text:
The Morality of Art, or the Evils of Mediocrity
You could describe his morality as... By the way, what is
morality? Do you know?
Of course. It's when somebody is going to die.
— from a conversation with children
Why is it that evenings are so modest?
— from another conversation, at sunset
Conversations about art and religion almost inevitably turn into discussions about morality. More often than not, morality is all that remains when you extract art from religion.
Even worse is when people use the word religion to mean a special type of morality, and little more. I use the word morality and not ethics, keeping in mind the distinct provenances of these two words—from Latin and Greek, respectively. The child's etymology of "morality," from the epigraph above, confuses morality with "mortality," but it captures the semantic shading that imbues this word in our language. Morality may not exterminate us, but it certainly checks our movements. We bear no illusions about morality; and we are quite sure that whoever invented or teaches us morality bears no illusions about us. It is insulting, when you think about it. The deadening fist of morality will come down upon us if we dare not to do its bidding. Morality informs us of the inescapable punishment we already taste in it. For in the name of morality we are robbed of everything we had before morality appeared, even though we somehow managed to get along splendidly without it. Take for example fairytales that as children we pored over with pleasure, attending to every detail as the story unfolded, to the style and characters. Morality robs us of all this in the blink of an eye: suddenly it turns out that it all "meant" something but had no real value of its own.
In weightier terms, moralism disenchants us not only by its poor and joyless anthropological premises and its cosmic pessimism—consider, for instance, the proverbs, "In the strong man's house the weak always bears the blame," and "The flatterer will always find a welcoming corner in the heart."—but also by the perverse joy it takes in its scripted "moral" conclusions—"Aha, I told you so!" We are reminded of the Russian fabulist Ivan Krylov's poem of the "Quartet" of monkey, ass, goat and bear:
No matter how you sit, my friends,
Musicians you will never be!
And yet, why shouldn't they be musicians, ad majorem Dei gloriam1, as in the old German tale [about the musicians of Bremen]? But moralism also disenchants because as a metaphysics it abolishes what exists. It says, what is has no meaning of its own; its moral root must be extracted. Extract the root and throw the rest of the plant away.
Writers are normally considered moralists when they have fully adopted the conditio humana, when they neither forget nor let others forget that this world is imperfect, radically spoiled, that man is petty and that "our good deeds are nothing more than vices in disguise," as la Rochefoucauld once remarked. Moralism abolishes history as the narrative of the particular: people are people wherever you go. Moralism inherits its nasty demeanor from classical mechanics: every action has an equal and opposite reaction. It also comes from evolutionary theory's notion of the survival of the fittest, and we find it in Pavlov's experiments. I see in that poor dog—with his externalized fistula used to collect saliva—the embodiment of every fabled animal and every living being that moralists and didactic writers use to drive home their relentless logic. In short, it comes from every science we learned in high school. They taught us to disregard everything we had previously known about the world as childish and illiterate; and they taught us the lesson so well that when we become scientifically and morally educated readers, we no longer recognize our own experience in poetic images. Instead, we attribute them to the author's fantasy and to aesthetics.
I am not interested in aesthetics here, and if I have drawn a hasty and imprecise connection between morality and science, that is because science is generally invoked when one talks about art, religion and morality. It provides, at least, the silent background against which all other relations become clear. We generally oppose art to science, and art can be associated with religion by virtue of its nonscientific nature. While I unfortunately can claim no expertise in the natural sciences, nevertheless I am told that for scientists themselves such an opposition between religion and science is very much a thing of the past. New scientific thought seems to have abandoned its doctrinal ambitions and—as a whole—a "scientific" understanding of the world that would absolutely discount the action of a creative will. But the average person, the non-scientist, lives with a sedimentary "scientism" that consists mainly in what I would call a cosmic moralism, with its determinism and its primitive understanding of cause and effect. Such causes are as senseless and aimless, as indifferent to the particular and unique as is morality.
Make no mistake: I am talking about morality and moralism, and not about creative moral teachings such as Aristotle's. These are no less immoral than the Fleurs du mal if judged by a Victorian moral code, by which I mean something like a criminal code. Such codes are intended to uphold the social order, to protect it from the individual and from his undesirable and dangerous proclivities. (No doubt both codes also serve to forestall the dissolution of the individual personality, but only as a side effect.) Art proffers such frequent apologia for these undesirable proclivities that it is generally seen as immoral or even amoral. We will set aside for the moment the most intentionally shocking attacks by artists on various moral codes (familial, professional, civil virtue and so forth). Instead, let us consider a rather unscandalous example that offers a more trenchant challenge to conventional moral wisdom: the verses that Dylan Thomas dedicated to his dying father.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
This revolt against moralism seems all the more profound to me because it gets at its very roots: the function of putting to sleep, of calming, of taming life. The falsely religious names for this are meekness, enlightenment, obedience. Likewise, conventional wisdom is full of sayings, such as "Time flies." But even a moment's reflection will expose how opposed this attitude is to the spiritual gift of peace and humility. To such an attitude T. S. Eliot coldly retorts, "Time is no healer: the patient is no longer here."2 Like Dylan Thomas, Eliot, with eyes wide open, objects to the "great wisdom" of age:
Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.3
The author of the Four Quartets opposes this false serenity not to boldness, as one might expect, but to humility!
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.4
I hear the same theme in Osip Mandelstam's verses on inspiration:
And when the sea had filled me,
Measure was a pestilence to me.5
From these examples we begin to suspect that what is generally called immorality—even by artists—is in truth morality—and even moralism of a certain kind. This is the light in which I want to present art here. Not that this paradoxical and hermetic didacticism is the final or highest task of the work of art or the artist, but one might say it is the negative, preliminary substance of the work, without which the work is incomplete. It is what enables art to surprise us endlessly with its quality of wholeness that seems at once superhuman, immaculate, and impenetrable to the calculations of a quotidian rationality. Such wholeness always exceeds the sum of its parts.
It is in another medium altogether—in visual images—that we find the most interesting and productive encounters between artistic and spiritual experience; certain secular and religious images bear uncanny resemblances. These images make us wonder how it is that the dark, wild, passionate soul of an artist who knows nothing of ascetic labors can see something like what the religious ascetic sees? Or is it just a fluke, an irrational and unwarranted favor granted from above to those idle ne'er-do-wells whom Pushkin's Salieri found so insulting? "All say there is no justice here on earth,/ But there is no justice up in heaven either," he laments.6 One thinks of the Improvisor in Pushkin's Egyptian Nights: a petty, grubby, egotistical and stingy figure, who resembles most authors as their contemporaries describe them. It is to such people that artistic gifts are granted? This very incongruity caused Zabolotsky to end his ruminations on this theme with an open question:
