text:
Jaipur, the pink city, capital of Rajasthan
Designed according to Vedic concepts, Jaipur, the buzzing capital of Rajasthan is one of the most visited cities in India. Well, the pink city knows how to charm the traveler: colourful festivals, majestic historic buildings and rich craftsmanship. From the "palace of winds" to the "water palace", the pink city has no close rival except neighbouring Amber, the Jaipur Maharajas' previous capital.
One of the gates to the old town
Jaipur is a relatively recent town, built in the 18th century by the Maharaja Jai Singh II. He called in a Bengali town planner who designed the city, in compliance with Vedic concepts, in 9 blocks corresponding to the nine planets of Indian astrology. The entire town is based on a square grid plan. Everything – streets, shops etc. – was standardised from the outset.
Jai Singh's descendant Ram Singh II had the town repainted in pink to welcome the visiting Prince of Wales in 1876, pink being the traditional colour of welcome. Jaipur has been called the Pink City ever since.
Festivals not to miss
The darbar hall of the Diggi Palace | Photo : The India Today Group/Getty Images
The Jaipur Literature Festival is an annual literary festival taking place in the Indian city of Jaipur since 2006 during the month of January. The Diggi Palace Hotel serves as the main venue of the festival. JLF brings together some of the greatest thinkers and writers from across South Asia and the world. From Nobel laureates to local language writers. jaipurliteraturefestival.org
Decorated elephant parade | Photo : pradeep kumar chatte…
The Elephant Festival is held on the day of Holi festival, usually in the month of March. The festival features Elephant polo and Elephant Dance. The Elephant Festival begins with a beautiful procession of bedecked elephants, camels, horses and folk dancers. The owners proudly embellish their elephants with vibrant colors, jhools (saddle cloth) and heavy jewellery.The most beautifully decorated elephant is awarded.
Gangaur
Gangaur is a colourful women's festival that is mainly celebrated in Rajasthan.The word 'Gangaur' is derived from 'Gana', a term for Lord Shiva, and 'Gauri', referring to his consort Parvati. In fact the festival is mainly in honour of Gauri, symbolising conjugal happiness…
KNOW MORE +
Rajasthan Day
Elephant parade on Rajasthan day |Photo : Rajasthan tourism
Rajasthan Day is celebrated on 30th March every year with lot of enthusiasm and many exciting and colourful events. These include cultural, classical and theatre events. Rajasthan was formed on 30 March 1949. In significance of this and to make people of Rajasthan have a sense of pride in their state, this day is celebrated as a week long festival.
And now, let's visit Jaipur !
City Palace
We start the visit of Jaipur by the palace of the city, which occupies the ninth Vedic square, in the center of the city. Maharaja Sawai Jai Singh II began its construction when he moved his court from Amber (see below) to Jaipur in 1727.
The Chandra Mahal in the background
The palace is a complex with several courtyards, palaces, pavilions, gardens and temples.
Upon entering the first courtyard, we come across the Sarvato Bhadra, one of the most famous buildings in the city palace which used to be the 'Diwan-e-Khas', or private courtroom.
Sarvato Bhadra, the audience hall
Today, this large square hall continues to be used for celebrations of major Indian festivals such as Dussehra or Makar Sankranti, but also during typical Rajasthani festivities such as Gangaur and Teej, where the idol of the goddess Gauri is placed in a palanquin in the center of the hall, before being carried in a procession around the city.
A guard posing in front of one of the silver jars
Little megalomaniac anecdote: in the Sarvato Bhadra there are two huge silver jars (Gangajalis) 1.6 meters high, each with a capacity of 4000 liters. They were specially commissioned by Maharaja Sawai Madho Singh II to transport water from the Ganges that was used as drinking water during his trip to England in 1901 in order to attend the coronation of Edward VII. These 340 kg jars are registered in the Guinness book as the largest silver vessels in the world.
To the right of Sarvato Bhadra, a wooden door, where two men in traditional dress stand guard, leads us to the Chandra Mahal, one of the oldest buildings in the complex, still occupied by the current Maharaja and his family.
Sukh Niwas
The first two floors include the Sukh Niwas with its pretty blue and white arabesques, followed by Rang Mandir and Shobha Niwas which both have a breathtaking decoration incorporating thousands of mirrors.
Rang Mandir
The top floors (not accessible to visitors) there are the Shri Niwas and the Mukut Mandir, the coronation pavilion. It is on the Mukut Mandir that the royal standard of Jaipur is hoisted when the Maharaja is in residence.
Shobha Nivas
Coming down from Chandra Mahal by narrow internal stairs, we come across the small courtyard 'Pitam Niwas chowk' decorated with four magnificent colorful doors representing the four seasons and the Hindu gods associated with them.
The northern gate of the 'Pitam Niwas chowk' with patterns of peacocks depicting autumn and the god Vishnu
Yantra Mandir ou Jantar Mantar
On the right, leaving the City Palace, there is the Jantar Mantar, one of the five observatories of India together with Delhi, Varanasi, Mathura and Ujjain. It is considered as one of the largest and best preserved observatories. It was built by Sawai Jai Singh II in the year of 1724.
The monument features masonry, stone and brass instruments that were built using astronomy and instrument design principles of ancient Hindu Sanskrit texts. The instruments allow the observation of astronomical positions with the naked eye.
Govind Devji Temple
Krishna, the idol the temple | Photo : @shrishriradhagovinddevjijaipur
The Hindu temple Govind Dev Ji is located in the City Palace complex and is dedicated to Krishna. The idol was brought back from Vrindavan by Raja Sawai Jai Singh II, the founder of Jaipur. She was also the main deity of the Kachawaha dynasty of Amber.
The interior of the Govind Dev Ji temple | Photo: Tripoto
To really immerse yourself in the atmosphere of the Govind Dev Ji temple, visit it during the aratis (see timetables below) and mingle with the crowd of the faithful who make long circumambulations around the altar … A unforgettable experience ! The temple is also worth a visit during the Holi festival, which originated in the history of Lord Krishna.
The schedules of the daily aratis (rituals) of the temple:
Mangla 4:45 – 5:15
Dhoop 7:45 – 9:00
Shringar 9:30 – 10:15
Rajbhog 11:00 – 11:30
Gwal 17:30 -18:00
Sandhya 18:30 – 19:45
Shayan 20:45 – 21:15
Hawa Mahal (Wind Palace)
The Wind Palace is probably the most emblematic monument of Jaipur which, although located away, is part of the 'City Palace' complex; a secret passage also connects the two buildings.
The Hawa Mahal was intended for women of the court (zenana) who could observe, without being seen, the religious processions, through latticed windows.
The building was constructed by Maharaja Sawai Pratap Singh in 1799 under the supervision of architect Lal Chandra Usta. The Maharaja being a devotee of Lord Krishna, he asked that the building be constructed in the shape of the crown of Krishna.
The very simple interior of the Hawa Mahal contrasting with its exterior facade
This 5-storey building, comprising 61 stone loggias and 350 windows, was also designed so that the breeze could circulate freely through the many balconies, refreshing the atmosphere – whence its name, which literally means "palace of winds".
Visit the Hawa palace during the evening too when the Hawa Mahal is particularly is embellished with the lighting.
Minaret 'Iswari Minar Swarga Sal'
If you want a 360-degree view of the pink city, walk a few more minutes from the Hawa Mahal towards the Tripolia bazaar and climb the steps of the minaret Iswari Minar Swarga Sal, built in the 1740s by Iswari, the son and successor of Jai Singh II. Please note, it closes at 4.30 p.m.
Madhavendra Bhawan, the summer palace of the Maharajas of Jaipur
Built in 1734 by Maharaja Sawai Jai Singh II, founder of Jaipur, Nahargarh ("abode of tigers") stands proudly on the edge of the Aravalli hills above the pink city. Together with Amber and Jaigarh forts, Nahargarh once formed a strong defensive ring for Jaipur.
One of the Madhavendra Bhawan's rooms decorated with delicate murals
The fort houses the Madhavendra Bhawan, which was the summer destination for members of the royal family. The palace has twelve boudoirs for the queens and a suite for the king. They are all connected by corridors decorated with delicate murals.
Note: Travelers usually visit the fort in the late afternoon to be on time to watch the sunset over the city.
The view on the city of Jaipur from the Nahargarh fort
Jal Mahal (Water Palace)
Halfway between Jaipur and Amber stands the romantic Jal Mahal, "floating" in its lake. It was built by Madho Singh in 1799 as a second home for the royal family and also, on a slightly less romantic note, for duck hunting.
Gatore Ki Chhatriyan Cenotaphs
The finely carved and sculpted Gatore Ki Chhatriyan ("last abode of the souls of the dead"), at the foot of the hill, below Nahargarh Fort, is a beautiful complex of temples and cenotaphs of the Rajput Kachwaha dynasty.
The first cenotaph is of Jaipur's founder, Maharaja Sawai Jai Singh II, and the most recent is of Sawai Raja Man Singh, the father of Maharaja Bhawani Singh, the last king of Jaipur.
Garh Ganesha Temple
| Photo : A.Savin Wikimedia
