Subway only began changing their menu in 2015, lagging way behind the competition. Unwilling to update in the 21st century means a slow death, while others are moving ahead in your place.
2. Fake ingredients like Mock Chicken
In 2017, an investigation by Canada's CBC-consumer affairs show, Marketplace, revealed that chicken from Subway restaurants was not 100% chicken. Tests found that only between 42%-56% was actually chicken, the rest was soy. Subway did not list soy as part of the chicken ingredients. When discovered, Subway's argument was that the proportion was less than 1%, and the findings were not the actual amount of soy in the product. Subway has called CBC's report "false and misleading" and demanded a retraction, which CBC has refused, as they say the tests were done by credible experts. Meanwhile, Subway Canada stated that it was investigating with its suppliers. Subway tried to backpedal, saying that ingredients in U.S. stores differ from Canada. But both countries include soy protein in the chicken strips. Only in the U.S. is soy present in quantities of 2% or less. Subway sued the CBC, the reporter, and two producers for $210 million, alleging that the CBC acted "recklessly and malicious and without just cause". The fact remains it is false advertising or non-disclosure which paints a bad picture. Any way you look at it does not look good and means more losses for Subway.
1. Subway Lawsuits & Scandals
Another real reason Subway is closing many of its stores is because it's bleeding money due to its scandals and lawsuits. In 1999, thirty two customers in Seattle contracted hepatitis A after eating food contaminated with the virus at two Subway outlets. An Investigation found that the staff at the Seattle Subway failed to wash their hands and did not use plastic gloves during food preparation. A class-action lawsuit was launched on behalf of the victims and was resolved for $1.6 million dollars. One of the victims, a six year old boy who suffered acute liver failure and required a liver transplant was awarded $10 million dollars. Other outbreaks have been reported in other States as well, as late as 2015. The biggest scandal that left a bad taste in everyone's mouth and tainted the Subway name has got to be Jared Fogle. Jared became the Subway spokesperson in 2000, after he lost 200 pounds, thanks in part to eating Subway or so he claimed. He began giving talks on healthy living, appearing in advertisements for Subway. Subway credited Fogle for half of its growth between 1998 to 2011. Subway cut their relationship with Fogle in 2015 after he was charged with possession of child pornography and child molestation. He pleaded guilty in August 2015, and was sentenced to more than 15 years in prison. Subway is still working to bandage that hemorrhage.
Next	Next: 10 Biggest Fast Food Failures Of All Time (Part 3)
While we love a good fast food appreciation post, we also want to give some recognition...
10 Biggest Fast Food Failures Of All Time (Part 3)


The Air Pollution Control Branch is tasked with protecting the air resources of Shelby County. This is accomplished by administering a construction/operating permit program, performing facility inspections and air pollution testing, the collection and dissemination of air pollution information, and enforcing violations of the air regulations.
Synthetic minor sources are facilities with the potential to emit pollutants in major quantities, but who have voluntarily chosen to accept permit limits that reduce their emission below the threshold for recognition as a major source.
All applicants must submit a permit application prior to beginning construction of a regulated air contaminant source.
Who needs a construction permit?
What is an air contaminant source?
Who needs a Title V Operating Permit?
What information for Title V Permits must I provide?


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Toponímia:
 La Barre (Alt Saona), municipi al departament de l'Alt Saona (regió de Borgonya - Franc Comtat, França)
 La Barre (Jura), municipi francès situat al departament de Jura (Borgonya - Franc Comtat)
 La Barre-de-Monts, municipi al departament de Vendée (regió de País del Loira, França)
 La Barre-en-Ouche, municipi al departament d'Eure (regió de Normandia, França)
 La Barre-de-Semilly, municipi al departament de la Manche (Normandia)
 Biografies:
 François-Jean Lefebvre de La Barre (castell de Férolles-Attilly,  1746 - Abbeville, 1766), víctima de la intolerància religiosa al Segle de les Llums
 Joseph Chabanceau de La Barre (París, 1633 – 1678), compositor francès
 Michel de la Barre (~1675 – 1745), compositor i flautista francès
 Poullain de la Barre (París, 1647 - Ginebra, 1725), escriptor, filòsof cartesià i feminista

redpajama_set_name: RedPajamaWikipedia


This page displays sold house prices for Benn Avenue in Bradford.
Benn Avenue in Bradford BD7 consists predominantly of semi-detached houses. Properties on Benn Avenue typically have values around under £100,000, ranging upwards of £100,000 for larger semi-detached houses.
Map showing Benn Avenue in Bradford.