Why does the unreasoning force of art
So disturb our feelings
And raise above the world such hearts?7
The Romantic answer to this question is at once all too familiar and effective in its own way: yes, when he is not engaged in art the author is indeed like that, as in Pushkin's "Poet," which begins "Until Apollo calls the poet / To make a sacred sacrifice, / He wallows in the petty cares / And vanities of the hectic world." This gift acts in an irrational manner (an "unreasoning force"), and it pays no heed to the personal qualities of those gifted. Or at least, only certain personal qualities are incompatible with it, namely propriety and respectability. The person of art not only may be monstrous: it is practically his professional obligation to be a morally hideous creature. It is precisely in this setting, where bad behavior is labeled "normal," that Romanticism becomes bohemianism—if by bohemianism we mean willful, self-interested and indiscriminate destruction in the name of "creating chef d'ouevres."
I have no great love for the bohemian way of life and would not wish to defend it even for the sake of people dear to me who created beautiful things and who lived such a lifestyle with every fiber of their being. I continue to believe that the link between their way of life and their works is a purely negative one. I have heard bohemian council of all kinds from many of our writers: "If you want to write good poetry, you need to fall in love with a scoundrel," or "A great poem is always born out of illness or crime." Not only do these recipes seem not to produce any work of note for those who proclaim them, but their insipid thoughtlessness provokes a host of objections. Why, for instance, have millions of stories of crimes and illness not given birth to Les Fleurs du Mal or Brothers Karamazov? All those countless pathologies and Freudian complexes thought to accompany genius—how is it they have produced so relatively few great works? And what about that monotonous psychic state that accompanies true illness, true crime, true passion for a scoundrel, a state that deprives the sufferer of the freedom of mind to consider "the plot's form and the hero's name"?8 Does the bohemian way of life not drag one into such a monotonous state? Let us take a closer look at this "Romantic" notion of the rift between the "dark" or "worthless" artist and his "divine tongue," a notion of which bohemianism is a travesty. In my experience, when people talk about Romanticism they have its parodic epigone—bohemian culture—in mind.
There is a linguistic phenomenon that I think illustrates well this bohemian slippage in terms. Émile Benveniste discovered the cultural phenomenon of the "paradox of first-person address." Not all statements can be made in the first person; some verbs, when used in first person and in present tense, express situations that can not possibly hold true in their primary meaning. The simplest example is, "I am mistaken in what I am saying." The problem holds in the future tense as well: "I will be mistaken in what I am about to say." Yet the formula works in second- and third-person: "He is mistaken in what he is saying." And so, bohemian discourse seems to me to break the rule of the paradox of first-person address. Here is an example, where the poetess speaks of herself:
I lived in cursed shame,
And yet my soul was white as snow.9
And a few decades earlier, from Esenin:
Though it is true I'm sometimes drunk
My eyes flash with a wondrous light.10
Claudel writes almost the same thing about Verlaine:
It is better to get drunk as pigs than to be like us
—but here he uses third person! Not for grammatical reasons, I would say, but rather out of a healthy sense of shame. The famous line, "Love us, sullied as we are!" pushes the bounds of decency, but if we change it from the imperative into first person (essentially, "I love being sullied because I'm still better than some people!"), then we end up with a total disgrace.11
For these reasons I am no more partial to the bohemian than I am to the Philistine he so scorns. Besides, it is when, like the bohemian, the Philistine defies the paradox of first-person address that he is at his most culpable. Even if he uses different expressions and gestures—something like the Pharisee used when he prayed his famous prayer thanking God. To get a full picture of the inverse relation between the bohemian genius and the Philistine, we need only to imagine the sinner in the place of the Gospel's tax collector, praying, "Thank you, God, for not making me like that proper, fastidious (and so on) person over there!"
But let us return to the theme of the "unjust gift," the "unreasoning force." I fear this is too expansive a theme to discuss in any satisfying way. Indeed, we are dealing here not just with morality or aesthetics, but with theology, for this theme raises the problem of grace and free will. Is such an injustice completely unjust? Is such an unreasoning force completely unreasonable? Does it stand in opposition to every aspect of this "n'er-do-well"? Or might something in him echo it, something that quotidian morality does not consider a virtue, or as a sin when it is lacking, something that it does not take into account?
An Orthodox ascetic once said that human freedom participates in every true gift: no gift is given without some kind of deep acceptance of it. What kind of acceptance? What is it that the artist accepts? To answer this question is to consider how art (or an artwork) can be seen as a moral lesson.
Boris Pasternak has already provided us with the most condensed and minimal expression of what being an artist requires:
To be alive, and only alive,
Alive and only to the end.12
Does this definition clarify anything? I fear it does not since the very meaning of "life" has long been forgotten—by the efforts of quotidian morality most of all—what Dostoevky's Ivan Karamazov would call "Euclidean." Such everyday morality requires not that its pupils "be alive," but that they assiduously observe certain prohibitions and prescriptions. This type of didactic mentality came to shape the character of standard religious morality, provoking the understandable revulsion of all those who had a taste for an artistic approach to life (such as Nietzsche). This objectifying morality came to be called in German "spirit" (Geist), in opposition to "life" (Leben), which was seen as immanence (particularly in the thought of Thomas Mann), as a powerful irrational force that made no distinction between good and evil. Moralists chose "spirit" over "life," artists chose "life" over "spirit." Thomas Mann sought to bring them together by "hermetic" means. He tried to use Irony to soften the opposition between Myth ("life")—in all its beauty, its fruitful force and inhuman harshness—and Humanism ("spirit"). But where does this opposition between "spirit" and "life" actually come from? Do we not read of it in the first few pages of Scripture (Genesis 2:7)?
Here we see how morality (including religious morality) has completely abandoned the theme of nature (or the world, or creation, or life). Contemporary life inhabits a space defined by a mechanistic, utilitarian, and fundamentally cynical view of life: "Life is a to-go order..."13 And rather than trying to change it, we try to carve out a space for the "religious" here. But the religious can never survive in such a space! It ends up looking like a halo painted over the head of a saint in a pious naturalist painting: you would never see a halo through such lenses! Either we read it as an allegorical sign in a non-allegorical setting, or, if read according to the naturalist mode, as a special headdress made out of a light metal—tin foil, perhaps. In my view, this is what moral-religious prescriptions look like in their popular form: they make plenty of concrete recommendations but fail to comprehend the real expanse of life, its depths, its building blocks.
