Inside of each Macy's store, stylist experts are available to help you "discover tips, tricks and everything else you need to know to look and feel gorgeous," according to the company's makeup services section.
Offering a variety of sessions to meet any beauty needs you have, the costs of a Macy's makeup appointment, depending on the reason for your visit, can be 100% free or in the case of an appointment, it may come at a cost.
How much does a Macy's makeup appointment cost?
The costs of a Macy's makeup appointment will greatly depend on the reason for your visit and the brand of makeup you're interested in. If you want to try out new products and learn more about them while shopping inside of the store, then most of the time, these sessions will be free for most brands; however, according to the company's website, some brands will not offer complimentary services. Some brands, such as MAC Cosmetics, however, may require you to purchase a few products before they start the session.
As you can imagine, the stylist, who often has a connection, training or even works with the makeup brand you're considering, will use the latest and best products for your unique situation in the hopes you purchase the products afterward. He or she will listen to your concerns, vision and try their best to pick out a product in the line that works, all in the hopes that you may purchase some products. While you do not have to purchase the product after your session completes, the stylist, again, either hopes you purchase a product or even considers purchasing it from them in the future. Stylists and associates do work on commission, so as you can imagine, each sale will add to their paycheck. This isn't the case for all brands, however, as some cosmetic brands do not work on commission, only an hourly rate.
NOTE: These services are subject to change and are accurate as of this publishing date. For more information as to what brands may or may not charge, we encourage you to visit/talk with a local Macy's store or visit this subpage for more information.
On this TheKnot.com forum thread, for example, the member who started the discussion asked if it was okay to have her makeup done at Macy's and how much it would cost, and according to the responses, one person, who used to work for Clinique at Macy's, said you had to buy $50 worth of items to get your makeup done, while another member, who used MAC products, had to buy $50 in products as well.
To book a free makeup appointment at your local Macy's store, you can do so by visiting the official store scheduler. If you're on a tight schedule or do not feel like waiting while inside of the store, it's highly advisable you make an appointment as well as know the terms and conditions of the makeup appointment before showing up.
During the prom season, the Huffington Post states that you shouldn't be surprised if there's a small charge for applications or a cut-off to how many appointments are accepted during the day. The prom season, they said, is often the busiest part of the year and restrictions are often created to keep the area from overcrowding.


text:
Giannis untenable with Bucks, Washington sets Miami on fire
Published on : 11/21/2021 – 10:42 Modified : 11/21/2021 – 10:40 am
Washington (AFP) – The Washington Wizards won on Saturday 103-100 against the Miami Heat in the shock of the NBA Eastern Conference, which also saw the Milwaukee Bucks overpower the Orlando Magic (117-108), thanks to a rare performance by Giannis Antetokounmpo.
Thanks to this victory, the reigning champions returned to the positive (9 wins, 8 losses) after a very disappointing start to the season.
But it was above all Giannis Antetokounmpo who impressed, signing a « double-double-double » with 32 points and 20 rebounds. Very authoritarian and walking in the defense of Orlando, the « Greek Freak » also healed his statistical line, with 5 assists, 2 interceptions and 3 blocks.
The MVP (best player) of the regular season in 2019 and 2020 became the first player with 30 points, 20 rebounds and 5 assists in less than 35 minutes since 1959.
Bobby Portis also stood out, scoring 24 points (with a nice 6/7 at 3 pts), his best score of the season, and taking 15 rebounds.
The magic of the Wizards, the rhythm of Jazz
The Bucks still have a way to go before regaining the top of the standings in the East, where Washington faced the Miami Heat, for a rematch after a loss in Florida on Thursday. Led for a good part of the meeting, the Wizards made a nice comeback by going back 16 points in the third quarter.
Three straight three-pointers, including two from Spencer Dinwiddie, gave Washington's franchise three points in the dying minutes, sealing the victory.
Miami, which remained on four wins in a row, will not be unworthy, like Jimmy Butler (29 pts) and Tyler Herro (20 pts), but the Wizards are still as successful, rising to second place in the Eastern Conference, tied with the Chicago Bulls (11 wins, 5 losses), one victory behind the Brooklyn Nets (12-5).
The Wizards were carried by Bradley Beal (21 pts, 9 assists), Kentavious Caldwell-Pope (16 pts) and Spencer Dinwiddie (16 pts), Montrezl Harrell scoring 13 points off the bench.
Bradley Beal scores a basket against the Charlotte Hornets, during their NBA game, November 17, 2021 in Charlotte Jared C. Tilton GETTY IMAGES NORTH AMERICA / AFP / Archives
In the West, Utah Jazz confirmed their third place, taking the upper hand over the Sacramento Kings (105-123). Donovan Mitchell scored 26 points, Mike Conley was decisive with 17 points. Rudy Gobert recorded another double-double with 21 points and 14 rebounds.
The French pivot of the Utah Jazz, Rudi Gobert, tries to block the shot of Harrison Barnes of the Sacramento Kings, during their NBA game, on November 20, 2021 in Sacramento Lachlan Cunningham GETTY IMAGES NORTH AMERICA / AFP
In the rest of the NBA night, the Portland Trail Blazers of Damian Lillard (39 pts) won against the Philadelphia Sixers, still deprived of Joel Embiid (118-111), and the Boston Celtics dominated the Oklahoma City Thunder , with a Jayson Tatum at 33 points and a Dennis Schroder at 29 points.
The Knicks meanwhile inflicted a 14th straight loss to the Houston Rockets (106-99), thanks in particular to 19 points from Evan Fournier (5 out of 10 to three points).
← Liverpool outclass Arsenal in Pemier League
Retro 1970: Emerson Fittipaldi's meteoric rise and first F1 win at Watkins Glen →
February 2023, a historic month ahead for LeBron?
Why the Knicks are unhappy in the Donovan Mitchell soap opera!
5 septembre 2022 lookcharms 0
The scorer at almost 20 points per match traded very soon!

