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S.OLIVER LAUNCHES FIRST ADVERTISING CAMPAIGN UNDER THE NEW UMBRELLA BRAND STRATEGY
s.Oliver is not only fashion. s.Oliver is also an attitude to life that connects people. People who are more than just friends; people who become a family. Because that is what makes a modern family – the strong feeling of belonging together, and sharing precious moments with each other. This lightness, this joie de vivre, have been key characteristics of the brand since 1969, and are carrying it into the future.
The new umbrella brand campaign for Spring/Summer 2015 shows the s.Oliver family in all its facets. QS by s.Oliver becomes s.Oliver DENIM. SIR OLIVER becomes s.Oliver PREMIUM. The s.Oliver brand itself comprises all the collections as the umbrella brand, and that is how it will develop its full strength in the future.
American top model Erin Heatherton and Matt Clunan present the uncomplicated looks of the main line s.Oliver against the backdrop of a beach house. The international fashion photographer Richard Phibbs also photographed the pair with child models for s.Oliver Junior. The new s.Oliver Bodywear and s.Oliver Beachwear collections were staged in exactly the same tonality. The younger, cool sub-label s.Oliver DENIM is shown with the wearers hanging out in a group on the beach. Models Miles McMillan and Anya Lyokashina were in front of the camera, wearing the rocking outfits of the trend-orientated collection and cleverly showing them at their very best. Models Angela Lindvall and Adam Senn showed the new looks of the high-quality, well-dressed line s.Oliver PREMIUM.
s.Oliver ACCESSORIES and the license products s.Oliver SHOES, s.Oliver TIME, s.Oliver JEWEL, s.Oliver EYEWEAR, s.Oliver HOME, s.Oliver UMBRELLAS, s.Oliver SOCKS and s.Oliver BABY were integrated in the shoot.
From February 2015, the new campaign motifs will be used internationally in the s.Oliver marketing mix – in a huge media campaign, at www.soliver.com and at the POS.
Your contact for editorial questions:
Carina Burdenski/ Nadine Wolf Schoeller & von Rehlingen PR
Hamburg / Munich
Phone: +49 (0) 40 4501 8364 /+49 (0) 89 998 42718
E-Mail: c.burdenski@svr-pr.de / n.wolf@svr-pr.de" onclick="ga('send', 'event', 'contact', 'email', 'c.burdenski@svr-pr.de / n.wolf@svr-pr.de');">Kontakt per E-Mail
Geraldine Kahl

redpajama_set_name: RedPajamaCommonCrawl


Here, for the hell of it, is a peculiar monologue I attempted to deliver yesterday evening at a local pub's Americana night in the persona of Marshall Amp. It will be quickly obvious that I don't like this guy which may account for the bemused, somewhat uneasy silence that greeted his appearance.
It's OK. ah don't bite.
Guy down there jus now axed me, Marshall Amp, how come ya allus so fired up? What's got your goat?
Weren't the best choice of words. Used to have a goat. Pet goat, name of B-Billy. My m-mom put him in the s-s-stewpot. (blubs a bit, becomes angry) Tell ya what really gets me riled, yeah? The modern world, that's what. Bring back the good ol days.
I mean, jus went outside fur somethin to eat. You got kee-babs, fish 'n' fries, Chi-nese, Eye-talian. Did'n know where to start. Now in the good ol days, it was simple. Pork'n'beans. That's it. And fur a change, beans'n'pork.
We was poor but we was happy. Knew our place. Ya gotta have poor folk. Else how the rich folk gonna get their money, no poor folk to steal off of? Law of nature, red in tooth and claw, survival of the fattest. (pats stomach) Eat or get eat.
Not that I got any problems in that department, no sirree! Least not since I become famous as a mo-ty-vational speaker, anyways. Tell ya, guys, this job's a babe-magnet. But I gotta confession t'make t'ya. Believe it or not (confiding), Marshall Amp used t'have a problem talkin to the ladies.
It's OK, I'm fine. Thing is, I was lucky. Friend of mine, he give me some advice. See, he was what ya call a lady's man. Knew what was what, ya get me? Says to me, first thing ya gotta do, find out her name. Maybe Dolores. So you go … Dolores, ah know a bank of flowers near here which is very beautiful … but it's not half so beautiful as you are … and Dolores, ah know a lake near here which is beautiful by moonlight … but it's not half so beautiful as your eyes.
Well, as ya can imagine, ah'm very keen to get started so ah mosey on down to the local dancehall an' ah seen this gorgeous … ah mean, gorgeous woman comin outa the ladies' powder room on to the centre of the dancefloor.
Yup, the good ol days, when men was men and women women … and this woman was, well, shapely (mimes shape) and … aw, but nowadays ya can't say nuthin. Po-litical co-rectness gone mad, ah tell ya. Jus now told a lovely lady down there, Ma'am, if ah said ya had a beautiful body would ya hold it against me?
Never expected first contact was gonna be her knee. (rubs inside thigh, winces with pain) Can't say nuthin, see? Not like the good ol days when ya could say what ya liked … jus so long as you agreed with the sheriff.
Hey, ah'm the sheriff! What say we have a little free speech here? Say whatever you want, jus like the good ol days. Who wants to go first? (hold out microphone) C'mon, folks, your opinion jus as good as mine … unless you're female. Ha, only kiddin ya! My wife is female. I'm allus tellin her, Darlin, I agree with everythin yur about to say. Cos they allus right, ain't they, bless em?
Well I reckon it was the ladies room. Couldn' read the sign cos ah never learned to read. No call fur it on the farm, see? Don't hold with all this book-learnin anyways. More ya know, more ya worry. What ya don't know can't hurt ya. Let sleepin dogs lie. If it ain't broke, don't fix it. Keep it simple, stoopid!
I ain't stupid. Seen the sign up there on the wall. Person in a frock. And ah seen this gorgeous woman coming out of that ladies' room on to the centre of the dancefloor.
I say ladies' room but it weren't much more'n a bucket in a broom-cupboard. You ever watch those ol cowboy movies and think to yourself, how come they never go to the bathroom? Well, see, in the good ol days we wasn't allus traipsin off to the can like all you namby-pamby pussies today. We had character, grit, de-termination … 'sides, the state of some of them places, you wouldn' wanna go near 'em. I mean, the ladies had it easy, the men's was jus a plank over a big, deep … but you don't wanna go there!
So I seen this gorgeous woman coming outa the ladies' room on to the centre of the dancefloor. Ah'm there in a flash, thinkin name, flowers, lake … name, flowers, lake … over an' over. And ah go, Ma'am, excuse me but may ah ask yur name? Well, she say, it's Dolores. Ah'm all Whoo-hoo but ah keep my cool – Dolores, ah know a bank of flowers near here which is very beautiful … but it's not half so beautiful as you are.
She smiles. So fur, so good. Then ah go, Dolores, ah know a lake near here which is very beautiful … but it's not half so beautiful as the deep, deep beauty of your beautiful blue eyes.
Well, she's over the moon. Ah'm over the moon. We both over the moon. But then it come to me. That so-called friend of mine never tol' me what to say next.
Gotta say somethin … Well, Dolores, you been for a crap then?
See, ah reckon Dolores took a bit of a shine to me but … well, never saw her again. (lower lip wobbles) Aw, shucks, ah'm over it now! As it happens, folks, ah've learned a trick or two since those bad ol days. One thing I learned, you ladies jus luurve a guy that's been unlucky in luurve. Brings out yur carin' side, I guess. Ya gotta real soft spot for him.


The Women's Basketball Hall of Fame has announced the members of their latest class, which consists of four former players and three contributors.
Beth Bass: Bass was the CEO of the Women's Basketball Coaches Association from 2001 to 2014.
Carolyn Bush Roddy: A two time AAU Champion with the Wayland Baptist Flying Queens in 1974 and 1975, Carolyn Bush Roddy was the leading scorer and rebounder for that team in both of those years.
Joan Cronan: Cronan was the woman's athletic director at the University of Tennessee for 29 years and during that time the Lady Vols became powerhouses in college basketball.
Nora Lynn Finch: Finch was a former coach who would serve on multiple committees in women's basketball.
Ticha Penicheiro: From Portugal, Ticha Penicheiro took Old Dominion to the 1997 NCAA Finals and professionally she would become the WNBA Rookie of the Year. The Point Guard would spend 12 of her 15 years in the WNBA with the Sacramento Monarchs where she was a seven time Assists leader and would take the team to the WNBA Finals in 2005 where she would help them win the title. Individually she was chosen for four WNBA All Star Teams and two First Team All-WNBA squads. When she wasn't playing in the WNBA she played in multiple European Leagues where she was a multi-time champion including the Polish National League (Lotos Gdynia 2001), Italian Cup (Basket Parma 2002), French National League (Valenciennes 2005), Russian National League (Spartak Moscow 2007), Latvian National League (TTT Riga 2008), Czech National League (USK Praha 2011) and the Turkish Cup (Galatasaray 2012). Sounds like a winner to us!
Ruth Riley: In 2001 Riley had an incredible college year where she took Notre Dame to the NCAA Championship while also winning the Naismith Player of the Year and Final Four MOP. She would play professionally in the WNBA where she led the Detroit Shock to two WNBA Championships in 2003 and 2006, the former of which saw her win the WNBA Finals MVP.
Valerie Still: Still played for the Kentucky Wildcats and she is still the all-time leader in Points and Rebounds. She would win two championships in the ABL with the Columbus Quest.
The Women's Basketball Hall of Fame opened in 1999 and is in Knoxville, Tennessee.
We here at Notinhalloffame.com would like to congratulate this year's class.