When art is really art and not just the production of things in the form of art (which is all too common), it bears special knowledge of another way of life. Art gives radical expression to it: it says that all other ways of life are really not life.
And until you have attained these:
Die and become!
You will be but a dreary guest
On the dark earth.14
This way of life consists in a blessed longing, Selige Sehnsucht, as Goethe entitles his poem, cited here. And not a longing for "another" world, but for this one, "for this very one," as Goethe would say. Its model is the life of nature, which can survive only by virtue of such a longing. Art's moral recipe is expressed not so much in words (such as the lines cited above from Goethe and Pasternak) as in the work's form, the liminality of which distinguishes it from naturally-occurring forms. And this recipe is radicalism, a radicalism so insistent we must speak of it not as art's morality but as art's moralism, it's pedagogical task.
It is a moralism of the natural, such as we find in our second epigraph. The quotations above refer to qualities such as "meekness" and "humility." These are not social, conventional or psychological virtues, but something for which the Russian language has still not worked out a fitting word. The semantic context of this quality includes anything from horticulture to the to the cultivated individual, much as with virtus, in Latin, or arete, from Greek. Such a moralism is founded on the knowledge of the living as that which is well cultivated. Anything that cannot be described this way is not simply bad or dishonest: it is not alive. It is not the artist's task to improve or breed the dead. Nor is it life's task—and especially that life about which the Lord speaks (John 10:10).
After all, life's just a flash,
Only a dissolving
Of our selves into all others
As a gift to them.
Just a wedding in window's depths
Tearing, tearing upwards,
Just a song and just a dream,
Just a grey-blue dove.15
When compared with Goethe's fiery verses, Pasternak's breezy version seems more successful from a moral standpoint—indeed, it practically preaches altruism! And yet how carefree are the elements he lists, the comparisons he makes—most of all that final comparison, the "grey-blue dove" who flies off somewhere into its native folkloric element!
Goethe speaks of a "blessed longing," Pasternak of a carefree spirit. Tsvetaeva would speak of boundlessness. We could connect Blok with something like the word faithfulness (faithfulness as a form of enchantment). Rilke, of attention. Akhmatova, of sadness or care, and especially of care as in a burden for others.
Though these descriptions may lack some precision, nevertheless these poets' words make up a kind of poetic science of life, a moral science. We could come up with many more such words to represent singular poetic worlds, but not a one of these words aspires to be a moral principle.
We are fortunate that there is room at the inn of humanity for even these wandering words: it is that very room where the vessel of precious myrrh is broken to the chagrin of philanthropic moralism. The sensible thief was the first to be promised a place in the Kingdom of Heaven, but the woman who perpetrated this senseless waste was the first—or perhaps the only person—to be promised eternal memory on earth. What I want to say is that the artist as moralist hews closest to the gospel science of life precisely where practical "morality" must shake its head in disapproval and walk away.
The moralist's enemy is the criminal. The enemy of artistic morality is mediocrity. We are all aware of the danger of criminal proclivities. Few but artists have appreciated how dangerous is the evil of mediocrity. The "genius" and the "philistine" may merge in near parodic fashion: indeed, our century's "luminaries" manage to combine these undesirable qualities. But the opposition of the artist to mediocrity is real and profound. I quoted earlier the final stanza of a Goethe poem; the poem opens with this warning:
Tell no one but the wise,
For the mob will laugh right out:
I want to praise the force of life,
That longs for fiery death.16
According to the morality of art, as we see in Goethe's depiction of the "mob," "ungiftedness" is a sin, even the gravest of sins. How can this be? Is this not the kind of elitist arrogance that the retiring and virtuous mob expects from its monstrous geniuses? I doubt my negative response will carry much weight, but I would still like to emphasize that what I have in mind here are not "talents" and "gifts" as we normally think of them. When I speak of mediocrity, I mean a kind that one chooses, and not that with which one is born. I mean the choice of living without life, of dull-wittedness and blissful ignorance.
We may ask who in his right mind would choose such things. The person who thinks such a choice will protect him from something unpredictable, something uncontrollable and free. He makes his choice and defends it. And he must defend this choice a great deal more fiercely than any other; for life—carefree, fire-hungry, boundless, sad, attentive—will persist in visiting him to his last days—and he must answer its every arrival with ever greater mercilessness.
Translated by Martha Kelly
Thanks to the St. Katherine Review for permission to reprint this translation. The original publication can be found in St. Katherine Review 1 (January 2011).
1 To the great glory of God. (Lat.)
2 From "The Dry Salvages" (The Four Quartets).
3 From "Old Coker" (The Four Quartets).
5 The "p" and "q" of a Greek flute..." (Fleity grecheskoi teta i iota) (1937).
6 These lines open Pushkin's play "Mozart and Salieri" (1831).
7 From Nikolai Zaboltsky's poem "The Old Actress" (1956).
8 A quote from Pushkin's novel-in-verse Eugene Onegin (1833).
9 The first lines from a poem by Bella Akhmadulina, "I live in cursed shame…" (1960-61).
10 From Sergei Esenin's "Stanzas" (1924).
11 The line "Love us, sullied as we are," is best known from Nikolai Gogol's novel Dead Souls, though he was quoting a famous Russian actor, Mikhail Shchepkin.
12 From his poem "To be famous is not pretty..." (Byt' znamenitym nekrasivo).
13 Joseph Brodsky, "__" (Zhizn' est' tovar na vynos).
14 "Und solang du das nicht hast/ Dieses: Stirb und werde!/ Bist du nur ein trüber Gast/ Auf der dunklen Erde." From Goethe's "Blessed Longing" (Selige Sehnsucht) (1814).
15 Boris Pasternak, "Wedding." From the verse cycle in Doctor Zhivago (1946-1953).
16 "Sagt es niemand, nur der Weisen,/ Weil die Menge gleich verhöhnet,/ Das Lebend'ge will ich preisen,/ Das nach Flammentod sich sehnet."
The Issue of Man in Modern Secular Culture
"Non-Mortal and Mysterious Feelings": On Pushkin's Christianity
"In the Vestal Abyss of a Line of Verse": On Meaning in Poetry and Meaning in Doctrine
Mediocrity as a Social Danger
The Light of Life. Some Remarks On the Russian Orthodox Perception
The Art of translation. Some remarks
Once again about Childhood, Poetry, and Courage. Answers for Elena Stepanian
Hermes. The Invisible Aspect of Classical Literature
A Discourse on Method
Poetry and Anthropology
On the Nature of Tradition
Freedom as Eschatological Reality
Waiting for a Response
In Memory of John Paul II
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- Located inside the (very warm!) church lobby & fellowship hall.
- Registration tables will be inside the church.
- ANYBODY 18 or older may register!
- Drawing will take place on Monday, Dec 19. You do NOT need to be present to win.
- In conjunction with the Live Nativity, the businesses of the Abingtons Area are desiring to "give back" to the community they serve - in keeping with the Season.
- Many businesses have donated items, gift certificates, and services to be given away (by drawing) to attendees of the Live Nativity.
- The Live Nativity Of The Abingtons is an annual tradition in Clarks Green, PA that celebrates the birth of the Christ child, through a LIVE reenactment & portrayal of the events surrounding His coming.
- It features exquisite costumes, realistic props, professionally produced narration & soundtrack, national level singers, choreography, and LIVE animals.