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George Tomline is the name of

George Pretyman Tomline (1750–1827), Bishop of Lincoln and Winchester, Dean of St Paul's and confidant of Pitt the Younger
George Tomline (politician) (1813–1889), Member of Parliament for various constituencies


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Liberty Silk
by Kate Beaufoy
Liberty Silk Synopsis
One beautiful dress is the key to three brave women's destinies...France 1919: Jessie is celebrating the last heady days of her honeymoon. But when her husband suddenly disappears she finds herself bereft. Until a chance encounter thrusts her into the centre of the intoxicating world of Parisian high life. Hollywood 1945: Lisa has come a long way from her quiet, unassuming life in London and is taking Hollywood by storm. But all that glitters is not gold, and as the smoke and mirrors of the lifestyle she so longed for shatter around her there are some secrets she can never escape. London 1965: Cat, headstrong and independent, drawn to danger and passionately opposed to injustice, has no idea of the legacy that precedes her. Once past secrets are unveiled, she has the chance to find out what liberty really means...It is an evocative story of survival, betrayal and the invincibility of love.
Liberty Silk Press Reviews
I fell in love with this, and you will too - a beautiful, compelling novel - Marian Keyes
A wonderful book. I felt immersed in the world of Liberty Silk. It's magic, fresh, and different. - Sue Leonard, Irish Examiner
Lush, delicious, exquisitely written: I just adored it. - Cathy Kelly
A damn good read. - Douglas Kennedy
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All versions of this book
Publisher: Transworld Ireland an imprint of Transworld Publishers Ltd
Publication date: 3rd July 2014
Author: Kate Beaufoy
Pagination: 512 pages
Genres: eBook Favourites, Sagas and Romance,
About Kate Beaufoy
Kate Beaufoy has an MA in French and English literature from Trinity College Dublin. She began her career as a professional actor before becoming a full-time writer. As Kate Thompson she has had a dozen novels published, including the number one bestseller THE BLUE HOUR which was shortlisted for the RNA award. LIBERTY SILK is her first historical novel. It was inspired by real letters written from Europe by her grandmother, Jessie Beaufoy, in the aftermath of the Great War. Kate scuba dives to an advanced level and is in thrall to her Burmese cat.
More About Kate Beaufoy


text:
Кораблик  — традиційний головний убір шляхетних заміжніх жінок, який за козацьких часів був поширений по всій Україні.

Кораблик — це невелика жіноча шапочка довгувато-округлої форми з низькими краями, що щільно прилягають до втулини, а спереду та позаду стирчать ріжками догори. За козацьких часів такі кораблики були у великому вжитку. Тоді їхні передні і задні кінці робили подвійними і тому така шапочка виглядала, як така що має чотири ріжки чи вуха. Робилися такі шапочки тоді з парчі та оксамиту, а відвороти з хутра. В кін. 19 на поч. 20 ст. кораблики були вже великою рідкістю, їх носили тоді переважно на Харківщині та Вороніжчині. І робили їх в той час вже з сукна з оксамитовими відворотами. Кораблики носили тільки заміжні жінки.
Кораблики зображені в малюнках Тимофія Калинського на шляхетних паннах та міщанках, пізніше в кін. 19 ст.  кораблики носили жінки з простого населення.

«Дідона рано ісхопилась,
пила з похмілля сирівець;
А після гарно нарядилась
Якби в аренду на танець.
Взяла кораблик бархатовий,
Спідницю і корсет шовковий
І зачепила ланцюжок;
Червоні чоботи обула,
Тай і запаски не забула,
А в руки з вибійки платок.»

«Цариця ж сіла на ослоні,
В адамашковому шушоні,
В кораблику із соболів.»

Іван Котляревський «Енеїда»

Література

 Вовк, Хведір. Студії з української етнографії та антропології / проф. Хведір Вовк. - Прага : Укр. громад. вид. фонд, [1916?] (Друк. "Легіографія"). - 354, [2] с. : іл., [23] арк. іл.