It's the biggest holiday in the Nation's Capital! In addition to events on the National Mall, visitors can celebrate with special activities at Frederick Douglass's Cedar Hill estate in Anacostia, or enjoy the fireworks from a number of national parks in and around the city.
Check out Independence Day events at national parks throughout the area.
Details on the National Park Service and the behind the scenes work that makes the Fourth of July possible.
A detailed history of the origin of Independence Day.


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Marketing & Urban Scenes
Hawkers of Foodstuffs,Gordonsville, Virginia, 1873-74
Railway station at Gordonsville, not far from Charlottesville. Black hawkers selling goods and other refreshments to white passengers; the Negroes . . . swarm day and night like bees about the trains (p. 649). Original sketch made by J. Wells Chamney who accompanied the author during 1873 and the spring and summer of 1874. Although relating to the post-emancipation period, the scene possibly evokes the later ante-bellum years.
Woman Carrying Bundle, Savannah, Georgia, 1873-74
The woman is descending a staircase by the levee in Savannah; she carries a bundle on her head, a ubiquitous form of burden carrying throughout African America from the earliest times. It is not specified if the woman was a domestic servant. Original sketch made by J. Wells Chamney who accompanied the author during 1873 and the spring and summer of 1874.
Fruit and Vegetable Vendor, Rio de Janeiro, Brazil, 1850s
Shows female hawker, The Quitandeira, carrying a tray on her head with her infant tied to her back. The quitandeiras are the venders of vegetables, oranges, guavas, . . mangoesö sugar-cane, toys, etc. They shout out their stock in a lusty voice . . . . The same nasal tones and high key may be noticed in all. Children are charmed when their favorite old black tramps down the street with toys or doces. The same illustration appears in later editions of this work, e.g., 1866 (6th ed.), 1879 (9th ed.).
Vue de la salle de spectacle sur la Place du Rocio, à Rio de Janeiro
"View of the Salle de Spectacle at the Place du Rocio, in Rio de Janeiro" (caption translation). In the background was the theatre, Salle de Spectacle, with miscellaneous urban scenes in the foreground of a plaza, Brazil. Two enslaved people carry a woman in a palanquin or covered litter, while a group of enslaved convicts carry water buckets on their heads, linked by chains around their necks. A uniformed guard with a sword is on the right. This engraving, by Lerouge and Bernard, but based on a drawing by Jacques Arago, was published in an elaborate Atlas of 112 plates, some in color, based on drawings made by various artists during a French geographical expedition in the early nineteenth century. The expedition visited Rio in in Dec. 1817-Feb. 1818. The Atlas accompanies a multi-volume account of the expedition, and is sometimes cataloged under the authorship of Ministere de la Marine et des Colonies, rather than Freycinet, the commander of the expedition. Louis Claude de Saulces de Freycinet (1779–1841) was a French navigator, who circumnavigated the earth, and in 1811, published the first map to show a full outline of the coastline of Australia.
Linen Market, Dominica
This painting shows enslaved people, free people of color, and Europeans in a crowded market scene. Agostino Brunias (sometimes incorrectly spelled Brunyas, Brunais), was a painter born in Italy in 1730. He came to England in 1758 where he became acquainted with William Young, who had been appointed to a high governmental post in West Indian territories acquired by Britain from France. In late 1764, Brunias accompanied Young to the Caribbean as his personal artist. Arriving in early 1765, Brunias stayed in the islands until around 1775, when he returned to England (exhibiting some of his paintings in the late 1770s). He returned to the West Indies in 1784 and remained there until his death on the island of Dominica in 1796. Although Brunias primarily resided in Dominica, he also spent time in St. Vincent and visited other islands, including Barbados, Grenada, St. Kitts, and Tobago. See Lennox Honychurch, Chatoyer's Artist: Agostino Brunias and the Depiction of St Vincent, for what is presently the most informative and balanced discussion of Brunias and his romanticized and idyllic paintings of West Indian scenes and slave life (Jl of the Barbados Museum and Historical Society, vol. 50 [2004], pp.104-128); see also Hans Huth, Agostino Brunias, Romano (The Connoisseur, vol. 51 [Dec. 1962], pp. 265-269). Some of the features and human subjects in this scene are also found in the Brunias oil painting, Linen Market at St. Domingo (see image reference NW0009).
Sunday Morning in the Country
Bridgens explained how "a man and a woman are going to Sunday market, the day enslaved laborers were released from plantation work; the woman has a full tray of goods, including poultry. . . The markets in the West Indies are supplied almost entirely by the Negroes of the surrounding country." A sculptor, furniture designer and architect, Richard Bridgens was born in England in 1785, but in 1826 he moved to Trinidad where his wife had inherited a sugar plantation, St. Clair. Although he occasionally returned to England, he ultimately lived in Trinidad for seven years and died in Port of Spain in 1846. Bridgens' book contains 27 plates, thirteen of which are shown on this website. The plates were based on drawings made from life and were done between 1825, when Bridgens arrived in Trinidad, and 1836, when his book was published. Although his work is undated, the title page of a copy held by the Beinecke Rare Book Room at Yale University has a front cover with a publication date of 1836, the date usually assigned to this work by major libraries whose copies lack a title page. Bridgens' racist perspectives on enslaved Africans and his defense of slavery are discussed in T. Barringer, G. Forrester, and B. Martinez-Ruiz, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale University Press, 2007), pp. 460-461. Bridgens' life is discussed extensively along with discussion of his drawings and presentation of many details on slave life in Trinidad in Judy Raymond, The Colour of Shadows: Images of Caribbean Slavery (Coconut Beach, Florida: Caribbean Studies Press, 2016). Raymond's book, which is an essential source for any study of Bridgens, also includes a number of unpublished sketches of Trinidadian slave life. See also Brian Austen, Richard Hicks Bridgens (Oxford Art Online/Grove Art Online).
Négresses, à Rio-de-Janeiro
"Negro Women, in Rio de Janeiro" (caption translation). This engraving shows four well-dressed women with various goods on their heads, including an umbrella and a basket of fruit. François-Auguste Biard (1799-1882), or François Thérèse Biard, was a French painter and traveler. Around 1858, he spent two years in Brazil working at the court of Emperor Pedro II. From Rio de Janeiro, he made several excursions into the interior, where he painted some of the earliest images of indigenous people in the Amazon. On his return to France, he went through North America and painted scenes depicting slavery. He published around 180 engravings and was sometimes criticized for inserting humour in otherwise serious paintings. See Ana Lucia Araujo, Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics (Albuquerque: University of New Mexico Press, 2015).
Déménagement d'un piano, à Rio-de-Janeiro
"Moving a Piano, in Rio de Janeiro" (caption translation). This engraving shows six men who seem to be jogging while singing something as they transport a piano on their heads through the streets. They are part of a much larger group involved in moving someone's household goods and furniture. François-Auguste Biard (1799-1882), or François Thérèse Biard, was a French painter and traveler. Around 1858, he spent two years in Brazil working at the court of Emperor Pedro II. From Rio de Janeiro, he made several excursions into the interior, where he painted some of the earliest images of indigenous people in the Amazon. On his return to France, he went through North America and painted scenes depicting slavery. He published around 180 engravings and was sometimes criticized for inserting humour in otherwise serious paintings. See Ana Lucia Araujo, Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics (Albuquerque: University of New Mexico Press, 2015).
"Negro Women, in Rio de Janeiro" (caption translation). This engraving shows three women in full dresses and head ties/turbans. One woman carries a basket of fruit on her head. François-Auguste Biard (1799-1882), or François Thérèse Biard, was a French painter and traveler. Around 1858, he spent two years in Brazil working at the court of Emperor Pedro II. From Rio de Janeiro, he made several excursions into the interior, where he painted some of the earliest images of indigenous people in the Amazon. On his return to France, he went through North America and painted scenes depicting slavery. He published around 180 engravings and was sometimes criticized for inserting humour in otherwise serious paintings. See Ana Lucia Araujo, Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics (Albuquerque: University of New Mexico Press, 2015).
Untitled Image (Sixteen Small Portraits with Notations)
This watercolour contains sixteen small drawings of men and women carrying goods on their heads with brief notations about the subjects of the drawings. William Berryman was an English artist who lived in Jamaica for eight years between 1808 and 1816. He produced about 300 pencil drawings and watercolour of people, landscape, settlements, and flora in the island's southern parishes and the general region surrounding Kingston. Several other Berryman works are reproduced in T. Barringer, G. Forrester, B. Martinez-Ruiz, et al., Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (New Haven: Yale Center for British Art in association with Yale University Press, 2007).
L'Hôpital civil et militaire
"The Civil and Military Hospital" (caption translation). This engraving shows three enslaved women and a girl in the foreground. Benoit wrote that "their feet are bare because only free people of color have the right to wear shoes" (p. 21). He added "the civil and military hospital is in the background. Sick people are transported to the hospital in a type of box covered by canvas." Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Trois marchandes à la toilette ou revendeuses, créole, négresse-créole et cabougle ou africaines
"Three Merchants by the Toilets or Traders, Creole, Negro-Creole and Cabougle or African" (caption translation). This engraving shows three market women or retailers of various dry goods with wood trays on their heads. The man clad in a loincloth appears to be enslaved, but it is unclear what he is doing exactly, although it could relate to using the toilet. Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Vue de gran Marché aux légumes, fruits et volailles