redpajama_set_name: RedPajamaCommonCrawl


Used to notify media router each route's property changes regarding this DynamicGroupRouteController instance.
a route is newly turned on and it can be grouped with this dynamic group route.
a route is selecting as a member of this dynamic group route.
a route is selected as a member of this dynamic group route.
a route is turned off.
The provider should call this method when routes' properties change.
controller MediaRouteProvider.DynamicGroupRouteController!: the DynamicGroupRouteController which keeps this listener.
routes MediaRouteProvider.DynamicGroupRouteController!: the collection of routes contains selected routes (can be unselectable or not) and unselected routes (can be groupable or transferable or not).


text:
The 1963 European Amateur Boxing Championships  were held in Moscow, Soviet Union from 26 May to 2 June. The 15th edition of the bi-annual competition was organised by the European governing body for amateur boxing, EABA. There were 133 fighters from 18 countries participating.

Medal winners

Medal table

External links
Results
Amateur Boxing

European Amateur Boxing Championships
Boxing
European Amateur Boxing Championships
Boxing
Sports competitions in Moscow
1963 in Russia
May 1963 sports events in Europe
June 1963 sports events in Europe

redpajama_set_name: RedPajamaWikipedia


text:
Gandhi-Nehru brand tainted by new election humiliation
A second straight landslide election defeat for opposition Congress leader Rahul Gandhi raised serious questions Friday about his leadership and cast a damaging shadow over one of the world's most prominent political dynasties.
Gandhi, who even lost the family constituency seat to the Hindu nationalist Bharatiya Janata Party of arch-rival Narendra Modi, will have to face the music at a meeting of party leaders in coming days.
The election results made grim reading for Congress barons who have relied for generations on the talismanic Nehru-Gandhi name — which rivals the Kennedy clan in the United States and the Bhuttos in Pakistan — to provide electoral success.
The tarnished party was predicted to get about 50 seats, barely improving the historic low 44 it won in Modi's last landslide in 2014. Congress failed to get a single seat in 13 of the country's 29 states.
When asked about responsibility for the loss, Rahul Gandhi told a press conference late Thursday: "This is between my party and me. Between me and the Congress Working Committee."
Party spokesmen have insisted the 48-year-old son, grandson and great-grandson of Indian prime ministers would not resign and that strategy was to blame for the defeat.
"We have to go back to the drawing board," Congress spokesman Salman Soz told AFP.
Tarnished icons
But experts say the party and its ruling family is in denial.
"The Congress leadership has clearly failed. It is a discredited and bankrupt leadership," Kanchan Gupta, a politics expert at the New Delhi-based Observer Research Foundation think-tank, told AFP.
Congress has been a virtual one-family party for the last century. India has been mesmerised by the twists and turns of its successes and frequent tragedies.
Pro-independence leader Motilal Nehru served as party president twice between 1919 and 1929.
His son Jawaharlal Nehru took over and became India's first prime minister after independence, ruling until his death in 1964. His daughter Indira Gandhi and then her son Rajiv Gandhi –- Rahul's father — followed as premiers. Both were assassinated in office.
Rajiv's widow Sonia Gandhi won two elections as party leader but did not become prime minister, fearing her Italian origins would fuel a backlash.
Party fortunes had dwindled since she started to hand the reins to Rahul ahead of the 2014 vote and as Modi turned the BJP into a formidable vote machine, seizing on corruption scandals that hit Congress.
Rahul failed this time to connect with voters in the way that Modi did, critics said. The Nehru-Gandhi name that was once Congress's biggest asset is now a liability.
The Congress "campaign was a disaster and now their very existence is under question. The more it staggers, the more it helps the BJP," Hartosh Singh Bal, political editor of Caravan magazine, told AFP.
Modi made hay mocking Rahul Gandhi's lineage, calling him "shehzada" (prince), which contrasted sharply with his humble origins as a tea seller.
Modi also attacked Rahul's father, Rajiv, describing him as India's most corrupt premier.
The use of Rahul's sister Priyanka on the campaign trail did not galvanise Congress votes as expected.
"Rahul's party may have mobilised crowds for him but he simply couldn't connect," said Gupta at the Observer Research Foundation.
Gupta said that Congress's age-old policy of offering welfare handouts to the poor no longer resonates with an "aspirational India".
What next for Congress?
"It is pretty much over to the Congress to decide if it wants to shield Rahul Gandhi, like they have done other times," said Nistula Hebbar, political editor of The Hindu newspaper.
"If they do, the going gets much tougher for the party to revive from its present situation," she told AFP.
Several big-hitting Indian politicians have defected from Congress over the years because of the Gandhis' refusal to give up power.
Sharad Pawar, who formed the National Congress Party, and Trinamool Congress Party leader Mamata Banerjee, quit long before Rahul took charge.
Commentators say there is young talent in the party that should be promoted but they cannot see the Gandhis giving up power.
"It will be very tough for the Gandhis to rebuild from here on," said Hemant Kumar Malviya, associate professor of political science at the Banaras Hindu University.
"But I don't think it's the end of the road for them," he added.