The Garh Ganesha temple is dedicated, as its name suggests, to Ganesha, the elephant-headed god. It is perched on top of one of the Aravalli hills, near that of Fort Nahargarh. It is reached by steep stairs from the royal cenotaphs Gatore Ki Chhatriyan (see above).
The temple was built by Maharaja Sawai Jai Singh when he performed the Ashwamedha Yagna fire ritual before settling in Jaipur. It is said that he placed the statue so that he could see it from the City Palace with binoculars.
To visit preferably in the early morning to avoid the scorching heat and because also, it is customary to start each day with the darshan (sight) of Ganesha, the auspicious god. 🙂
Jaipur by night, a must
The capital of Rajasthan is particularly nice at night when the buildings and monuments are highlighted by judicious lighting. This is the case of the Palace of the Wind (see top of the page), but also of the Albert Hall Museum, the Birla Mandir, the Raj Mandir and the city's bazaars.
Albert hall Museum
Located outside of the city walls, the Albert Hall Museum is the oldest state museum in Rajasthan. It was designed by the British architect Sir Samuel Swinton Jacob and presents a beautiful Indo-Saracenic architecture, that is to say a mixture of British architecture, Rajasthani and Mughal.
The 'Albert Hall Museum' is a must-see at night!
The museum has a rich collection of artifacts, but the star here is an Egyptian mummy, that of a 'Tutu', a female member of the family of a priest, dating from the Egyptian Ptolemaic period (322 BC to 30 BC). It was brought back from Cairo in 1887 by the Maharaja of Jaipur, Sawai Ishwar.
Birla Mandir Temple (Laxmi Narayan Mandir)
Birla Mandir is a Hindu temple at the foot of Moti Dungari hill, shortly after the Albert hall Museum. This vast white marble temple was built around 1988 by the Birla family, a wealthy Indian business family.
The Birla Mandir at night | Photo : Shutterstock
The temple is dedicated to Vishnu and his consort Lakshmi, goddess of prosperity. The deities of the Hindu pantheon are portrayed inside the temple while the exterior is adorned with great figures such as Socrates, Zarathustra, Christ, Buddha and Confucius.
Raj Mandir Theatre
Why not take in a Bollywood* film in Jaipur? Raj Mandir is the place to go for that. It's one of India's most famous cinemas. Built in Art Deco style, it opened in 1976. The high-kitsch meringue-shaped auditorium is well worth seeing.
* "Bollywood", a word made up from "Bombay" and "Hollywood", is the name for a genre of popular films made in India in the Hindi language.
The Art Deco style of Raj Mandir
In any case going to the movies while in India is an unmissable experience. Even without understanding the language, the atmosphere says it all. Indian film fans throw themselves into the experience, sometimes shouting, singing and dancing. You'll need to set aside three hours for this.
The auditorium in the shape of a meringue
Bazaars of the old town
In India, a visit to the bazaars is an experience not to be missed and those of Jaipur are particularly suitable for strolling and shopping. Here, each bazaar has its specialty; The Kishanpole Bazaar specializes in textiles, the Tripolia bazaar in bangles, the Johari bazaar for jewelry, etc.
Amber, the former capital (11 km)
Jaipur's visit is incomplete without that of Amer, also spelled Amber, which is the former capital of the Maharajas of Jaipur. The Amer Palace is the city's main attraction, but other monuments all around are also worth a visit.
View of the Amber fort from the Jaipur-Amber road
Amber Fort, which also includes a palace, was built in 1592 by Maharaja Man Singh I on the remains of an 11th-century fort. Successive leaders added several structures to the fort before moving the capital to Jaipur in 1727 following an increase in population and because of a water shortage.
We enter the fort through the 'Suraj Pole' (door of the sun), which leads to the main courtyard, the Jaleb chowk. It was here that the king's military parades were held.
The Jaleb chowk, the largest courtyard at the entrance to the fort
Just to the right in front of this courtyard, stairs lead to the temple dedicated to Shila Devi (a form of the goddess Durga) whose idol was given to Raja Man Singh when he defeated the Raja of Jessore (present-day Bangladesh), in 1604.
Ganesh's porch decorated with miniature paintings
The second courtyard of the fort includes the Diwan-e-Aam (hall of public hearings) erected on an elevated platform with 27 columns.
Diwan-e-Aam (public hearing hall)
The third courtyard was the private apartments of the Maharaja and his family. It is reached by the beautiful Ganesh porch decorated with miniature paintings. The courtyard consists of two buildings, one opposite the other, separated by a Mughal-style garden.
The Mughal Garden and, on the right, the Sukh Niwas
The building to the left of the front door is called the 'Sheesh Mahal' (Palace of Mirrors) and for good reason, it is beautifully adorned with inlaid mirrors designed so that they shine under the candle light like a starry sky.
The 'Sheesh Mahal', the palace of mirrors
Opposite the mirrors palace is the Sukh Niwas (pleasure hall) whose walls are decorated with marble inlays and niches. An open canal crosses the building to the Mughal garden, which refreshes the atmosphere.
Interior of the Sukh Niwas
The fourth courtyard is where the Zenana was located, in other words the harem of the maharaja, where not only the women of the royal family lived but also the concubines. This courtyard includes numerous lounges where the women resided awaiting the improvised visit of the Maharaja.
The gardens of the fort of Jaigarh and the thick wall of red sandstone
To protect the palace of Amber, Jai Singh II built the fort of Jaigarh (the victory fort) in 1726 on a promontory of the Aravalli mountains called Cheel Ka Teela (the hill of the eagles). It overlooks the Amber Fort by 400 meters and its thick wall of red sandstone stretches for 3 kilometers. The fort includes a palace, gardens and a museum, but its main attraction is the 'Jai Vana', one of the largest wheeled cannons in the world. Manufactured around 1720, it has an impressive shooting range of around 30 km.
The 'Jai Vana', one of the largest wheeled cannons in the world
Sri Jagat Shiromaniji temple
Sri Jagat Shiromaniji palatial temple
Below the Amber Palace there are several temples, the most important of them is the Sri Jagat Shiromaniji (crown of Lord Vishnu), dedicated to Lord Krishna. It was built in 1601 by Queen Kanakawati, wife of Maharaja Man Singh, in memory of her son Jagat Singh.
The altar of Sri Jagat Shiromaniji
The palatal style temple is adorned with harmonious sculptures and includes a splendid torana (arch) at the entrance flanked by two elephants finely carved in white marble.
The torana, the arch at the entrance of the temple
This temple is also associated with the holy poetess Meerabai. It is said that the statue of Krishna of this temple is the very one that Meerabai worshiped. She would have been saved from destruction by the rulers of Amer during the wars against the Mughals and placed in this temple.
Panna Meena Ka Kund
Panna Meena Ka Kund, a fine step-well example
At the bottom of the Sri Jagat Shiromaniji temple, we discover the Panna Meena Ka Kund, a fine example of a step-well, typical of Rajasthan.
It was built in the 16th century and was both a water supply and a gathering place for the local community.
Its perfect geometry, with intersecting staircases and numerous niches, is a delight to the eye. But, if you want to see the largest step-well of Rajasthan, the Chand Baori, you will have to continue your road towards Agra …
Temples Galtaji Monkey (10 km)
The building where the Galta kund is located
To finish off the tour of Jaipur in style, I recommend you a drive to the heart of the Aravallis mountains to discover the temples of Galtaji built in between two cliffs, there are little gems.
The complex is an ancient place of pilgrimage; it is said that a saint named Galav, whose place takes his name, lived here for 100 years practicing intense asceticism. Since the 16th century, it has also been the home of followers of the Hindu branch 'Ramanandi Sampradaya' which mainly emphasizes the worship of the god Rama and all the other incarnations of the god Vishnu.
One of the temples of the Galta ji complex
The current temple was built in the 18th century under the reign of Maharaja Sawai Jai Singh II and it is also the home of thousands of monkeys, hence its second name. Besides its many temples, it also includes 7 Kunds (ponds) which are fed by a source of pure water gushing from the cliff and flowing into a first basin, the 'Galta Kund', at the top of the complex. Taking a bath in this sacred pool is considered a blessing.
The 'Galta Kund', the most sacred basin of the complex
Navaratri, the festival of the Divine Mother
Navaratri, along with Mahashivaratri, is one of the leading Hindu festivals, celebrated with great fervour through...
Osian, a caravanserais in Rajasthan
Gateway to the Thar Desert, the hamlet of Osian, 70 km from Jodhpur, takes us back in time to the days when camel ...
Thiruvananthapuram (Trivandrum), capital of Kerala
Thiruvananthapuram is the capital of Kerala. Its name means 'city of Lord Anantha' referring to Anantha, the mythi...
← Jagdalpur, capital of the Bastar region
Leh, the capital of the breathtaking Ladakh →
Category: Blog, Rajasthan	Tags: Rajasthan
2 Comments on "Jaipur, the pink city, capital of Rajasthan"
Palaces Inindia 25/01/2020, 9:45 am
Really Very Helpful Articles For Every One,Thanks For Sharing Keep Up The Good Work
Mathini 05/02/2020, 8:33 am
thanks ! 🙂