"View of the Central Market of Vegetables, Fruits and Poultry" (caption translation). This engraving shows a busy market in the center of Paramaribo, nestled in among Dutch-style housing. Note the gravestones on the ground in the lower left. Benoit described this area "as a large square. In former years the cemetery was located there, but the government, fearing an epidemic, moved it to the city's outskirts" (p. 17). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Costumes créoles et nègres
"Creole and Negro Clothing" (caption translation). This engraving shows three women standing in European clothes, while a man in the back holds an umbrella. On the streets of Paramaribo, Benoit wrote that "one can encounter a variety of people, wearing different styles of clothing" (p. 17). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
A gauche une marchande de kabbeljaauw ou morue; à droite, une verdurière; au milieu, une jeune créole laitière, dans le fond, une revendeuse
"On the Left a Cod or Salted Cod Merchant; On the Right, a Vegetable Merchant; in the Center, a Young Creole Milkmaid, in the Back, a Retailer" (caption translation). This image depicts various women identified in the image title dressed in different clothing styles. Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Cinq femmes esclaves se rendant à leur église un jour de fête
"Five Enslaved Women Going to their Church on a Festival Day" (caption translation). This engraving shows well-dressed women, who are a Lutheran, a Jew, a Calvinist and a Moravian, while a young, Christian, creole slave is going to church on the day of Palms. Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Vue de la rue Sarameca
"View of Sarameca Street" (caption translation). This engraving shows houses in Paramaribo. The author described how "Sarameca-Straat is where the most and best stores and shops of the colony are located. . . It is the general congregating place not only for foreigners, but also of all classes of locals" (p. 21). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.
Milkwoman
This lithograph depicts a woman carrying milk products in a bowl on her head. Belisario explained how this milk seller "many Colored persons, as well as free Negroes living at short distances from towns or villages find it to their advantage to supply the inhabitants with goats' milk, which being richer than that of the cow, is therefore preferred by most families. The woman is on her way to town from the country in the early morning. Divested of the encumbrance of shoes and stocking and with the dress of a convenient walking length, the Milkmaid of Jamaica travels along at a rapid rate. . . arrived in town, she announces herself with 'See me day a wid de milk' (Here I am with the milk)." Isaac Mendes Belisario (1795–1849) was a Jamaican artist of Jewish descent and active in Kingston Jamaica around British emancipation in 1833. The image shown here, as well as others of "John-Canoes," was drawn from life by Belisario in 1836. This lithograph is one of twelve originally published in three parts, four plates at a time.
Water-Jar Sellers
This lithograph shows two men carrying pottery, or water jars, on their heads. The pottery in tray on the left includes (on the very top) the globular tea-pot shaped ceramic ware known in the Anglophone Caribbean as a monkey or monkey jar, used to hold water and keep it cool. This might be the earliest known illustration of the monkey in the Caribbean. The large pot being carried on the right appears to be a Jamaican version of the Spanish [olive] jar. Belisario provided a detailed description of water supplies in Jamaica, particularly Kingston, and noted that "the porous water jars in ordinary use are manufactured at potteries near the city; the two men shown here are apprentices who sally forth daily. The blue bag hanging from the neck of the taller man is a purse, every female Negro also carries a similar appendage at her waist." Isaac Mendes Belisario (1795–1849) was a Jamaican artist of Jewish descent and active in Kingston Jamaica around British emancipation in 1833. The image shown here, as well as others of "John-Canoes," was drawn from life by Belisario in 1836. This lithograph is one of twelve originally published in three parts, four plates at a time.
Yglesia y Convento de Belen (Habana)
"Church and Convent of Belen (Havana)" (caption translation). This engraving shows, among other figures, a black man pushing a wheelbarrow, others carting loads on their backs and a liveried coachman waiting by a carriage in front of a convent. José María de Andueza (1809-1865) was a journalist and writer of romantic historical novels. He visited Havana and Cuba's western provinces in 1825 and 1830. This illustration was made by Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, who was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 38-40.
Paramaribo, Surinam, 1808
In foreground, slaves are rowing European visitors ashore from sailing vessel; another African (on left) is paddling a canoe. Waller, a surgeon in the British Navy, landed in Paramaribo in July 1808. As his ship approached the city, the Surinam river becomes more and more interesting. The right bank ascending, appears covered with cultivated grounds and villas; the Dutch and the English too have spared neither pains nor expense to render their habitations delightful. These villas are principally the country residences of the citizens.
Marketing, St. Vincent, West Indies, 1770s
Titled, The Fruit Market at St. Vincent, shows free colored woman and slaves, perhaps meant to depict the Sunday Market, a major institution in the British West Indies during the period of slavery. Agostino Brunias (sometimes incorrectly spelled Brunyas, Brunais), a painter born in Italy in 1730, came to England in 1758 where he became acquainted with William Young. Young had been appointed to a high governmental post in West Indian territories acquired by Britain from France, and in late 1764 Brunias accompanied Young to the Caribbean as his personal artist. Arriving in early 1765, Brunias stayed in the islands until around 1775, when he returned to England (exhibiting some of his paintings in the late 1770s) and visited the continent. He returned to the West Indies in 1784 and remained there until his death on the island of Dominica in 1796. Although Brunias primarily resided in Dominica he also spent time in St. Vincent, and visited other islands, including Barbados, Grenada, St. Kitts, and Tobago. See Lennox Honychurch, Chatoyer's Artist: Agostino Brunias and the Depiction of St Vincent, for what is presently the most informative and balanced discussion of Brunias and his romanticized and idyllic paintings of West Indian scenes and slave life (Jl of the Barbados Museum and Historical Society, vol. 50 [2004], pp.104-128); see also Hans Huth, Agostino Brunias, Romano (The Connoisseur, vol. 51 [Dec. 1962], pp. 265-269).
Market, Saint Domingue (St. Domingue, Haiti), 1770s
Titled The Linen Market at St. Domingo, shows free colored women and men; slaves in background. Some of the background features and human subjects in this scene are also found in the Brunias oil painting, Linen Market, Dominica, held by the Yale Center for British Art (see image reference Brunias-Yale). Agostino Brunias (sometimes incorrectly spelled Brunyas, Brunais), a painter born in Italy in 1730, came to England in 1758 where he became acquainted with William Young. Young had been appointed to a high governmental post in West Indian territories acquired by Britain from France, and in late 1764 Brunias accompanied Young to the Caribbean as his personal artist. Arriving in early 1765, Brunias stayed in the islands until around 1775, when he returned to England (exhibiting some of his paintings in the late 1770s) and visited the continent. He returned to the West Indies in 1784 and remained there until his death on the island of Dominica in 1796. Although Brunias primarily resided in Dominica he also spent time in St. Vincent, and visited other islands, including Barbados, Grenada, St. Kitts, and Tobago. See Lennox Honychurch, Chatoyer's Artist: Agostino Brunias and the Depiction of St Vincent, for what is presently the most informative and balanced discussion of Brunias and his romanticized and idyllic paintings of West Indian scenes and slave life (Jl of the Barbados Museum and Historical Society, vol. 50 [2004], pp.104-128); see also Hans Huth, Agostino Brunias, Romano (The Connoisseur, vol. 51 [Dec. 1962], pp. 265-269).
Free Woman of Color, Barbados, late 1770s
Titled by the artist, The Barbadoes Mulatto Girl, this engraved print shows an anonymous free woman of color (freedwoman) purchasing fruit/vegetables from enslaved vendors (see also, image NW0149-a ). Agostino Brunias (sometimes incorrectly spelled Brunyas, Brunais), a painter born in Italy in 1730 and came to England in 1758 where he became acquainted with William Young. Young had been appointed to a high governmental post in the Caribbean territories Britain had acquired from France, and in late 1764 Brunias accompanied Young to the Caribbean as his personal artist. Arriving at Barbados in early 1765 (where the sketch for the image shown here, perhaps for others as well, was probably done), Brunias stayed in the islands until around 1775, when he returned to England (exhibiting some of his paintings in the late 1770s) and visited the continent. He returned to the West Indies in 1784 and remained there until his death on the island of Dominica in 1796. Although Brunias primarily resided in Dominica he also spent time in St. Vincent, and visited other islands, including Barbados, Grenada, St. Kitts, and Tobago. See Lennox Honychurch, Chatoyer's Artist: Agostino Brunias and the Depiction of St Vincent, for what is presently the most informative and balanced discussion of Brunias and his romanticized and idyllic paintings of West Indian scenes and slave life (Jl of the Barbados Museum and Historical Society, vol. 50 [2004], pp.104-128); see also Hans Huth, Agostino Brunias, Romano (The Connoisseur, vol. 51 [Dec. 1962], pp. 265-269). A photograph of this print was given to Handler in the 1960s by the late Neville Connell, Director of the Barbados Museum. Four Brunias paintings, some containing elements of images shown on this website (including, for example, the slave woman in the lower right, above) can be seen on the website of the Peabody Museum of Archaeology and Ethnology at Harvard University. Another copy of The Barbadoes Mulatto Girl is held by the Yale Center for British Art; it was published in London in 1779 and is dedicated to John Geo., Felton.
Trafalgar Square, Bridgetown, Barbados,1835
Looking up Broad Street, with statue of Admiral Nelson in the foreground; also shown are people engaged in various activities, including carters with teams of oxen and wagons loaded with hogsheads of sugar or rum. Although Broad Street (shown in this drawing), the main street in Bridgetown, the Barbados capital, has changed considerably since 1835, it still exists as does the statue of Nelson. For details on this rare set of drawings, see Jerome S. Handler, Guide to Source Materials for the Study of Barbados History (Carbondale, 1971), p. 91.