This lively anthology brings together two kinds of funny: humorous poems that make you laugh or smile (funny ha-ha) and strange surreal witty or plain weird poems (funny peculiar). There has always been a tradition of comic and curious verse in English poetry but in contemporary poetry the peculiar has come into its own as this surprising selection shows. Presented in a hardback version of the giftbook format used for other shorter Bloodaxe anthologies aimed at a popular readership Funny Ha-Ha Funny Peculiar covers a wide variety of highly entertaining or provocatively engaging poets.


text:
/*
 * Spring Sandbox - Properties - Collections
 */
package com.infinitemule.spring.container.properties.collections;

import java.awt.Color;

import org.springframework.context.ApplicationContext;
import org.springframework.context.support.ClassPathXmlApplicationContext;

/**
 *
 */
public class Application {

  public static void main(String[] args) {

    // Instantiate the application context

    ApplicationContext context =
      new ClassPathXmlApplicationContext("spring-beans.xml");

    ColorPalette palette = null;

    palette = context.getBean("colorPalette", ColorPalette.class);

    palette.displayList();
    palette.displaySet();
    palette.displayMap();

    Color c = new Color(255, 0, 0);

    System.out.println(c);
  }
}

redpajama_set_name: RedPajamaGithub


text:
Music by Black Composers / Featured Composers / George Bridgetower
George Bridgetower
January 23, 2017 Megan Hill1 CommentFeatured Composers
Today's featured composer/musician is George Bridgetower.
George Bridgetower (1778-1860) was a virtuoso violinist and composer, and he was the original dedicatee of Beethoven's Kreutzer Sonata. He was born in Poland, but lived in England for most of his life. He was performing by the age of ten, and when he was thirteen, he caught the attention of the British Prince Regent (later King George IV) who oversaw his continuing musical education.
In 1803, Bridgetower performed for Ludwig van Beethoven in Vienna. Beethoven was so impressed that he dedicated his Violin Sonata in No. 9 in A major (Op. 47) to the violinist. The two performed it together later that year, with Beethoven on the pianoforte. Unfortunately, Bridgetower and Beethoven had a falling out soon after, when Bridgetower had insulted a woman who turned out to be Beethoven's friend. Beethoven, in anger, did not communicate with Bridgetower after that, and changed the dedication of the new violin sonata to virtuoso violinist, Rudolphe Kreutzer, who never played it, saying it had already been performed and it was too difficult.
Back in England, Bridgetower was elected to the Royal Society of Musicians in 1807. He also attended Trinity Hall, Cambridge where he earned a Bachelor of Music in 1811. Not only a violinist, Bridgetower wrote works for violin, piano, voice, and a range of ensembles.
Dr. Megan Hill is the Managing Editor, Head Researcher & Writer of Music by Black Composers. She is also an ethnomusicologist, educator, and music editor.
Sheila Boysen
September 13, 2020 at 2:13 pm	· Reply
Dear Dr. Hill,
What a fascinating story. In your research, have you found any works recorded or reproduced by Bridgetower (Bridgetown)?
Thank you for reading and responding.


It's a sign that local law enforcement are keeping close tabs on businesses that take steps to join the legal market by obtaining a license – versus targeting black market operators exclusively.
The raid came after a "four-month investigation" involving two counties and the execution of three search warrants.
Deputies also searched one of Power Farms' owners' homes in Los Angeles County and seized several unregistered firearms, another 60 pounds of cannabis and thousands of dollars in cash.
The investigation found that one of the company's owners had "provided false information during the county cannabis application process and was failing to follow proper shipping and manifest procedures," according to the news release.
Power Farms reportedly voluntarily surrendered its temporary state business license because of the investigation.
According to Jan. 25 data from the California Department of Food and Agriculture, Power Farms was denied 12 temporary cultivation permits. One of the company's owners is listed as Admir Aksalic.
Aksalic did not respond to requests for comment from Marijuana Business Daily.
Who raided them? The state or city law enforcement. Insiders say the BCC are taking a hands off approach on black power since they don't have staffing. This is why black market will dominate 2019 and 2020. Four months to investigate is crock. They will be 3 cultivation operating in its place.
Franchising acceptance is key in adopting more cannabis operators and the implementation of a more robust legal trade network. New operators under the wing of legal entities will find it easier to follow code, comply with ever changing legal nuances, generate tax capital more effectively. and lend support in the scalability of economically disenfranchised responsible operations that would not have otherwise had the opportunity.
Many states are not allowing sub ownership or franchising or any kind of vertical integration in the markets.
even though its been legal in many states already for a long time, overall, the mj business is still relatively new, and by all rights , thriving, as it should. anyone getting into the business needs to make sure all the T's are crossed and the i's dotted to avoid any problems. if your going into business with someone, make sure you are both squeaky clean and truthful because you know you are being watched like a hawk. until this business is legal on a federal level across the board, thats how its going to be. even though they should be even more concerned about black market activity, they are not, because its "easier" for the authorities to pursue the legal businesses. where do you think all the mj that doesnt pass testing goes? some probably gets destroyed, but i would be willing to bet that some businesses, not on the up and up, release it to the street for the black market, and those people who buy could be smoking all kinds of contaminates. the best thing that could happen is to legalize at the federal level which would enable better product quality and overall more revenue for states and govt.
well, well …and seized cash, duh that is the incentive for leos cauz they get to keep it and the incentive for big business is to clear another legal competitor out of the way for the big boys to grab the big market. so the black market will continue because as they say, focus is on guys trying to be legal with flaws are the low hanging fruit and safe because they already told all to get a license.
I think I know the owners of power farms. They now have a distribution warehouse in chatsworth.
All this doesn't matter to me. My husband and I are licensed clean green certified organic, and we have 2 cultivation licenses for our 40 acre farm in Mendoncino, and the sheriff's don't give a damn!
That's why we slapped a HUGE lawsuit on the MCSD! So, if you're a legal cultivar, and your getting robbed, don't call for help, they will turn on you!