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;

using Android.App;
using Android.Content;
using Android.OS;
using Android.Runtime;
using Android.Views;
using Android.Widget;
using Android.Support.V7.Widget;
using EasyAdapterLibrary.Helpers;
using Android.Util;
using Android.Support.V4.Content;
using Android.Content.Res;
using Android.Graphics.Drawables;
using Android.Graphics;
using Android.Views.Animations;
using Com.Bumptech.Glide;
using Com.Bumptech.Glide.Load.Resource.Bitmap;

namespace EasyAdapterLibrary.RecyclerViews
{

    public class EasyRVHolder : RecyclerView.ViewHolder, RecyclerView<EasyRVHolder>
    {

        private SparseArray<View> mViews = new SparseArray<View>();

        private View mConvertView;
        private int mLayoutId;
        protected Context mContext;
        public event EventHandler Click;

        public EasyRVHolder(Context context, int layoutId, View itemView)
                : base(itemView)
        {
            this.mContext = context;
            this.mLayoutId = layoutId;
            mConvertView = itemView;
            mConvertView.Tag = this;
            mConvertView.Click += (sender, e) => {
                Click?.Invoke(sender, e);
            };
        }

        public V getView<V>(int viewId) where V : View
        {
            View view = mViews.Get(viewId);
            if (view == null)
            {
                view = mConvertView.FindViewById(viewId);
                mViews.Put(viewId, view);
            }
            return (V)view;
        }

        public int getLayoutId()
        {
            return mLayoutId;
        }

        /**
         * 获取item布局
         *
         * @return
         */
        public View getItemView()
        {
            return mConvertView;
        }

        public EasyRVHolder setOnItemViewClickListener(View.IOnClickListener listener)
        {
            mConvertView.SetOnClickListener(listener);
            return this;
        }

        public EasyRVHolder setText(int viewId, String value)
        {
            TextView view = getView<TextView>(viewId);
            view.Text = value;
            return this;
        }

        public EasyRVHolder setTextColor(int viewId, int color)
        {
            TextView view = getView<TextView>(viewId);
            view.SetTextColor(new Color(color));
            return this;
        }

        public EasyRVHolder setTextColorRes(int viewId, int colorRes)
        {
            TextView view = getView<TextView>(viewId);
            view.SetTextColor(new Color(ContextCompat.GetColor(mContext, colorRes)));
            return this;
        }

        public EasyRVHolder setImageResource(int viewId, int imgResId)
        {
            ImageView view = getView<ImageView>(viewId);
            view.SetImageResource(imgResId);
            return this;
        }

        public EasyRVHolder setBackgroundColor(int viewId, int color)
        {
            View view = getView<View>(viewId);
            view.SetBackgroundColor(new Android.Graphics.Color(color));
            return this;
        }

        public EasyRVHolder setBackgroundColorRes(int viewId, int colorRes)
        {
            View view = getView<View>(viewId);
            view.SetBackgroundResource(colorRes);
            return this;
        }

        public EasyRVHolder setImageDrawable(int viewId, Drawable drawable)
        {
            ImageView view = getView<ImageView>(viewId);
            view.SetImageDrawable(drawable);
            return this;
        }

        public EasyRVHolder setImageDrawableRes(int viewId, int drawableRes)
        {
            Drawable drawable = ContextCompat.GetDrawable(mContext, drawableRes);
            return setImageDrawable(viewId, drawable);
        }

        public EasyRVHolder setImageUrl(int viewId, String imgUrl)
        {
            ImageView view = getView<ImageView>(viewId);
            Glide.With(mContext).Load(imgUrl).Into(view);
            return this;
        }

        public EasyRVHolder setImageUrl(int viewId, String imgUrl, int placeHolderRes)
        {
            ImageView view = getView<ImageView>(viewId);
            Glide.With(mContext).Load(imgUrl)
                //.Placeholder(placeHolderRes)
                .Into(view);
            return this;
        }

        public EasyRVHolder setCircleImageUrl(int viewId, String imgUrl, int placeHolderRes)
        {
            ImageView view = getView<ImageView>(viewId);
            Glide.With(mContext).Load(imgUrl)
                //.Placeholder(placeHolderRes)
                .Transform(new GlideCircleTransform(mContext))
                .Into(view);
            return this;
        }

        public EasyRVHolder setRoundImageUrl(int viewId, String imgUrl, int placeHolderRes)
        {
            ImageView view = getView<ImageView>(viewId);
            Glide.With(mContext).Load(imgUrl)
                //.Placeholder(placeHolderRes)
                .Transform(new GlideRoundTransform(mContext))
                .Into(view);
            return this;
        }

        public EasyRVHolder setImageBitmap(int viewId, Bitmap imgBitmap)
        {
            ImageView view = getView<ImageView>(viewId);
            view.SetImageBitmap(imgBitmap);
            return this;
        }

        public EasyRVHolder setVisible(int viewId, bool visible)
        {
            View view = getView<View>(viewId);
            view.Visibility = (visible ? ViewStates.Visible : ViewStates.Gone);
            return this;
        }

        public EasyRVHolder setVisible(int viewId, ViewStates visible)
        {
            View view = getView<View>(viewId);
            view.Visibility = visible;
            return this;
        }

        public EasyRVHolder setTag(int viewId, Java.Lang.Object tag)
        {
            View view = getView<View>(viewId);
            view.Tag = tag;
            return this;
        }

        public EasyRVHolder setTag(int viewId, int key, Java.Lang.Object tag)
        {
            View view = getView<View>(viewId);
            view.SetTag(key, tag);
            return this;
        }

        public EasyRVHolder setChecked(int viewId, bool check)
        {
            ICheckable view = (ICheckable)getView<View>(viewId);
            view.Checked = check;
            return this;
        }

        public EasyRVHolder setAlpha(int viewId, float value)
        {
            if (Build.VERSION.SdkInt >= BuildVersionCodes.Honeycomb)
            {
                getView<View>(viewId).Alpha = value;
            }
            else
            {
                AlphaAnimation alpha = new AlphaAnimation(value, value);
                alpha.Duration = 0;
                alpha.FillAfter = true;
                getView<View>(viewId).StartAnimation(alpha);
            }
            return this;
        }

        public EasyRVHolder setTypeface(int viewId, Typeface typeface)
        {
            TextView view = getView<TextView>(viewId);
            view.Typeface = typeface;
            view.PaintFlags = (view.PaintFlags | PaintFlags.SubpixelText);
            return this;
        }

        public EasyRVHolder setTypeface(Typeface typeface, params int[] viewIds)
        {
            foreach (int viewId in viewIds)
            {
                TextView view = getView<TextView>(viewId);
                view.Typeface = typeface;
                view.PaintFlags = (view.PaintFlags | PaintFlags.SubpixelText);
            }
            return this;
        }

        public EasyRVHolder setOnClickListener(int viewId, View.IOnClickListener listener)
        {
            View view = getView<View>(viewId);
            view.SetOnClickListener(listener);
            return this;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: As user is moving i wanted to plot another mkannotation on his old position which is different than current annotation in objective-c As user is moving i wanted to plot another mkannotation on his old position which is different than current annotation in objective-c
for which I have written code
-(void)plotDotted:(double)latitude :(double)longitude
{

    _busOldAnnotation.coordinate = CLLocationCoordinate2DMake(latitude, longitude);
    [self.sampleMap addAnnotation:_busOldAnnotation];
}
-(void)plotPoint:(double)latitude :(double)longitude
{
    _busAnnotation.coordinate = CLLocationCoordinate2DMake(latitude, longitude);
    [self.sampleMap addAnnotation:_busAnnotation];
}

Annotation Delegate
-(MKAnnotationView *)mapView:(MKMapView *)mapView viewForAnnotation:(id<MKAnnotation>)annotation
{
    static NSString *Identifier = @"driverView";

        MKAnnotationView* myAnnotation = [self.sampleMap dequeueReusableAnnotationViewWithIdentifier:Identifier];

        if (myAnnotation == nil)
        {
            myAnnotation = [[MKAnnotationView alloc] initWithAnnotation:annotation reuseIdentifier:Identifier];
            //myAnnotation.enabled = YES;
        }

    CLLocationCoordinate2D coordinate = CLLocationCoordinate2DMake(_latituDouble, _longitudeDouble);

    if (coordinate.latitude == _latituDouble && coordinate.longitude == _longitudeDouble)
    {
        myAnnotation.image = [UIImage imageNamed:@"bus_icon.png"];

    }
    else if (_busOldAnnotation)
    {
        myAnnotation.image = [UIImage imageNamed:@"blue_dot.png"];
    }

    return myAnnotation;
}

Called Functions

                                    //1. Remove
                                    [self removeAnnotation];

                                    //3. Add new
                                    [self plotPoint:latitudeDouble :longitudeDouble];

                                    //2. Add Old
                                    [self plotDotted:_latituDouble :_longitudeDouble];

                                    //4. Assign that coordinate to global
                                    _latituDouble = latitudeDouble;
                                    _longitudeDouble = longitudeDouble;

                                    [self.sampleMap reloadInputViews];

Everything is working fine that , user is moving on my map ,
Removing previous location,
but not able to add blue_dot image after that user is moving

A: Use this and see if it works
 -(MKAnnotationView *)mapView:(MKMapView *)mapView viewForAnnotation:(id<MKAnnotation>)annotation

{

 CLLocationCoordinate2D coordinate = CLLocationCoordinate2DMake(_latituDouble, _longitudeDouble);

if (coordinate.latitude == _latituDouble && coordinate.longitude == _longitudeDouble)
{
        static NSString *Identifier1 = @"driverView";

    MKAnnotationView* myAnnotation = [self.sampleMap dequeueReusableAnnotationViewWithIdentifier:Identifier1];

    if (myAnnotation == nil)
    {
        myAnnotation = [[MKAnnotationView alloc] initWithAnnotation:annotation reuseIdentifier:Identifier];
        //myAnnotation.enabled = YES;

    }
    myAnnotation.image = [UIImage imageNamed:@"bus_icon.png"];
    return myAnnotation;