Alexander Balaeff, Christophe R. Koudella, L. Mahadevan, and Klaus Schulten. Modeling DNA loops using continuum and statistical mechanics. Philosophical Transactions of the Royal Society of London A. (Mathematical, Physical and Engineering Sciences), 362:1355-1371, 2004.
The classical Kirchhoff elastic rod model applied to DNA is extended to account for sequence dependent intrinsic twist and curvatures, anisotropic bending rigidities, electrostatic force interactions and overdamped Brownian motion in a solvent. The zero temperature equilibrium rod model is then applied to study the structural basis of the function of the lac repressor protein in the lac operon of E. coli. The structure of a DNA loop induced by the clamping of two distant DNA operator sites by lac repressor is investigated and the optimal geometries for the loop of length 76 bp are predicted. A mimicked binding of catabolite gene activator protein (CAP) inside the loop provides solutions that explain experimentally observed synergy in DNA binding between the two proteins. Finally, a combined Monte Carlo and Brownian dynamics solver for a wormlike chain model is described and a preliminary analysis of DNA loop formation kinetics is presented.
Contact Us // Material on this page is copyrighted; contact Webmaster for more information. // Document last modified on Fri Nov 2 13:24:22 2012 // 248279 accesses since 20 Mar 2006 .


Most of us would rather walk on hot coals than give a presentation. According to one survey, many prefer dying to getting up and speaking to a group of people. Yet with presentations, as almost all skills, the more we practice, the better we become.
Delivering effective, clear, concise communication is a necessary skill set that should be in every executive tool bag. What I taught MBA students at The Wharton School is that it won't matter if you are the smartest person in the room if you can't communicate your ideas.
Give your presentation what many public speaking coaches refer to as "CPR" to avoid being a snore or a bore.
What else can you do to give your audience a reason to sit up and take notice? Be visual. Be a storyteller.
Like a good movie, presentations should unfold visually, then finish painting that picture with meaningful words and phrases. Look at the first sentence of this article: Most of us would rather walk on hot coals than give a presentation. Not exactly Ernest Hemingway, but you get the point. Reach out and grab your audience with something they can see.
Storytelling is my favorite presentation tool. And how you open–and close–is critical to presentation success. Consider opening with a personal story to capture the attention of your audience. You can–and should–connect in a honest, open and transparent exchange with your audience. Telling stories allows you to do just that.
Presentations are a little like going on stage. My advice is to perform like a preacher. Good preachers are dynamic (your husband won't fall asleep) and engaging. Good preachers choose words carefully, they use pauses and intonation to add emphasis, and they solicit an occasional amen. Many say great presentations are akin to great acting. Yet there is a little more to it: prepare and practice being demonstrative. You are the expert, remember? Show your passion, interact with your audience and above all–no kidding–have fun.


text:
Farida Guitars is a Chinese musical instruments brand. Farida, launched in 2004, seems to be a copy of Marina guitars and is part of the Grand Reward Education & Entertainment (GREE) portfolio of brands. GREE was founded in 1995, and is based in Guangdong Province. It produces OEM instruments for a selection of other brands in its 120,000 sq. ft. factory. On average, it produces around 13,000 guitars per month.

Farida endorses a number of popular contemporary musicians. These include Frank Turner, The Vaccines, Bombay Bicycle Club, and Sandi Thom.

Farida Guitars are distributed around the world under license. In the US, distribution is handled by famed vintage stringed instrument retailer Elderly Instruments, Inc. In the UK, distribution is handled by Dawsons Music. Instruments manufactured include electric, acoustic and classical guitars and basses.

References

External links
 Official website

Guitar manufacturing companies
Companies based in Guangdong
Companies established in 2004
Chinese brands
Musical instrument manufacturing companies of China

redpajama_set_name: RedPajamaWikipedia


DDT is currently used in indoor residual spraying (IRS) for malaria vector control in several countries, in accordance with the recommendations and guidelines of the World Health Organization (WHO). Nonetheless, this chemical is among the 12 persistent organic pollutants (POPs) the production or use of which is restricted by the Stockholm Convention because of the high risk it poses to environmental and human health. To reduce reliance by countries on DDT, integrated vector management (IVM) is being promoted thanks to its cost- effectiveness, ecological soundness, and sustainability. IVM creates the opportunity to implement a combination of chemical and non- chemical methods. A number of non-chemical methods have proven their value in malaria vector control in certain settings, but more work is needed on the incremental impact of these methods when used in conjunction with backbone interventions such as indoor residual spraying (IRS), long-lasting insecticidal nets (LLINs) or case management with artemisinin-based combination therapies (ACTs) for treatment of uncomplicated malaria.


text:
#ifndef JUMENUMFFTOOLS_H
#define JUMENUMFFTOOLS_H

#include <unordered_map>
#include "../JuMenuDeps.h"
#include "../JuMenuErrs.h"

namespace JuMenu {

/* file Split */
void fileSplit(const std::string &dataIn,std::vector< std::pair<std::string,std::string> > &dataOut);

/* Equals delimit */
//void fileSplit(const std::string &dataIn,std::unordered_map<std::string,std::string> &dataOut);

};

#endif

redpajama_set_name: RedPajamaGithub


text:
1,200 businesses form anti-discrimination coalition
By Jacqueline Thomsen - 08/01/18 07:16 PM EDT
More than 1,200 businesses have joined together to form an initiative to show they don't discriminate against customers or employees based on race, sexual orientation and gender identity, among other characteristics.
NBC News reported that companies like Yelp, Airbnb and Lyft are now part of the "Open to All" coalition, meaning they do not discriminate on the basis of race, religion, sexual orientation, gender identity or other characteristics.
"No one should have to worry that they will be denied service," coalition campaign manager Calla Rongerude told NBC News. "No one should be turned away from a business simply because of who they are."
The initiative, which launched this week, was created by the LGBTQ think tank Movement Advancement Project and also has the backing of nearly 200 advocacy groups, according to NBC News.
Rongerude told the network that the group started in response to the Masterpiece Cakeshop Supreme Court case.
The justices ruled this summer that a baker had the right to refuse to make a wedding cake for a same-sex couple over his religious beliefs. The narrow ruling meant that companies do not have the right to discriminate against gay people.
Businesses in the initiative can signal their participation with a window sticker, or by saying they are "open to all" on their Yelp profile pages, according to NBC News.
Luther Lowe, Yelp's senior vice president of public policy, wrote in a blog post that adding the feature will give businesses the opportunity "to distinguish themselves as a safe and welcoming place to everyone."
Tags Yelp Lyft anti-discrimination