Посилання
 Кораблик  //
 Кораблик із зібрання Василя Тарновського

Український одяг


Sixty Bognor seniors played in the very popular Brian Poston Greensomes.
Brian was club secretary for many years up to his retirement in the late 1990s and is still a regular player at the club.
Winners with an excellent score of nett 63 were Ron Stevens and Willie Dunn. Second were John Chapman and Keith Simpson with 64, and third with 64.5 were Richard Kaemena and Malcolm Dodds. Fourth with a nett 65 were Cliff Willis and Roger Selway.
Nearest the pins were awarded to Barry Vanstone, Willie Dunn, Barry Appleby and Keith Tempest. Brian's favourite prize of drive nearest the rope on hole 17 was won by David Chalmers. Brian presented the prizes.
Bognor seniors have had a run of six games in 16 days and finished with a creditable three wins and three losses.
At home to Petersfield, Bognor ran out 4-2 winners. This score is aggregated with the result earlier in the season at Petersfield to find out the 2018 winner of the PeteBog Trophy. Bognor just lost out 6½-5½ and Petersfield are the 2018 winners.
The day was a fantastic success and we are thrilled to be able to raise £4,000 for St Wilfrid's Hospice who provide high quality palliative and end of life care in the community.
Results: Terry Kuhler & Barry Ingate lost 5&3, Dave Turner & Ian Paine halved, Mick Matthews & Ray Leggett won 2&1, John Woodhead & Hugh Diaper halved, Richard Kaeme & Ken Catt won 3&2, Alan Fitzgerald & Paul Black won 2&1.
Bognor the made the short journey to Worthing and for the second time in a row came away with an excellent win, this one 4½-3½.
Results: David Turner & Chris Hickling halved, Terry Kuhlet & Trevor Till won 2&1, David Chalmers & Brian Wolstencroft lost 4&3, Steve King & Richard Beresford won 4&2, Richard Hedge & Keith Cook won 3&2, Richard Perry & Clive Millett won 4&2, JJ Stephenson & Sean Francis lost 2 down, Richard Kaemena & Ian Paine lost 4&3.
Bognor hosted Rowlands Castle and ran out comfortable winners 6½-1½, but two days later Bognor lost 6-2 at Cowdray Park.
Two further games against The Dyke at home and Southwick Park away were lost 5-3 and 6-0.
Southwick Park seniors captain Peter Wright scored an excellent nett 61 in his 4&3 win over Bognor captain Mike Oates. Even though Bognor suffered this heavy defeat, four out of the six games went to the 18th hole.
Scores v The Dyke: David Turner & Terry Kuhlet won 2up, John Owen & Trevor Till lost 4&3, Ian Paine & JJ Stephenson lost 4&3, Hugh Diaper & Chris Hickling halved, Richard Hedge & Barry Ingate lost 3&2, David Standing & Alan Delves lost 2&1, Paul Black & Ray Leggett won 6&4.
Professional and amateur golfers as well as friends and family enjoyed Cowdray Golf's charity pro-am held.
The action-packed, fun-filled day which took place in glorious sunshine succeeded in raising £4,000 in aid of St Wilfrid's Hospice in Chichester.
Forty-six teams of four, comprising one professional and three amateurs, played 18 holes of Cowdray's immaculately prepared championship golf course. Administered by the South Region PGA, the tournament was once again the largest pro-am in Sussex.
Prizes were presented by Lord and Lady Cowdray's son Peregrine, who also played in the event, as did his brother Monty, who entered a team.
The winning team was Clarke Gammon, with an impressive 15 under par score. They won custom-fit irons made by Ping and an overnight stay at Ping's headquarters in Gainsborough, Lincolnshire.
The winning professional-player prize was shared by Ian Golding and Guy Woodman, who shot the same score of 67. They won significant prize money.
Special mention should go to Cowdray's lady professional player Hannah Ralph who got a hole in one on the third, and to Lawrence Potts, who was nearest the pin on the 18th, winning three nights at the Algarve-based Aqualuz hotel and two rounds of golf on the Espiche Golf Course.
No-one hit a hole in one on the ninth hole to claim an Audi A1 courtesy of Harwoods.
Tim Allen, Cowdray's director of golf, said: "The day was a fantastic success and we are thrilled to be able to raise £4,000 for St Wilfrid's Hospice who provide high quality palliative and end of life care in the community.
"St Wilfrid's Hospice is club captain Ken Chapman's chosen charity for the year.
"Many thanks to our sponsors including Greene King brewery and Harwoods Group.
"Course manager Jonathan Smith and his team ensured the course was in an immaculate condition, the hospitality team worked hard throughout the day under head chef Jon Lander and thanks also to Ken Chapman and Rob Marjoram for their valuable input.
The prizegiving ceremony took place later that evening.
Huge congratulations to Dave Hirons and Dan Hill, who won the Purcell Cup with 45 points. Second place went to Mark Howes and Ian Knight with 43 and third were Sean Gallagher and Scott Evans, also on 43.
Winner of the June Stableford was Roger Hyde with 37 points. Second was Mick Shotter with 34 and third Andrew Pay with 33.
In a ladies' Ping four-ball better-ball competition, Myrna Heustice and Pauline Alexander won with 43 points.
Runners-up were Jill Parry and Sally Williams with 42, and third were Amanda Lucking and Polly Sullivan.


text:
Kara Elizabeth Walker (Stockton, California, 26 de noviembre de 1969) es una pintora, grabadora, artista de instalaciones y cineasta estadounidense que explora la raza, el género, la sexualidad, la violencia y la identidad en su trabajo. Es muy conocida por sus cuadros del tamaño de una habitación de siluetas negras de papel cortado. Walker vive en la ciudad de Nueva York y ha sido profesora en la Universidad de Columbia. Ella está cumpliendo un período de cinco años como Cátedra Tepper en Artes Visuales en la Escuela de Artes Mason Gross, de la Universidad de Rutgers. Fue elegida para la Sociedad Filosófica Americana en 2018.

Biografía
Walker vivió con su padre, Larry Walker (n. 1935), que trabajó como pintor y profesor. La madre de Kara, Gwendolyn, trabajó como asistente administrativa. Al reflexionar sobre la influencia de su padre, Walker recuerda: "Uno de mis primeros recuerdos consiste en sentarme en el regazo de mi padre en su estudio en el garaje de nuestra casa y verlo dibujar. Recuerdo que pensé: 'También quiero hacer eso.' En ese momento decidí que era un artista como papá." La familia de Walker se mudó a Atlanta, donde su padre tomó una posición en la Universidad Estatal de Georgia. Se establecieron en Stone Mountain.

Walker recibió su BFA de la Atlanta College of Art en 1991 y su MFA de la Rhode Island School of Design en 1994. Al principió le incomodaba abordar la cuestión de la raza en sus creaciones pero encontró su voz sobre este tema mientras asistía a la Escuela de Diseño de Rhode Island para su maestría. Le procupaba que el hecho de tener la raza como núcleo de su contenido fuera percibido como demasiado obvio.