}
else if (_busOldAnnotation)
{
        static NSString *Identifier2 = @"driverView2";

    MKAnnotationView* myAnnotation = [self.sampleMap dequeueReusableAnnotationViewWithIdentifier:Identifier2];

    if (myAnnotation == nil)
    {
        myAnnotation = [[MKAnnotationView alloc] initWithAnnotation:annotation reuseIdentifier:Identifier];
        //myAnnotation.enabled = YES;
    }
    myAnnotation.image = [UIImage imageNamed:@"blue_dot.png"];
    return myAnnotation;

}

 return nil;
}

redpajama_set_name: RedPajamaStackExchange


text:
Learning Gained from the Inventory of Jacob's Estate in 1799
These are some things I deduced from a careful review of the estate inventory of tangible personal property prepared for my 4GGrandfather Jacob Brumbaugh's 1799 estate in Hagerstown, Washington County, Maryland, where he lived on a 900-acre wheat and grain farm, while owning 12 more farms in Morrisons' Cove, Bedford Co, Pa,; he was survived by his widow Mary Elizabeth and 7 children (1 daughter Mary married to Dunker minister Samuel Ullery, and 6 sons: Jacob, John, David, Daniel, Henry and George):
Some key facts pertinent to the Brumbaugh story are confirmed and others revealed by a close examination of the inventory. He owned no firearms at his death which supports the conclusion he was a Dunker and in further confirmation the listing notes "16 benches and a Table Upstairs." This fact is consistent with holding home church and with stories that many Dunkers homes had second stories where they drew together with their neighbors as a congregation.
Brumbaugh also owned two stills and all the accoutrements of a significant distillery along with 450 gallons of whiskey in inventory, confirming his secondary occupation as a distiller of what were then referred to as ardent spirits.
Brumbaugh's farm was well stocked with a myriad of tools and equipment, supplies for a rainy day, and products to maintain his buildings and grounds, plus crops in the ground mostly grains, and several species of livestock . His farm had all the indications of a thriving ongoing operation despite Brumbaugh 73 years .
In addition, Brumbaugh owned "12 old books," an indication of some literacy (though letters he wrote were probably scribed by the schoolmaster). Lastly the inventory shows how self-sufficient the Brumbaugh family was on their home farm. This enables one to gauge their thrift, a major contributor to the accumulation of wealth . According to a recent study of a general story in a neighborhood like Brumbaugh's in the approximate time frame, alcohol and textiles (including clothing) made up 57% by dollar volume of sales that other people spent money on. As Brumbaugh 's family did not need. to buy these products, their cash outflow was reduced and they could keep more of the gross receipts of the sales of their farm products.
A review of inventories filed in the estates of five of his children also reveals an absence of any firearms. The remaining two children, for which there are no inventories extant , were John and Mary. John was a Dunker preacher and Mary was married to one, so it is unlikely as well that either of them owned firearms.
The List of Articles Sold at the vendue of Jacob Brumbaugh, deceased, was also illuminating:
The vendue held on Wednesday and Thursday, June 5 and 6, 1799, drew more than 77 people to bid on the 330 lots into which the auctioneers had arranged his goods and chattels. Brumbaugh family members bought in 138 items or 41% of the total number of lots. The widow Mary only bought in 15 lots for herself with four of her seven children buying in the rest. Son David had a fondness for horses and furniture, sons Jacob, Daniel, and Henry for farm equipment and supplies. Neither daughter Mary (or husband Samuel Ulery) nor son John, who all lived 80 miles away, nor youngest son George, a minor, purchased anything.
Over 77 persons purchased at least one lot, and the only women doing so were widow Mary and one other. Of those persons who purchased one lot or more, 33 men or 43% of the purchasers had German surnames (e.g., Engle, Butterbaugh, Volgamott, and Ridenour, etc.) and the rest either English, Scots, or Scots Irish names (e.g., Watt, Halbert , McFerrin, McLaughlin, Johnson, Jones, and Ferguson, etc.).
Probably many persons attended who bid on nothing, coming principally for the liquid or other refreshments as 49 men or 64% of those who purchased something purchased three items or less. Another hint that a good time was had by all is that 440 gallons of whiskey had been inventoried, yet only 356 gallons were listed as sold at the vendue. All of 84 gallons of good whiskey seemingly disappeared into thin air! About a gallon per person.
Of the 16 benches listed in the original inventory as found "Upstairs," only 9 were disposed of at the sale and they were bought in for £1 and change, purchased by son Jacob, Jr. whose wife was a confirmed Dunker per her obituary (chances are they were passed on to whoever was currently holding house church).
The eight-day clock, often viewed as an heirloom in many estates, had been appraised at $25 and was sold outside the family to a Hershberger for £12. A gray mare and a gray gelding were the highest priced items, selling for £45 each.
A sign of the confusing monetary system at the time is that while the estate inventory and appraisement was listed in dollars and cents, the list of articles sold at the vendue was listed, and the auction presumably conducted in pounds, shillings, and pence.
List, Washington County Register of Wills (Accounts of Sale), 1787-1802, Maryland Hall of Records #16,278, pp. 259-269.

redpajama_set_name: RedPajamaCommonCrawl


text:
Dallas Cowboys' margins getting narrower: 'We need to start stacking wins'
71dTodd Archer
Sources: Cowboys LB Smith set for wrist surgery
Cowboys need to be careful thinking injury returns are a cure-all
5dTodd Archer
Why Jerry Jones won't pull a John Elway and step down as Cowboys' GM
Dallas Cowboys must give Dan Quinn talent or defense won't improve
Cowboys turn to Quinn as defensive coordinator
8dAdam Schefter and Todd Archer
One year in as Cowboys' coach, Mike McCarthy says 'we have a lot of work to do'
Cowboys' defensive failures cost Nolan, Tomsula
Cowboys WR Cooper undergoes ankle surgery
Dallas Cowboys, Dak Prescott can begin contract talks again: What's changed?
Jerry: Dak has leverage in talks after 6-10 year
Todd ArcherESPN Staff Writer
Covered NFL since 1997, Cowboys since 2003
Previously covered Bengals and Dolphins
Lives in Dallas area with his wife and two children
ARLINGTON, Texas -- Dallas Cowboys quarterback Garrett Gilbert had been waiting for a moment like Sunday his whole life.
He had played this game in his mind when he was a little boy remembering his father, Gale, toiling as a backup quarterback.
The last time Gilbert came this close to having that moment was his freshman 2009 season at the University of Texas when he took over for an injured Colt McCoy against Alabama in the BCS title game. It was a 37-21 loss, but late in the fourth quarter the Longhorns trailed by three points after he threw a touchdown pass.
Monday Night Pick 'Em
Are you ready for some football? Play for FREE and answer questions on the Monday night game every week. Make Your Picks
On Sunday, with four seconds to play, the Cowboys, with Gilbert as their fourth different starting quarterback in nine games, were at the Pittsburgh Steelers' 23. They had a chance to win a game few thought they could before kickoff, and maybe one they should have won after it.
"Obviously it's been awhile, but that's what you live for as a quarterback," Gilbert said.
Gilbert stepped up in the pocket as the Cowboys' five pass-catchers pressed down the field. He looked for wide receiver CeeDee Lamb cutting across the front of the end zone, but his pass was off, fluttering to the ground incomplete.
Steelers 24, Cowboys 19.
Gilbert, 29, took off his helmet and stood with his hands on his hips in emotional pain, not sure if his first career start would be his last if Andy Dalton returns from the reserve/COVID-19 list to play Nov. 22 against the Minnesota Vikings after the Cowboys' bye week.
"Obviously as a competitor, every one of us wants to be out there playing," Gilbert said. "Certainly it's been a long journey to get here, and I think that makes it even a little tougher to swallow not being able to finish that one at the end and not get the victory in my first one."
Had Gilbert pulled off the improbable, if not impossible, win against the unbeaten Steelers, maybe there would be more discussion about what the Cowboys should do at quarterback. And maybe there will still be a discussion because Gilbert was more than passable despite his inexperience.
But the reality is the Cowboys could be in last place in the NFC East the next time they play a game. If the New York Giants (2-7) beat the Philadelphia Eagles (3-4-1) in Week 10, the Cowboys would be looking up at everyone else in the division with seven games to play.
After waiting so long for his first NFL start, Garrett Gilbert acquitted himself as well as could be expected -- 243 yards, two sacks, one TD, one pick -- in Sunday's loss to Pittsburgh. Tim Heitman/USA TODAY Sports
Stunningly, Dallas still has a chance to make the playoffs if it wins the abysmal division.
"It's time," Cowboys coach Mike McCarthy said. "We've got to get going. Obviously, everybody knows what our record is. We need to get going. We need to start stacking wins."
Right now, the Cowboys are stacking losses. They have lost four consecutive games since losing quarterback Dak Prescott for the season because of a broken right ankle. Dalton's concussion was followed by a failed COVID-19 test. Rookie Ben DiNucci struggled in the 23-9 loss to the Eagles, which gave Gilbert the chance to start.
Gilbert brought stability to the offense (243 yards passing, 28 yards rushing), but he had a costly turnover when he was hit as he was trying to throw the ball away at the Steelers' 5. So did Lamb, who caught Gilbert's first career touchdown pass.
In the second quarter, Lamb lost a fumble that Pittsburgh turned into a field goal. Gilbert's fourth-quarter turnover also was turned into three points, but more importantly cost the Cowboys at least a chance at a field goal attempt. Turnovers have been the key to the Cowboys' season. The Cowboys lead the NFL with 18 giveaways. They are a league-worst minus-15 in turnover margin.
"That's been the moral of the season," said Cowboys running back Ezekiel Elliott, who has lost four fumbles. "We've got to get better at that."
And then there is the defense. A unit that gave up more than 200 yards rushing three times in the first half of the season, held Pittsburgh to 46 rushing yards. Quarterback Ben Roethlisberger picked them apart for 306 yards and three touchdown passes, but he had to earn his way even if he was not sacked.
When it counted most, however, the defense wilted. An illegal contact penalty on linebacker Jaylon Smith wiped out a sack/fumble by defensive end Tyrone Crawford that defensive end Aldon Smith recovered. Linebacker Leighton Vander Esch gave up 15 yards with an unnecessary roughness penalty a play later.
Best of NFL Nation
• Adjusting to change not new for Herbert
• Frazier, Bills defense delivering in clutch
• 'We'll be back' should be Browns mantra
• Is Campbell the right choice for Lions?
• What went wrong for playoff losers
On the Steelers' go-ahead drive, Smith had a roughing the passer penalty. Instead of facing fourth-and-10, Pittsburgh had a first down and scored four plays later.
The good the Cowboys' defense had was wiped out by the bad. "You've got to be disciplined in those spots," said McCarthy, who also questioned the calls.
The margins are slim each week, especially when a 2-6 team plays an undefeated team.
The Cowboys' margins are even smaller now.
They have one remaining game against a team currently with a winning record (Baltimore Ravens, 6-2, Dec. 3). They play all three teams in the division again with rematches against the Washington Football Team and Philadelphia at AT&T Stadium. They close the season against the Giants at MetLife Stadium, where Dallas has won three in a row.
The Cowboys aren't really in it, but they're not out of it, either. The bye week comes at a good time, if for no other reason than to take a mental vacation from all that has gone wrong.
"We're making some good steps forward, that's for sure," Elliott said. "We've still got seven games left. We still have to play everyone in the division. I don't think our division is really doing that well this year. I think there's still a shot."
Perhaps as slight as Gilbert's last-second pass.