text:
Billie Eilish's "When We Fall Asleep, Where Do We Go" blows away expectations
Posted on April 26, 2019 by nicholasreed1	Leave a comment
By Nick Reed
Billie Eilish, to me, has always seemed somewhat of a boring, non-offensive indie singer. She writes songs for a demographic that I'm not in, and, thusly, is someone I've never taken particularly seriously.
Leaving the "Don't Smile At Me" era of her career, I wasn't particularly interested in what she would do next. That was until I heard her new single, "When the Party's Over."
Now, I am a lover of sad songs, and I can learn to love many a sad pop song. This is no normal sad pop song. "When the Party's Over" is this bare bones, nearly a cappella ballad, where Eilish finds herself crooning over faint choral humming. The song feels patient and measured, as if Eilish isn't rushing to any ending, almost reminiscent of late '90s emo works such as "Love Letter Typewriter" by Mineral.
Moreover, the lyrics detail a story of running away from your problems, trying to fill up the void left by someone you love leaving you in the dust by partying and forcing your mind to other places.
The song has such an in-the-moment feel, characterized when Eilish says of her song, "I feel like that's such a sentence. It's like, 'I'll call you when the party's over,' you're on the phone with someone and you can't hear them, they can't hear you, it's loud, they're mad at you for some reason."
This song changed my perception of her quite a bit. Her fake quirkiness and the accusations of being an industry plant mattered a lot less. After all, what did any of this matter if the music was good?
My anticipation went from nonexistent to very high. My expectations were still low, however. With a pop artist so early in their career, a miss was much more possible than a hit. This, however, was not the case.
Next came the song "You Should See Me In a Crown," the opposite of the mellow cuts I'd been expecting of her up to that point. With spastic, grinding high hats and dentist drill effects, Eilish's vocals shook with vibrato as she sang. The beat almost seems like something out of an underground hip hop project, akin to Death Grips or H099or9.
Eilish had not only proven herself more than capable twice at this point, but also displayed musical versatility, one of my biggest problems with her work up to this point. It seemed the stage was set for her album premiere.
I remember when her album dropped; I was in North Carolina doing my college tours. I was sitting in my hotel room and was shuffling through my usual artists, when I noticed her new album had been released. My expectations going in were high. I started the album at the intro, laid back in my hotel bed and let it all come.
I can say now, without a doubt, this album blew my expectations out of the water. I expected a lot, and yet I was blown away. This album is beyond incredible, and, dare I say, might be the best pop album of the year.
On this record, Eilish has crafted an ingenious, forward-moving, creative, inspired, experimental pop album. It's almost amazing this came from a mainstream pop star and not the underground.
I find myself most astounded by the fact that Eilish sings in the same tenor, style and volume throughout the whole album, and not once does this delivery fall flat. The production and the vocal effects all contribute, but her singing style does not waver. This is not a bad thing; it's simply a testament to the skill of her as a vocalist and her brother as a producer.
I must take a second to appreciate the production from Finneas O'connell. His beats — those shuttering high hats, the deep sub bass — all beyond ingenious. The playing with the vocals is something to be reckoned with as well, as the vocal effects add massive amounts of character to her voice and the substance behind her lyrics.
There are several tracks to highlight on this record. There are the obvious and aforementioned "When the Party's Over" and "You Should See Me in a Crown." Beyond that, tracks like "Bad Guy," "Xanny," "Wish You Were Gay," "8," and "Listen Before I Go" are my personal favorites.
Her song "Bad Guy" features a deep sub bass with a set of ever-increasing snaps that slowly feel as they're surrounding you while Eilish delivers lines including "[I'm the] might seduce your dad type."
On the other hand, "Xanny" feels like a bare bones, singer songwriter experience as it opens — singing about lifeless, drug addicted zombies — before suddenly an explosive bass effect attacks everything within the song, leading everything (vocals included) to vibrate and tingle with abrasive noise. This is all interspersed with quiet, personal piano bits, Eilish's voice fluttering over these portions with a beauty akin to a Disney song. This loud soft dynamic doesn't sound far off from the alternative rock of the '90s and the ending sounds straight out of "Sergeant Pepper's Lonely Hearts Cover Band."
Eilish continues this singer songwriter vibe with "Wish You Were Gay," her voice laying a ballad over a strummed guitar and trap backing crafting an intoxicating sound straight out of a summer jam. Although one of the more pop sensible songs on the tracklist, it is one of the catchiest and doesn't miss a beat in comparison with the rest of the album.
"8" is one of the strangest songs on the album, featuring (honestly somewhat terrifying) baby voice vocals over a singer songwriter type trap beat. This is one of Eilish's strongest vocal tracks on the album, featuring goosebump inducing shaking, highs and lows and that aforementioned baby voice.
However, my personal favorite song on the track is "Listen Before I Go." An isolated, heartbreaking piano ballad is interrupted by vocal effects or bombastic production. There is nothing to draw away from the words Eilish is trying to say, and those words are heart-wrenching. She sings solemnly about her friends she will miss, her loves lost and continually refers to leaving. This is an obvious suicide note and a terrifying way to leave off an emotional rollercoaster of an album.
This album was beyond impressing for me. I completely underestimated what Eilish was capable of. She is no stereotypical pop star.
I know it might be difficult to take her seriously given the way she has come up and the prejudices some might have, but I urge all to give this album a shot. I believe they will find a wonderful and downright amazing pop experience here.
Featured image (at the top of this post): Billie Eilish performs live in Los Angeles in a 2017 concert. PHOTO CREDIT: Justin Higuchi


text:
Q: How to create a new file like existFileName(1).pdf in same directory How to create a new file with numbers(increment if a new creates). Now i have a file in a direcoty as "29-03-2013.pdf". If this is created again,I want to create a new file with name as "29-03-2013(1).pdf" and so.
My code:
String finalResponse="";
String pdfnameDate=selectedFromDate+"_"+selectedToDate;

Document doc = new Document(PageSize.A4.rotate(), 50, 10, 10, 10);

try {
    File alertsFiledir = new File(Environment.getExternalStorageDirectory(), "/RAMAPP/ALERTS");
    if (!alertsFiledir.exists()) {
        if (!alertsFiledir.mkdirs()) {
            finalResponse="failed";
            Log.i("alertsavepdf","directory not created");
            return finalResponse;
        }
    }
    File alertsFile = new File(alertsFiledir,pdfnameDate+".pdf");

    if (!alertsFile.exists()) {
        try {
            boolean fileExist = alertsFile.createNewFile();
            if(!fileExist)
            {
                finalResponse="failed";
                return finalResponse;
            }
        } catch (IOException e) {
            e.printStackTrace();
            finalResponse="failed";
            return finalResponse;
        }
    }
    else
    {
        **//here how to Create a new File like pdfnameDate(1) or pdfnameDate(2).Here pdfnameDate is exist file name**

    }
    PdfWriter.getInstance(doc, new FileOutputStream(alertsFile));
    doc.open();
    Log.i("alertsavepdf","pdf file created");
} catch (FileNotFoundException e) {
    e.printStackTrace();
    finalResponse="failed";
    Log.i("alertsavepdf","savepdf error->"+e.toString());
    return finalResponse;
} catch (DocumentException e) {
    e.printStackTrace();
    finalResponse="failed";
    Log.i("alertsavepdf","savepdf error->"+e.toString());
    return finalResponse;
}

A: A loop seems perfect here:
int count = 0;
do {
    count++;
    alertsFile = new File(alertsFiledir,pdfnameDate + "(" + count + ").pdf");
} while(alertFile.exists());
// Make the file

(A StringBuilder will be slightly faster than concatenating String with +, if you are obsessed with speed.)

A: It is written fast and did not check if all okay. It shows the idea. You can optimize it using one regex pattern or even do it without regex.
void method() {
// ... your code
    if (file.exists()) {
        final int number = getFileNumber(file);
        file = new File(getFilePathWithoutExtAndNumber(file) + "(" + (number + 1) + ")" + getFileExt(file));
    }
}

private int getFileNumber(File file) {
    final Pattern p = Pattern.compile(".*\\((\\d+)\\)\\..*$");
    final Matcher m = p.matcher(file.getName);

    if (!m.matches()) {
        return 0;
    }
    return Integer.parseInt(m.group(1));
}

private String getFilePathWithoutExtAndNumber(File file) {
    final Pattern p = Pattern.compile("(.*)\\((\\d+)\\)\\..*$");
    final Matcher m = p.matcher(file.getName);

    if(!m.matches()) {
        getFilePathWidthoutExt(file);
    }

    return m.group(1)

}

private String getFilePathWidthoutExt(File file) {
    //not in scope of this question
}

private String getFileExt(File file) {
    // not in scope of this question
}

redpajama_set_name: RedPajamaStackExchange


Thanks for the replies, as is the answer to most questions: Can't without source. Lol. Appreciate it though.
Is there a way to prevent players gaining experience outside of the same map? This completely breaks the game. Maybe its an option somewhere or easily solved but I am fairly new at this, any help is appreciated thank you.
Not sure why or how but all the text in my editor.strings got deleted. Solved.
Sound not playing with animation.
Seems like it sorted itself out. Thank you for the information!
It is in .wav format in my /resources/sound folder and added to the animation under animation editor. Not sure what I am missing here.


text:
Gliterary Lunches The Push by Ashley Audrain Signed copy of The Push. 'A blockbusting debut about the dark side of motherhood. Gripping, clever, vividly realised . . . the ending left me flabbergasted' GUARDIAN The arrival of baby Violet was meant to be the happiest day of my life. But as soon as I held her in my arms I knew something wasn't right.Price includes UK delivery.
The Push by Ashley Audrain
Signed copy of The Push.
'A blockbusting debut about the dark side of motherhood. Gripping, clever, vividly realised . . . the ending left me flabbergasted' GUARDIAN
The arrival of baby Violet was meant to be the happiest day of my life. But as soon as I held her in my arms I knew something wasn't right.Price includes UK delivery.
The arrival of baby Violet was meant to be the happiest day of my life. But as soon as I held her in my arms I knew something wasn't right.
I had always known that the women in my family aren't meant to be mothers.
My husband Fox says I'm imagining it. He tells me I'm nothing like my own mother, and that Violet is the sweetest child.
But she's different with me. Something feels very wrong.
Ashley Audrain Event, VIP Gift Package
This is the perfect combination of books, booze and chocolate. The package includes a place at the online Gliterary Lunch Hour with Ashley Audrain on 25th March, a signed copy of the book, a prosecco mini and two delicious chocolate treats.
Please note that any orders placed on or after 15th March cannot be guaranteed to arrive before the event.
Virtual Gliterary Lunch Hour with Ashley Audrain - 25th March 2021
Enjoy a sociable, interactive lunch hour while an award-winning author tells us more about their writing and inspirations.


