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TikTok Played a Key Role in MAGA Radicalization
Cameron Hickey
The platform's absorbing endless scroll and karaoke features have built an overlooked disinformation machine.
Practical jokes and dance memes might be TikTok's dominant content, but just below the surface lurks a darker current infused with violence and hate.Photograph: ALEX EDELMAN/Getty Images
Two months into trying to understand why a mob of angry protesters violently stormed the US Capitol, a significant influence remains overlooked: TikTok.
In the search for accountability, Facebook, Twitter, and YouTube—the perennial havens for disinformation and radicalization—were joined on center stage by a younger fringe platform: Parler. At its apex, the temporarily deprovisioned Parler had fewer than 20 million accounts and peaked at just under 3 million daily active users. TikTok has more than 800 million active users across the world and 50 million in the US who log in every single day.
Our team at the National Conference on Citizenship has been monitoring content on Parler continuously for the past few months, and what we saw generally mirrors what others have reported: The platform was a hotbed of misinformation, conspiracy theories, hate, and incitements to violence. There was also a lot of spam and junk. Parler was, and is, a dirty, disgusting place, but in terms of volume and reach, it was just a drop in the ocean.
WIRED OPINION
Cameron Hickey (@cameronhickey) is an Emmy Award–winning broadcast journalist who spent 10 years producing science and technology stories for PBS NewsHour and NOVA. Hickey leads the Algorithmic Transparency Institute at the National Conference on Citizenship.
We've also been monitoring TikTok for the past two years, as it grew from an entertaining novelty into a significant player capturing online attention share. Practical jokes and dance memes might be the dominant content, but just below the surface lurks a darker current infused with violence and hate that mirrors what we see on Parler, except here it has a much wider committed following. While Parler prided itself on having little to no moderation, TikTok has moved aggressively to enforce community guidelines and take down content. Still, a large and growing segment of the platform creates and shares problematic messages that risk radicalizing users. Many of these videos fall into a gray area that makes them difficult for moderation to address.
To understand this challenge, let me give you a brief tour of conservative memes on TikTok.
The song I've been hearing on the platform for months is a snippet of "Go to War," by the band Nothin More:
I don't know what you had in mind, but here we stand on opposing sides.
Let's go to war!
TikTok via Cameron Hickey
Released in 2017, the song has since been used as the soundtrack for more than 16,000 videos on TikTok. Many are accompanied by clips from the Capitol riots, supporters waving Trump flags, or screenshots of Trump's tweets containing false claims about voter fraud. The most popular of these has nearly 2 million views alone. It depicts a map of the US made up of a smattering of small blue dots surrounded by a sea of red, and a caption: "THERE ARE NO 'BLUE STATES' NOT ONE!" Although the image is factual—it's a county-by-county map of the 2020 election results—it lacks critical context. Those blue dots are the cities, where most of the population lives. The creator alleges he made the video to troll liberals, not to mislead. Nonetheless, this image circulates widely online and is held up as evidence to fuel the voter fraud conspiracy organized under the banner #stopthesteal.
The creator's intent doesn't matter; the result is the same: The audience is misled. Worse, when paired with the lyrics "Let's go to war!" the video serves as a galvanizing force potentially inciting violence.
Another popular video set to "Go to War" features a Trump tweet: "Big protest in D.C. on January 6th. Be there, will be wild!" A TikToker added "WHO'S GOING????" below. Many, including the House impeachment managers, have pointed to this tweet as evidence of Trump inciting violence. Adding the "Let's go to war" lyrics certainly can't have helped.
"Go to War" became one of the unofficial anthems of the StopTheSteal and MAGA movements more broadly, in part due to TikTok's unique "use this sound" button.
Making new videos from other people's audio has been key to TikTok's success. It's why "Old Town Road" became a number one hit. It's why so many were delighted by the sudden resurgence of the sea shanty. But this feature also underpins the viral growth of messages that normalize violent ideas and images.
It doesn't need to be a song. This parody video (now removed) by conservative TikTok creator Austin Marshall, labeled "Actual footage of the start of Civil Wâr 2," garnered 1.7 million views on TikTok since it was released on October 12, 2020. In it, Marshall plays both sides of a conversation between "Liberals" and "Conservatives." "If you guys reelect the orange man," the liberal lectures, "we'll be forced to start a civil war!" The deadpan conservative responds calmly: "OK, we accept." After a back and forth, eventually the conservative declares, "We have most of the guns, we can get started right now if you want."
The video could seem humorous and benign in isolation. But on the world's largest karaoke machine, something more sinister happened. The audio of Marshall's parody was lip-synched 871 times at last count, totaling nearly 7 million views—by police officers, militia, Trump supporters young and old, male and female, Black and white, many displaying patriotic, militaristic, and sometimes violent iconography. Today, the idea lives on in hundreds of clips, even though the original has been taken down.
The MAGA-Tok community didn't start out as violent. One of the earliest conservative memes that blossomed on the platform demonstrates how another unique feature of the app serves to build a shared identity with some troubling properties. The song "Still Counting" by Volbeat is featured in countless videos using TikTok's "duet" feature. Dueting allows a user to take any existing video found on the platform and create their own rendition, which is then presented side by side, as though the two strangers are performing a musical duet. In the "Still Counting" meme, we see thousands of Trump supporters wearing MAGA hats with their heads tilted down, obscuring their faces while the singer intones, "Counting all the assholes in the room." At this point each person tilts their head up revealing a grin to the lyric, "I'm definitely not alone." This effect is magnified by the infinite loop made possible by the duet feature: Each person dueting with someone else's duet, producing an eerie hall of mirrors of grinning MAGA acolytes.
To understand this platform and observe the MAGA-Tok community, we've spent the last two years developing "red-pilled" feeds. By bookmarking problematic content, clicking follow on notable accounts, and continuously scrolling through the platform, we've trained the recommendation algorithm to share a story with us about the evolution of this community from political to violent.
Several key features distinguish TikTok from almost every other social platform. On Twitter, Instagram, Facebook, and WhatsApp, users make active decisions about who to friend, who to follow, and what groups to join, which define and limit content's reach.
TikTok is different. The "For You Page" is a personalized feed of videos from users you follow, but it also includes videos from accounts you have never heard of that have characteristics the algorithm thinks will match your taste. The effect is similar to YouTube's much maligned recommendation algorithm, which notoriously leads users to more and more extreme content. Of course, on YouTube you can deactivate auto-play, ignore recommendations, and use the service just like Netflix to view specific videos you came to watch.
With TikTok the recommendation system is the interface. From the minute you enter the platform, you're riding through the wormhole. It isn't doom-scrolling, it's a rollercoaster ride that shifts and swerves in response to your decisions to bring you ever more engaging content. The serendipity of the next video is what makes TikTok special—but unchecked it may also serve to radicalize audiences more effectively than YouTube ever has.
TikTok's karaoke feature, where you can make a new video from someone else's sound, is another powerful mechanism for increasing user participation. The feature lowers the bar for creating content, so that you no longer need to think of something to do or say when you're making a video. You can just imitate what someone else has already done, and in doing so, you can ride on the wave of their popularity. Combined with the recommendation engine, this feature makes the platform a powerful engine for spreading pop-culture memes and radicalizing messages. Once you like one version of the assholes meme or the civil war parody, you will likely be treated to more versions of these videos over time. Each new iteration of the meme helps the earworm grow inside your head. Eventually you can recite the lines or perform the moves from memory. After the message is reinforced enough times, you can acquire the confidence to stand up at the virtual karaoke bar yourself and perform for the crowd. No other social media is designed for this kind of consistent, persistent repetition.
What makes a TikTok video more potent than a hyperpartisan meme shared on Facebook or a retweeted #MAGA slogan? It's the intimacy. When you make a video on the platform, you're staring at a mirror image of yourself. You're having a personal conversation, just like FaceTiming a friend. The result is a video diary broadcast to the world. The audience has a similar experience. This personal connection helps make real what can otherwise be much more abstract. Instead of reading a text bubble sprouting from a virtual avatar on Facebook or Twitter, TikTok lets you connect directly to a real person, face to face. When you look at that human being on the other side of the glass and listen to them share their anxieties and anger, their patriotism and hope, it helps to establish a shared reality. The misinformation and half-truths that justify extreme actions are much more believable when they come from a regular person just like you.
How could asshole pride and jokes about a civil war evolve into the seeds of a violent insurrection? In the MAGA-Tok For You feed, the stream of recommended videos was constantly overflowing with new content in response to the news and events of the day. After the murder of George Floyd, sleuths on TikTok shared "evidence" that the video of his death was staged, and argued it was a "false flag." Videos about the ensuing protests and civil unrest prompted "patriots" to make TikToks of themselves cleaning and loading their weapons, promising to defend their communities from BLM and Antifa. When Kyle Rittenhouse killed protesters in Kenosha, the feed was awash in videos dissecting the scene and searching for ways to justify his actions. The feed was continuously interlaced with paranoia and conspiracy, as the violent imagery and rhetoric escalated. One version after another reused a sound clip from the horror movie The Purge, where murder is legal once a year so the public can find an outlet for violent urges. A disturbing siren screeches, a digital voice chants "Blessed be our New Founding Fathers," and a gunshot rings out. Over and over again the same sound, the same disturbing voice, set to everything from waving Trump flags, QAnon iconography, images of liberal politicians, anything that raises the ire or fuels the outrage for this community.
And then, finally, came the election itself. The stream of content became a rapidly growing flood of clips detailing the vain search for evidence of voter fraud. Recordings from network news were scrutinized for suspicious changes in the vote tally, clip after clip alleged that sharpies wouldn't register votes, and then anywhere they could be found, images of poll workers became proof of a coordinated plot to illegally swing the election. This flood continued to surge after Biden was declared victorious. Each new 60-second video formed another piece of a giant conspiratorial tapestry linking together Dominion voting machines, ballots watermarked by the CIA, dead voters and armchair statisticians frequently set to Tech 9's "Red Kingdom" a song originally associated with the Kansas City Chiefs football team, and increasingly Bryson Gray's HipHop ode to the movement "Donald Trump is Your President."
As the year drew to a close, the conspiracy themes faded. Denial gave way to anger. On December 21st a new track from conservative TikTok star Topher and The Marine Rapper crystallized the mood in Hip Hop lyrics:
Tens of thousands on my right, thousands by my side / War between good and evil, watchin' our fists collide / Battle for our freedom now, to the streets we ride / Flags waving all around, patriots full of pride / This is where we make a stand, no more give or take / March around the Capitol, storm the city gates / Putting pressure on their necks until the truth breaks / All walls of corruption, take out all the snakes
"The Patriot" shot to number one on the iTunes hip hop chart. As new videos backed by the song flowed through MAGA-Tok, hype for the January 6 protest grew. Topher and The Marine Rapper were actually in DC for the rally and performed the song at a separate event that day. In the wake of the violence, Spotify removed the track from their platform and online distributors initiated takedowns. "The Patriot" did not instigate the violence at the Capitol, but its metaphors clearly captured the growing frustration and resentment with an eerie prescience.
MAGA-Tok was always a little mean, a little hateful, and seeded with conspiracy and lies, but after the election that toxicity consumed the feed. Social media marketers often think of audience engagement as a funnel. At the top of the funnel is a wide opening where you capture the largest possible audience. As users progress from awareness to advocacy the funnel narrows. Not everyone travels all the way to the bottom of the funnel, but the most fervent supporters stick with you and come out the other side converted into die-hard evangelists. We can't say for certain that TikTok meme warriors inspired the attacks on the Capitol, but it is becoming painfully clear that TikTok's massive reach has the potential to radicalize an audience.
WIRED Opinion publishes articles by outside contributors representing a wide range of viewpoints. Read more opinions here, and see our submission guidelines here. Submit an op-ed at opinion@wired.com.
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Q: C# Nest elasticsearch динамический тип Search<> Есть Events:

Все Events наследуются от BaseEvent.
Скажем так: из Utils.ConstructEvent(update, ts) я получаю некоторый Event.
var readyUpdate = Utils.ConstructEvent(update, ts);

Далее, по этому Event мне нужно делать запрос в elastic, но тут вылезает подводный камень:
_elastic.Search<???>();

Я не понимаю как передать в TDocument метода Search() тип Event из readyUpdate.
То-есть, предположим в readyUpdate придет экземпляр класса GotOnlineEvent.
Тогда мне нужно будет написать Search<GotOnlineEvent>().
Написать _elastic.Search<readyUpdate.GetType()> я очевидно не могу.
Пытался сделать по аналогии с List<>, но там все в разы проще, поскольку есть удобный интерфейс IList.

redpajama_set_name: RedPajamaStackExchange


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The Gadsden flag is a historical American flag with a yellow field depicting a rattlesnake coiled and ready to strike. Positioned below the rattlesnake are the words "Dont Tread On Me."[note 1] The flag is named after American general and politician Christopher Gadsden (1724–1805), who designed it in 1775 during the American Revolution. It was used by the Continental Marines as an early motto flag, along with the Moultrie flag.
A yellow banner charged with a coiled rattlesnake facing towards the hoist, the words "Dont Tread On Me" positioned below the snake.
Christopher Gadsden
Snake symbolismEdit
Benjamin Franklin's Join, or Die cartoon
The timber rattlesnake can be found in the area of the original Thirteen Colonies. Its use as a symbol of the American colonies can be traced back to the publications of Benjamin Franklin. In 1751, he made the first reference to the rattlesnake in a satirical commentary published in his Pennsylvania Gazette. It had been the policy of Great Britain to send convicted criminals to the Americas, so Franklin suggested that they thank the British by sending rattlesnakes to Britain.[2]
In 1754, during the French and Indian War, Franklin published his famous woodcut of a snake cut into eight sections. It represented the colonies, with New England joined together as the head and South Carolina as the tail, following their order along the coast. Under the snake was the message "Join, or Die". This was the first political cartoon published in an American newspaper.
As the American colonies came to identify more with their own communities and the concept of liberty, rather than as vassals of the British empire, icons that were unique to the Americas became increasingly popular. The rattlesnake, like the bald eagle and American Indian, came to symbolize American ideals and society.[3][4]
I recollected that her eye excelled in brightness, that of any other animal, and that she has no eye-lids—She may therefore be esteemed an emblem of vigilance.—She never begins an attack, nor, when once engaged, ever surrenders: She is therefore an emblem of magnanimity and true courage.—As if anxious to prevent all pretensions of quarreling with her, the weapons with which nature has furnished her, she conceals in the roof of her mouth, so that, to those who are unacquainted with her, she appears to be a most defenseless animal; and even when those weapons are shown and extended for her defense, they appear weak and contemptible; but their wounds however small, are decisive and fatal:—Conscious of this, she never wounds till she has generously given notice, even to her enemy, and cautioned him against the danger of stepping on her.—Was I wrong, Sir, in thinking this a strong picture of the temper and conduct of America?[5]
As the American Revolution grew, the snake began to see more use as a symbol of the colonies. In 1774, Paul Revere added Franklin's iconic cartoon to the nameplate of Isaiah Thomas' paper, the Massachusetts Spy, depicted there as fighting a British Griffin.[6] In December 1775, Benjamin Franklin published an essay in the Pennsylvania Journal under the pseudonym American Guesser in which he suggested that the rattlesnake was a good symbol for the American spirit.
The rattlesnake symbol was first officially adopted by the Continental Congress in 1778 when it approved the design for the official Seal of the War Office (at that time and for many years thereafter, the War Office was a term associated with the Headquarters of the Army). At the top center of the Seal is a rattlesnake holding a banner which says: "This We'll Defend". According to the US Army's Institute of Heraldry, "'This We'll Defend', on a scroll held by the rattlesnake is a symbol depicted on some American colonial flags and signifies the Army's constant readiness to defend and preserve the United States.' This design of the War Office Seal was carried forward—with some minor modifications—into the subsequent designs for the War Department's Seal, and the Department of the Army's Seal, Emblem and Flag. As such, the rattlesnake symbol has been in continuous official use by the US Army for over 236 years.
Gadsden's flagEdit
Gadsden's flag in an 1885 schoolbook
In fall 1775, the Continental Navy was established by General George Washington in his role as Commander in Chief of all Continental Forces, before Esek Hopkins was named Commodore of the Navy. The Navy began with seven ships, often called "Washington Cruisers", that flew the "Liberty Tree Flag", depicting a green pine tree with the motto "Appeal to Heaven". This is according to the October 20, 1775 letter of Washington's aide Colonel Joseph Reed, which is stored in the Library of Congress.
Those first ships were used to intercept incoming British ships carrying war supplies to the British troops in the colonies both to deprive the British of the supplies and to supply to the Continental Army. One ship captured by Captain John Manley had 30,000 pairs of shoes on it. However, the admiralty agent demanded his 2 1⁄2 per cent commission before he would release the cargo for Washington's army, so many soldiers marched barefoot in the snow. To aid in this, the Second Continental Congress authorized the mustering of five companies of Marines to accompany the Navy on their first mission. The first Marines enlisted in the city of Philadelphia and carried drums painted yellow and depicting a coiled rattlesnake with thirteen rattles along with the motto "Don't Tread on Me." This is the first recorded mention of the future Gadsden flag's symbolism.[citation needed]
At the Congress, Continental Colonel Christopher Gadsden represented his home state of South Carolina. He was one of seven members of the Marine Committee who were outfitting the first naval mission.[7]:289
Before the departure of that first mission in December 1775, the newly appointed commander-in-chief of the Navy, Commodore Esek Hopkins, received the yellow rattlesnake flag from Gadsden to serve as the distinctive personal standard of his flagship. It was displayed at the mainmast.[7]:289 Hopkins had previously led The United Companies of the Train of Artillery of the Town of Providence, before being appointed to lead the Navy. The 1775 flag of the Providence Train of Artillery's featured a coiled timber rattlesnake and the motto "Do Not Tread on Me" along with an anchor, cannons and the motto "In God We Hope" on a gold background.[8] The flag presented to Hopkins as Commander of the Continental Navy is a simplified version of that design.
Gadsden also presented a copy of this flag to the Congress of South Carolina in Charleston, South Carolina. This was recorded in the South Carolina congressional journals on February 9, 1776:
Col. Gadsden presented to the Congress an elegant standard, such as is to be used by the commander in chief of the American Navy; being a yellow field, with a lively representation of a rattlesnake in the middle in the attitude of going to strike and these words underneath, "Don't tread on me."[9]