text:
People Involved in the Fire
The inferno rendered around 80% of the population of the City homeless. Here we provide key facts about some of the people involved in the Great Fire of London. Click the links below to jump straight to the people listed.
Thomas Farriner
King Charles II
Thomas Bludworth
Thomas Farriner was the owner of the bakery on Pudding Lane where the fire started. He was 'Conduct of the King's Bakehouse', contracted to produce ships biscuit for the navy, who were then fighting the Anglo-Dutch war.
Born: c.1615
Died: 20 Dec 1670
Age at time of fire: c.51
09 Jul 1637 – the date Farriner married Hanna Matthews.
1665 – the year Hanna died, leaving Thomas a widower.
3 – the number of children born to Thomas and Hannah (Thomas (d.1677), Hanna (1643-71), and Mary (dates unknown).
Pudding Lane is said to have got its name from the medieval word for entrails and organs ("puddings"), which would fall from the butchers' carts as they were being pulled from Eastcheap to the waste barges on the River Thames.
5 – the number of fireplaces in Thomas Farriner's home.
1 – the number of ovens in the bakery.
7,000 lb – the weight of ships biscuit being sent from the naval yards each week, including that produced by Thomas Farriner.
20 January 1668 – the date that work on rebuilding the house and bakery on Pudding Lane commenced; Thomas and Hannah moved back in during the summer.
EC3R 8BQ – modern postcode of Pudding Lane.
Thomas Farriner was in the crowd at Robert Hubert's execution.
4 – the number of years after the fire that Thomas died.
£400 – the amount Thomas bequeathed to each of his daughters, to be paid in £100 installments over 4 years. Barring a few small bequests, the rest of his estate was left to his son, Thomas.
Samuel Pepys was a naval official and also a prolific diarist. He stayed in and around the City throughout the disaster and his diaries provide us with the most complete account of the tragedy.
Above: Portrait of Samuel Pepys by Sir Godfrey Kneller, 1689 (image via Wikimedia Commons).
Born: 23 February 1633
Died: 26 May 1703
Age at time of fire: 33
3:00 a.m. – the time that Pepys was first woken by a maid on the Sunday morning, to tell him of the fire. Seeing the flames were at the lower end of the neighbouring street, Pepys back to bed.
33 – the age of Samuel Pepys (1633–1703) at the time of the Great Fire.
1/4 mile – the distance between Pudding Lane and Pepys home on Seething Lane.
31 May 1669 – the date of the last diary entry, Pepys having to give up writing his journal due to failing eyesight. In his final entry he expressed an intention to dictate his diary so others could write it for him, but he never did this.
Pepys, whose diary offers us some of the most detailed information about the fire, wrote most entries in a form of shorthand called Tachygraphy, a code which was not translated until over 150 years later, when the Reverend John Smith spent 3 years transcribing the diaries into plain English (from 1819 to 1822).
1,250,000 – the approximate number of words in his diaries.
3,000 – the approximate number of pages.
54 – the number of blank pages left in the last journal.
Above: Detail from a portrait of John Evelyn by Sir Godfrey Kneller, 1689 (image via Wikimedia Commons).
Born: 31 October 1620
Died: 27 February 1706
4 miles – the distance (6 km) that Evelyn lived from the city, in Deptford.
Above: A modern artist impression of Robert Hooke, painted by Rita Greer, 2004 (image via Wikimedia Commons).
Born: 28 July 1635
Died: 3 March 1703
Hooke was once described as the 'English Leonardo' and was a scientist of great intellect. Among his many legacies is the original observation that plants have a cellular structure – in fact he coined the term 'cell' as it relates to biology.
Above: Detail from an engraving of Sir Christopher Wren, by A. W. Warren, date unknown (file from Wellcome Images by Wellcome Trust, a global charitable foundation based in the United Kingdom).
1673 – the year Wren was honoured for his work rebuilding London, receiving a knighthood and becoming Sir Christopher Wren.
Scarce ever met in one man, in so great a perfection, such a mechanical hand; and so philosophical a mind. – Robert Hooke, describing Wren.
Charles was king of England at the time. He had been unpopular amongst many Londoners but his close involvement during the Great Fire helped his reputation in many quarters.
Above: © Trustees of the British Museum.
1660 – the year Charles II came to the throne, following the end of the civil wars and the Cromwell government.
King John Charles II commanded little respect prior to the Great Fire, considered debauched and a drunkard. During and immediately after the fire, however, he showed leadership and kingship, working to limit the damage from the fires and then to ensure the homeless were fed. Some believe he was possibly motivated by a desire to save his own palace and for fear of an uprising.
Bludworth was Lord Mayor of London at the time of the fire. His involvement in the disaster came under much criticism, due to his dithering, cowardice and lack of leadership.
Born: c. February 1620 (baptised 13 February 1620)
Bludworth appears to have left the city by Monday, as no accounts of the firefighting efforts thereafter make mention of him.
3 – having suddenly left, the number of days before Bludworth was again seen on the streets of the City.
October 1665 – the month Bludworth became Lord Mayor.
1 month – the time after the Great Fire that Bludworth's spell as Lord Mayor of London came to an end.
An ancient law of the city declared that if a man destroyed another's house he would be responsible for the cost of rebuilding it. Bludworth may have been waiting for authority from the king, so as to relinquish himself of this responsibility.
Day 1 – Sunday 2nd September 1666
Day 2 – Monday 3rd September 1666
Day 3 – Tuesday 4th September 1666
Day 4 – Wednesday 5th September 1666
Day 5 – Thursday 6th September 1666
Rebuilding London
How Many People Died?
Who Was Blamed?
The London Gazette 1666
London in 1666
St Pauls Cathedral