Terrorists attacked Brussels' transportation system, killing at least 30 people and injuring dozens of others after explosions ripped through the airport and subway system Tuesday morning.
The attacks are believed to be in response to the arrest of the mastermind behind the November Paris attacks that left more than 130 people dead. Suspect Salah Abdeslam warned authorities after his arrest that he created a network that planned new attacks.
The Guardian has reported an ISIS flag and an "explosive device with nails" were found in a raid conducted in a northern suburb of Brussels.
While Brussels was attacked, it is feared that Europe has been targeted, according to French and Belgium leaders.
Two explosions destroyed the departure hall at the Brussels airport shortly after 8 a.m. The Associated Press reported that one occurred at an excess baggage payment counter and the other near a Starbucks cafe. Prior to the explosion, witnesses said they heard shots from men who were yelling in Arabic.
Terrorists then blew up a train that was stopped at the Maelbeek subway station. The bomb went off on the metro car.
The Associated Press reported that Gary Herbert, the governor of Utah, confirmed that three of the people injured in the attacks at the Brussels airport were Utah residents and missionaries for the Mormon church: 66-year-old Richard Norby, 20-year-old Joseph Empey and 19-year-old Mason Wells, according to the Associated Press.
France 24 (English) spoke terrorism expert Wassim Nasr who said that the sophistication and timing of the attacks indicates these were planned well in advance, probably before Abdeslam was arrested. When he was arrested Abdeslam said he had a large terror network throughout Europe and attacks were already planned.
Several news outlets are reporting that it's possible the attackers didn't know each other or Abdeslam, that it was coordinated through extremely secretive covert communications that flew under the radar of intelligence-gathering agencies that have all but cut off the usual forms of electronic and digital communication.
The Associated Press has reported that the Islamic State has claimed responsibility for the attacks.
UPDATE: Belgium's public television network, RTBF, is reporting the Belgian authorities have identified the two airport suicide bombers as brothers Ibrahim and Khalid and el-Bakraoui. Both had criminal records, but until now had not been linked directly to any terror networks.
According to Belgian prosecutor Frederic Van Leeuw it indicated the terrorists knew, or at least had fears, the authorities were getting closer to finding them. In the note Ibrahim el-Bakraoui said he didn't want to end up in a jail cell next to Salah Abdeslam, who had been captured a week earlier.
Authorities now believe the same bomb maker constructed the bombs that terrorized Paris in November and the bombs used yesterday.
A fourth suspect, whose bomb did not go off at the airport, is still being sought.