21:00 Deathmatch Preparation 10 minutes to prepare for Deathmatch.
21:40 Castellan Preparation 10 minutes to prepare for Castellan.
Only clan leaders and vice commanders can register.
Any clan above Elite Knightage (Accredited Knights) Grade 5 can register. The registration fee is 100,000,000 Noah.
Registration is limited to the first 30 clans who sign up.
Registration period starts from the end of Castle Siege War until 2 hours before Clan Deathmatch.
Eligible clans can register through the NPC Aaron in Moradon.
If no clans register for Clan Deathmatch, CSW will not take place during that week.
If there is only one clan registered for Clan Deathmatch, that clan will be moved to Delos and CSW will begin directly.
If Clan Deathmatch happens to end early, CSW will begin on time.
Only 16 players can participate on behalf of each clan.
Barracks can be deployed by Clan Commander or Vice Commander using "/base" command.
Clans that did not deploy their barracks during the preparation period will be kicked out of Delos when Deathmatch begins.
You cannot deploy your barrack next to objects on the map.
Barracks can only be damaged by basic attacks.
Each basic attack deals 1 damage to the Barracks. When a Barrack's HP reaches 0, it is destroyed.
Strengthening skills can be used for clan members during the preparation period.
You cannot attack your enemies during the preparation period.
Players will lose NP when killed by enemies. NP loss will be the same as Ronark Land.
Additionally NP can be gained by killing enemies. NP gains will be the same as Ronark Land.
Ladder Points can also be earned by killing enemies.
The clan that destroys the barracks gets 1 point on "Barracks" tab.
Characters that destroy or attack barracks will receive Nation Points.
Players will respawn at his/her barracks.
/town command will spawn you near your barracks.
The barracks area of the Delos map are contained within the following coordinates: Lower Left [323, 360], Lower Right [711, 360], Upper Left [323, 615], Upper Right [711, 615].
Clan Deathmatch lasts 30 minutes.
At the end of the Deathmatch, the top 3 clans will proceed to Castellan War even if their barracks have been destroyed.
If the number of destroyed barracks are the same on each side, the winner is selected based on the number of kills.
If the number of destroyed barracks and kills are the same, the clan who registered to Clan Deathmatch first will win.
The top 5 clans in the Deathmatch will be rewarded with a Siege War Reward Chest and New Cape Voucher.
Players who exit the game during the Clan Deathmatch will not receive the reward.
Rewards will be sent via in-game mail to ranked clans.
New Cape Voucher (7 days) will be sent directly to clan commander's mailbox.
If the allied clan wins the New Cape Voucher (7 days), it will also be sent directly to the commander of the main clan.
New Cape Voucher Item can be exchanged at the Cape Merchant NPC.
Rewards can be exchanged with NPC [CSW Manager] Aaron in Moradon. Here is the list of items that you can get from the Siege War Reward Chest.
The top 10 clans from the Deathmatch will be eligible to join Castellan War.
Clans can join Castellan War with 50 of their members.
The clan which holds the Center Artifact at the end of the war will become the Lord of the Castellan.
The Center Artifact will be constantly renewed during the siege war.
When the Center Artifact broken, the owner clan will remain in the castle and attacking clans will be sent back to town.
Defenders may use Siege transform any where or any time.
Attackers can use Siege transform from 100 meters away.
Owners of the Center Artifact can move into the castle by using the "/town" command. The attacking clans will be moved back to the Safety Zone.
There is no penalty upon death while in Siege, such as loss of XP, NP or Noah.
Castellan owner clan members can not enter Delos during Deathmatch.
Castellan owner clan members can enter Delos once the Castellan War preparation period has begun.
Moradon and Delos taxes can be adjusted by the Castellan owner clan's leader through NPC [Castle Manager] Captain Hugo.
Castellan owner can adjust the tax rate between 0~20%.
Castellan owner can pick up stored Noah from [Castle Manager] Captain Hugo at Delos.
Pathos' outpost troops were assembled in Delos Northern Eslant River Delta!!
The Lord of Delos Idid started reading a short letter which was tied in the homing pigeon's leg. Respectful and flowery words towards the lord, it was just one sentence without any signature of sender.
The dark blood on the letter was telling him it was an urgent situation.
Idid grew up listening to Adonis' six continents, Delos was just a small country were wanderers stayed to take a break. The opposite area of the river was formed with endless sand mountains. Every time the strong winds passed, a path appeared for the merchants and the path always changed. A vast amount of products were being trade but then...the Orcs in the North valley happened.
When the village leader and father of Idid died due to an Orc Invasion, he was only 17 years old. As ubari family's tradition, Idid became the leader of the village…, He built a storage and extended the inn with several young followers. Idid's actions were seen as crazy for the villagers. Delos was just a place for wanderers so they could take a break from their every day merchant travels. There were 5 main groups of merchants who visited Delos.
10 years later, Delos changed. Eslant's village was widely known by the merchants all around the world as the years passed and visitors doubled during this time. His second action was to reach all the Orcs and turn them into his mercenaries. Although the merchants in Delos had to pay for protection, the number of merchants increased.
And finally, Idid built a market in where the 6 continent's merchants could freely trade. During that time, a huge castle was also built in Delos. Delos became the richest city after 30 years.
Delos city, the place where the continent's paths meet. It was true, all the riches moved to Delos.
When the battle began, the nation of barbarians 'Brindo' and also the city of white magicians 'Ardream' was destroyed and got on fire.
The small city of Delos wouldn't eventually be able to avoid the ruin.
However, Idid did not lose hope. He used all the wealth in Delos to call up all magicians and formed the biggest magical position.
Aegis would move Delos to another place, away from the continent until the battle ended.
The Magical point was working as Idid commanded. The People who didn't believe the huge castle would be moved, just started watching it happen. The Magical point was not as fancy as people expected.
There were no feast of lights or any fantasy.
When a strong sand wind came to the city, the only thing left was Eslant river's branch and sand slope. The city was gone.
Was it because there was no person to deliver the news? The Battle ended after Pathos moved to Manes' magical point. Even then, there was only Eslant's branch, a sand slope. After 70 years, the story about Delos was just spoken by old warriors.
For a few days, there was a report from the scouts who investigated Delos. Delos remained intact just like it was 70 years ago. However, there was nothing left…no dead bodies…nothing. There was only a report inside Idid's office about what the magical position was working on 70 years ago. Just with the city left....there was no person to claim the title of the land and Delos was just a no man's land that didn't belong to neither El Morad nor Karus.
It was Cartel, the Merchant of Moradon who showed initiative about the opportunity. There was an agreement made: The lord of Delos would keep Cartel safe and Cartel would pay the taxes back. All the knights were talking about the discrimination of merchants. A Period of Chaos. All the knights knew that the person who occupied the castle would become the castle owner. The nation meant nothing in Delos. Strength became the new order.
Super HP Shell Catapult Inflicts a set damage on the enemies within a certain radius.
HP Shell Inflicts small damage on the enemies withing a certain radius.
Super Durability Shell Decreases the durability of enemies standing within 10 meters from you by 2,000.
Durability Shell Decreases the durability of enemies standing within 5 meters from you by 1,000.
Super MP Shell Decreases the MP of enemies within in a 10 meter radius of you by 20%.
MP Shell Decreases the MP of enemies within in a 5 meter radius of you by 50%.
Low Level Aqueous Bomb Gives certain damage to target in specific area.