ARRCC believes that our religious values call us to consciously consider the amount of meat we eat, how much we actually need, and what the effects of our meat consumption are. This would, ARRCC believes, lead to a desire to eat less meat.
In addition to being a large contribution to climate change, meat consumption connects with issues concerning global justice in relation to food, the compassionate treatment of animals, nonviolence, and health. All of the world religions, from their various perspectives, encourage protection of the environment, serving the needs of the poor, kindness towards animals and healthy living. ARRCC believes that people of faith, in their efforts to tackle climate change and create a sustainable way of living, should consider a reduction in meat consumption as part of a choice for a more ethical lifestyle.
Eating less meat is an integral part of Living the Change, a global campaign to encourage people of faith to live out their values through ethical, climate-friendly lifestyle choices.
Choosing to eat less meat is easy! You could decide to nominate at least one Meat Free Day a week. You might also choose to limit yourself to a certain number of meat-based meals a week, or go completely vegetarian or vegan and cut meat or animal products out of your diet completely. Whatever you decide, it is important to substitute lots of nutritious, fresh food into your diet to ensure that your body is receiving everything it needs. ARRCC has also organised hands-on cooking workshops to show how to cook delicious and nutritious meat about ways to reduce your meat consumption.
The digestion processes of animals - especially cows and sheep - produce methane, which last only 10-12 years in the atmosphere but is many, many times more destructive in the atmosphere than CO2 in that time. Even over a 100-year period (the generally used metric) it does 25 - 34 times more damage than CO2. Humanity needs a rapid decrease in emissions now, and reducing meat intake is one important way of achieving this.
Eating less meat not only lowers your contribution to climate change, but it is also good for the planet more generally, good for the poor, good for animals, and good for your health.
>>Find out more about the benefits of reducing meat consumption.
Vegetarianism is practised widely among followers of some of the great world religions, including Hinduism and various schools of Buddhism. Other religions have traditionally promoted regular abstinence from meat, such as Catholicism and Orthodox Christianity. ARRCC believes that all religions can rally to the call to eat less meat, given their teachings that connect environmental protection, global justice in relation to food, the treatment of animals, and health.
Below are some answers to questions frequently asked regarding the Meat Free Day campaign.
Is this a vegetarian campaign? No. The aim of the Meat-Free Day is simply to encourage people to reduce their meat consumption. An easy way to do this is to avoid meat one day a week. Some people and groups may already be regularly abstaining from meat consumption, including as a part of their religious or spiritual practice. ARRCC acknowledges their efforts – many of us can learn from their wisdom. Other people may be vegetarian, or considering becoming vegetarian. Vegetarian websites often have great meat-free recipes, and are a source of information on impacts of meat consumption, and so on – which is why we include some links to them. However, we are not asking people to become vegetarian.
What about farmers? When we see the projections for meat consumption into the future, ie, a doubling by the middle of the century, it becomes clear that it is not possible to adequately address climate change without addressing meat consumption. Stabilisation of meat consumption needs to be a part of our response and we are clearly a long way from this. Advocating that we moderate meat consumption is therefore not about shutting down livestock farming, nor is it a judgement on farmers or underestimating the hardships they face. The vocation of farmers is indispensable, in their role of stewarding the land.
Why is ARRCC discussing things like the treastment of animals?
Climate change is not simply an abstract issue about how greenhouse gases affect the Earth's climate system. When we dig to the roots of the problem, it is fundamentally about how we as humans relate to the rest of the Earth, how we relate to each other, and how we relate to the divine or God. Religion and spirituality address this whole picture. From this perspective, issues concerning greenhouse gases emissions from meat consumption and production cannot be separated from issues such as how we treat the animals that we eat, how the world's poor are to have access to food, how to prevent the degradation of agricultural landscapes, etc.


Marjorie (Swalls) Quick, 76, of Hymera, made her final journey at 11:30 a.m. Oct. 17, 2018, in Terre Haute Regional Hospital, with family and friends at her side.
Marjorie was born in Lewis, to the late Clarence "Bill" and Elva Belle (Beddow) Swalls, on Jan. 13, 1942.
She married James E. Quick on Dec. 8, 1962, and from this union were three sons, Mark (deceased) and wife Melodie (May) Quick, Jerry and wife Connie (Tanner) Quick and their sons Logan and Landon, son, Michael (deceased) and his wife Lydia (Fulk) Quick and their daughters Olivia an Hayley Quick; a daughter, Kimberly (Quick) Morrison and her husband Shane and their children Lincoln and Sydney Morrison.
She was preceded in death by a sister, Mary Johnson; and brothers, Frank, Donald and Bill Swalls.
She was a graduate of Blackhawk High School and was later employed at Packard shirt and American Latex. Alongside her husband, the Rev. James Quick they dedicated their lives pastoring the Emmanuel Apostolic Church in Hymera for 43 years and had just retired on April 1, 2018. They were known to love people as Christ loves the church. Her heartbeat was being a housewife and a Mother. She was an accomplished seamstress and also a collector of Hot Wheel cars.
Marjorie and Jim could easily be found at...you guessed it, Sullivan McDonald's, where they have numerous friends.
Visitation will be Friday, Oct. 19, 2018, from 4 until 9 p.m. at the Emmanuel Apostolic Church in Hymera. A home going service will be Saturday, Oct. 20, 2018, at 2 p.m., at the church. Interment will be at Sugar Grove Cemetery. Arrangements were entrusted to Holmes Memorial Chapel, Sullivan.


With Cresta WhatsApp Chat you can allow your users or customers to contact you via WhatsApp simply by clicking on a button. Users may contact you directly in private messages on your WhatsApp number and continue the conversation on WhatsApp web or WhatsApp application (from mobile).
You can use the floating button which is positioned at the bottom right of the site or a button inside post or pages using the [cresta-whatsapp-chat text="Need Help?" icon="yes" position="top"] shortcode.
Cresta WhatsApp Chat is compatible with WooCommerce and WPML.
Where I find the options page?
Can I hide the WhatsApp Chat box in a few pages/posts?
Yes, just edit the page/post you want to hide the box, find the metabox called "Cresta WhatsApp Chat" and check the box "Hide Cresta WhatsApp Chat in this page".
Will my WhatsApp number be visible to all users?
Yes, every user of your website will be able to see the number of WhatsApp you are using (for the way WhatsApp works). For this reason we advise you to not use a WhatsApp number that you want to keep private.
This is one of the best plugins around. Even the free version if very helpful!
meet my needs well! Easy to use! Good and easy plugin! Thank you!!!
"Cresta WhatsApp Chat" es un software de código abierto. Las siguientes personas han colaborado con este plugin.
Traduce "Cresta WhatsApp Chat" a tu idioma.