Variations in appearanceEdit
Many variations of the Gadsden flag exist:
The motto sometimes includes an apostrophe in the word "Don't" and sometimes does not. Early written discussions uniformly include an apostrophe; however, as early as 1917, a flag reference book includes a picture of a version without the apostrophe.[7]:339
The typeface used for the motto is sometimes a serif typeface and other times sans-serif.
The rattlesnake sometimes is shown as resting on a green ground, presumably grassy, and sometimes not. The green grass seems to be a recent addition; representations dating from 1885 and 1917 do not display anything below the rattlesnake.
The rattlesnake usually faces to the left, and the early representations mentioned above face left. However, some versions of the flag show the snake facing to the right.
Other rattlesnake flagsEdit
See also: Noli me tangere
Culpeper Minutemen flag
Reverse of the 1861 flag of Alabama
The Culpeper Minutemen flag has a coiled rattlesnake and the same motto as the Gadsden flag. It has a white field, rather than yellow, and the additional motto "Liberty or Death" and the name "The Culpeper Minute Men". It is the flag of Virginia volunteers from the Culpeper area.
The John Proctor's Regiment flag of 1st Battalion Westmoreland County, Pennsylvania, had a coiled rattlesnake shown on its flag.[10]
The United Companies of the Train of Artillery of the Town of Providence already used a coiled rattlesnake on a field of gold with the motto "Do Not Tread On Me" on its flag. Before Esek Hopkins was named the first Commodore of the American Navy by the Continental Congress he served as a Brigadier General of the Rhode Island Militia Artillery,[11] and would have been familiar with the design of the flag.
The traditional version of the First Navy Jack has an uncoiled rattlesnake and the same motto as the Gadsden flag, on a field of 13 horizontal red and white stripes. This design is associated with the 1775 orders to the first ships of the Continental Navy by Commodore Esek Hopkins directing his vessels to fly a striped Jack and Ensign at their proper places, but the actual design of the First Navy Jack has never been clearly demonstrated. [12]
Modern useEdit
First Navy Jack
Celebrating with the Gadsden flag, early morning, May 2, 2011, hours after the announcement of Osama bin Laden's death
Considered one of the first flags of the United States, the flag was later replaced by the current Stars and Stripes (or Old Glory) flag. Since the Revolution, the flag has seen resurgences as a symbol of American patriotism, disagreement with government, or support for civil liberties.
The First Navy Jack, which was not directly related to the Gadsden flag, has been in use by the United States Navy since its beginnings. Unlike the Liberty Tree Flag with the letter by Colonel Joseph Reed that describes it, there is no document that describes the Snake on Stripes flag, only an image by English artist Thomas Hart in the background of a portrait of Commodore Esek Hopkins. In that same painting is a round "tree flag". The triangular Liberty Tree flag is derived from the only surviving tree flag from the Revolution, found in an old trunk in 1993 on Long Island, the 5th Regt. Connecticut Militia. The Snake on Stripes flag was included in a book of flags by Admiral Preble, but later Preble determined the flag not valid, so he removed it from his text. However, the book publisher used the old color plates, so the image was continued in the new edition and subsequently picked up by other publications and Webster's Dictionary.[citation needed]
In preparation for the 1976 bicentennial year, staff officers in the Secretary of the Navy's office sought a powerful image for the Navy's Bicentennial. One Navy officer saw the Snake on Stripes Flag in Webster's Dictionary, so the staff officers ordered a large number to give away as Navy promotional items and then turned to the Naval Historical Center to "get the history". They were told that the flag had probably never flown during the Revolution, based on Admiral Preble's later discoveries, but a decision was made to use the Snake on Stripes Flag, or the "Fake Snake Flag", anyway. Beginning in 1975, commissioned Navy ships flew this Jack in place of the Naval Jack (officially known as the Union Jack, not to be confused with the United Kingdom's flag) at the bow. In 1977, the Secretary of the Navy directed that the ship in active status with the longest total period of active service shall display the First Navy Jack until decommissioned or transferred to inactive service, at which time the flag shall be passed to the next ship in line with appropriate honors. The display of this jack by the oldest ship in the fleet is intended as a form of recognition to promote pride of service, enhance morale, and contribute to the tradition of naval service. USS Enterprise (CVN 65) became the oldest active ship in the United States Navy upon the decommissioning of USS Kitty Hawk (CV 63) on May 12, 2009. Enterprise is only the third aircraft carrier ever to hold the honor of flying the First Navy Jack.[13]
Since the first Patriot Day on September 11, 2002, which commemorates the lives lost in the September 11 attacks, the rattlesnake from the flag is also shown on the US Army's Drill Sergeant Identification Badge. After the Snake on Stripes Flag became the Navy's symbol for the Global War on Terrorism, flag history professionals[vague] (vexillologists) have done extensive research papers that further question the claim that the flag ever flew during the American Revolution, yet it continues to fly at the bow of American warships today.[citation needed]
For historical reasons, the Gadsden flag is still popularly flown in Charleston, South Carolina, the city where Christopher Gadsden first presented the flag and where it was commonly used during the revolution, along with the blue and white crescent flag of pre-Civil War South Carolina.
License platesEdit
Map of states (colored yellow) that offer Gadsden flag specialty license plates
The Gadsden flag has become a popular specialty license plate in several states.
As of 2018[update], the following states offer the option of obtaining a Gadsden flag specialty license plate: Alabama, Arizona, Maryland,[14] Missouri, Montana,[15] Oklahoma, South Carolina, Tennessee,[16] Texas, and Virginia.[17][18]
Libertarian, then Tea Party symbolEdit
Starting In the 1970s the Gadsden Flag became strongly associated with libertarianism. In the 2010s it also became associated with the American Tea Party movement. It has also been used by the U.S. Men's Soccer Team and the band Metallica. Because of these multiple uses, the meaning of the Gadsden Flag is ambiguous and depends on the context.[19][20][21]
The flag at a Tea Party rally in September 2009
Beginning in 2009, the Gadsden Flag has been used by the American Tea Party movement.[22][23][24][25] It was also displayed by members of Congress at Tea Party movement rallies.[26] Some lawmakers have called it a "political symbol" because of this association.[24][27]
In March 2013, a resident of New Rochelle, New York, put up a Gadsden flag at the city's vacant armory building. The city ordered its removal, fearing that the flag would be seen as political. The next month, a veterans group, the United Veterans Memorial & Patriotic Association, filed suit against the city.[28]
In popular cultureEdit
This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, using references to reliable sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (August 2017)