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Justin Vivian Bond's radical love – Interview
14 January, 2015 22 August, 2019 Jake Basford
Jake Basford
Essex-boy living in Cardiff, Jake is a writer, PR/Media officer, and Social Media consultant.
Obsessed with video games, American culture and Buffy. Can usually be found at his laptop working.
Latest posts by Jake Basford (see all)
Game Review: Crash Bandicoot 4 – It's About Time - 12 October, 2020
Opinion: Hogwarts Legacy – to buy or not to buy? - 28 September, 2020
Mobile Game: Crash Bandicoot On The Run - 11 July, 2020
Justian Vivian Bond hits Manchester next month for Queer Contact. Part of the UK's LGBT History Month celebrations, Queer Contact programmes a range of artistic and cultural events at Manchester's premier young people's theatre. Jake Basford caught up with JVB to chat about performance, trans rights and glamorous outfits!
You were mostly made famous to a mainstream British audience because of your popular appearance in Shortbus. Has this brought a new kind of attention or a new kind of audience to your work?
I was happy to do Shortbus because I'd been working as half of a relatively successful double act called Kiki and Herb, and John Cameron Mitchell allowed me to 'play myself' in the film. That gave me the opportunity to introduce myself to a larger audience in a way I was more comfortable with, just when I was getting ready to leave Kiki behind.
You are one of only a handful of trans performers actually portraying trans characters in TV and film and on stage at the moment. Is this something you would like to see increase, or do you think that cisgender actors can accurately portray the issues associated with being trans as effectively without the need for personal experience (e.g., Chloe Sevigny playing Mia in Hit and Miss or Felicity Huffman in Transamerica)?
I'm not particularly interested in acting because I don't like the boring, naturalistic style most film work requires and I don't like being trapped into repetition which is the problem with theatre
Trans actors are certainly just as talented as cisgender actors.
I think it would be great if more transgender actors were cast in every kind of role – not just trans roles. If that were the case they would have the opportunity to hone their craft as much as cisgender actors do and it would help level the playing field.
Unfortunately, we live in a world where trans artists are not given the same opportunities cisgender actors are so, experientially, they remain at a disadvantage which has nothing to do with talent.
But mainly, it's a business. Hence, the important trans roles often go to 'name' actors who have had more of an opportunity to develop a following and are therefore able to generate investors and ad revenue. Hopefully that will change given time.
RELATED ARTICLE Album review: Taylor and the Mason (self-titled)
Leelah Alcorn has recently made the headlines in even the mainstream media. TIME Magazine said we're at the trans tipping point. Do you think we're on the cusp of winning some big advances for the trans part of the LGBT community? Why do you think this is?
I think it's because diverse, courageous and tireless generations of transpeople have been laying their lives on the line for the past half century and even further back than that.
Social media has sped up the process, but it's still not moving fast enough or beautiful children like Leelah Alcorn would not still be dying due to familial abuse.
Say we're at the tipping point. Okay, great, here we are. Leelah Alcorn is dead and to be trans is a capital offense in many countries. Obviously, there's still a very long way to go.
You are coming to Manchester for a series of shows around Valentine's Day about love – what are your thoughts on love? In your memoir, you write about your queer relationship with another boy at school. That really stood out for me, as I think lots of young LGBT people will have similar experiences. Do you think that kind of childhood yearning – looking for mirrors for our own queerness – has any effect on our relationships when we become adults?
Honestly, romantic love is so personal I hate to categorise it or analyse it in terms of queerness. Yes, I wish I'd been able to express my romantic longings and desires more openly when I was an adolescent. Yes, keeping it all pent up inside probably twisted me in some permanent heart-breaking way.
As an adult I can say that I've been fortunate enough to have been in love with some wonderful people. However, it's the bad relationships that are fun to talk about onstage! So … in the words of Nico in the Velvet Underground, 'I'll Be Your Mirror!'
Some would argue that trans women, in particular, are overtly sexualised in the media and in cultural representations. Do you agree? Why do you think this is?
Oh no, I don't think I'm sexualised enough! But that's just me … Bring it on! It's time to start overtly sexualising brittle, middle-aged white transwomen! We can handle it. Trust.
Lots of discussions are constantly taking place over language, with RuPaul being attacked for using the term 'she-mail' in RuPaul's Drag Race and Azealia Banks for calling Perez Hilton a 'faggot'. Which side of this debate do you fall on?
RELATED ARTICLE Unmissable Valentines Deals at The Great Northern
I'm against banning words. As a performance artist words are tools in my paintbox and I reserve the right to pull any word out of it at any time. Just be aware that when you do you'll be held responsible for what you say.
There's nothing wrong with being a faggot but I don't think Azealia Banks meant it as a compliment. Now she's being held responsible.
Let's face it, her career started its descent when she said that sooo … bye-bye, hon! We liked that one video you made a few years ago before we found out you were an asshole!
Same with the word she-male. There's nothing wrong with being a she-male. Many empowered transwomen are perfectly comfortable with that term. But if it's used derisively then it's not okay. If it's applied to someone as a way of humiliating them then it's not okay.
But I hate to see the language police attacking people who are comfortable with certain words in order to incite shame-based change by humiliating people within our own community just because they've decided that certain terms are offensive this year.
Either way, it spurs conversation and that's a good thing as long as the conversation doesn't remain in academic circles where elitist rhetoric, whether intentionally or not, oftentimes only serves to isolate and dehumanize more disenfranchised members of the community.
A conversation that comes up from time to time with LGB, trans, and cis hetero friends is use of the word 'tr*nny' – you did mention this on your own Facebook at the time. What is your take on it? How do you think other trans people have responded to the debate and do you think it's moved on at all?
One major lesson I learned during the 'tr*nny wars' is from the people who likened the use of the 'T' word to the 'N' word. I found this comparison to be offensive because the 'N' word was created by the white oppressor and I'm still fairly certain the 'T' word started out between girlfriends.
However, it was explained to me that for trans-women of colour, when they are within more traditional communities of colour, the use of the 'N' word is much less hurtful than the 'T' word, which is used in an incredibly hostile way that is far more painful, dehumanising, and potentially violent for them than the 'N' word.
RELATED ARTICLE Queen's Address: Sheela Blige, Manchester
Living in my neighborhood, I would never have thought of that because that's not a context within which I have much experience. I'm grateful that my girlfriends of colour were patient enough to share that with me in such a way that I was able to hear and comprehend where they were coming from.
Our radical politics need to be infused with more radical love.
So basically I've stopped using the word tr*nny when I'm not with my girlfriends in private having a kiki. Personally, I still don't find it to be offensive, but I don't want to accidentally trigger anyone or to mistakenly give permission to some dumb-ass who overhears me using it playfully to co-opt that word, so I now refrain from using it in public. The last thing I would want to do is unintentionally hurt anybody's feelings.
Alongside the international 'Love is Crazy' tour, have you got any big works coming up that we should be aware of?
I'm going to have an exhibition of my visual art at The Vitrine Gallery in London in May which I'm very excited about.
Do you ever get bored of being held as the example of non-binary artistry done right, or do you enjoy being able to be an icon for the genderqueer community?
Ha! I don't really think about it except when I'm asked questions like this. You know, the cat has to be fed, the songs have to be sung. The unmentionables have to be hand-washed and hung to dry overnight in the hotel room before the next gig.
Finally, what is the best part of your job?
More than anything I love the feelings I get while singing beautiful songs with talented musicians. I love the sense of freedom I get when I'm wearing a glamorous outfit. I'm sometimes overwhelmed by how fortunate that I am to be able to make a living doing what I love. Then the cat starts crying for food and the reverie is over. Meow! Gotta go!
Contact, Southbank Centre, Pink Fringe and Brighton Dome in association with Manchester Pride present the UK premiere of
Justin Vivian Bond: Love is Crazy.
Sat 14 to Sun 15 Feb, 8pm. £20/15. Over 16s.
With special guest David Hoyle.
Contact, Oxford Road, Manchester M15 6JA.
Tickets and information: contactmcr.com/justinbond / 0161 274 0600
You can also watch Justin Vivian Bond in Shortbus, followed by a Q&A with JVB and Dr. Andrew Moor (MMU), on Sun 15 Feb, 1pm. (Read more)
The Love is Crazy UK Tour will also travel to Southbank Centre (17 Feb) and Brighton Dome (18 Feb).
Arts Film Highlights
Contact kiki and herb Leelah Alcorn love manchester queer contact Shortbus transgender valentine's day
About Jake Basford
Essex-boy living in Cardiff, Jake is a writer, PR/Media officer, and Social Media consultant. Obsessed with video games, American culture and Buffy. Can usually be found at his laptop working.
View all posts by Jake Basford →
Stonewall Senior Champion of the Year: Cllr Alison Lowe
Goa, India to use 'reform camps' for LGBT+ youth
New Stories Digital Short Play Festival
Christmas 2020 round-up: London post-lockdown
Documentary review: Frida Kahlo
Art Exhibition: Presence in Absence – JD Malat gallery
Film review: Yes, God, Yes