Según el crítico de arte del New York Times, Holland Cotter, "nada acerca de la vida muy temprana de [Walker] parece haberla predestinado para esta tarea. Nacida en 1969, creció en un suburbio integrado de California." Walker se mudó a la Georgia natal de su padre a la edad de 13 años, cuando aceptó un puesto en la Universidad Estatal de Georgia. Esto fue un choque cultural para la joven artista: "En un marcado contraste con el ambiente multicultural generalizado que Walker había disfrutado en la costa de California, en Stone Mountain todavía había mítines del Ku Klux Klan. En su nueva escuela secundaria, Walker recuerda que "me llamaron 'nigger', me veían como un mono, me acusaban (no sabía que era una acusación) de ser una 'Yankee'.

Trayectoria
Walker es especialmente conocida por sus frisos panorámicos de siluetas de papel cortado, usualmente figuras negras contra una pared blanca, que abordan la historia de la esclavitud y el racismo estadounidenses a través de imágenes violentas e inquietantes. También ha producido trabajos en gouache, acuarela, vídeo animación, títeres de sombras, proyecciones de "linterna mágica", así como instalaciones escultóricas a gran escala como su ambiciosa exhibición pública con Creative Time llamada A Subtlety (2014). Las siluetas en blanco y negro se enfrentan a las realidades de la historia, al tiempo que utilizan los estereotipos de la era de la esclavitud para relacionarse con las preocupaciones actuales de la época. Su exploración del racismo estadounidense puede aplicarse a otros países y culturas con respecto a las relaciones entre raza y género, y nos recuerda el poder del arte para desafiar las convenciones.

La primera vez que llamó la atención del mundo del arte fue en 1994 con su mural Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart. Este mural de silueta de papel cortado, que presenta un sur de Antebellum lleno de sexo y esclavitud, fue un éxito instantáneo. A la edad de 27 años, se convirtió en la segunda donante más joven de la donación de "genio" de la Fundación John D. y Catherine T. MacArthur, en segundo lugar solamente al renombrado maya David Stuart. En 2007, la exposición del Walker Art Center Kara Walker: My Complement, My Oppressor, My Enemy, My Love fue la primera encuesta a gran escala realizada por la artista en los Estados Unidos.

Sus influencias incluyen a Adrian Piper, quien "jugó con su identidad de mujer negra de piel clara para eliminar el racismo de su escondite usando autorretratos políticos que abordan el ostracismo, la otredad, el "paso" racial y el racismo",Andy Warhol y Robert Colescott que insertaron caricaturas de Dixie en su versión de las casas de campo de los campesinos holandeses de Vincent Van Gogh.

Las imágenes de la silueta de Walker trabajan para unir el folclore inacabado en el sur de Antebellum, planteando cuestiones de identidad y género para las mujeres afroamericanas en particular. Sin embargo, debido a su enfoque de confrontación al tema, la obra de Walker recuerda al Pop Art de Andy Warhol durante la década de 1960 (de hecho, Walker dice que adoraba a Warhol cuando era niña). Sus imágenes de pesadilla pero fantásticas incorporan una sensación cinematográfica. Walker usa imágenes de libros de texto históricos para mostrar cómo se representaban los esclavos afroamericanos durante el sur de Antebellum. La silueta era algo tradicional en la historia del arte estadounidense. Se usaba a menudo para retratos familiares e ilustraciones de libros. Walker continuó con esta tradición de retratos, pero los utilizó para crear personajes en un mundo de pesadilla, un mundo que revela la brutalidad del racismo y la desigualdad en Estados Unidos.

El trabajo de Walker pretende exponer la realidad humillante y desesperada que era la vida de los esclavos de las plantaciones. También incorpora fragmentos ominosos y afilados del paisaje del sur como los musgos españoles y una luna gigante oculta por nubes dramáticas. Estas imágenes rodean al espectador y crean un espacio circular, claustrofóbico. Este formato circular rindió homenaje a otra forma de arte, la pintura histórica de 360 grados conocida como el ciclorama. Algunas de sus imágenes son grotescas, por ejemplo, en The Battle of Atlanta, un hombre blanco, probablemente un soldado sureño, está violando a una niña negra mientras su hermano mira en estado de shock, un niño blanco está a punto de insertar su espada en la vagina de una mujer negra casi linchada, y un esclavo negro negro llueve lágrimas sobre un muchacho blanco adolescente. El uso de estereotipos físicos, como perfiles más planos, labios más grandes, nariz más recta y cabello más largo, ayuda al espectador a distinguir de inmediato a los "negros" de los "blancos". Está claro en su obra de arte quién está en el poder y quién es la víctima de las personas con poder. Hay una jerarquía en América relacionada con la raza y el género, con hombres blancos en la parte superior y mujeres de color (específicamente negra) en la parte inferior. Walker describe las desigualdades y el maltrato a los afroamericanos por parte de sus homólogos blancos. Los espectadores en el Studio Museum en Harlem se veían enfermos, en shock, y algunos se horrorizaron al ver su exposición. Thelma Golden, la curadora jefe del museo, dijo que "a lo largo de su carrera, Walker ha desafiado y cambiado la forma en que vemos y entendemos la historia de los Estados Unidos. Su trabajo es provocativo y emocionalmente desgarrador, aunque abrumadoramente hermoso e intelectualmente convincente." Walker ha dicho que su trabajo aborda la manera en que los estadounidenses ven el racismo con un "enfoque suave", evitando "la confluencia del disgusto y el deseo y la voluptuosidad que están envueltos en ... el racismo."