Athletic apparel company Nike uses the image of a rattlesnake coiled around a soccer ball for an ongoing, patriotic "Don't Tread on Me" campaign in support of the United States men's national soccer team. The phrase has become a rallying cry for American soccer fans and the Gadsden flag can occasionally be seen at national team games. A representation of the rattlesnake is contained on the inside of their uniforms, over the heart, with the initials "D.T.O.M.", which were used in the 2010 World Cup.[29]
In Hideo Kojima's video game Metal Gear Solid 2: Sons of Liberty a variation of the flag can be seen on one of the connecting bridges of the "Big Shell" facility, in a reference to both the original meaning and usage of the flag.[30]
In the apocalyptic 2006 CBS TV drama Jericho, the flag makes several appearances, most notably in the series finale as Jericho's acting mayor takes down the flag of the "Allied States of America", which had been flying at the town hall following a federal coup. He replaces the red, white, and blue flag of the central government with a Gadsden Flag which the previous mayor had kept framed in his office. The scene depicts a once-collaborationist character as finally having summoned the courage to be in open defiance against a supreme government.[31]
The Southern rock band JJ Grey & Mofro represented the Gadsden flag on the cover of the "Country Ghetto" album with the words "Don't Tread on Me" on the rear of the booklet.
American heavy metal band Metallica recorded a song called "Don't Tread on Me" on their self-titled fifth studio album, released in 1991. The album cover features a dark grey picture of a coiled rattlesnake like the one found on the Gadsden Flag. The song's lyrics refer to political phrases from the American Revolutionary War.
In addition, in the hit series The West Wing, Sam Seaborn's office displays the flag hanging above his cabinet.
NASCAR driver Carl Edwards displayed the Gadsden Flag next to his facsimile signature on his race car.[32]
In WWE, the tag team Real Americans, composed by Jack Swagger, Cesaro and the manager Zeb Colter, used the Gadsden Flag and the preamble "We the People". Also, WWE superstar Dolph Ziggler often has the snake as a design on his long wrestling tights. This hints at possible conservative views for Ziggler, but this has never been made clear.
In the 1979 novel Alongside Night, an organization called the Revolutionary Agorist Cadre, seeking a Second American Revolution, welcomes visitors to one of its undergrounds: "The room's only decoration was a modified Gadsden flag draped on the wall adjoining the bar and medical areas (opposite the door), a golden field with 'LAISSEZ-FAIRE!' in an upper left corner, a coiled rattlesnake facing left with its tongue out, and in the lower right, 'DONT TREAD ON ME!'" The Gadsden flag without the addition of "LAISSEZ-FAIRE!" is carried over into the 2014 Alongside Night movie adaptation in which the Gadsden flag is used by the Revolutionary Agorist Cadre as well as the traditional anarchist black flag.[33]
A verse from the 1970 song "Uncle John's Band" by the Grateful Dead contains the words "Their walls are built of cannonballs, their motto is 'Don't tread on me'".
In the video game Red Dead Redemption 2, in the gun store in Rhodes there is a Gadsden Flag hung on a wall.
^ During the 18th century, when contractions were coming into widespead use, they were often written without an apostrophe and some forms survive today such as made for maked and had for haved. The standard form for the contraction of "do not" later came to include the apostrophe.[1]
^ Robert Lowth, A Short Introduction to English Grammar: With Critical Notes. 1794. pp. 67, 79.
^ Leepson, Marc; DeMille, Nelson (May 30, 2006). Flag: An American Biography. Macmillan. p. 12. ISBN 978-0-312-32309-7. Retrieved August 18, 2016.
^ "Mohawk was Emerging as a Symbol of Liberty in the New Land". Boston-tea-party.org. Retrieved July 29, 2014.
^ "Bald Eagle | National Bird". statesymbolsusa.org. Retrieved June 12, 2017.
^ "Franklin, Benjamin as quoted under his pseudonym, "The American Guesser"". From the Franklin Institute. December 27, 1775. Archived from the original on August 15, 2000. Retrieved August 18, 2016.
^ "A More Perfect Union: Symbolizing the National Union of States". Library of Congress. Retrieved August 18, 2016.
^ a b c Byron McCandless; Gilbert Hovey Grosvenor (1917). Our flag number: with 1197 flags in full colors and 300 additional illustrations in black and white. National Geographic Society. Retrieved August 18, 2016.
^ "Flag of the United Train of Artillery of Providence - The Monticello Classroom". classroom.monticello.org. Retrieved April 3, 2018.
^ Hicks, Frederick Cocks (1918). The flag of the United States. United States Government Printing Office. p. 23. Retrieved August 18, 2016.
^ "A Rattlesnake Flag of the American revolution" (PDF). Archived from the original (PDF) on October 20, 2013. Retrieved August 18, 2016.
^ "RootsWeb.com Home Page". www.rootsweb.ancestry.com. Retrieved April 3, 2018.
^ CDR Michel T. Poirier. "A Brief History of the U.S. Navy Jack". Undersea Warfare Summer 2000 Vol. 2, No. 4. Retrieved July 17, 2019.
^ "Don't Tread on Me Flag History". Retrieved August 18, 2016.
^ http://www.mva.maryland.gov/vehicles/_images/plates/organizational/Gadsden-Pew-Club.gif
^ "Montana Department of Justice - License Plate Designs and Fees - Service Organizations & Associations".
^ "Friends of Sycamore Shoals State Historic Park". www.friendsofsycamoreshoals.org. Retrieved December 29, 2016.
^ "Seven States Now Offer 'Don't Tread on Me' License Plates; Is Yours on the List? - Tea Party News". Tea Party. Retrieved August 18, 2016.
^ Schwarz, Hunter (August 25, 2014). "States where you can get a 'Don't Tread On Me' license plate". The Washington Post. ISSN 0190-8286. Retrieved August 18, 2016.
^ "The Shifting Symbolism of the Gadsden Flag". The New Yorker. October 2, 2016. Retrieved July 17, 2019.
^ "Conservatives defend Chris Pratt for wearing 'Don't Tread On Me' t-shirt". The Hill. July 17, 2019. Retrieved July 17, 2019.
^ "President Obama Is Banning the 'Don't Tread on Me' Flag?". Snopes. August 5, 2016. Retrieved July 17, 2019.
^ "Gadsden flag denied over State Capitol". Wtnh.com Hartford CT. May 26, 2010. Archived from the original on December 13, 2010. Retrieved August 18, 2016.
^ "Gadsden Flag Now Officially "Offensive" In America". Aipnews.com. Archived from the original on July 17, 2011. Retrieved August 18, 2016.
^ a b "Connecticut Marines Fight for 'Don't Tread on Me' Flag Display". Fox News Channel. April 7, 2010. Retrieved August 18, 2016.
^ Scocca, Tom (June 13, 2010). "Flag daze". Boston Globe. Archived from the original on March 4, 2016. Retrieved August 18, 2016.
^ "Gadsden Flags Flying Off the Shelves in Support of the Tea Party movement Tax Protest". Market Wire. April 16, 2009. Archived from the original on August 14, 2009. Retrieved August 18, 2016.
^ "Tea Party movement flag will not fly at Connecticut Capitol". Necn.com. April 8, 2010. Archived from the original on September 5, 2012. Retrieved August 18, 2016.
^ "Flag's Believed Ties To Tea Party Lead To Removal From New Rochelle Building". CBS 2 New York. April 22, 2013. Retrieved August 18, 2016.
^ "USA Men's Soccer Kit". Archived from the original on October 8, 2011.
^ "Screenshot of Sons of Liberty Flag".
^ "Jericho Video – Jericho – Season 2: Episode 7: Patriots And Tyrants w/ Commentary". CBS. Retrieved August 18, 2016.
^ "Carl Edwards". Joe Gibbs Racing. Retrieved November 17, 2016.
^ "Alongside Night — Chapter XIV « J. Neil Schulman". jneilschulman.agorist.com. Retrieved November 17, 2016.
Book: Flags of the United States
Media related to Gadsden flag at Wikimedia Commons
"A Flag of Conviction", The Claremont Institute
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gadsden_flag&oldid=906873593"