text:
Priests on What It Means to Be an American Rock Band Right Now
The D.C. trio talk about nearly breaking up, defying expectations, and the questionable characters that populate their surprising new album.
Priests, from left: Katie Alice Greer, Daniele Daniele, and G.L. Jaguar. Photos by James Emmerman. Styling by Samantha Pletzke.
by Quinn Moreland
Throughout much of this decade, Priests' highly danceable post-punk has satirized product placement, criticized virulent consumerism, corrected sugarcoated American narratives, denounced institutional abuses of power, and probed generational apathy. And on the title track from their forthcoming second album, The Seduction of Kansas, the Washington, D.C. band conjures a grim version of America that name-checks infamous conservative power brokers the Koch brothers as well as faceless preservative palaces like White Castle, Pizza Hut, and Applebee's. So when it's proposed, half-jokingly, that we meet for an interview at the Applebee's in the center of the capitalist fireworks show that is Times Square, it's more than a little surprising that they say yes.
"If I express appreciation for a place like this, or for strip malls or other 'gross' American things, sometimes people think I'm being ironic," says frontwoman Katie Alice Greer, sitting in a wide booth surrounded by poorly photoshopped collages of New York iconography. "But it's not ironic at all. It's fascinating and a little bit comforting to be in a place like this."
Still, Greer, alongside drummer Daniele Daniele and guitarist G.L. Jaguar, looks a little out of place among advertisements for a goblet of amber nectar called the Mucho LIT. Greer, who is vegan, can barely eat anything on the menu. At one point during our conversation, she goes on a tangent about socialism while picking at a bun-less veggie burger and a side of steamed broccoli.
But Applebee's endless kitsch somehow provides an apropos backdrop to discuss the heady surreality of The Seduction of Kansas. The record takes its title from What's the Matter With Kansas?, a 2004 book by the political analyst Thomas Frank that explains the state's shift from its liberal origins to rigid conservatism as a reflection of greater American ideological shifts. The characters that populate the record's flyover sprawl boast vast superiority complexes and vices, from a man who believes that being the Savior's son gives him license to destroy the world, to self-absorbed screen addicts, to the notoriously corrupt former Texas congressman Charlie Wilson.
"I don't ever want it to seem that we're writing about questionable people with this sort of both-sides-ism, or humanizing the bad guy," Greer explains. "But we are trying to flesh out what is often a very black-and-white picture, and explore the trajectory of how a person becomes this thing that we all view as so awful. It's not meant to excuse the things a person is doing, it's meant to illuminate it."
Two years ago, Priests broke through with Nothing Feels Natural, a full-length debut that cast a critical gaze upon modern society at an especially pivotal moment in American history. The record's release coincided with Donald Trump's inauguration, and suddenly, lyrics about "a puppet show in which you're made to feel like you participate" felt all the more urgent. Though the album blended the band's typically restless rock barrages with traces of jazz, surf, and country, most appraisals of Nothing Feels Natural deemed Priests a "political punk band," a label they have long resented.
After that album's release, founding bassist Taylor Mulitz left the band to focus on his other project, Flasher. While the departure was cordial, the remaining trio were left with an unrecognizable version of the project they had poured their hearts into. "I don't mean to sound melodramatic, but Taylor leaving was not part of the plan," Greer says. "It was like, 'How do we write songs with the three of us?'"
Not for the first time, the intensely democratic group's means of communication dissolved, and their future grew uncertain. "We got to the place where we weren't sure we were going to be a band anymore," Greer admits. At their lowest moment, their publisher suggested they fly to Dallas to work with producer John Congleton, known for his work on St. Vincent's 2014 Grammy-winning self-titled record and Angel Olsen's acclaimed Burn Your Fire for No Witness. Recording with someone outside their circle was an alien concept to Priests, who are protective of their carefully constructed world; creative autonomy is one of the reasons they remain on Sister Polygon, the label the four founding members of Priests formed in 2012. But facing the dissolution of six years of work, they decided to give Congleton a shot.
Greer likens the band that emerged from this identity crisis to a child returning from camp: They're still the same, but being pushed out of their familiar routine has left them a bit more mature. The group repeatedly mention a new willingness to take risks and experiment, a mindset encouraged by Congleton, who in turn helped imbue each song with its own distinct sonic identity.
There are shadows of the Nothing Feels Natural-era Priests on songs like "Jesus' Son" and "Good Time Charlie," in which Greer whips her guttural roar into a fire that could incinerate forests. But most of the album sparkles with the thrill of discovery: Greer alternates between weariness and desperation on the dreamy, new wave-inspired title track, and the melancholic guitar sprawl of "Carol" radiates optimism despite its restraint. Daniele in particular was drawn to the unpredictability of the album's process, and both her songwriting and singing voice are more present here than on previous Priests releases. Jaguar, who previously played as if he was jabbing his guitar forward like a bayonet, now seems to sling it loosely. Though they have leveled up production-wise, they insist that the overall sentiment of their work remains unchanged. Daniele explains that when her dad heard the new record, he said the clean sound of her drums proved to him that her career in music is legitimate. Her response: "Bitch, I played them exactly the same."
Though The Seduction of Kansas' relative pop sheen might seem like a drastic shift in identity at first, it expresses a side of Priests that is frequently overshadowed by all the "political punk" branding. Throughout our time together, Priests shuffle through a Rolodex of pop culture references, from Bananarama to the Taraji P. Henson comedy What Men Want, which Jaguar and Greer went to see the night before. As they bounce ideas off each other, the three bandmates each take turns being the Loud One with seemingly unconscious shifts in roles. "We're all big personalities in different ways, and giving people space to be themselves while feeling fulfilled doing the work that we're doing is a constant re-negotiation," Greer says. As they discuss their latest work, you can see those self-adjustments play out in real time.
Pitchfork: The Seduction of Kansas references some beloved American icons, like Superman and Dorothy from The Wizard of Oz, as well as some truly reprehensible characters. What's the concept behind the album?
Katie Alice Greer: We are very fascinated with Western and American mythology: Why are these the cultural touchstones that we believe in? Why are these the stories that we pass on? What are the values and pride in this? What are the ways that we are viewing ourselves? The record turned into a larger meditation on perception and interpretation of how things happened, rather than trying to objectively say, "This is how it happened."
G.L. Jaguar: A lot of the songs were written around a time when we were doing pretty extensive touring around the middle of the country, seeing the vast expanses of America and the different climate that we are in today. We all watched the David Byrne movie True Stories and a lot of Americana things like that. We got pretty into "Westworld" for a minute.
How has touring throughout the world over the last few years shaped your view of America?
KAG: It sounds corny but I love it so much more now. It's so beautiful. It's really fulfilling to see that you could be in Boise or El Paso, and there's still people who are happy to be experiencing live music. It has also given me more perspective on why people have different ideas about things.
Daniele Daniele: There are so many radically different ways to live and get by that I would have never been exposed to had I not been on tour. Like, how do you start a show space? How do you start a band? How do you start a record label? The feats of ingenuity and perseverance—and the idea of success and failure—all become less black-and-white at some point.
GLJ: One thing that's really missing from a lot of people's lives is perspective. It's really great striking up conversations with people all over, because there are so many similarities. The vast scale of this country is so mind blowing, and there are so many people. But at the end of the day, a lot of them have the same wants, needs, desires, dreams, and goals, just with contextual differences.
Some of the songs on the album come from the perspective of unseemly people—like the egotistical narrator of "Jesus' Son" and the vindictive murderess of "I'm Clean." What are your personal feelings about these kinds of characters?
DD: For me, it wasn't judgment, it was almost the opposite. Because once you mark something as verboten, it goes in this dark realm where it's locked in a box—and then I just want to take a flashlight and be like, "What's it like in a dark box?" Rather than calling certain feelings of holding power bad, I wanted to explore the pleasure in being mean to somebody in a power play. There is a lot of pleasure in power dynamics, but because we are so busy condemning them we forget that there's actually a reason they keep coming up.
KAG: The most reprehensible character I wrote on the album is the narrator in "Control Freak." One of my favorite lyrics from the record is in that song: "I feel misunderstood, like I'm some kind of enemy/When I'm the one in charge of all the things that make you happy." I definitely have felt that in the band before. We were going through periods of not getting along while writing this record, so on some level, writing some of these characters was me working through that.
You've explicitly asked not to be referred to as a "punk" band. Have you felt pigeonholed as a political group, especially since Nothing Feels Natural was released right after the 2016 election?
KAG: Yes, always. To a degree it was like, well sure, we did put this album out a week after the election. But did we write it with that in mind? No. I don't like the idea of being dishonest with people, and there is something that just feels incorrect about describing us as a punk band. We are a band that came out of a punk community, but we're a professional band who operate as musicians and as a business. A rock band feels a lot more appropriate to me.
Asking to be called a certain thing, or to not have certain words used, is not a value judgment, it's more just trying to control your narratives. At the end of the day, you can call us whatever the fuck you want. I know I don't have any control over that, but I'm trying to do my best to say what I think we are. I hate the conversations people have about selling out—I feel like it's very old-fashioned and obsolete at this point—but what I don't think is obsolete is the idea of making work with integrity.
GLJ: On each of our releases, the vision gets bigger. We're trying to never be pigeonholed. We reference trip-hop a lot, but the things that we find really admirable about albums like Massive Attack's Mezzanine is that they aren't genre-specific.
KAG: We're not a genre-exercise band, and we don't necessarily sound one way. The artists that I have always loved don't have just one sound. They're exploring ideas and not limiting themselves. I understand if all you want to do is perfect shoegaze from 1988, but that's just not our preference.
Over time your lyrics have grown less explicitly political. How do you account for that change?
KAG: I'm not interested in art that is didactic or comes across like propaganda, and we never set out to be a band that feels responsible for educating people. I think that's incredibly presumptuous, and I would rather our audience feel motivated to learn about things on their own. I don't see myself as some kind of expert with special knowledge to impart on people—thinking that way does an incredible disservice to the sanctity of art.
DD: It makes me think of the Susan Sontag essay, Against Interpretation. One of the more emotionally impactful takeaways is that good art is a stirring of the consciousness. It should make you feel something you hadn't felt before. If your art is providing answers, it's not making you think. But we're always striving to see the results of that stirring of the consciousness—that's what pushes me to keep creating.
As you have moved away from didacticism, do you feel like you've been able to lean into the subtleties of expression and messages?
DD: What we were able to lean into was unpredictability, which I find more liberating. I have a hard time with subtlety. For so long in my life I was trying to make art that was subtle because I thought histrionics or emotion were kind of cheap. One of the things I like about a lot of these songs is that they say strong things. So I shy away from subtlety because I only recently broke the chains of feeling like I had to be subtle all the time.
KAG: I don't ever try to be purposefully obtuse. I try to keep the things I deeply believe in at the foreground. I believe in the accessibility of art. I believe in art as a transformative force in culture. And I believe in encouraging critical thinking.
Pitchfork Music Festivals: Chicago / Paris / Berlin
Follow Pitchfork on Facebook
Follow Pitchfork on Twitter
Follow Pitchfork on Instagram
Follow Pitchfork on Tumblr
Follow Pitchfork on Snapchat
© 2018 Condé Nast. All rights reserved. Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21). Your California Privacy Rights. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with prior written permission of Condé Nast. Ad Choices. CN Entertainment.


text:
"De Vlucht" is een monument in de Nederlandse plaats Doornenburg ter herinnering aan de Tweede Wereldoorlog.

Achtergrond
Eind 1944 vluchtten inwoners vanuit de Over-Betuwe met een noodponton bij Doornenburg de Rijn over. Op initiatief van de Stichting Herdenking Bevrijding Over-Betuwe maakte beeldhouwster Renée van Leusden een oorlogsmonument dat deze vlucht verbeeldt. Het monument werd geplaatst in de buurtschap Sterreschans, nabij de Rijn, en onthuld op 15 september 2001.

Beschrijving
Het monument bestaat uit een 1 meter hoog bronzen beeld van een vrouw met haar vier kinderen. Het beeld is geplaatst op een gemetselde bakstenen sokkel van 80 centimeter.

Afbeeldingen

Zie ook
 Lijst van beelden in Lingewaard
 Lijst van oorlogsmonumenten in Lingewaard

Kunstwerk in Lingewaard
Oorlogsmonument in Lingewaard
Tweede Wereldoorlog-monument in Nederland