(Urobatis jamaicensis) Expert Semi-aggressive 14" 360 gallons 72-80° F, dKH 8-12, pH 8.1-8.4, sg 1.020-1.025 Carnivore Tropical Western Atlantic, Caribbean and the Gulf of Mexico Urotrygonidae Rays Fish Only The Yellow Stingray (Urobatis jamaicensis) is found living throughout the tropical western Atlantic, Caribbean and the Gulf of Mexico. They inhabit shallow inshore waters, where they are typically found foraging in sandy or muddy flats near coral reefs or rocky formations. They utilize sandy flats and areas of sea grass in order to forage for small crustaceans and mollusks, while also using the deep sand and sea grass for protection from larger predatory fish species. Yellow Stingrays are one of the more suitable ray species for the home aquarium as they grow to a modest 14 inches in diameter and about 20 inches in length. Like other stingrays in the Urotrygonidae family, Yellow Stingrays have a venomous tail spine which can inflict a painful wound. While adult specimens still require a large aquarium of 350 gallons or more, they can successfully adjust to aquarium life given the right conditions. Yellow Stingrays are born at approximately 6 inches in length and can grow to about 14 inches in length. The overall length of their body and tail combined can reach about 24 inches in length, while the width of their disc typically reaches about 12 to 14 inches in diameter. Yellow Stingrays generally reach their adult size in about 3 years; however, they often grow more quickly in the aquarium environment where they receive regular feedings. The small size (for a ray) and overall hardiness of the Yellow Stingray makes it suitable for large aquariums maintained by advanced aquarium hobbyists. Yellow Stingray are able to adjust their colors and patterns very rapidly to match their current surroundings, which helps them blend into their environment to avoid predators and trick prey. Most specimens exhibit one of two color schemes that feature either a dark green or brown background with a lighter white, yellow or tan top pattern or a light tan or yellow background with a darker green or brown top pattern. All combined, their unique swimming style, body shape and color changing abilities make the Yellow Stingray an incredibly interesting aquarium species for advanced hobbyists with larger aquarium setups. Stingrays need large aquariums with plenty of open sandy areas and small rocky formations in order to provide them areas to swim, hunt and seek shelter. While small specimens can be raised in smaller aquariums, adult Yellow Stingray will need an aquarium with a foot print of approximately 8 feet by 3 feet in order to give them the necessary swimming room they need. Hobbyists should only purchase Yellow Stingray if they have a large 350+ gallon aquarium available to house the species as an adult. It is recommended that ray aquariums have a deep sandy substrate in order to replicate the natural habitat and feeding patterns of the ray. The natural behavior of burying themselves and searching for food in the sand will help keep the sand bed turned, which helps prevent dead spots from decaying food matter. Strong water flow, mechanical and biological filtration are required to maintain the overall water quality of the aquarium. Large bodied fish like stingrays and sharks produce large bio-loads that require strong filtration systems to be handled properly. It is highly recommended that the stingray aquarium have a large sump, protein skimmer and plenty of water flow to keep dissolved oxygen levels high. Lastly stingray and shark aquariums should be well covered to prevent these strong fish from accidentally escaping from the aquarium. Like their shark cousins, stingrays are not suitable for all aquarium environments or tank mates. Yellow Stingray should be kept in FOWLR aquariums with compatible fish tank mates. Many fish species like Angelfish and Triggerfish will pick at the stingray, which can cause damage and stress. Generally speaking fish that pick at the rocks or have sharp teeth are not usually well suited for shark and ray aquariums. Since the Yellow Stingray feeds primarily on mollusks and crustaceans in the wild, they should not be kept with these species within the aquarium unless they are intended as food. They will not generally bother sessile invertebrates like corals or clams, but their large size and swimming motion makes them too destructive to be kept in most reef aquarium environments. Yellow Stingrays are nocturnal feeders in the wild, spending much of the day laying under a covering of sand. Once nighttime falls, they forage in the sand for a wide range of mollusks, crustaceans, shrimp, crabs and worms. Given time, Yellow Stingrays raised in aquarium environments will adjust to daytime feeding. They can be fed a wide range of marine meaty foods including: frozen feeder fish, silver sides, raw shrimp, clams, squid, mussels and other similar marine based meaty foods. Hobbyists should experiment with both the amount of food being fed and the frequency of feedings to determine the ideal balance between nutritional health and controlled growth rate. Initial feedings 3 times a week an amount of food the ray will consume within 5 minutes is a good starting point. Monitor the girth, overall health and growth rate of the ray to adjust the feeding regimen accordingly. - This species is Venomous, and should be handled accordingly as these animals have an extremely painful sting. If you do get stung immediately soak it in hot water and call a doctor!
(Urobatis maculatus) Expert Semi-aggressive 14" 360 gallons 68-78° F, dKH 8-12, pH 8.1-8.4, sg 1.020-1.025 Carnivore Sea of Cortez, Eastern Pacific, Baja California Urolophidae Rays Fish Only The Cortez Round Ray is a member of the Urolophidae or Round Ray family, but can be found within the aquarium trade under a variety of common names including: Cortez Ray, Cortez Stingray, Spotted Round Stingray or Chocolate Chip Ray. Round rays are very similar to stingrays, as they both have an oval or near circular disc shape with pectoral fins that are continuous with the sides of the head. Cortez Round Rays have slender tails that are about half of the length of the disc, with large venomous spines. While they are not overly aggressive, they are potentially dangerous as their venomous tail spines can inflict a painful and slow to recover wound. The Cortez Round Ray is found living in warm temperate waters off the Pacific coast of Mexico and Baja California, where they tend to inhabit shallow sandy areas near rock formations or reefs. The shallow coastal waters that the Cortez Ray inhabits are full of small crustaceans and mollusk for the rays to feed on and have rocky formations to provide the ray cover from larger predators. Cortez Round Rays are born at approximately 5 inches in length and can grow to about 14 inches in length. The overall length of their body and tail combined can reach 14 to 16 inches in length, while the width of their disc typically reaches about 10 to 12 inches in diameter. Cortez Round Rays generally reach their adult size in about 2 to 3 years; however, they often grow more quickly in the aquarium environment where they receive regular feedings. The small size (for a ray) and overall hardiness of the Cortez Ray makes it suitable for large aquariums maintained by advanced aquarium hobbyists. Stingrays need large aquariums with plenty of open sandy areas and small rocky formations in order to provide them areas to swim, hunt and seek shelter. While small specimens can be raised in smaller aquariums, adult Cortez Round Rays will need an aquarium with a foot print of approximately 8 feet by 3 feet in order to give them the necessary swimming room they need. Hobbyists should only purchase Cortez Rays if they have a large 350+ gallon aquarium available to house the species as an adult. It is recommended that ray aquariums have a deep sandy substrate in order to replicate the natural habitat and feeding patterns of the ray. The natural behavior of burying themselves and searching for food in the sand will help keep the sand bed turned, which helps prevent dead spots from decaying food matter. Strong water flow, mechanical and biological filtration are required to maintain the overall water quality of the aquarium. Large bodied fish like stingrays and sharks produce large bio-loads that require strong filtration systems to be handled properly. It is highly recommended that the stingray aquarium have a large sump, protein skimmer and plenty of water flow to keep dissolved oxygen levels high. Lastly stingray and shark aquariums should be well covered to prevent these strong fish from accidentally escaping from the aquarium. Like their shark cousins, stingrays are not suitable for all aquarium environments or tank mates. Cortez Round Rays should be kept in FOWLR aquariums with compatible fish tank mates. Many fish species like Angelfish and Triggerfish will pick at the stingray, which can cause damage and stress. Generally speaking fish that pick at the rocks or have sharp teeth are not usually well suited for shark and ray aquariums. Since the Cortez Ray feeds primarily on mollusks and crustaceans in the wild, they should not be kept with these species within the aquarium unless they are intended as food. They will not generally bother sessile invertebrates like corals or clams, but their large size and swimming motion makes them too destructive to be kept in most reef aquarium environments. Cortez Round Rays are active daytime feeders that forage in the sand for a wide range of mollusks, crustaceans, shrimp, crabs and worms. They can be fed a wide range of marine meaty foods including: frozen feeder fish, silver sides, raw shrimp, clams, squid, mussels and other similar marine based meaty foods. Hobbyists should experiment with both the amount of food being fed and the frequency of feedings to determine the ideal balance between nutritional health and controlled growth rate. Initial feedings 3 times a week an amount of food the ray will consume within 5 minutes is a good starting point. Monitor the girth, overall health and growth rate of the ray to adjust the feeding regimen accordingly. - This species is Venomous, and should be handled accordingly as these animals have an extremely painful sting. If you do get stung immediately soak it in hot water and call a doctor!
(Urobatis halleri) Expert Semi-aggressive 10" 180 gallons 65-75° F, dKH 8-12, pH 8.1-8.4, sg 1.020-1.025 Carnivore Eastern Pacific, California Urolophidae Rays Fish Only The Round Stingray is a temperate water species that is found living off the western coast of the United States, Northern Mexico and nearby areas of the Eastern Pacific. Due to the large numbers of this species found living off the coast of California, many retailers and hobbyists have begun calling them the California Stingray. The relatively small size (10 inch main disc) has made the Round Stingray very popular with advanced aquarium hobbyists who keep shark / stingray tanks. Even though the Round Stingray is considered a smaller ray species, they still require a minimum of a 180 gallon aquarium with at least 2 feet from front to back to allow them to turn around comfortably within the aquarium. Stingray aquariums should provide a minimum of 2 feet from front to back, 6 feet in length and 2 feet high in order to provide even smaller stingrays with room to swim and turn. As with most stingray species, the tail spine of the Round Stingray is venomous and can inflict a nasty wound if the ray is provoked. Hobbyists should be aware of the rays location within the aquarium when performing maintenance within the aquarium. The Round Stingray also needs to be transported with caution as the tail spine can become entangled in nets, which will stress the ray. Stingrays kept in the home aquarium have some specific requirements that are crucial to successfully housing them over the long term. The Round Stingray being from the temperate Eastern Pacific needs water temperatures between 65° F and 75° F, which is typically cooler than the average (78° F to 82° F) aquarium temperatures of the more common tropical marine aquariums. The aquarium foot print is critical to housing stingrays as they need plenty of room to swim and turn, which means that the aquarium needs to be at least 2 feet wide and 6 feet long. Larger aquarium foot prints are of course better, with an aquarium of 4 feet in width and 8 feet in length being much more preferable. Secondly, the Round Stingray needs to have a soft sandy substrate that will allow them to both rest and hunt as they would in the wild. The Round Stingray needs to be able to dig into the substrate to both camouflage itself when sleeping or resting and to hunt for invertebrates buried in the substrate. Coarse substrates like crushed coral are not suitable for Stingrays as its coarse composition will scratch the belly of the ray, which will cause it irritation and infection. Coarse substrates also inhibit the natural actions of the Stingray, which will stress the Stingray and reduce the effectiveness of its natural immune system. Lastly, Round Stingrays need high levels of dissolved oxygen within the aquarium water to properly replicate their natural environment. Proper aquarium size, substrate and oxygen levels combined with good nutrition will allow the Round Stingray to avoid diseases and thrive within the marine aquarium environment. Round Stingray's can be shy feeders when initially introduced into the home aquarium. New specimens should be fed with the aquarium lights dimmed or turned off. It is best to offer them fresh squid or shrimp, by placing the food item onto the substrate near the ray. They can also be fed live saltwater feeder shrimp, which will allow the Stingray to hunt the prey in a more natural way. Over time even shy feeders will begin to accept a variety of fresh or thawed frozen meaty foods including: shrimp, squid, scallops, mussels, chopped fish or other similar meaty marine food items.
(Urolophus halleri) Expert Aggressive 24" 180 gallons 72-78° F, dKH 8-12, sg 1.020-1.025, pH 8.1-8.4 Carnivore Caribbean, Northern S. America to Southern California Rajidae Rays Fish Only The Spotted Caribbean Stingray is a bottom dwelling fish species that will spend most of its time in the aquarium moving along the bottom in search of food or buried in the sand/substrate for protection. The tail spine of the Spotted Caribbean Stingray is venomous, but is only used for protection. Caution should be taken when netting it, or when it is not visible while maintenance is being performed in the aquarium. This species of ray is not as robust as some of the other commonly seen species; therefore, it should only be kept by experts only and only in a large aquarium (min of 180 gallons). The Spotted Caribbean Stingray is a dark brown body with tan spots and rings. It is very round in shape and has a raised back leading from the eyes back to its tail fin. The tail spine is venomous, which the Spotted Caribbean Stingray uses for protection when threatened. Due to its lack of hardiness, the Spotted Caribbean Stingray should only be kept by an expert marine aquarium hobbyist with a minimum of a 180 gallon aquarium with at least a two foot width from front to. It is necessary to have at least 2 feet of space from front to back in the aquarium, so that the adult ray can comfortably swim and turn within the aquarium. The Spotted Caribbean Stingray likes to cover itself with soft substrate as camouflage, and therefore needs a soft substrate such as sand. Coarser substrates such as crushed coral or aragonite not mixed with sand will scratch its abdomen and could cause an infection. The Spotted Caribbean Stingray should never be exposed to copper-based medications. Lastly, this species should not be kept with any crustacean or mollusk unless it is intended as food. Feeding the Spotted Caribbean Stingray can be difficult when it is first introduced into aquarium life. Feeding small pieces of cleaned squid or live saltwater feeder shrimp should be used to entice the Spotted Caribbean Stingray to eat. Then over time, it will be able to be fed shrimp, scallops or pieces of fresh marine fish. Be sure to only feed uncooked and unpreserved fresh meaty seafoods. - This species is Venomous, and should be handled accordingly.
(Trygonorrhina fasciata) Expert Aggressive 36" 400 gallons 72-78° F; dKH 8-12, sg 1.020-1.025; pH 8.1-8.4 Carnivore Indian Ocean, Australia Rhinobatidae Rays Fish Only The Fiddler Stingray originates from the Coral Sea, and is brown in coloration with geometric black or dark brown markings covering the whole of its body. The Fiddler Stingray is attractive in appearance and is not overly aggressive, which allows it to be kept with other larger fish species. Due to the adult size of the Fiddler Stingray a very large aquarium (400 gallons plus) is required to properly house it. The tail spine is venomous, but is only used for protection when the Fiddler Stingray feels threatened. However, caution should be exercised at all times when working around this species; as well as, when netting it, or when it is not visible and maintenance is performed in the aquarium. Both because of the size and the feeding habits (feeds on crustaceans and mollusks) the Fiddler Stingray is not suitable for reef aquariums and should be limited to very large fish only aquariums. The Fiddler Stingray is brown in coloration with geometric black or dark brown markings covering the whole of its body. The body is mostly round with a long tail with impressive finnage and a stinger. The Fiddler Stingray is not a very hardy species and should only be kept by experienced hobbyists who own a very large aquarium. A 400-gallon aquarium with at least a three feet from front to back is necessary for an adult of the species. The aquarium top should also be tightly covered to prevent this species from jumping out of the aquarium. The Fiddler Stingray spends a lot of time on the aquarium bottom and will need a soft substrate, as it is prone to covering itself as a form of camouflage. Sand is recommended as a coarser substrate will scratch its abdomen and could cause infections. The Fiddler Stingray should never be exposed to copper-based medications. When first introduced into the aquarium, the Fiddler Stingray should be fed small pieces of cleaned squid, live saltwater feeder shrimp or ghost shrimps. Live food should be used to entice the Fiddler Stingray to eat, when it is adjusting to aquarium life. Then it may be fed shrimp, scallops or pieces of fresh marine fish, once it has adjusted to life in the aquarium. - This species is Venomous, and should be handled accordingly as these animals have an extremely painful sting. If you do get stung immediately soak it in hot water and call a doctor!
(Taeniura lymma) Expert Aggressive 12" 125 gallons 72-78° F; dKH 8-12, sg 1.020-1.025; pH 8.1-8.4 Carnivore Indo-Pacific, Australia Dasyatidae Rays Fish Only The Bluespotted Stingray is also commonly referred to as the Bluespotted Ribbontail Ray and Blue Dot Stingray. Bluespottted Stingrays stays relatively small in comparison to most ray species, but still require a 125 gallon or larger aquarium as an adult. While rays are very exotic and interesting species, they require special housing and feeding requirements and should only be attempted by expert hobbyists or institutions. The Bluespotted Stingray is an attractive bottom dwelling species with a tan body with bright blue spots. The body is more oval in shape than many other ray species with a long tail spine. The middle of the body is more raised and flattens out towards the edges. The Bluespotted Stingray requires a soft substrate, such as sand, as its abdomen is easily scratched by a coarser substrate, which could result in an infection. When not swimming along the bottom in search of food, the Bluespotted Stingray likes to cover itself with the soft substrate as camouflage. Once acclimated and feeding well, the Bluespotted Stingray will eat any invertebrates or mollusks in the aquarium. Care should always be exercised when handling or working in the aquarium with this species as its tail spine is venomous, but is only used for protection. Caution should be taken when netting it, or when it is not visible and maintenance is performed in the aquarium. It is important to provide this species with a large aquarium with a deep sand bed, so that it can swim and turn comfortably without hitting walls or rock work within the aquarium and can easily bury itself within the sand when not feeding. Bluespotted Stingrays species should never be exposed to copper-based medications. When first introduced into the aquarium environment, it may be difficult to get this species to feed. The best way to encourage feeding is by offering it small pieces of cleaned squid, or freshwater ghost shrimp. Dimming the lights in the room along with live foods will help the Bluespotted Stingray to adjust to feeding within the aquarium environment. When feeding consistently, it can be fed pieces of shrimp, scallops, or fish. Keep in mind that any live crustaceans or mollusks will become food for the ray as well. - This species is Venomous, and should be handled accordingly as these animals have an extremely painful sting. If you do get stung immediately soak it in hot water and call a doctor!