redpajama_set_name: RedPajamaCommonCrawl


You are here: Home / Ohio State Football / Come on, Ohio!
Welcome to the Men of the Scarlet and Gray, an Ohio sports blog that will, as the fight song goes, "Our honor defend." The bloggers here are Ohio sports fans, but first and foremost Buckeye fans. We love the professional teams (we believe, LeBron!) and follow them closely, but our true passion is Ohio State football. Our ealiest sports memories are watching the Buckeyes of years gone by and our hearts still rebound with joy following the magical 2002 National Championship season. To say we're anxious for the 2006 season to start is to say we sort of like breathing air.
So here at Men of the Scarlet and Gray, you'll find all sorts of Ohio sports commentary, snarky jabs at the State up North, lamentations of another season down the tubes (Eric Wedge, what have you done to my Indians?!) and of course all things pertaining to the Ohio State University.
The name of the blog will be familiar to any self-respecting OSU fan, but for those who don't know, it's from the Buckeye Battlecry, the very popular and very sing-able fight song. You'll hear The Best Damn Band in the Land blasting it out in the Horsehoe during any given Saturday. It's the quientessential fight song and captures the spirit of what the Buckeyes are – men of the Scarlet and Gray.
So we hope you'll bookmark us, add us to your feed reader, heck, make us your home page and let us be your guide to the sports that happen in the great state of Ohio. Your state, and mine.
So after that introduction, let me leave with a clip of things to come, by way of Ted Ginn, Jr.
The guy can motor. I almost felt embarrased for the guys trying to cover him. Almost.
This kid has more highlights than GAMES he's played in. Nice average.


text:
Christian mother takes school to court over gay pride parade
Staff writer 12 July 2021 | 6:57 AM
Izzy Montague
A Christian mother who says her 4-year-old son was forced to take part in a gay pride parade against her will have her case heard in court this week.
Izzy Montague says she was told by the headteacher of Heavers Farm Primary School in Croydon, south London, that her son could not opt out of the 2018 pride event despite the family's Christian beliefs.
She is taking the school to court for direct and indirect discrimination, victimisation and breaches of statutory duties under the Education Act 1996 and the Human Rights Act 1998.
Mrs Montague, who has since withdrawn her son from the school, says her concerns were not taken seriously and that the school became "antagonistic" towards her after she asked to withdraw her son.
Supported by the Christian Legal Centre, her case will be heard by Central London County Court from 14 to 21 July.
The court will consider religious belief and the human rights of parents and their children, as well as the right to opt out of ideological education, and the duty of schools to be politically neutral.
Ahead of the hearing Mrs Montague said: "I wasn't even trying to stop the Pride event. I just wanted my child to receive an education, rather than indoctrination.
"I am taking this stand to raise awareness amongst parents as to what is happening in our primary schools. I do not want other parents to go through what I have in the months and years ahead."
Andrea Williams, Chief Executive of the Christian Legal Centre, said: "This case epitomises the chaos we can expect to see in the next academic year in our schools and is another example of the 'totalitolerance' that has become so prevalent in our society. Those who preach tolerance and diversity the loudest do not appear to be interested in practising it.
"A particular agenda is being forced onto children inside the school gates and parents are being given no means to ensure that their children are being taught in line with their religious and philosophical beliefs."
Heavers Farm Primary School has been contacted for comment.


text:
Adam Faith, geboren als Terence Nelhams, (Acton, 23 juni 1940 - Stoke-on-Trent, 8 maart 2003) was een Britse popzanger, acteur en producent. Als tieneridool scoorde hij opeenvolgende nummer 1-hits in de UK Singles Chart met What Do You Want? (1959) en Poor Me (1960). Hij werd de eerste Britse artiest die zijn eerste zeven hits in de top 5 plaatste en was uiteindelijk een van de meest in de hitlijst gebrachte acts van de jaren 1960. Hij was ook een van de eerste Britse acts die regelmatig originele nummers opnam. Faith had ook een succesvolle acteercarrière en verscheen als Dave in de tiener-exploitatiefilm Beat Girl (1960), de gelijknamige hoofdrol in de ITV-televisieserie Budgie en Frank Carver in het BBC-komediedrama Love Hurts.

Biografie

Het vroege leven en onderwijs
Terence Nelhams Wright werd geboren op 23 juni 1940 in Acton, Middlesex (nu Londen) als zoon van buschauffeur Alfred Richard Nelhams en schoonmaakster Ellen May Burridge, voormalig echtgenote van Cecil G. Wright, van wie ze uit elkaar was, maar niet gescheiden. Zijn ouders trouwden in 1953. Bekend als Terry Nelhams, wist hij niet dat zijn naam Terence Nelhams Wright was totdat hij een paspoort aanvroeg en zijn geboorteakte verkreeg. Als derde in een gezin van vijf kinderen groeide Nelhams op in een gemeentehuis in een arbeiderswijk in Londen, waar hij naar de John Perryn Junior School ging. Hij had zijn eerste baan op 12-jarige leeftijd, waarbij hij parttime kranten bezorgde en verkocht terwijl hij nog op school zat. Zijn eerste fulltime baan was als klusjesman voor een zeefdrukker.

Muziekcarrière
Faith werd een van de belangrijkste vroege popsterren van Groot-Brittannië. Hij schreef niet zijn eigen materiaal en veel van zijn vroege succes was door samenwerking met songwriters Les Vandyke en John Barry, wiens arrangementen waren geïnspireerd door de pizzicato-arrangementen voor It Matter Anymore van Buddy Holly.

Faith begon zijn muzikale carrière in 1957, terwijl hij als filmsnijder in Londen werkte in de hoop acteur te worden, te zingen met en leiding te geven aan de skiffle-groep The Worried Men. De groep speelde na het werk in Soho-koffiebars en werd de vaste band van de 2i's Coffee Bar, waar ze bij het  livemuziekprogramma Six-Five Special van BBC Television speelden. Producent Jack Good was onder de indruk van de zanger en regelde een solo-opnamecontract bij HMV onder de naam Adam Faith.

Zijn debuutplaten (Got a) Heartsick Feeling en Brother Heartache and Sister Tears in januari 1958 haalden de hitparade niet. Good gaf hem een rol in de show van Six-Five Special, samen met The John Barry Seven, maar de show stopte na vier optredens. Zijn tweede publicatie later dat jaar was een cover van High School Confidential van Jerry Lee Lewis, ondersteund met het door Burt Bacharach en Hal David geschreven Country Music Holiday, maar ook dit mislukte.

Faith ging weer aan het werk als filmsnijder bij National Studios in Elstree tot maart 1959, toen Barry hem uitnodigde om auditie te doen voor de BBC TV rock and roll show Drumbeat. Producent Stewart Morris gaf hem een contract voor drie shows, verlengd tot 22 weken. Zijn contract met HMV was afgelopen en hij zong het nummer I Vibrate op een zes-nummerige ep uitgebracht door Fontana Records. Barry's manager Eve Taylor bezorgde hem een contract bij Top Rank Records, maar zijn enige plaat Ah, Poor Little Baby/Runk Bunk, geproduceerd door Tony Hatch, kwam niet in de hitlijst vanwege een gebrek aan publiciteit veroorzaakt door een nationale drukkersstaking.

Ondanks de mislukking werd Faith populair door televisieoptredens. Hij werd acteur door drama- en voordrachtlessen te volgen. Het script vroeg Faith om liedjes te zingen en omdat Barry Faiths opnamen en live Drumbeat-materiaal regelde, vroeg de filmmaatschappij hem om de partituur te schrijven. Dat was het begin van Barry's opmerkelijke carrière in de filmmuziek.

Het succes van Faith bij Drumbeat maakte een nieuw platencontract mogelijk met Parlophone. Zijn volgende plaat What Do You Want? uit 1959, geschreven door Les Vandyke en geproduceerd door Barry en John Burgess, kreeg goede recensies bij NME en andere kranten en werd ook een hit in de Juke Box Jury. Dit werd zijn eerste nummer één hit in de UK Singles Chart.