text:
Stone Sculpture
History, Types, Materials, Techniques: Famous Stone Statues, Reliefs.
MAIN A-Z INDEX - A-Z of SCULPTURE
The famous Easter Island Moai
stone sculptues (c.1250-1500 CE).
Stone Sculpture (c.30,000 BCE - present)
• Prehistoric Stone Sculpture
• Ancient Stone Sculpture
• Romanesque
• Gothic
• Moai Sculptures from Easter Island
• Modern Stone Sculpture
• Sculpting Methods and Materials
• Types of Stone
• Stone Carving Techniques
• Famous Stone Sculptures
Avalokitesvara Boddhisattva
Stone Sculpture (581-618)
of the era of Sui Dynasty art.
Cernuschi Museum, Paris.
For more such works, see:
Chinese Buddhist Sculpture
(c.100-present)
CHINESE STONE STATUES
For the most important
Chinese stone sculpture,
see the Buddhist statues of:
Tang Dynasty Art (618-906)
Song Dynasty Art (960-1279)
If petroglyphs (including the extraordinary cultural phenomena known as cupules) constitute the world's oldest art, stone sculpture is the oldest mobiliary (portable) art. For instance, the Stone Age sculptural effigies known as the Venus of Berekhat Ram (basalt) and the Venus of Tan-Tan (quartzite) are at least 200,000 years old, while the limestone figurine known as the Venus of Willendorf dates from around 30,000 BCE. One reason we know about these examples of prehistoric art, is precisely because they were fashioned out of a weather-resistant material like stone. Of course, wood carving and also ivory carving are equally traditional, but wood is too perishable, while ivory and animal bones are only useful for certain types of small-scale figures. As well as being relatively easy to obtain, stone - at least certain types of it - is easy to carve and very durable, without having (like bronze) any great intrinsic value. True, marble is much rarer and far more expensive than (say) limestone or sandstone, but marble is a special case and is dealt with separately, see: marble sculpture. Another special case, is Megalithic art, whose sculptural reliefs overlap with regular plastic art, but these too are dealt with elsewhere, as is precious stone like Jade (greenstone), which features so widely in Chinese art. Up until the 20th century, almost all the greatest sculptors would have practiced stone carving before progressing onto marble or bronze sculpture, while some, like the eminent Irish artist Seamus Murphy (1907-1975), spent their whole lives sculpting in stone. Stone sculpture really dazzled during the cathedral and abbey building programs in the era of Romanesque sculpture (c.1000-1200 CE) and Gothic Sculpture (c.1150-1300), since which time it has gradually declined, except for the carving of the extraordinary Moai tuff sculptures (c.1250-1500) at Rano Raraku, Easter Island. Despite its decline, stone, along with steel, remains the foremost medium for large-scale outdoor works, as exemplified by the Women's Titanic Memorial (1931, Washington DC), by Gertrude Vanderbilt Whitney. See also: How to Appreciate Sculpture. For later works, please see: How to Appreciate Modern Sculpture.
The Treblinka Memorial (1958-64)
An unforgettable piece of Holocaust art
carved out of granite, it was designed by
Polish artists Franciszek Duszenko and
Adam Haupt.
Prehistoric Stone Sculpture
Leaving aside the earlier but more controversial effigies, and the flat engravings seen in Paleolithic rock art, the first prehistoric sculpture in stone was the series of Venus figurines which began appearing across Europe from about 30,000 BCE. They include: the Austrian Venus of Galgenberg (also known as the Stratzing Figurine), the French Venus of Monpazier (Steatite), the Italian Venus of Savignano (Serpentine), the Russian Venus of Gagarino (basalt), and the Swiss Venuses of Engen and Monruz/Neuchatel (both carved in jet stone). Friezes of stone relief sculpture were also a popular feature of Paleolithic cave art, as exemplified by those at Cap Blanc, Roc de Sers and Roc-aux-Sorciers. Examples of Neolithic stone sculpture have also been discovered in various parts of Central and Eastern Europe, including Turkey (see the animal reliefs at Gobekli Tepe c.9000 BCE) and Serbia (see the Fish God of Lepenski Vir c.5000 BCE, National Museum, Belgrade). See also: Ancient art.
Note: In China, jade carving was the most prestigious form of stone sculpture. For more about the evolution of stone sculpture (mostly Buddhist) in China, see: Chinese Art Timeline (18,000 BCE - present).
Ancient Stone Sculpture
Egyptian sculpture also made full use of stone in both statues and reliefs - see, for instance, the sandstone Statue of Akhenaten (c.1350 BCE), and the greywacke Psametek Protected by Hathor Cow (c.550 BCE) both in the Egyptian Museum, Cairo - as well as monumental works like the Great Sphinx at Giza (c.2575-2465 BCE). Stone was also used heavily in Ancient Persian art and also in Mesopotamian art and Mesopotamian sculpture. See for instance the Human-headed Winged Bull and Lion (859 BCE) from Ashurnasirpal's palace at Nimrud, a typical example of Assyrian art (c.1500-612 BCE). Stone masons and craftsmen from these ancient cultures are believed to have been a key influence on Greek sculpture, notably the less sophisticated style of Archaic Greek sculpture (c.650-480 BCE), as in the limestone statue known as "The Auxerre Kore" (c.630 BCE, Louvre). Thereafter most 3-D Greek art, including that of the Parthenon, created during the glorious golden age of High Classical Greek sculpture (450-400 BCE), was made out of marble or bronze. An exception was the 100-foot high Colossus of Rhodes - a huge statue of the god Helios, built on the island of Rhodes by Chares of Lindos about 280 BCE, during the era of Hellenistic Greek sculpture. Deemed one of the Seven Wonders of the Ancient World, it was made from stone (and earth) decorated with bronze plates. Before its rickety structure collapsed in 226 BCE, following an earthquake - it was one of the greatest sculptures ever seen.
The use of stone sculpture was widespread during the Roman Empire, which made full propaganda use of items like portrait busts of the Emperor, as well as historical stone reliefs such as Trajan's Colum (106-113, Rome), designed by Apollodorus of Damascus; the frieze on the Ara Pacis Augustae (13-9 BCE), the frieze on the Column of Marcus Aurelius (c.180-193 CE), and the reliefs on the Arch of Constantine (312-15 CE). Stone sculpture was also a decorative motif of Christian sarcophagi, during the era of early Christian art (c.150-550).
Romanesque Stone Sculpture
The zenith of stone carving occurred during the period 1000-1300, when Rome and its monastic orders instituted their massive program of church building, based on a new style of church architecture, known as Romanesque. (See also: Medieval sculpture.) This led to a huge demand for a wide range of new statues and reliefs to decorate each new cathedral, church and abbey. In France, important centres of Romanesque art included Cluny, Autun, Vezelay, Toulouse and Moissac. In Italy, there were located at Como, Modena, Verona, Ferrara, Parma, Pisa, Lucca and the Apulian cities. In Spain, Romanesque sculpture was centred at Leon, Madrid and Santiago de Compostela. In Ireland, the monastic authorities erected Celtic High Cross Sculptures - the largest body of free-standing sculpture since the Renaissance. Famous stone sculptors of the period included: the Frenchman Gislebertus (noted for his work at the Cathedral of Saint Lazare); the Master of Cabestany (named after his Romanesque-style tympanum, at Cabestany); the Spaniard Master Mateo (famous for his Portico de la Gloria at Santiago de Compostela cathedral); and Benedetto Antelami (known for his work at Parma and elsewhere).
NOTE: For an interesting comparison with Eastern stone sculpture from the same period, see: the extraordinary stone figures at the 12th century Angkor Wat Khmer Temple in Cambodia, and the 11th century Kandariya Mahadeva Temple at Khajuraho, Madhya Pradesh. The Indian sculpture at Khajuraho is notorious for its explicit 'adult' content.
Gothic Stone Sculpture