Obras en Exhibición
En su pieza creada en el año 2000, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), los personajes recortados están en un fondo de proyecciones de luz de colores. Esto le da a la pieza una calidad transparente, evocadora de las películas de producción de las películas animadas de los años treinta. También hace referencia a la conocida historia de la plantación Gone With the Wind y Technicolor basada en ella. Además, los proyectores de luz se instalaron de manera que las sombras de los espectadores también se proyectaran en la pared, convirtiéndolos en personajes y animándolos a evaluar realmente los temas difíciles de la obra. En 2005, creó la exposición 8 Possible Beginnings o: The Creation of African-America, a Moving Picture, que introdujo imágenes en movimiento y sonido. Esto ayudó a sumergir a los espectadores incluso más profundamente en sus mundos oscuros. En esta exposición, las siluetas son utilizadas como títeres de sombra. Además, usa la voz de sí misma y de su hija para sugerir cómo la herencia de la esclavitud estadounidense temprana ha afectado a su propia imagen como artista y mujer de color.

En respuesta al huracán Katrina, Walker creó "Después del diluvio", ya que el huracán había devastado muchas áreas pobres y negras de Nueva Orleans. Walker fue bombardeado con imágenes de "corporeidad negra", incluidas las muertes causadas por el huracán reducido a cuerpos y nada más. Comparó estas víctimas con esclavos africanos amontonados en barcos para el Paso Medio, el cruce del Atlántico a América.

En febrero de 2009, Walker se incluyó en la exposición inaugural de la Galería Sacramouche, "The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You." Los trabajos recientes de Kara Walker incluyen Frum Grace, Miss Pipi's Blue Tale (abril-junio de 2011) en Lehmann Maupin, en colaboración con Sikkema Jenkins & Co. Una exposición concurrente, Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker, abrió en Sikkema Jenkins el mismo día.

Encargos
En 2002, Walker creó la instalación An Abbreviated Emancipation (from a larger work: The Emancipation Approximation), encargada por el Museo de Arte de la Universidad de Míchigan, Ann Arbor. El trabajo abordó las relaciones raciales y sus raíces en el sistema de esclavitud anterior a la Guerra Civil.

En 2005, The New School dio a conocer la primera instalación de arte público de Walker, un mural específico para el sitio titulado Event Horizon y colocado a lo largo de una gran escalera que conduce desde el vestíbulo principal a un importante espacio de programas públicos.

En mayo de 2014, Walker debutó su primera escultura, una pieza monumental y una obra de arte pública titulada, A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant. El trabajo masivo se instaló en la Domino Sugar Refinery en Brooklyn y fue comisionado por Creative Time. La instalación consistió en una esfinge femenina colosal, que medía aproximadamente 75 pies de largo por 35 pies de altura, precedida por un arreglo de quince figuras masculinas jóvenes de tamaño natural, apodadas asistentes. La esfinge, que tenía la cabeza y las características del arquetipo de Mammy, se hizo cubriendo un núcleo de bloques de poliestireno cortados a máquina con una mezcla de azúcar blanca; Domino donó 80 toneladas de azúcar para la pieza de Walker. Las figuras más pequeñas, modeladas a partir de figurillas racistas que Walker compró en línea, fueron moldeadas con azúcar hervida (similar a un caramelo duro) y tenían un color ámbar oscuro o negro. Después de que la exposición se cerró en julio de 2014, la fábrica y las obras de arte fueron demolidas como se había planeado antes del espectáculo. Walker ha insinuado que la blancura del azúcar hace referencia a su "calidad estética, limpia y pura". El comercio de esclavos también se destaca en la escultura. Walker también compuso los muchachos de "Lollipop" alrededor de la esfinge también hecha de azúcar que se ha convertido en melaza. El crítico de arte Jamilah King, que remarcó a la audiencia abrumadoramente blanca en la exposición junto con el contenido político e histórico de la instalación, argumentó que "la exposición en sí es un comentario sorprendente e increíblemente bien ejecutado sobre la relación histórica entre raza y capital, a saber, el dinero obtenido de las espaldas de los esclavos negros en las plantaciones de azúcar en todo el hemisferio occidental. Por lo tanto, la presencia de tanta gente blanca, y mi propia presencia como mujer negra descendiente de esclavos, también parece ser parte del espectáculo."

Otros Proyectos

Para la temporada 1998/1999 en la Ópera Estatal de Viena, Kara Walker diseñó una imagen a gran escala (176 m²) como parte de la serie de exhibición "Safety Curtain," concebida por el museo en curso. En 2009, Walker curó el volumen 11 de Merge Records', Score!. Invitado por el artista Mark Bradford en 2010 para desarrollar un conjunto de planes de lecciones gratuitas para maestros de K-12 en el Museo J. Paul Getty, Walker ofreció una lección en la que los estudiantes colaboraron en una historia intercambiando mensajes de texto.