redpajama_set_name: RedPajamaCommonCrawl


Evening classes are run over 6 weeks at Godalming College. Classes run over 6 Tuesday evenings (6pm – 10pm) and 1 weekend. There's plenty of free parking on site.
Online courses are taken at your own pace with full support from a qualified RYA instructor. Ideal for those constrained with time or who want to study in the comfort of their own home.
Scroll down for more course details including the full syllabus.
Dates: Tuesday 8th & 15th & 22nd October, Tuesday 5th, 12th & 19th November. Saturday 23rd & Sunday 24th November.
Evenings start @ 1800 & weekend days start @ 0930.
Dates: Tuesday 4th & 11th & 25th February 2020, Tuesday 3rd, 10th & 17th March 2020. Saturday 21st & Sunday 22nd March 2020.
Online courses start immediately. Once cleared funds have been received, your online account will be set up for you to access the online course material. The accompanying course notes and plotter kit will be shipped to you within 24hrs.
Once your account has been activated, you have 6 months to complete the course. This is extendable by 6 months for an additional fee of £30.
The RYA Day Skipper theory course is a great entry point to the RYA theory syllabus. It's a comprehensive introduction to navigation and cruising for new skippers providing the necessary tools to ensure you put out to sea safely.
The course provides a solid foundation in boat safety, charts and navigation techniques including integrated navigation using both paper and electronic chart plotter (GPS) tools.
Whilst building on the Essential Navigation course, many people start with the RYA Day Skipper Theory Course. You will develop skills to enable you to navigate safely in familiar waters during the day whilst being introduced to the factors to consider when making a passage at night.
You'll learn how to plan and prepare for a day on the water including understanding weather forecasts (meteorology) and passage and pilotage planning. You'll also cover topics such as coastal navigation, tidal considerations and chart plotting techniques such as course to steer. The course also covers safety equipment including the correct distress procedures and, importantly, the 'rules of the road'.
For the full syllabus, click here.
This is a great way to build on your existing knowledge or to get you started in the world of safe seamanship and navigation.
On successful completion of the course, you'll be awarded the RYA Day Skipper Theory certificate.
Our RYA shore-based classes are run from the fabulous facilities at Godalming College. Learning in a group classroom environment is fun and offers a way to make new sailing friends as well as pick up tips'n'tricks from like-minded people.
It's a relaxed environment and you'll have plenty of time to ask the instructor questions.
There's plenty of free parking on site.
The Day Skipper / Watch Leader Shorebased Course provides a comprehensive introduction to chartwork, navigation, meteorology and the basics of seamanship.
This course is ideal for those who have completed Competent Crew course and are looking to improve their skills and learning how to start making skippering decisions. The theory know-how gained from this course is the expected level of knowledge for those looking to go on and do Day Skipper Practical.
Use of personal safety equipment, harnesses and lifejackets.
Ability to send a distress signal by VHF radiotelephone.
Use of waypoints on passage.
This option allows you to study at your own pace and start at a time of your choosing. You'll get your login details once full course payment has been received, usually within 24hrs of booking. There is a 6-month time limit to complete the course once you've activated your ID, however, this can be extended for a small admin fee (£30) should you choose to.
You will receive an email once the deposit has been paid with a link to pay the balance. Once cleared funds have been received, your account will be set up for you to access the online course material. The accompanying course notes and plotter kit will be shipped to you within 24hrs.
Up to two years access to learning materials after completion.
Feedback and help from our fulltime instructors for 18 hours a day seven days a week.
Send me News & Updates, I don't want to miss out!


text:
House Passes Gabbard Bill to Support Wounded Warriors
(WASHINGTON) – Today, the U.S. House of Representatives unanimously (413-0) passed the bipartisan Helping Heroes Fly Act (H.R. 1344), sponsored by Rep. Tulsi Gabbard (D-HI). This measure will improve airport security screening for wounded and severely disabled service members and veterans by ensuring personal privacy and consistent application of efficient screening procedures.
Congresswoman Tulsi Gabbard, member of the House Committee on Homeland Security, released the following statement on the legislation:
"For our wounded warriors and their families, airline travel will now be a much more dignified experience. Due to the nature of their injuries and disabilities, removing a belt, shoe or jacket can be more than just an inconvenience. These selfless heroes should never have to face lengthy, invasive, and even humiliating screening procedures at our airports. The Helping Heroes Fly Act is a strong step toward ensuring they do not face unnecessary hardships after having served our country with courage and dignity. I will push for the bill to be considered and passed in the U.S. Senate and signed by the president into law."
Rep. Bennie G. Thompson (D-MS), Ranking Member of the Committee on Homeland Security, added the following:
"I would like to commend Congresswoman Tulsi Gabbard for introducing this thoughtful, bipartisan legislation. The Helping Heroes Fly Act will improve the screening experience for our injured and disabled veterans by requiring TSA to facilitate the ease of travel and provide expedited screening to these brave men and women. Passage of this legislation is the right thing to do to for those who sacrificed and were injured while serving our nation."
After hearing from advocates of members of the Armed Forces and veterans, Congresswoman Tulsi Gabbard found that the Transportation Security Administration's current "Wounded Warrior Screening Program" needed to be improved. The legislation is supported by many stakeholders in the veterans community and the airline industry, including the American Legion, Paralyzed Veterans of America, the Wounded Warrior Project, Disabled American Veterans, the American Federation of Government Employees, and the Air Line Pilots Association.
Text of the legislation
(Gabbard) Heather Fluit at (202) 738-0126
(Thompson) Adam Comis at (202) 225-9978


Head along for a quiz night.
Full bar, snacks, tea/coffee, and home made baked goodies available for purchase.
Silent auction items, raffles, and great prizes to be won.
Want to join the 98five Ping Pong-a-thon team?


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By Geordie Carragher Published on August 25, 2021 Last Updated on August 25, 2021 Filed under: All posts, Analysts, Cannabis Stock: aawh
Ascend Wellness is a Buy, says Haywood Capital
Haywood Capital analyst Neal Gilmer launched coverage of Ascend Wellness Holdings (Ascend Wellness Stock Quote, Chart, News CSE:AAWH), saying the US cannabis MSO should see impressive growth as its assets get put to work. Gilmer started Ascend off with a "Buy" rating and target price of C$16.50/share for a projected one-year return of 57 per cent.
Founded in 2018 and headquartered in Boston, Mass., Ascend is a vertically integrated cannabis operator with assets and partners in Massachusetts, Illinois, Michigan, Ohio and New Jersey and with a pending acquisition to enter the New York market. The company focuses on emerging markets east of the Rockies, with locations in key retail corridors serving key medical and adult-use markets to drive retail economics.
Ascend is home to a number of brands, including its own Ozone and Ozone Reserve premium brands, as well as licensing agreements with Edie Parker, Lowell Smokes brand, 1906 edibles and Airopro brands vape technology.
Ascend expects to have a total of 20 retail locations opened by the end of the year and 26 by the end of 2022, while also awaiting regulatory approval of MedMen NY and its four dispensaries in New York, including a flagship dispensary on Fifth Avenue in Manhattan.
"Management is focused on going 'deeper' across its existing asset base, while also evaluating opportunities in other limited license states with adult-use programs now or on the horizon," Gilmer said.
The company filed an initial public offering of 10 million shares at $8.00/share in May, then exercised its over-allotment to sell another 1.5 million shares for total gross proceeds of $92 million prior to being approved for trade on the Canadian Securities Exchange and then, starting in July, on the OTCQX Best Market. (All values in USD unless otherwise noted.)
Ascend recently reported better than expected second quarter financial results, with the company's total revenue of $97.5 million representing increases of 28.5 per cent quarter-over-quarter and 236.2 per cent year-over-year. Meanwhile, Ascend's six-month revenue total of $149.7 million in 2021 is already four per cent higher than the total 2020 revenue of $143.7 million.
As of June 30, Ascend's cash and equivalents came in at $104.2 million compared to $27.4 million in debt, while the company's $20.3 million adjusted EBITDA in the quarter represented a 28.3 per cent quarter-to-quarter increase.
The company also reported a net loss of $44.9 million, with $32 million attributable to expenses relating to the company's IPO filing.
"Our business continues to produce impressive quarter-over-quarter revenue and adjusted EBITDA growth as we scale our wholesale and retail operations across the high-quality markets where we operate," said Abner Kurtin, Founder and CEO of AWH in the company's August 10 press release. "We remain focused on executing, disciplined in our approach to allocating capital, and excited about the trajectory of the Company,"
Gilmer has a positive outlook on the company's financial metrics moving forward, projecting revenue of $341.7 million for 2021 for a 138 per cent year-over-year increase. The 2022 forecast looks even more promising from Gilmer's perspective, as he projects $600.5 million in revenue for a potential 75.7 per cent year-over-year increase.
From an adjusted EBITDA perspective, Gilmer projects Ascend to report $84.8 million in 2021 for a 24.8 per cent adjusted EBITDA margin and 175.3 per cent year-over-year increase, with 2022 projecting $200.4 million in positive adjusted EBITDA for a 33.3 per cent adjusted EBITDA margin and a potential 136.3 per cent year-over-year increase.
Gilmer also foresees 2022 yielding a return on investment ($0.49 EPS) after losses in 2020 ($0.25/share in 2020, $0.63/share in 2021).
As with most companies in the cannabis industry, Ascend does come with its potential risks to its price target, with Gilmer specifically noting regulatory risk, facility risk, competition, execution risk, and risk associated with the United States classifying marijuana as a Schedule I controlled substance, the most restrictive classification for any narcotic.
Gilmer estimated Ascend to be trading at a discount to its peer group (2022 EV/Revenue of 3.1x and EV/EBITDA of 8.9x from consensus estimates, compared to 3.0-6.0x/10.0-15.0x for peers), the analyst believes Ascend will continue to be on the upswing with its performance.
"We attribute some of the discount to its more recent go-public transaction, limited current trading liquidity and limited track record as a public company," he said. "We believe that over the next few quarters, investors will benefit from continued execution by management and de-risking of its growth profile."
Gilmer noted that Ascend is currently in a significant expansion phase, with planned operations in core markets expected to add about 145,000 sq ft of production capacity this year and further expansion in 2022. That pace, along with its deeper retail presence, should put Ascend above its peer group in terms of revenue growth.
"Ascend is only producing in a fraction of its planned footprint with production capacity more than doubling by the end of 2022," Gilmer wrote. "The increased capacity will drive retail revenue growth and opening of new locations, while also supporting management's goal of an approximate 50/50 split between retail and wholesale sales."
Ascend's share price has been relatively flat over the past couple of months but the stock is still up 5.1 per cent for the year to date, with its high point of C$11.00/share coming on August 11.
Analysts Cannabis aawh
Ascend Wellness is trading at a discount to peers, Beacon says
Russell Stanley of Beacon Securities is actively keeping an eye on Ascend Wellness Holdings (Ascend Wellness Stock Quote, Chart, News...
Analysts Cannabis aawh ayr.a hiti
Three cannabis stocks to watch from Beacon Securities
Beacon Securities issued an update on the cannabis space on Monday, focusing on regulatory and state-by-state developments in the US...