What Do You Want? was de eerste nummer 1-hit voor Parlophone en Faith was de enige popact bij het label. Met zijn volgende twee single-publicaties Poor Me (nog een hittopper) en Someone Else's Baby (een Britse nummer 2) vestigde Faith zich als een prominente rivaal van Cliff Richard in de Britse populaire muziek. Een Britse variététournee werd gevolgd door een seizoen van 12 weken in de Blackpool Hippodrome in de zomer van 1960 en een optreden in de Royal Variety Show. In oktober verscheen hij in de film Beat Girl.

De volgende publicatie van Faith was de dubbele a-kant-single Made You/When Johnny Comes Marching Home, die de top tien haalde, ondanks een BBC-verbod voor Made You voor 'een onzedelijke en wellustige tekst'. Zijn nieuwe plaat Lonely Pup (In a Christmas Shop) uit 1960, die samenviel met zijn kerstpantomime, kreeg een zilveren schijf. Zijn debuutalbum Adam werd uitgebracht op 4 november 1960 en kreeg lovende kritieken vanwege de inventiviteit van Barry's arrangementen en Faiths eigen uitvoeringen. Het materiaal varieerde van standards als Summertime, Hit the Road to Dreamland en Singin' in the Rain tot meer eigentijdse nummers, zoals I'm a Man van Doc Pomus en Mort Shuman, Fare Thee Well My Pretty Maid van Johnny Worth en Wonderful Time van Howard Guyton.

Op 20-jarige leeftijd kocht hij een huis in de buurt van Hampton Court voor £ 6.000, waarnaar hij met zijn gezin verhuisde vanuit hun huis in Acton. In december 1960 werd hij de eerste popartiest die verscheen in de tv-interviewserie Face to Face met John Freeman. Faith maakte nog zes albums en 35 singles, met in totaal 24 hitlijsten, waarvan 11 in de top tien van het Verenigd Koninkrijk, inclusief zijn twee nummer één. Tien van de elf singles die de top tien haalden, haalden ook daadwerkelijk de top 5. Faith wist twintig opeenvolgende singles in de UK Singles Chart te plaatsen, te beginnen met What Do You Want? in november 1959 en als hoogtepunt in I Love Being in Love with You medio 1964, wat een hele prestatie was voor een Britse artiest uit de tijd van Faith.

Faiths laatste top tien hit in het Verenigd Koninkrijk (in oktober 1963) was The First Time (#5), wat ook zijn eerste single was met zijn begeleidingsgroep The Roulettes in 1963 en 1964, verworven om Faith's muziek voordeel te geven in overeenstemming met de Merseybeat sound die op dat moment de Britse hitlijsten bestormde. Zijn single I Survived uit 1974 haalde de top 30 van de Capital Countdown bij de Londense Capital Radio.

Profiterend van het enthousiasme van het Amerikaanse publiek voor alle Britse artiesten op het hoogtepunt van de Britse invasie in 1964-1965, slaagde Faith erin om de single It's Alright te registreren in de top 40 van de Amerikaanse Billboard Hot 100 (die niet werd uitgebracht als single in zijn geboorteland). De tienerpop van Faith werd halverwege de jaren 1960 minder populair in concurrentie met The Beatles. In 1967 nam hij het psychedelisch klinkende Cowman, Milk Your Cow op, geschreven door Barry en Robin Gibb en in september datzelfde jaar als single uitgebracht. Het jaar daarop nam Faith afscheid van EMI Records.

In de jaren 1970 ging Faith over naar muziekmanagement, waar hij onder meer Leo Sayer begeleidde. Faith onderhandelde een voorschot voor zijn eigen comebackalbum met Warner Bros. Records, waarbij hij de helft gebruikte om het album I Survive op te nemen (dat niet in de hitlijsten kwam) en de andere helft om Sayer te financieren. Faith en zijn voormalige drummer David Courtney co-produceerden Sayers eerste hits The Show Must Go On en One Man Band. Faith was ook de co-producent van Roger Daltrey's eerste soloalbum Daltrey, met daarop de hitsingle Giving It All Away, geschreven door Sayer.

Film-, televisie- en theatercarrière
Terwijl hij zijn muzikale carrière nastreefde, verscheen Faith in bijrollen in films zoals Beat Girl (1960) en Never Let Go (1960), en televisiedrama's zoals de Rediffusion/ITV-serie No Hiding Place. In 1961 speelde Faith in What a Whopper, ondersteund door Sid James, Spike Milligan, Wilfrid Brambell, Carole Lesley en anderen die destijds bekend waren. Een komedie over een schrijver die een nep-waarneming van het monster van Loch Ness in scène zet, werd geschreven door Terry Nation met muziek van John Barry. Faith zong de titelsong en The Time Has Come. Hij had een kleine rol in What a Carve Up! (1961) met Sid James en Kenneth Connor.

In 1962 speelde Faith samen met Donald Sinden en Anne Baxter in de film Mix Me a Person, waarin hij een arbeidersjongen speelde die valselijk werd beschuldigd van moord. De thriller kreeg een X-certificaat (het moderne equivalent zou een VK 18-certificaat zijn) door de British Board of Film Censors.

Na het vertrek van Faith in 1968 van zijn platenlabel EMI, concentreerde hij zich op acteren, met name repertoiretoneel. Na een aantal kleine rollen kreeg hij een meer substantiële rol in het toneelstuk Night Must Fall, tegenover Dame Sybil Thorndike. In de herfst van 1969 nam hij de leiding in een tourneeproductie van Billy Liar.

Faith speelde de gelijknamige held in de televisieserie Budgie (LWT/ITV) uit de vroege jaren 1970 over een ex-gevangene. Hij was het onderwerp van This Is Your Life in 1971 toen hij werd verrast door Eamonn Andrews.

De acteercarrière van Faith liep terug na een auto-ongeluk in 1973 waarbij hij bijna een been verloor. Hij herstartte met een rol in Stardust (1974) als de manipulatieve manager van rockster David Essex, waarvoor hij werd genomineerd voor een BAFTA-award. Ondanks dit succes bleef hij enkele jaren terughoudend om op te treden en keerde hij terug naar muziekgerelateerde ondernemingen.

In 1980 speelde hij met Roger Daltrey in McVicar en speelde opnieuw een rockbandmanager in Foxes, met Jodie Foster als zijn dochter.

Faith speelde de rol van James Crane in de tv-film Minder on the Orient Express uit 1985 als onderdeel van de Minder-franchise. Van 1992 tot 1994 verscheen hij in de tv-serie Love Hurts met in de hoofdrol Zoë Wanamaker.

In 2002 verscheen hij in de BBC-serie The House That Jack Built. In 2003 verscheen hij in een aflevering van Murder in Mind.

Latere jaren en overlijden
Faith trouwde in 1967 met Jackie Irving en ze kregen een dochter, Katya Faith, die televisieproducente werd.

In de jaren 1980 werd Faith belegger en financieel adviseur. In 1986 werd hij aangenomen als financieel journalist door de Daily Mail en zijn zusterkrant The Mail on Sunday. Faith en zakenpartner Paul Killik waren de belangrijkste investeerders achter het Britse televisiestation Money Channel. Toen het kanaal in juni 2002 werd gesloten, werd Faith failliet verklaard, vanwege een gerapporteerde £ 32 miljoen. De Engelse filmregisseur en producent Michael Winner verklaarde dat Faith zijn investeringsadviseur was, wat leidde tot aanzienlijke verliezen op twee verschillende investeringen.

In 1986 onderging Faith een openhartoperatie. In 2003 werd hij ziek na zijn avondvoorstelling in de tourneeproductie van Love and Marriage in Stoke-on-Trent en overleed de volgende ochtend op 8 maart 2003 aan een hartaanval in het North Staffordshire Hospital.