En marzo de 2012, el artista Clifford Owens realizó una partitura de Kara Walker en el MoMA PS1.

En 2013, Walker produjo 16 litografías para una edición limitada, impresión artística del libreto Porgy & Bess, de DuBose Heyward e Ira Gershwin, publicado por Arion Press.

Controversia
El Instituto de Arte de Detroit la retiró The Means to an End: A Shadow Drama in Five Acts (1995) de una exposición de 1999 "Where the Girls Are: Prints by Women from the DIA's Collection," cuando artistas y coleccionistas afroamericanos protestaron por su presencia . La silueta de cinco paneles de una escena de plantación antes de la guerra estaba en la colección permanente y se volvería a exhibir en algún momento, según un portavoz de DIA.

Una pieza de Walker titulada The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos causó una controversia entre los empleados de la Biblioteca Pública de Newark que cuestionaron la idoneidad de la sala de lectura donde estaba colgado. La pieza fue cubierta pero no eliminada en diciembre de 2012. Después de una discusión entre empleados y administradores, el trabajo fue nuevamente revelado. Kara Walker visitó la biblioteca pública de Newark Newark para hablar sobre el trabajo y la controversia que lo acompañó. Walker no se apartó de los temas difíciles como la raza y la historia.

La artista Betye Saar cree que el trabajo de Walker es "repugnante y negativo y una forma de traición a los esclavos ... [y] básicamente para la diversión y la inversión del establecimiento de arte blanco". Saar expresó esto en el documental de PBS I'll Make Me a World en 1999. En el verano de 1997, Saar envió un correo electrónico a 200 artistas y políticos para advertir y expresar su disgusto y opinión negativa sobre el trabajo de Kara Walker. Los manifestantes cuestionaron las "imágenes negativas" (lo que significaba la naturaleza despreciativa y regresiva de la negrura mostrada). En su opinión, la versión de Blackness de Walker era una especie de "complacencia, una actuación de ministero que ofrecía estereotipos directos a los blancos." Esta atención negativa al estilo artístico de Walker condujo a un simposio en la Universidad de Harvard, Change a Joke and Slip the Yoke, acompañado por la exposición de su obra.

Exposiciones
Philippe Vergne organizó la primera encuesta sobre el museo de Walker en 2007 para el Walker Art Center en Minneapolis y viajó al Museo Whitney en Nueva York, al Museo Hammer en Los Ángeles, y al ARC/Musee d'Arte moderno de la villa de París.

Individuales

 2014: A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant, Creative Time, Brooklyn, NY.
 2016: The Ecstasy of St. Kara, Cleveland Museum of Art.
 2017: Sikkema Jenkins and Co. is Compelled to Present the Most Astounding And Important Painting Show of the Fall Art Show Viewing Season!, Sikkema Jenkins & Co., New York, NY.

Colecciones
Entre las colecciones públicas que llevan a cabo obras de Walker se encuentran el Instituto de Arte de Minneapolis y el Museo de Arte Weisman (Minneapolis, Minnesota); la Colección Tate, Londres; el Museo de Arte Contemporáneo, Los Ángeles, la Colección Menil, Houston; y el Muscarelle Museum of Art, Williamsburg, Virginia. Jeffrey Deitch y Dakis Joannou han recopilado los primeros trabajos en papel a gran escala, entre otros.

Reconocimientos
En 1997, Walker, que tenía 28 años en ese momento, era una de las personas más jóvenes en recibir una beca MacArthur. Hubo muchas críticas debido a su fama a tan temprana edad y al hecho de que su arte era el más popular dentro de la comunidad blanca. En 2007, Walker fue incluido entre los 100 artistas más influyentes en el mundo de la revista Time, en una cita escrita por su colega Barbara Kruger. En 2012, fue elegida para la Academia Americana de Artes y Letras.

Walker también recibió numerosas subvenciones y becas, como el Premio Deutsche Bank y el Premio Larry Aldrich. Fue la representante de los Estados Unidos para la 25a Bienal Internacional de São Paulo en Brasil (2002). En 2016 completó una residencia en la Academia Americana en Roma.

Walker ha sido presentada en PBS. Su trabajo adorna la portada de la grabación del músico Arto Lindsay, Salt (2004).

Vida personal
Al principio de su carrera, Walker vivía en Providence, Rhode Island con su esposo, el profesor de joyería de origen alemán Klaus Bürgel, con quien se casó en 1996. En 1997, dio a luz a una hija. La pareja se separó y su divorcio se finalizó en 2010. A partir de 2017, Walker está en una relación con el fotógrafo y cineasta Ari Marcopoulos.

Walker se mudó a Fort Greene, Brooklyn en 2002 y ha sido profesor de artes visuales en el programa MFA en la Universidad de Columbia desde entonces. Mantuvo un estudio en Garment District, Manhattan desde 2010 hasta 2017. En mayo de 2017, trasladó su práctica artística a un estudio en Industry City. También es propietaria de una casa de campo en la zona rural de Massachusetts.