After the Romanesque era came the golden age of stone work, in the form of Gothic architecture, exemplified by the great French Cathedrals of Chartres, Notre Dame de Paris, Amiens, and Reims, with their soarching vaults, huge stained glass windows, perched gargoyles, Biblical relief sculpture and ranks of column statues. In fact these awesome structures contained the greatest collection of three-dimensional religious art ever seen in the history of sculpture. Like a 3-D version of Michelangelo's fresco paintings on the roof and walls of the Sistine Chapel in Rome, the exteriors and interiors of these monumental churches displayed a massive array of Saints, Apostles, members of the Holy Family, along with various angels and other gospel figures, plus narrative reliefs depicting the Birth of Jesus, The Passion of Christ and other Biblical events. Famous Gothic sculptors, all of whom sculpted in stone, included: Nicola Pisano (c.1206-1278), the leader of the Italian school; his son Giovanni Pisano (c.1250-1314), who created the marble altar at Arezzo; Arnolfo di Cambio (c.1240–1310), who specialized in tomb sculpture and funerary art; and Giovanni di Balduccio (c.1290–1339), noted for the Shrine of St Peter Martyr at S. Eustorgio, Milan. Late Gothic stone sculptors included Andre Beauneveu (c.1335-1400), who served the French King Charles V, and Duke Jean de Berry; and Claus Sluter (c.1340-1406), leader of the Dijon school.
For a comparison with marble sculpture, see David by Michelangelo (1501-4, Academy of Arts Gallery, Florence).
Moai Sculptures from Easter Island
The Polynesian territory of Easter Island is home to a particularly striking and unusually durable type of Oceanic art - the famous Moai or mo'ai. These are a series of 887 monolithic human figures - also known as "Easter Island heads" - carved out of volcanic tuff during the period 1250-1500. Averaging about 13 feet tall, about 5 feet wide at the base, and weighing about 14 tons, their elliptical eye sockets were intended to hold coral "eyes", with pupils made from black obsidian or red scoria. Many moai are still at the Rano Raraku quarry, but a large number have been moved to stone platforms (ahu) around the island's perimeter. Some 13 moai are made from basalt, 17 from fragile red scoria and 22 from trachyte.
Modern Stone Sculpture
Modern stone carvers have included Jean-Baptiste Carpeaux (1827-1875), famous for his wonderfully animated Dance (1865-9, Musee d'Orsay); Constantin Brancusi (1876-1957), who produced The Kiss (1907, Kunsthalle, Hamburg); Jacob Epstein (1880–1959) responsible for the evocative Adam (1938, Harewood House); the Gothic-inspired German expressionist sculptor Wilhelm Lehmbruck (1881-1919), creator of Kneeling Woman (1911, MOMA); Henri Gaudier-Brzeska (1891-1915), noted for the Red Stone Dancer (1913, Tate Gallery); Henry Moore (1898-1986), noted for Mother and Child (1924-5, Manchester Art Gallery); the painters Andre Derain (1880-1954), famous for his Standing Nude (1907, Pompidou Centre) and Modigliani (1884-1920), who always preferred to carve directly in stone; and others. And as far as monumental stone works go, look no further than Gutzon Borglum's Presidential Portraits on Mount Rushmore (1941). Interestingly, in nearly all these examples of stone carvings, the form of the person seems to emerge from out of the stone.
Sculpting Methods and Materials
Types of Stone
Stone comes in many different varieties, giving artists plenty of choice in respect of colour, quality and hardness. The hardest and most weatherproof stone is igneous rock, formed by the cooling of molten rock, such as granite, diorite and basalt. Sedimentary stones like alabaster (gypsum) may also be used, although they contain noticeable strata. Metamorphic stones, formed by changes to igneous and sedimentary rock caused by extreme temperature or pressure, are very popular with sculptors: the best example being the different types of marble.
In general, the softer the stone, the easier it is to carve. According to the MOHS Scale of Mineral Hardness, invented by the German geologist Carl Friedrich Mohs (1773-1839), Soapstone, with a MOHS hardness of about 2, is one of the easiest stones to work. Next, comes Alabaster, and softer kinds of serpentine, all with a MOHS value of about 3. Stones that have a value of 4 include Limestone and sandstone. Harder stone, with a MOHS value of 6, includes travertine, marble, and onyx, with granite and ultimately basalt (both 8) being the most durable but the most difficult to carve.
Stone Carving Techniques
The carving begins with the chiseling away of large chunks of redundant rock (a process known as "roughing out", "pitching", or "knocking off"), using a point chisel and a wedge-shaped pitching chisel, together with a masons driving hammer. Once a rough figure emerges, more precise markings are made with charcoal, pencil or crayon on the stone, and the sculptor then uses basic hammer and point work technique to create more definition. Other specific tools (like a toothed chisel, claw chisel, rasps and rifflers) are used to create the final figure.
During the Renaissance period these the main tools for a sculptors would include: a set of chisels (Gli Scalpelli) including flat (Scalpello), pointed (Subbia), round-ended (Unghietto), toothed (Gradina), and splitting (Scapezzatore) chisels; a mallet (La Mazza) used to strike the chisel. As well as this, the sculptor would use several different hammers - to strike the edge-tools like the chisels and also the stone itself.
In addition to these traditional tools, 20th-century sculptors had access to pneumatic hammers, as well as other power tools like a diamond-bladed angle-grinder, and numerous hand drills. Today, in keeping with the principles of postmodernist art, stone carvers may use even more sophisticated equipment, such as oxy-acetylene torches, lasers and jet heat torches. The latter was used to create the granite Crazy Horse Memorial at Mount Rushmore.
Famous Stone Sculptures
Celebrated stone statues and reliefs can be seen in some of the best art museums and sculpture gardens around the globe. Masterpieces include:
Prehistoric Stone Carvings
- Venus of Berekhat Ram (230,000 - 700,000 BCE) Basalt Effigy, Golan.
- Venus of Tan-Tan (200,000 - 500,000 BCE) Quartzite effigy, Morocco.
- Venus of Galgenberg (c.30,000 BCE) Serpentine, Austria.
- Venus of Monpazier (c.25,000 BCE) Green Steatite figurine, France.
- Venus of Willendorf (Austria) (25,000 BCE) Oolitic Limestone.
- Venus of Savignano (c.25,000 BCE) Greenish-yellow Serpentine, Italy.
- Venus of Gagarino (c.20,000 BCE) Volcanic rock, Don River, Russia.
- Venus of Engen (c.13,000 BCE) Jet stone, Germany.
- Venus of Monruz-Neuchatel (c.10,000 BCE) Jet stone, Switzerland.
- Ain Sakhri Lovers (c.9000 BCE) Calcite cobble, Bethlehem.
- Gobekli Tepe Animal Reliefs (c.9000 BCE) Stone, Turkey.
- Fish God of Lepenski Vir (5000 BCE) Sandstone cobble, Belgrade.
- Stonehenge Megalithic Monument (c.3100-1100 BCE), Wilts, UK.
- Head of Queen Nefertiti (c.1360 BCE) Quartzite, Egyptian Museum, Cairo.
- Statue of Akhenaten (c.1350 BCE) Sandstone, Egyptian Museum, Cairo.
- "The Auxerre Kore" (c.630 BCE) Limestone, Louvre, Paris.
- Psametek Protected by Hathor Cow (c.550 BCE) Egyptian Museum, Cairo.
- The Tetrarchs: Diocletian, Maxentius, Chlorus, Galerius (350 CE) Porphyry.
- Giant Buddha (c.713-803 CE) Leshan, Sichuan province.
Medieval Stone Carvings
- Canterbury Cathedral Stone Reliefs (10th Century), England.
- Saint-Lazare Cathedral Stone Reliefs (10th/11th Century) Autun, France.
- Sainte-Marie Abbey Stone Reliefs (10th/11th Century) Souillac, France.
- Sainte-Foy Abbey Church Reliefs (12th Century) Conques-en-Rouergue.
- Notre Dame Cathedral Reliefs & Statues (c.1160-1250) Paris.
- Chartres Cathedral Reliefs & Statues (after 1194) France.
- Reims Cathedral Reliefs & Statues (begun 1211) France.
- Cologne Cathedral Reliefs & Statues (c.1250-1880) Germany.
- Moai monolithic human figures (c.1250-1500) Rano Raraku, Easter Island.
Modern Stone Carvings
- The Dance (1865-9) Musee d'Orsay. By Jean-Baptiste Carpeaux.
- Standing Nude (1907) Pompidou Centre. By Andre Derain.
- The Kiss (1907) Hamburgerkunsthalle. By Constantin Brancusi.
- The Kneeling Woman (1911) MOMA, New York. By Wilhelm Lehmbruck.
- Head (1911-13) Guggenheim Museum, New York. By Modigliani.
- Red Stone Dancer (1913) Tate Gallery. By Henri Gaudier-Brzeska.
- Man With Guitar (1915) MOMA, New York. By Jacques Lipchitz.
- Head (1915) MOMA, New York. By Modigliani.
- Christ the Redeemer (1922-31) Soapstone, Rio de Janeiro. Paul Landowski.
- Mother and Child (1924-5) Manchester Art Gallery. By Henry Moore.
- Women's Titanic Memorial (1931) Washington DC. By Gertrude Whitney.
- Adam (1938) Harewood House, UK. By Jacob Epstein.
- Presidential Portraits (1941) Mount Rushmore. By Gutzon Borglum.
- The Motherland Calls (1967) Concrete/Stone, Volgagrad. By Y. Vuchetich.
- Ushiku Daibutsu, Amitabha Buddha (1995) Stone, Japan.
- Spring Temple Buddha (2002) Stone, Concrete, Copper cast, Henan, China.
• For more details about stone carving, see: Visual Arts Encyclopedia.
ENCYCLOPEDIA OF SCULPTURE