redpajama_set_name: RedPajamaWikipedia


text:
Feature: Chinese-sponsored solar-powered boreholes tackling water stress in Kenya's arid lands
(Xinhua) 08:34, November 28, 2022
People fetch water from a solar powered water kiosk in Machakos County, Kenya, on Nov. 23, 2022. (Photo by Naftali Mwaura/Xinhua)
More than five million liters of clean drinking water has been delivered to households in Kenya since the completion of the Chinese-sponsored solar-powered borehole project in May this year.
NAIROBI, Nov. 27 (Xinhua) -- Winifred Nzioka's face lit up when a male farmhand delivered several jerrycans of water to her homestead on a balmy late afternoon to quench the thirst of mooing cows.
The middle-aged mother of five has put up a permanent house sandwiched between sunbaked farms at the heart of the southern Kenyan county of Machakos, which is in the grip of a prolonged dry spell.
A few yards from Nzioka's homestead is a public school where a solar-powered borehole sponsored by a Chinese entrepreneur is providing respite to water stress that used to torment residents of the arid plains that dot Machakos County.
The small-holder farmer told Xinhua during a recent interview that water woes are now behind her since she can draw the commodity from the solar-powered borehole at a modest fee.
"I have benefitted a lot from the borehole where I obtain water for my cows and domestic consumption. We are happy because clean drinking water is now on our doorstep," said Nzioka.
Completed in around May, the solar-powered borehole at Kwakatheke Primary School, adjacent to Nzioka's home, is the brainchild of Li Xia, the chief executive officer and co-founder of Shenzhen Solar Run Energy Company Limited.
Through a partnership with local not-for-profit groups, Li has leveraged solar solutions to address water stress in Machakos and other Kenya's drylands bearing the brunt of climate-induced droughts.
Li, who had just landed from Egypt where she attended the UN climate conference, said harnessing solar power to pump water from boreholes is helping tackle the growing scarcity of the resource in Africa's climate hotspots.
Fabian Daniel, an 18-year-old farmhand, was in his element as he chaperoned two heifers that carted away 20-liter jerrycans filled with water drawn from a kiosk fed by the solar-powered borehole.
"We used to trek for about five kilometers and spend upwards of two hours to reach a water source, but it is no longer the case; now we are obtaining the commodity at this kiosk which is on our doorstep," said Daniel.
This file photo shows a woman pulling a donkey after fetching water at a borehole 25 kilometers from her home in Dertu, Garissa County, Kenya, Nov. 10, 2021. (Photo by Stephen Ingati/Xinhua)
The young son of peasant farmers said he currently spends less than thirty minutes drawing water from the kiosk and carting it home for domestic consumption and irrigating crops.
"I think this water project is good for rural Kenyans affected by drought. We have to look for a way to make water available for these communities, including drilling boreholes. Underground water is more reliable than rain," said Li.
She noted that solar power, a renewable source of energy, could aid Kenya's quest for a green transition besides enhancing sustainable water supply for underserved rural communities.
Li stressed that access to a reliable water supply will enable Machakos villagers to undertake climate-resilient agricultural practices, boost their food security and broaden their revenue streams.
"Water is not only helping them to drink, but also helping them to increase productivity in their farms. And solar power is a must; because in off-grid areas, you cannot draw water from underground sources without solar energy," said Li.
Li said courtesy of a strategic partnership with local enterprises and charities, her company has been able to utilize China's prowess in underground water utilization to tackle access gaps in Kenya's arid and semi-arid areas.
More than five million liters of clean drinking water has been delivered to households since the completion of the solar-powered borehole project and the kiosk in May this year, said Tajinder Singh, managing director of Project Maji, a not-for-profit social enterprise that has partnered with Li to tackle water woes in Kenya.
Singh added that the public primary school is provided with one thousand liters of safe drinking water daily to help quench pupils' thirst, irrigate trees and improve sanitation and hygiene.
Singh disclosed that one 20-liter jerrycan of water is sold at 2.5 Kenyan shillings (about 0.02 U.S. dollars) at the kiosk, adding that regular monitoring is conducted to ensure the commodity meets the safety and quality threshold.
Susan Kennedy, principal of Kwakatheke Primary School, said the establishment of a solar-powered borehole has improved the academic performance and health of her 107 pupils.
"The children have been spared the agony of trekking long distances under scorching heat to look for water. The borehole water is safe for drinking and children are also using it to nurture trees and maintain the hygiene of their classrooms," said Kennedy.
Twin giant panda cubs named in SW China's Sichuan
Indian artist teaches painting in Tianjin
China issues dataset of lake-catchment characteristics on Qinghai-Tibet Plateau
Migrating grey cranes fly to national wetland park in SW China's Yunnan to overwinter
Feature: China-built reservoirs bring clean water to drought-hit Kenyan area
China's TCL launches C-Series 4k LED TVs in Kenya
Chinese embassy hosts cultural exhibition in Kenya's slum school
Feature: Chinese products excite Kenyan visitors at major exhibition
Feature: Chinese agripreneur providing new lease of life to Kenya's dryland communities
Kenya gears up for expo to boost Sino-Kenya ties


One of the most important meals of the day is POST WORKOUT. Once we exhaust our muscle, we must right away work on recovering them by feeding them the right food.
In this tutorial we discussed the importance of post workout meal.
Make sure to share this video!


There is a very useful feature of Windows 10 that allows you to save a history of all Ctrl + C ("copy" command) that you do during the day and not just the last link copied in the cloud. These are images and texts that you can even transfer from one computer to another with a cloud-based clipboard.
You can not only paste from your clipboard history, but you can also pin the used items more frequently. Why have not we used this before!?
To access clipboard history at any time, press the Windows + V key on your keyboard. You can also paste and fix commonly used items by choosing an individual item using the clipboard menu.
Note that the sync feature is linked to your Microsoft account or your (corporate) work account; use the same login information and password.
All this will only work if you enable the feature in Windows 10. To activate your clipboard for the first time, select the Windows + V key and then "On".
There, choose "Clear Clipboard Data" and "Clear".
You can also clear the device's clipboard history only by selecting the "Windows + V" key and using the "Clear All" option at the top.
To clear a specific item in the cloud, open the clipboard by selecting the Windows + V key and clicking "Delete" on what you no longer want.
Synchronization of Windows 10 Clipboard History with smartphones is not yet available, but Microsoft says it will be released "soon".
Older items – unless they are fixed – are removed.
Previous articleWhat are the differences between the iPad mini models?


We hear a lot about how universities need to behave more like businesses. Controversies at the universities of Virginia, Wisconsin, and now Iowa, where I teach, have pitted conservative, business-friendly outsiders against university faculty and administration. The university is not sustainable, the critics say: it needs to get with the times.
There is something deeply ironic about this critique, because some of the most thriving businesses on earth want to behave more like universities.
Take Google, the subject of a series of adoring business how-to books, and often considered the world's strongest brand and best place to work. Google was founded by two sons of university professors, and more than half of its employees have parents who teach at universities. Its headquarters, like many high-tech industries, are a "campus" equipped, like any state of the art campus, with game rooms, exercise facilities, cafeterias, lounges, libraries, meeting spaces and work spaces. And the Googleplex is populated by young, brainy, offbeat people who are encouraged to take risks with audacious ideas – "moonshots," as Google co-founder Larry Page likes to call them.
Google is, to be sure, a campus as elite and hard to get into as its mothership, Stanford University. Google was born not in a garage–the mythical home of American boy genius inventors–but in the Stanford computer infrastructure it took over in its early days. One of the first search terms Larry Page used was "university," to see which of his two universities, Michigan or Stanford, ranked higher. (Michigan did, to his surprise.) Google search was inspired by the bibliometric citations scholars use and treats the web like a gigantic university library where the books all talk to each other digitally.
Like many high-tech firms, Google understands the value of basic research. Some of its most innovative ideas came from its "Innovation Time Off" policy which asks Googlers to spend 20% of their time developing creative ideas (though critics say that in fact Google asks you to devote 120% of your time to its service; the alluring campus makes it tempting never to go home).
The university has been an important part of European culture for over 700 years and of global culture in more recent centuries. It was founded on the radical and conservative proposition that because no one can know what the results of inquiry will be, we have to invest in the freest and most open and most basic exploration possible.
Those who think business offers the best answer to universities might look to the ways that businesses interested in innovation appreciate intelligence, imagination, creativity and free inquiry. My aim is not to praise Google or forward it as a model for an improved university. My point is that no better formula for prosperity and flourishing has ever been discovered than basic research. How ironic that businesspeople telling the university to shape up seem to have forgotten the very doctrine they think they are proclaiming.


Sorry because i need help.
I have a website http://www.iexplorevietnam.com, any of you kindly to check for me if it is working well, I build this by myself but don't really know how to make it friendl with google search engine.
Very thank you if anyone could check for me.


text:
Football Film Review
The Triple Option: FSU vs. Miami Film Review
How did FSU pull off their big time win?
By KevinLittle16@XsandNoles Nov 17, 2021, 9:00am EST
Share All sharing options for: The Triple Option: FSU vs. Miami Film Review
The Florida State Seminoles defeated the Miami Hurricanes by a score of 31-28.
The Seminoles came out firing in the first half and they jumped out to a 17-0 lead off of the back of a few big turnovers. Miami cut the gap to 20-7 before the half. In the third quarter, Miami managed to continue building on their momentum, taking the lead going into the final quarter. However, FSU fought back and managed to get the lead with only a few seconds left on the clock to close out the rivalry victory.
A few things stood out about this game.
The offense's gameplan was comprehensive and built upon itself
The counter-action by the line played with the eyes of Miami's defense and opened up running lanes
Miami made adjustments in the second half to blow up the counter run and slow down FSU's rushing attack
The defensive line dominated and allowed the linebackers to play more out in space
The safeties played aggressive and low to take away Miami's bread and butter glance route
There are some real solid young pieces on the secondary between Brownlee, Cooper, and Knowles
If you want a chance to see how some of these concepts played out on the field or just want to rewatch a big rivalry victory for FSU then join the guys from the Triple Option as they take a deep dive into the film.
Noles News: Seminoles coaching staff sends future offers, Jordan Travis ranked amongst top quarterbacks Seminoles look to make their mark on the recruiting trail
Noles News: Jordan Travis talks title hopes for 2023 — "I came here to win a national championship." All the latest in Florida State Seminoles sports


Kwan Yin means "one who hears the cries of the world". Her five major virtues are mercy, modesty, courage, justice, and wisdom. She is also known as the Goddess of Compassion. In Buddhist tradition she is a bodhisattva. This is a soul who is fully realized and no longer needs to reincarnate, but chooses to do so in order to enlighten others. It is said that when Kwan Yin was ascending into spirit, she heard the cries of suffering humans and chose to re-enter physical existence. Hand crafted from white porcelain, this statue will not only serve as a perfect collectible, but will also bring lot of good luck and fortune. Stand sold separately, please see RB109510.