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Analysis: Is Georgia Planning To Snatch Abashidze?
April 29, 2004 19:31 GMT
By Liz Fuller
Adjar Supreme Council Chairman Aslan Abashidze Georgian leaders' increasingly bellicose rhetoric, in conjunction with the deployment of Georgian heavy armor to the internal border between Adjaria and the rest of Georgia for military exercises, have fuelled fears that the Georgian leadership is planning a military incursion to try to oust Adjar Supreme Council Chairman Aslan Abashidze.
Any such military intervention could, however, encounter fierce resistance from Abashidze's armed supporters currently encamped on the Adjar side of the internal border. And the use of military force would reflect negatively on Tbilisi given repeated statements by the U.S., Russia, and international organizations calling for restraint and for the Georgian and Adjar leadership to resolve their differences by means of political dialogue.
Caucasus Press on 28 April estimated that the manpower at Abashidze's disposal does not exceed 2,000 Interior Ministry troops plus 8,000 armed civilian volunteers and a small rapid deployment brigade trained by a retired Russian general, whereas the Georgian armed forces number 18,000 men. Georgian President Mikheil Saakashvili claimed on 9 April that Abashidze also has two T-72 tanks, and several armored personnel carriers, helicopters, and long-range artillery systems. Over the past week, Georgian media have reported the defections to the central Georgian government of dozens, if not hundreds, of army, police, and security personnel based in Adjaria, including some members of the crack rapid reaction force.
While that erosion of support for Abashidze could facilitate a military intervention, remarks on 28 April by Georgian Interior Minister Giorgi Baramidze suggest that Tbilisi favors an entirely different scenario, and that the maneuvers on the internal border are intended to mislead and to divert attention from the true objective, which is to launch a commando raid and arrest Abashidze in Batumi. Georgian parliament deputy Givi Bokeria said in Tbilisi on 28 April that the Georgian leadership has no choice but to arrest Abashidze, Caucasus Press reported.
Also on 28 April, Russian agencies quoted as saying his ministry is capable of launching a police operation in Adjaria if all efforts to resolve the standoff peacefully fail. Indeed, the Georgian police have already demonstrated their ability to do so, when in mid-January they snatched former Georgian railways head Akaki Chkhaidze from a hospital in Batumi. And in late March, Georgian police and special-purpose troops launched a major operation to round up a crime gang in Svaneti (see "RFE/RL Newsline," 26 March 2004). Scheduling Abashidze's arrest for the first weekend in May would ensure that any negative publicity that could result from his accidental death while resisting arrest would be eclipsed by the euphoria surrounding EU expansion.


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Man rushed to hospital with serious head injuries after street fight near Southend East station
A police cordon was in place after the assault
Paige Ingram
A man has been rushed to hospital with serious head injuries after a fight in Southend.
Essex Police were called to reports of a fight involving a number of people in Ambleside Drive - near Southend East station - at around 11.25pm last night (Friday, August 2).
A man in his 20s suffered a serious head injury and was taken to hospital for further treatment.
It is understood he is not in a life-threatening condition.
At this stage it is unclear why the street fight started, or exactly how many people were involved.
Pictures taken at the scene earlier today show a large police cordon in place.
A spokesperson for Essex Police said: "We are investigating following a serious assault in Southend.
"We were called to reports of a fight involving a number of people in Ambleside Drive at around 11.25pm on Friday 2 August.
"On arrival we found a man in his 20s with serious head injuries and he has been taken to hospital for treatment.
"His condition is not being described as life-threatening.
"If you saw anything, have CCTV or dash cam footage or have any other information please call us on 101 quoting incident 1622 of 2 August or Crimestoppers anonymously on 0800 555 111."


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Q: How is the best way to generate a calendar table in PowerCenter? I must generate a table of calendar dates from dateIni to dateEnd in Powercenter Designer.
dateIni is is fixed, for example '2013-01-01'
dateEnd is sysdate + 'n' months
I'm trying to generate from a java tranformation, that can generate several dynamic rows but needs an input row and I do not have any input... it there any other better approach using seq generator???
As an example table content result must be
date
=======
'2013-01-01'
'2013-01-02'
'2013-01-03'
...
...
'2016-03-10'

A: You can pass a single input row from any source into the Java transformation and then generate rows with consecutive dates in a loop.
You can create a simple table with two columns - dateIni and dateEnd. It will contain a single row that will both kickstart the Java code and provide configuration for the mapping.