The rules regarding how to register cars for new Florida residents are very specific. Someone is considered a Florida resident once he or she starts a job in the state, registers any children at a Florida school or rents, leases and- or outright purchases and- property in Florida. New residents have up to 10 days to register cars in Florida. Most new residents moving into Florida have out-of-state vehicles. Download our guide to review the comprehensive rules of getting car registration for out of state vehicles, which are slightly different than registering cars in-state.
Before getting car registration for their out of state vehicles, new residents must have valid Florida driver's licenses. In addition, they must have valid car insurance policies and pass VIN inspections for their vehicles. The next step for registering cars is showing the out-of-state title to the Florida county tax collector office. The county office verifies the VIN number and submits all the necessary paperwork. The last step to get car registration for an out-of-state vehicle is to pay the fees. Residents can pay the fees when they go to register a car online, or they can pay in person.
How to register cars in Florida for in-state vehicles is entirely dependent on how the car was acquired. There are two different ways to get a car in Florida, either through a dealership or from a private car seller. In most situations, car dealerships provide a temporary title and car registration papers, which Florida drivers can use for 30 days. If the driver is leasing a car instead of buying the vehicle outright, the car registration will cost more. The temporary Florida car registration exists so drivers have a chance to use vehicles when they are purchased, instead of having to wait for all the car registration paperwork to file.
If the dealership uses an electronic filing system (EFS), it is possible to register a car online; otherwise it must be done in person. Most dealerships use the EFS, because it greatly speeds up the vehicle registration process, but drivers should still ask the dealership beforehand, since it is not a guaranteed service.
Compared to registering cars at a dealership, getting the car registration from a private party is a little more complicated. With a dealership, most of the work to get car registration papers is done through the dealership, itself, so drivers have more responsibility when purchasing from a private party. Usually, dealerships charge a little more for this convenience, so drivers typically have a greater chance of finding better sales from private parties.
The buyer complete a bill of sale along with must along with the seller, which just records the transfer of ownership between the two parties. If the vehicle is less than 10 years old, drivers must get mileage disclosure before getting car registration in Florida. Drivers must then show the bills of sale, as well as proof of their insurance to the county tax collector offices. If the vehicle comes from out of state, drivers must complete forms GSNV 82040 and 82042. The last step is to pay all the Florida car registration fees.
Florida car registration for military members is very similar to normal registration. One of the differences for military members regarding registering cars is that those stationed in Florida are not responsible to pay any fees. Military members stationed in Florida who live in a different state do not have to get car registration for their vehicles while they are serving in Florida, since they are not technically Florida residents.