text:
namespace InputDeviceEventManager.Base
{
    using System;
    using System.ComponentModel;
    using System.Diagnostics;
    using System.Runtime.InteropServices;
    using Win32;

    internal abstract class BaseListener : BaseDisposableClassWithFinalizer
    {
        private readonly HookId hookId;

        private HookHandle hookHandle;

        private HookProc hookProcDelegate;

        public BaseListener(HookId hookId)
        {
            this.hookId = hookId;
        }

        public bool IsHook
        {
            get
            {
                return this.hookHandle != null && !this.hookHandle.IsClosed;
            }
        }

        public void Hook()
        {
            var source = HookNativeMethods.GetModuleHandle(Process.GetCurrentProcess().MainModule.ModuleName);
            this.hookProcDelegate = new HookProc(this.OnHookCall);
            this.hookHandle = HookNativeMethods.SetWindowsHookEx((int)this.hookId, hookProcDelegate, source, 0);

            if (this.hookHandle.IsInvalid)
            {
                var errorCode = Marshal.GetLastWin32Error();
                throw new Win32Exception(errorCode);
            }
        }

        public void UnHook()
        {
            if (this.hookHandle != null)
            {
                this.hookHandle.Close();
            }

            this.hookHandle = null;
            this.hookProcDelegate = null;
        }

        private IntPtr OnHookCall(int nCode, IntPtr wParam, IntPtr lParam)
        {
            return this.HookTrigger(nCode, wParam, lParam);
        }

        protected abstract IntPtr HookTrigger(int nCode, IntPtr wParam, IntPtr lParam);

        protected override void Dispose(bool disposing)
        {
            if (disposed)
            {
                return;
            }

            if (disposing)
            {
                this.UnHook();
            }

            base.Dispose(disposing);
        }
    }
}


text:
, sortie le , est une chanson de Tamar Braxton, deuxième single extrait de son troisième album, à paraître en 2015. Elle est écrite par Tamar Braxton et composée par Da Internz. Elle atteint la dix-neuvième place du Hot R&B/Hip-Hop Airplay et le  sixième rang du Adult R&B National Airplay.

Le , le single est nommé à la  des Grammy Awards pour la meilleure performance rnb.

Composition
If I Don't Have You, titre RnB contemporain, parle d'une femme qui ne voit aucun sens à sa vie sans son amour pour un homme.

Performance commerciale
La chanson atteint la  du Hot R&B/Hip-Hop Airplay. Elle se classe au  du Adult R&B National Airplay.
Le , le single est nommé à la  des Grammy Awards pour la meilleure performance rnb.

Vidéoclip
Le vidéo clip qui illustre la chanson est dirigé par Darren Craig. Il y démontre Tamar accompagnée de ses amies superstars comme NeNe Leakes, Shateria Moragne, Malikah Haqq et sa sœur jumelle Khadijah Haqq et de sa mère Everlyn Braxton, en train de chanter dans une immense villa dans un style années 1930 très chic et très élégant.

Pistes et formats
Téléchargement digital
 "If I Don't Have You" - 4:12

Classement hebdomadaire

Références

Single musical sorti en 2015
Chanson interprétée par Tamar Braxton


A picture of me around the age when I appeared to my grandmother in a dream.
November 23rd was my birthday. 37 years ago, on a cold Virginia Thanksgiving day, my mother gave me birth. Three states away in northern New Jersey, my grandmother lay dying of cancer. No one could have known at the time that my grandmother would never get to meet her first grandchild. She would never hold me in her arms, count my fingers and toes, or share the miracle of her daughter's first child. Although my grandmother had been ill for quite some time, she passed away on December 8th, only two weeks later. My mother, 22 years old, just out of the hospital and saddled with a newborn, couldn't make the long trip in time.
My grandmother never saw me with her dying eyes, but with spiritual eyes she was granted the chance to look upon the child that would bear her likeness and her talents. I appeared to her, the apparition of a child, as she lay in her deathbed.
She told my mother that she dreamed of a me, around 10 years old, with shoulder-length straight brown hair and brown eyes, pretty and athletic. Although my grandmother couldn't even have known even what color eyes I would have, she described my ten-year old self perfectly.
At the time it was considered a dream, nothing else. But now I know that it was a deathbed vision, a gift from spirit. Before I connected my soul to the child about to be born from my mother's womb, I was allowed to visit my grandmother and bring along a message of peace and serenity to a soul about to leave this mortal coil after a prolonged and difficult illness.
I share an uncanny resemblance to my grandmother and have inherited her talent for music. My grandmother was a fantastic pianist; playing Gershwin's Rhapsody in Blue at 17 years old. From a young age, it was obvious that I also had a natural talent for music. I developed that talent through long years of practice and eventually enrolled in college as a music major. Although I changed my career path, I feel that my grandmother's talent and love for music lives on in me.
My visitation to her before her death feels like the passing of a torch. She gave me her looks, her temperament, her musical talent and a shared love for my mother. For although my mother grieved terribly for the loss of her mother, it was me – the infant that loved her unconditionally – that finally helped lift the grief.
In this time between my birthday and the anniversary of her death, I wanted to recognize the love exchanged from two souls passing in the night. My mother may wonder why she never had to chance to say goodbye, or to present me to her mother before she passed. But I know that my grandmother surely saw me waiting in the wings as she took her final bows; and knowing that my mother would be loved and cherished by a daughter meant she could depart with grace. One day, I know that when my spirit rises to join my beloved family and friends in the afterlife, a familiar face will be standing there ready to greet me and welcome me home, as I did for her so long ago.
Beautiful story and happy belated birthday. Interestingly enough, my birthday is November 22nd.