A: When working with an Oracle database you can also use the following query in your source qualifier:
  SELECT  level
  FROM    dual
  CONNECT BY
          level <= 1000 --(or any other number)

This will generate 1000 rows.
With an Expression-transformation you can change this into dates:
  ADD_TO_DATE(to_date('20190101','yyyymmdd'), 'DAY',Level)

redpajama_set_name: RedPajamaStackExchange


T cell-rich lymphoid infiltrates with large B cells: a review of key entities and diagnostic approach.
Accurate diagnostic interpretation of a lymphoid population composed predominantly of small T cells, together with smaller numbers of large B cells, with or without a nodular architecture, is a common problem faced by the histopathologist. The differential diagnosis of this histological pattern is wide, ranging from reactive conditions such as drug reactions and viral infections, through borderline entities such as immunodeficiency-related lymphoproliferative disorders to lymphomas. The latter includes entities where the large B cells are primarily neoplastic (classical and nodular lymphocyte-predominant Hodgkin lymphomas and T cell/histiocyte-rich large B cell lymphoma) as well as T cell lymphomas such as angioimmunoblastic T cell lymphoma where the large B cells represent an epiphenomenon and may or may not be neoplastic. Several rare variants of these conditions, and the fact that treatment can significantly modify appearances, add to the diagnostic difficulty of these pathological entities. Unlike monomorphic lymphoid infiltrates, the histological pattern of T cell-rich proliferation with large B cells requires close evaluation of the inter-relationship between B cells and T cells, follicular dendritic cells and sometimes other inflammatory cells. Epstein-Barr virus plays a key role in several of these scenarios, and interpreting not only its presence but also its distribution within cellular subgroups is essential to accurate diagnosis and the avoidance of some important diagnostic pitfalls. An understanding of normal immunoarchitecture and lymphoid maturational pathways is also fundamental to resolving these cases, as is a knowledge of their common patterns of spread, which facilitates correlation with clinical and radiological findings.


text:
Marnie Mitze
Special Advisor to the President
Marnie Duke Mitze is special advisor to the president at Pepperdine University.
Mitze previously served as the University's vice president and chief of staff at Pepperdine University, working alongside the president to execute a variety of strategic and public relations projects.
For 25 years Mitze worked in the field of arts administration, including 15 years as managing director of the Lisa Smith Wengler Center for the Arts at Pepperdine University. She has served as president of California Presenters and as a panelist for many arts organizations, including the California Arts Council, the National Endowment for the Arts, Arts Presenters, and the Western Arts Alliance.
Mitze holds a master of music degree from Boston University and a bachelor of music degree from the University of North Texas.


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Elisi Busco Vunipola (born 5 July 1972, in Nuku'alofa) is a Tongan former rugby union player. He played as fly-half.

Career
Vunipola debuted for Tonga in the match against Fiji, in Nuku'alofa, on 24 March 1990. He played the 1995 and 1999 World Cups, earning in total 6 World Cup caps. Although not taking part at the 2003 Rugby World Cup, Vunipola last played for Tonga in the match against France, in Toulouse, on 19 November 2005. At club level, he played for Sanyo, ACT Brumbies, Caerphilly RFC and Bay of Plenty.

Personal life
He is brother of the scrum-half Manu Vunipola and of the hooker Feʻao Vunipola, both Tongan internationals. He is also the uncle of Feʻao's sons, Billy and Mako Vunipola, both England internationals. He is the father of fly-half Manu Vunipola.

Notes

External links

1972 births
Living people
Tongan rugby union players
Saitama Wild Knights players
Tongan expatriate sportspeople in Australia
Tongan expatriate sportspeople in Wales
Tongan expatriate sportspeople in Japan
Tongan expatriate sportspeople in New Zealand
Rugby union fly-halves
Tonga international rugby union players
People from Nukuʻalofa
Tongan expatriate rugby union players
Expatriate rugby union players in Australia
Expatriate rugby union players in Wales
Expatriate rugby union players in Japan
Expatriate rugby union players in New Zealand

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NRC students have got WorldSkills talent
Gordon Kane Assistant Head of Department Engineering and Built Environment at NRC and the College's designated Skills Champion.
Published: 15:24 Monday 23 October 2017
Northern Regional College will be well represented at the national WorldSkills finals in Birmingham next month.
Seven students from the College's Ballymena, Coleraine and Newtownabbey campuses have qualified for the final stage of the competition in Carpentry, CNC Milling, IT Software, Mechatronics and Graphic Design categories.
To reach the national final, the students had to battle through College competitions, regional qualifiers and semi-finals where they were up against the cream of skilled young apprentices and students from all over the UK.
The final showdown will take place in front of an estimated 70,000 spectators at The Skills Show at the NEC in Birmingham from November 16-19.
Among the College's finalists are: CNC Milling, Dean Boyle and Rory McCloskey; Mechatronics, Ryan Moon and Richard Woods; IT Software, James McCaughey, all are students at the College's Ballymena campus.
Congratulating the finalists, Gordon Kane Assistant Head of Department Engineering and Built Environment at Northern Regional College and the College's designated Skills Champion said: "The national finals are an excellent opportunity for us to showcase and celebrate the high level of skills and impressive talent we have at the College. It is a wonderful achievement to reach the finals. This testimony to the hard work of the students and staff reflects the high standards of training and commitment across all campuses. The College has had some notable successes in skills competitions in the past and I'd like to wish all our finalists every success at The Skills Show."


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German economist panel cuts 2021 growth outlook to 3.1%
BERLIN — The German economy Europe's biggest will grow by 3.1% this year, the governments panel of independent economic advisers forecast on Wednesday, cutting its previous prediction somewhat.
The panel's new outlook compared with a forecast of 3.7% in November, made at the beginning of a second round of coronavirus-related closures that are largely still in place.
Last year, Germany's gross domestic product shrank by 4.9%. That ended a decade of growth and was the biggest decline since the financial crisis in 2009. However, Germanys economy did better than several others in the 19-country eurozone as it was supported by manufacturing, which has taken less of a hit than services during the pandemic.
For 2022, the economists predicted growth of 4%.
Despite the second wave of infections and, at least here in Germany, an ongoing lockdown, we are far from the difficult economic situation in Spring 2020, panel member Volker Wieland said. World trade has picked up significantly, he said, with economic activity improving in China, Asia and the United States in particular.
Germany's economy grew 0.3% in the fourth quarter compared with the previous three-month period. Wieland said a drop is expected in the current quarter, but the recovery should resume thereafter helped by progress in a so-far slow vaccination campaign.
German authorities started loosening some virus-related restrictions in recent weeks, opening hairdressing salons, some schools, nonessential shops and museums.
But much remains closed. Restaurants, bars, hotels and many culture, leisure and sports facilities have been shut since early November. Most lockdown measures are in place until at least March 28. Authorities are due to consider the way forward on Monday, and now face a steady rise in new infections as a more contagious coronavirus first detected in Britain takes hold.
A third wave" of infections could, if it is heavy, delay the recovery, Wieland said.
But there would only be a significant decline in economic output if there were far-reaching restrictions or closures in industry in Germany, he said.
Authorities haven't yet imposed any such restrictions. Wieland said they should be avoided by speeding up vaccinations, expanding testing and improving technology-based infection tracking.
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Funeral services for Mary F. Stevens were at 11 a.m. Monday, Feb. 29, 2016 at Rose-Neath Funeral Home Chapel in Minden with the Rev. Bill Crider officiating. Interment followed at Summer Grove Baptist Church Cemetery in Shreveport. The family received friends from 5 until 7 p.m. Sunday, Feb. 28, 2016 at Rose-Neath Funeral Home in Minden.
Mary was born Nov. 13, 1931 in Huntington, West Virginia and entered into rest Feb. 26, 2016 in Bossier City.
She was preceded in death by her parents, son Wallace Eugene Stevens Jr., daughter Barbara Sanders and brother Truman Clark.
She is survived by her husband Wallace E. Stevens of Sibley, daughters Peggy S. Molcany and husband Robert of Denham Springs, Jane Olinger and husband Larry of Cold Springs, Texas, sister Charlsye Mobley of West Columbia, Texas, 15 grandchildren and numerous great-grandchildren.