Además de su propia práctica, Walker fue miembro de la Junta de Directores de la Fundación para las Artes Contemporáneas (FCA) entre 2011 y 2016.

Referencias

Enlaces externos
The Time 100: Time Magazine's Profile of Kara Walker
Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the Twenty-First Century  - Season 2 (2003)
Interview with Kara Walker on YouTube
An interview with Kara Walker
Biographical, press, and works information
Kara Walker's work information at the Walker Art Center
Kara Walker's exhibition at The Renaissance Society, 1997
Kara Walker's 2007 Whitney Exhibit
Video clip of Kara Walker's Whitney exhibit, Prt I by James Kalm
Video clip of Kara Walker's Whitney exhibit, Part II by James Kalm
Kara E. Walker's Song of the South at REDCAT
Review of Kara Walker No / Kara Walker Yes / Kara Walker ?
A Horrible Beautiful Beast
Review of Kara Walker's work in Huckleberry Finn at CCA Wattis ICA, San Francisco

Nacidos en Stockton (California)
Artistas afroamericanos
Artistas contemporáneos
Becarios MacArthur


text:
Q: How to close all terminals with a bash script that effectively presses Cntrl+Shift+Q in each terminal I often have many terminals open, some of which are running important processes (e.g. servers) and others which are not running anything and can be closed. The 'important' ones bring up prompts for confirmation if you press Cntrl+Shift+Q in them, like the one shown below.

I would like to have a (bash) script which closes all terminals but leaves the 'important' ones in the mode shown above. From https://askubuntu.com/questions/608914/closing-all-instances-of-terminal-at-once-cleanly, I obtained the following script:
#!/bin/bash

xdotool search --class "terminal" | while read id
do
      xdotool windowactivate "$id" &>/dev/null
      xdotool key ctrl+shift+q
      sleep 0.2
done

However, I found after running the script that some 'unimportant' terminals still remained open. Is there perhaps a bug in the script above?

A: another way to do this is to kill any idle bash processes, that is, those with no subprocesses. this should also close their parent terminal windows. it will run much faster than the xdotool + sleep 0.2 method.
here is how i can see process trees for my bash processes:
pgrep bash | xargs -r -n1 pstree -p -c

output:
bash(1470)───startx(1546)───xinit(1568)─┬─Xorg(1569)─┬─{Xorg}(1570)
                                        │            ├─{Xorg}(1571)
                                        │            └─{Xorg}(1572)
                                        └─dwm(1575)
bash(1582)
bash(4004)
bash(4125)
bash(28105)───nvim(17279)─┬─R(17956)─┬─{R}(17958)
                          │          ├─{R}(17959)
...

the first and last bashs here have subprocesses and i don't want to kill them. the middle three can safely be killed, which will also close their parent terminal windows. first, i'll select only those by filtering out any lines with a "-":
pgrep bash | xargs -r -n1 pstree -p -c | grep -v \-

output:
bash(1582)
bash(4004)
bash(4125)

next, i'll use grep again to include only the process id numbers:
pgrep bash | xargs -r -n1 pstree -p -c | grep -v \- | grep -o '[0-9]\+'

output:
1582
4004
4125

finally, kill them:
pgrep bash | xargs -r -n1 pstree -p -c | grep -v \- | grep -o '[0-9]\+' | xargs -r kill

redpajama_set_name: RedPajamaStackExchange


A holy grail of organic insights for ASO marketers is now available courtesy of Google!
On 8/24/18 the Google Play Console released a massive update with organic acquisition insights for ASO marketers, exceeding parity with Apple's app store browse and app store search source types.
Google achieved parity of Apple's organic acquisition insights by releasing the search acquisition report segment (mimicking Apple's app store search source type) and the explore acquisition report segment (mimicking Apple's app store browse source type).
Search: Unique users who found your app on Google Play from search results.
Explore: Unique users who found your app on Google Play but not from search results (for example, browsing a category or similar apps cards).
Google made its move following iOS 11, one-upping Apple by beta-testing this new organic insights feature earlier this year with the ability for marketers to see the number of store listing visitors and installers plus retained users and purchase data for the top play store organic search terms. This has long been one of the most sought-after ASO holy grails. The downside to Google's organic acquisition insights is that they don't include every search term (only the most popular) and is only available from 7/30/18 and later.
The remaining holy grail for ASO is the number of searches happening per month on each keyword, but with this new organic insights data, ASO tools are more positioned than ever to reverse-engineer the number of monthly searches per keyword by analyzing their customer's organic insights data.
According to Google, the organic acquisition insights update also includes a second crucial update in that the store listing visitor data point will now include store previews. Previously the store listing visit only recorded when a user actually tapped into an app's store listing page, similar to Apple's product page view. This change expands the usefulness of Google Play's store listing visitor and makes calculating true store visibility and install conversion rate more possible than before.
The new organic data also includes information about when people visiting the Play Store saw previews of your listings, not just when they visited your full page... People see these previews when they make certain searches, such as searching directly for a brand or app name. As well as more generally in some markets. This new information gives you more visibility into where people see your assets... This change means that your total reported visits and installs are likely to increase as of July 30, 2018. This increase is because previews will be counted as listing views, previously they were included in the category "Installs without store listing visits".
One difference between Apple and Google's reports is that Google splits out AdWords campaign traffic into a separate source, which is much preferable to Apple's mixture of true organic and Search Ads conversions, requiring a tedious extra step to get true organic data.
Stay tuned to the Incipia blog for more posts exploring uses for this new wealth of ogranic insights.
The Bottom Line: Google's organic acquisition insights data is a big blessing for ASO marketers. The additional information also serves to increase the importance of running a targeted ASO strategy as more information is available to marketers and has the potential to grow the performance gap between ASO-optimized and non-optimized Android apps. Eyes are also now on Apple to level the playing field by releasing search term-level organic insights.