Discografie

Hitsingles
 1959: What Do You Want?
 1960: Poor Me
 1960: Someone's Else's Baby
 1960: When Johnny Comes Marching Home / Mad You
 1960: How About That
 1960: Lonely Pup (In a Christmas Shop)
 1961: Who Am I / This Is it!
 1961: The Time Has Come
 1962: As You Like It
 1962: Don't That Beat All
 1963: The First Time
 1964: It's Alright

Filmografie

Film

Televisie

Brits zanger

redpajama_set_name: RedPajamaWikipedia


Miró Quesada Garland, Luis. "En blanca y negra..." El Comercio (Lima, Perú), October 24, 1954.
In his weekly column published in the newspaper El Comercio (Lima, October 24, 1954) the architect Luis Miró Quesada Garland replies to the remarks made by Sebastián Salazar Bondy and Edgardo Pérez Luna about the exhibition of works by Jean Dewasne at the Galería de Lima.
Despite the popularity of abstract expressionism, works such as those produced by Jean Dewasne (1921–99) had a profound impact on Peruvian non-figurative art in the 1950s. During that decade several Peruvian painters visited his Atelier d'Art Abstrait in Paris, including Eduardo Gutiérrez (b. 1920) and Benjamín Moncloa (b. 1927), who had a distinguished career when he returned to Peru. More important still was the French artist's visit to Peru in 1954 on the occasion of his exhibition at the Galería de Lima. That exhibition was part of an ambitious cycle that introduced Peruvians to European modernity (including works from Italy) and generated a year-long debate on the subject of abstract art. In Lima, Dewasne forged strong ties with non-figurative artists (including Szyszlo) and others who later took part in the Primer Salón de Arte Abstracto in 1958, an event that revealed the extent of Dewasne's influence [see the exhibition catalogue in the ICAA digital archive, (doc. no. 1143441)]. Largely encouraged by Luis Miró Quesada Garland (1914–94)—the grand champion of modernism—Lima critics on the whole acknowledged the quality of Dewasne's work, thereby underscoring the potential of non-figurative art [see the following article by Garland "En blanca y negra..." (doc. no. 859530)]. There were, however, important critics such as Sebastián Salazar Bondy (1924–64) ["Artes plásticas" (doc. no. 859550)] and Edgardo Pérez Luna (1928–84) [see "De arte: Jean Dewasne en la Galería de Lima" (doc. no. 859484)], who questioned the relevance of this kind of painting in Latin America, a continent whose "germinal" status, in their opinion, demanded a form of art that reflected a broader social reality.
Reproduced with permission of Luis Miró Quesada Valega, Lima, Peru.


text:
\section{Introduction}\label{sec:introduction}
\input{introduction.tex}

\section{Logical Preliminaries}\label{sec:log-prelims}

\input{body-1.tex}

\section{Grammar Theoretic Preliminaries}\label{sec:grammar-theory}

\input{body-2.tex}

\section{Labelled Sequent Systems}\label{sec:labelled-systems}

\input{body-3.tex}

\section{Structural Refinement}\label{sec:refinement}

\input{body-4.tex}

\section{Nested Sequent Systems}\label{sec:nested-calculi}

\input{body-5.tex}

\section{Conclusion}\label{sec:conclusion}

\input{conclusion.tex}

\bibliographystyle{splncs04}

redpajama_set_name: RedPajamaArXiv


Dee Dee Flores-Scordino knows the Fresno real estate scene from many angles. She started her career as a loan processor, then went on to become an Underwriter Assistance. This gave her a solid background and understanding of how the loan process works.
She went on to earn her real estate license and, as a long-time resident, Dee Dee helped her community with buying and selling real estate. And, for the past 14 years, she has also provided mortgage loans for home purchases and refinances.
Whether this is your first home purchase or you are a seasoned investor, Dee Dee can help make your dream of homeownership a reality.
Outside of work, Dee Dee is active in the Leukemia & Lymphoma Society LLS, an organization close to her heart having a brother who survived leukemia. She has also been an affiliate member of the Fresno Association of Realtors since 2004.
Feel free to contact Dee Dee anytime by phone or email for personalized service and expert advice. Dee Dee Flores-Scordino will extend the same professional service to your friends, family members, work colleagues or neighbors who need help.


text:
Q: Python Flask flash not working correctly I've simple 2 line code :
@app.route('/contact/')
def contact():
  flash('We are reachable at ')
  return render_template('contact.html')

I get the message 'We are reachable at' at /contact but it appears are normal text message. It doesn't background color(blue) or disappears after seconds.
where contact.html contains
{% extends "layout.html" %}

{% block title %}Contact{% endblock title %}

{% block body %}

 Contact Us

   Your email address must be valid as this is where reply
   will be sent. We do not share this address with anybody.

{% endblock body %}

A: I think what you need is some CSS to make it look nice. If you add some bootstrap to your base.html/layout.html, you can do this in base.html/layout.html.
{% with messages=get_flashed_messages(with_categories=true) %}
 {% for category, message in messages %}

    {{ message }}

 {% endfor %}
{% endwith %}

And now whenever you are to display a flash message, do this in your route.
@app.route('/')
def index():
   flash('Your message here', 'your bootstrap category[eg:success, primary, etc]')
   return reder_template('contact.html')

A: Please have a look at this. this might help you
<!doctype html>
<title>My Application</title>
 {% with messages = get_flashed_messages() %}
   {% if messages %}

        {% for message in messages %}

{{ message }}

        {% endfor %}

  {% endif %}
 {% endwith %}
{% block body %}
{% endblock %}

and Do some styling with the css
p {
 color:blue;
 }

And add some jquery to the code
$(function() {
// setTimeout() function will be fired after page is loaded
// it will wait for 5 sec. and then will fire
// $(".message_flash").hide() function
  setTimeout(function() {
      $(".message_flash").hide('blind', {}, 500)
  }, 5000);
})

Hope this helps you.


text:
function wrong_usage_spec

a.x = 1;
b = {1};

found_error = false;
try
  c = mergestruct(a, b);
catch exception
  if strcmp(exception.message, 'Both arguments must be structs')
    found_error = true;
  end
end
expect(found_error);

redpajama_set_name: RedPajamaGithub


text:
Matthew "Matt" Frattin (* 3. Januar 1988 in Edmonton, Alberta) ist ein kanadischer Eishockeyspieler, der seit Juni 2022 beim HC Bozen aus der ICE Hockey League unter Vertrag steht und dort auf der Position des rechten Flügelstürmers spielt.

Karriere
Matt Frattin begann seine Karriere als Eishockeyspieler bei den Fort Saskatchewan Traders, für die er in der Saison 2006/07 in der Alberta Junior Hockey League (AJHL) aktiv war, zu deren Rookie des Jahres er gewählt wurde. Anschließend wurde der Flügelspieler im NHL Entry Draft 2007 in der vierten Runde als insgesamt 99. Spieler von den Toronto Maple Leafs ausgewählt. Zunächst besuchte er vier Jahre lang die University of North Dakota, für deren Eishockeymannschaft er parallel in der Western Collegiate Hockey Association (WCHA) aktiv war. Mit seiner Mannschaft gewann er 2010 und 2011 jeweils die WCHA-Meisterschaft. Er selbst wurde in den Jahren 2009 und 2011 in das All-Academic Team der WCHA gewählt sowie 2011, als er Topscorer der WCHA war, zusätzlich in deren erstes All-Star Team sowie zu deren Spieler des Jahres.

Im Laufe der Saison 2010/11 gab Frattin sein Debüt in der National Hockey League (NHL) für die Toronto Maple Leafs, bei denen er in der folgenden Spielzeit einen Stammplatz hatte, während er parallel für das Farmteam Toronto Marlies in der American Hockey League (AHL) zum Einsatz kam. Nach Ende der Saison 2012/13 wurde er zusammen mit Ben Scrivens und einem Zweitrundenwahlrecht für den NHL Entry Draft 2015 im Tausch gegen Jonathan Bernier an die Los Angeles Kings abgegeben. Nach 40 Einsätzen für die Kings wurde Frattin am 5. März 2014 erneut abgegeben, als er gemeinsam mit zwei Draftpicks im Austausch für Marián Gáborík zu den Columbus Blue Jackets wechselte. Nach nur vier Einsätzen für die Blue Jackets kehrte er im Juli 2014 zu den Toronto Maple Leafs zurück, wobei diese im Gegenzug Jerry D'Amigo sowie ein Wahlrecht für die siebte Runde des NHL Entry Drafts 2015 abgaben. Im Februar 2016 wurde er im Rahmen eines größeren Tauschgeschäftes, welches insgesamt neun Akteure betraf, zu den Ottawa Senators transferiert. Diese gaben ihn jedoch direkt auf Leihbasis an die Toronto Marlies zurück, wo er die Saison 2015/16 beendete. Im Anschluss unterzeichnete er als Free Agent einen reinen AHL-Vertrag bei den Stockton Heat. Beim AHL-Klub verbrachte der Kanadier die Spielzeit 2016/17, ehe er im August 2017 in die Kontinentale Hockey-Liga (KHL) zum kasachischen Klub Barys Astana wechselte.