Credit Risk Update: BOOCAT SOLUTIONS LTD, 1ST FLOOR METROPOLITAN HOUSE, 3 DARKES LANE, POTTERS BAR, HERTFORDSHIRE, EN6 1AG. The legal status is a Private Limited Company and the current status at the registry of companies is Active. The company was incorporated on 23 May 2018.
The accounts next due date is 23 February 2020. There are no mortgages.


It was almost a straight line. In the spring of 1970, on the day after I graduated from high school, I began classes at Penn State University in their Architectural Engineering program. Although I was working toward an engineering degree, it had long been my hope to be an architect in New York City after graduation. I was in the AE program because I had (somehow) decided that I would be a better architect if I also had an engineering background. Those plans changed in my fourth year when I began taking lighting classes with Professor John Flynn. While presenting a project to the class, John commented that I had the potential to be a really good lighting designer. A lighting designer!?! So that became my new plan. It was at this time that I met Craig Bernecker (the IESNYC's January 2019 Member of the Month), who was John Flynn's graduate assistant. Small world. On the day after my Penn State graduation, I started working in the lighting department of Joseph Loring Associates, an engineering firm in NYC, and was seated next to a designer named Jerry Kugler. I quickly realized that the opening in the department was due to the fact that Jerry was leaving the company at the end of the summer for graduate school. Thanks, Jerry! And just to complete my story, I had the pleasure of working on a few projects at Loring with Mr. Edison Price. It was Edison who convinced me that the knowledge I would gain from joining him at Edison Price Lighting would make me a better lighting designer. That was nearly forty years ago — and I'm still there and I'm still learning.
When I was a new arrival in NYC, the IES monthly educational program served double duty as my social calendar. Plus, I loved listening to and meeting lighting designers I had read about in college such as Howard Brandston, Lesley Wheel, Jules Horton, Paul Marantz, Carroll Cline, Jim Nuckolls, David Mintz, Abe Feder, and Richard Kelly. It was an easy leap to serve on the IESNYC Board of Managers for three terms in the 1980's where I made many friends. It has also been my honor to be a judge for several Lumen Awards programs — something I look forward to doing again in the future.
I am thrilled that my everyday job is to create lighting products that my friends and colleagues in the design community can use to fulfill their vision. Lighting fixtures, of course, are not designed in a vacuum, and my IESNYC friends have never been reluctant to tell me what they really, really want. Because we feel so strongly in the work the Section does for the lighting community, Emma Price, Joel Siegel, and I are proud that Edison Price Lighting is a longtime sponsor of the IESNYC. This year, we became an Advocate of the Nuckolls Fund for Lighting Education.
It is the people. Our Section members probably have the broadest experience and knowledge base of any lighting community in the country. And when those members give their time, we all benefit from taking part in the Section's educational programs. That was how I first became involved with IESNYC, and it is why I keep coming back. I also love attending the Lumen Awards each year. Seeing old friends at the cocktail party is an annual highlight, and meeting younger designers is inspiring. Finally, being treated to a review of each year's award-winning projects is like another lighting design class of the highest caliber.