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text:
Q: Uploaded image only available after refreshing the page When I upload a picture, the file is successfully saved and the path is successfully set. But the uploaded image is not displayed immediately after the form submit. Only when I reload the page, the uploaded image is displayed.
I'm saving the uploaded file as below:
InputStream is;
try {
    File file = new File("C:\\****\\*****\\Documents\\NetBeansProjects\\EventsCalendary\\web\\resources\\images\\uploadPhoto.png");
    is = event.getFile().getInputstream();
    OutputStream os = new FileOutputStream(file);
    setUserPhoto("\\EventsCalendary\\resources\\images\\"+file.getName());
    byte buf[] = new byte[1024];
    int len;
    while ((len = is.read(buf)) > 0) {
        os.write(buf, 0, len);
    }
    os.close();
    is.close();

} catch (IOException ex) {
    System.out.println(ex.getStackTrace());
}

Why is the uploaded image only displayed after reloading the page and how can I solve this?

A: You're writing the file straight into the IDE's project folder and your intent seems to save the file in the webapp's deploy folder. This is a bad idea and well due to the following 3 main reasons:

*

*Changes in the IDE's project folder does not immediately get reflected in the server's work folder. There's kind of a background job in the IDE which takes care that the server's work folder get synced with last updates (this is in IDE terms called "publishing"). This is the main cause of the problem you're seeing.

*In real world code there are circumstances where storing uploaded files in the webapp's deploy folder will not work at all. Some servers do (either by default or by configuration) not expand the deployed WAR file into the local disk file system, but instead fully in the memory. You can't create new files in the memory without basically editing the deployed WAR file and redeploying it.

*Even when the server expands the deployed WAR file into the local disk file system, all newly created files will get lost on a redeploy or even a simple restart, simply because those new files are not part of the original WAR file.
You need to write it to a fixed path outside the project/deploy folder instead. For example, /var/webapp/uploads. Then, to get it to be served by your webapp, just add it as a new web application context to the server.
Based on your previous question, I know that you're using Glassfish 3.1. In this server, it's called a "virtual host". You can configure it at server level in the admin console at http://localhost:4848 > Configuration > HTTP Service > Virtual Servers, or at webapp level by adding the following line to the /WEB-INF/glassfish-web.xml (your IDE should have autogenerated one; note that this file is before Glassfish 3.1 called sun-web.xml, so if you're seeing manuals/blogs/tutorials referencing it, yes it's exactly the same file):
<property name="alternatedocroot_1" value="from=/uploads/* dir=/var/webapp" />

Either way, you should then be able to use http://localhost:8080/contextname/uploads/* to serve those uploaded images from by <img> the usual way.
See also:

*

*How to upload files to server using JSP/Servlet?

*Recommended way to save uploaded files in a servlet application (contains a Tomcat configuration example)

*Reading/writing a text file in a servlet, where should this file be stored in JBoss? (contains JBoss configuration example)

*Simplest way to serve static data from outside the application server in a Java web application


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text:
What's an EPP code? What exactly is its function? How important is it as far as domain name transfers are concerned?
If you wish to transfer a domain name from one domain name registrar to another, you'll have to pass through a couple of security steps. One of them is getting a special EPP code from the current domain registrar – as long as you are the domain registrant, since the code is sent to the domain owner's email and no one else can see it. You will need to give this code to the new registrar, or else they will not be able to initiate the domain name transfer process. The EPP codes are case-sensitive and may include digits or special symbols such as commas or dots, which can be easily miswritten, so make sure you copy and paste the right code. As an extra protection measure, the transfer code for a domain may be reset on a regular basis. Some registrars call this code a domain password, an Auth key or a domain secret as well.
EPP Transfer Protection in Web Hosting
In case you have a domain name registered through us and you have a web hosting account with us, getting its EPP transfer code is really easy. You won't have to sign in and out of different admin dashboards, since you can manage all your domains via the very same Hepsia hosting Control Panel, which is used to administer your shared hosting account. You will see all registered domain names once you sign in and on the right side of the domain names whose extensions require an EPP authentication code in order to be transferred, you'll find a small EPP icon. All it takes to get the code is to click on the icon. The code is always sent to the domain name registrant's email account, so if the one that you gave at first is no longer valid, you can modify it with a few clicks of the mouse from the same section.
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