Ab Januar 2018 stand er leihweise beim Lausanne HC aus der Schweizer National League unter Vertrag, ehe er zur Saison 2018/19 zu Barys Astana zurückkehrte. Dort beendete er die Saison, wechselte anschließend für ein Jahr zum Ligakonkurrenten Ak Bars Kasan, um danach im Mai 2020 wieder zu den Kasachen zurückzukehren. Frattin verbrachte dort weitere zwei KHL-Spielzeiten. Im Juni 2022 schloss sich der Kanadier dem italienischen Klub HC Bozen aus der ICE Hockey League an.

Erfolge und Auszeichnungen

Karrierestatistik
Stand: Ende der Saison 2021/22

Weblinks

Einzelnachweise

Eishockeynationalspieler (Kanada)
Eishockeyspieler (North Dakota Fighting Hawks)
Eishockeyspieler (Toronto Marlies)
Eishockeyspieler (Toronto Maple Leafs)
Eishockeyspieler (Los Angeles Kings)
Eishockeyspieler (Columbus Blue Jackets)
Eishockeyspieler (Stockton Heat)
Eishockeyspieler (Barys Astana)
Eishockeyspieler (Lausanne HC)
Eishockeyspieler (Ak Bars Kasan)
Eishockeyspieler (HC Bozen)
Kanadier
Geboren 1988
Mann


1. In a medium bowl, whisk together the lime, salt, tequila, vinegar, parsley, and olive oil.
2. Add the tomatoes and toss to coat.
3. Let the tomatoes stand at room temperature for about 2 hours before serving.
The ruby red tomatoes were practically bursting with flavor from the tequila-lime vinaigrette! Cherry tomatoes are halved and left to macerate in a tequila-lime vinaigrette at room temperature for two hours. If you have lots of cherry tomatoes you want to highlight, this is a great way to do it. Our garden produced very well this year, and we were looking for more ideas on how to use the tomatoes. I am not a tequila fan, but the small amount with the lime really worked here. The vinaigrette drew moisture out of the tomatoes, creating more vinaigrette with tomato goodness. The tequila was not overpowering whatsoever. We served them with grilled steak. Simple and good.
Tomatoes with Tequila-Lime Vinaigrette Recipe © 2007 Rebecca Rather. Photo © 2007 Laurie Smith. All rights reserved. All recipes and photos used with permission of the publisher.


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Donald Trump cheered loudly at college football title game
By buzzinus
NEW ORLEANS (AP) — President Donald Trump turned sports activities fan for a night as he watched No. 1 Louisiana State University and No. 3 Clemson battle it out within the College Football Playoff championship.
Trump flew to Louisiana for Monday's night time's game at the Superdome in New Orleans, accompanied by first girl Melania Trump.
"It'll be a great game. It'll be something that a lot of people want to see," he mentioned because the couple departed the White House.
The president and first girl walked onto the sphere shortly earlier than the game for the singing of the National Anthem. Fans from each groups cheered him loudly. Some greeted him with cheers of "USA, USA." Others chanted, "Four more years."
The first couple left earlier than the fourth quarter and the ultimate rating: LSU 42, Clemson 25.
Trump was in pleasant territory. He secured a virtually 20-point victory in Louisiana within the 2016 presidential election.
Trump can be conversant in the 2 groups. He took in an LSU game in November when the group went up towards Alabama.
He additionally met with a lot of Clemson's coaches and gamers once they visited the White House in January 2019 after profitable final season's nationwide championship. That go to occurred throughout a partial authorities shutdown. With a lot of the White House employees on furlough, Trump organized for a quick meals buffet of burgers and pizza. White House cups bearing the presidential seal held the fries.
Monday's game that includes two undefeated groups provided Trump a quick break from one other turbulent interval in his presidency as House Speaker Nancy Pelosi prepares to ship two articles of impeachment to the Senate and tensions between the U.S. and Iran proceed to simmer.
Sen. Lindsey Graham, R-S.C., who predicted a championship for Clemson, flew with Trump aboard Air Force One to Louisiana for the game. Graham is an outspoken supporter of Trump who opposes the president's impeachment. Sen. Tim Scott, R-S.C., additionally hitched a experience to the game.
While Trump has routinely sparred with skilled athletes throughout his time in workplace, college football has managed to keep away from related political controversies.
The president attended the Army-Navy football game final month and was warmly welcomed at the LSU-Alabama game.
"Regardless of your political views, that's pretty cool, having the president at the game," LSU quarterback Joe Burrow mentioned at the time.
Trump drew a combined response final fall when taking in a combined martial arts match in New York City. He additionally was jeered and booed at a World Series game in Washington.
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In Applicant v TD Insurance, a recent decision of the Licence Appeal Tribunal (LAT), Member Sewrattan had to consider whether an insurer could use causation as grounds for refusing to fund rebuttal assessments requested by the unnamed applicant to determine whether he had suffered a catastrophic impairment (CAT) under the Statutory Accident Benefits Schedule (SABS).
The applicant struck his head on a window as a passenger in a rear-end collision. He denied suffering significant physical injuries. He claimed that his ongoing psychiatric and cognitive impairment was caused in part or whole by the collision.
TD accepted that the applicant was suffering from serious psychiatric illness. Approximately two months before the accident he had been hospitalized with a differential diagnosis of manic episode or schizophreniform disorder. As of the hearing date, he had been declared incompetent and required a litigation guardian.
However, given his history of non-compliance with his medication schedule and the pre-existing nature of the illness, TD took the position that the collision did not cause or contribute to the applicant's condition, and placed him under the Minor Injury Guideline (MIG), which capped his entitlement to benefits at $3500.
The applicant repeatedly submitted requests for a variety of assessments to determine the issue of whether the collision was a cause of his ongoing impairment. TD denied these requests and scheduled a battery of its own assessments mirroring those requested by the applicant to support the denial. Based on 5 assessments, TD concluded that the applicant's psychiatric impairment was unrelated to the collision. In response, the applicant submitted an OCF 19 seeking a CAT determination. TD denied this application as well and had its 5 assessors perform CAT assessments based on their earlier reports.
Given the nature of the applicant's impairments, the CAT determination would either fall under Mental and Behavioral Disorders (MBD) or Whole Person Impairment (WPI]. TD's assessors did not consider MBD and assigned a WPI rating of 0%. As of the hearing, including paper reviews, TD had commissioned 13 reports while refusing to fund the applicant's 6 proposed CAT rebuttal assessments.
At the hearing, the applicant argued that an insurer did not have the right under the SABs to deny a CAT determination and could only dispute the reasonableness of the costs submitted. TD claimed that it could challenge whether the proposed assessments were themselves reasonable. In this case, there was no point funding assessments since it had concluded that the collision was not the cause of the applicant's impairments.
Member Sewrattan refused to comment conclusively on which of these perspectives was correct, noting that both led him to the same conclusion in this case. He was sympathetic to TD's position and acknowledged that the applicant faced serious causation challenges. However, Member Sewrattan held that it was unfair procedurally to deny the applicant access to assessors of his own choosing based on causation when CAT rebuttals were requested to determine exactly the issue of whether the collision was a cause of his ongoing impairments. This was particularly the case since TD had been willing to fund 13 assessments to disqualify the applicant's claim. As well, it was evident that the CAT assessors had not performed their role objectively or comprehensively. For example, the CAT team had not provided any WPI rating for the applicant's psychiatric impairments. Nor had it assigned any rating to, or even investigated, the applicant's cognitive dysfunction, identified by the CAT psychiatric assessor.
Therefore, Member Sewrattan found that the applicant was entitled to funding at the rates allowed under the SABS for 6 assessments to determine whether he had suffered a CAT impairment from the collision.
If you have suffered serious injuries in an automobile accident and have questions about Catastrophic Impairment or other issues related to your recovery, please contact us for a free consultation. At Campisi LLP, "Clients First, Excellence Always" is our commitment to you.


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