Earrings from Skin of the Night -collection are now available on Etsy! Share, blog, pin, like, tweet, favourite, follow and buy!
The pics have links to Etsy so click a pic! Don´t forget to visit my About page on Etsy.


The London-born actor, 46, said he didn't believe it when the magazine told him.
Other actors and singers who have been given the title by the magazine's editors in recent years include Blake Shelton, Chris Hemsworth, Adam Levine, George Clooney and Channing Tatum.
Only two other non-white men - African-American star Denzel Washington in 1996 and Dwayne 'The Rock' Johnson, whose mother is Samoan and whose father is black Canadian, in 2016 - have won the title since People started the feature in 1985.
Elba in August stoked the rumors that he was set to become the first black actor to play Bond when he posted a cryptic message on Twitter using one of the character's best-known lines - 'My name's Elba, Idris Elba.' Days later he flatly denied it was going to happen, however.


text:
The Art of Anti-Racism and Social Justice presented by Lewis Center for the Arts at Princeton University
Multidisciplinary artist and equality advocate Indrani Pal-Chaudhuri, Princeton alum, shares work created by students in her fall course and discusses the powerful role film and art are playing in movements for rights and justice, with special guests Mo'Nique, Hawk Newsome, Eugene Brave Rock, Daryl Davis, Lazarus, Gina Belafonte, and co-host U.N. curator Kunal Sood
On December 15 Princeton University's Lewis Center for the Arts presents The Art of Anti-Racism and Social Justice, a conversation and virtual exhibition recognizing that across the United States — and the entire world — film and art have become central to ongoing movements for rights and justice, which has intensified since the killing of George Floyd. This event honors leaders and artists at the forefront of social change, engaging in dialogue about their work and perspectives on mobilizing anti-racism, equality, and social justice.
A still from first-year student Thomas Hughes' public service announcement "Connecticut Bail Reform – Justice for Desiree" promoting criminal justice reform. Photo courtesy of Thomas Hughes '24
At 7:00 p.m. filmmaker and social justice advocate Indrani Pal-Chaudhuri, a Tribeca Film Festival Disruptive Innovation-awarded director, Princeton alum, and cohost of the Global People's Summit at the United Nations, will host the conversation with #WeThePlanet United Nations curator Kunal Sood. They will welcome leaders of contemporary art and justice movements to share insights to inspire positive cultural and socio-political change, including Mo'Nique, Academy Award-winning actress and talk show host, perhaps best known for her performance in the film Precious; Hawk Newsome, co-founder of Black Lives Matter of Greater New York; Eugene Brave Rock, an actor best known for his performance as the first Indigenous superhero, The Chief, in Wonder Woman (2017); Daryl Davis, a jazz musician, who has convinced more than 200 people to leave the Ku Klux Klan white supremacist hate group; Lazarus, a COVID-19 frontline physician and Detroit-born Pakistani-American rapper; and Gina Belafonte, actress and producer, known for BlacKkKlansman, and executive director of Sankofa.org, founded by Harry Belafonte, which educates, motivates and activates artists and allies in service of grassroots movements and equitable change.
This virtual event, which is free and open to the public, launches an online exhibition and expanding archive of Princeton student art dedicated to public service and social justice. Presented in partnership with Princeton's Office of the Dean of Undergraduate Students and the Freshman Seminars Program, this initiative is an extension of the 2020 fall seminar, "Moving Millions with Art and Film for Human Rights and Social Justice," taught by Pal-Chaudhuri. The students' public service announcement videos created during the course address a range of issues including immigration reform, Black Lives Matter, ending forced labor, promoting STEM fields to girls, voter suppression, colorism, mental health resources, racial microaggressions, marine pollution, and criminal justice reform.
"Believing that artists and filmmakers are myth-makers, shaping the parameters of the possible," said Pal-Chaudhuri, "my work explores transformation, ethics with aesthetics, and the intersection between fantasy and reality from diverse perspectives, to inspire positive social change."
Filmmaker and social justice advocate Indrani Pal-Chaudhuri. Photo courtesy of Indrani Pal-Chaudhuri
Indrani Pal-Chaudhuri is a biracial, multidisciplinary artist and Princeton graduate, working in film, photography, and social justice. A "leading director and voice for female empowerment" (Tribeca Film Festival), "at the crossroads of pop culture and critical acclaim" (Lincoln Center), collaborating with legendary artists, her work empowers diversity, equality and environmental sustainability. Discovered by David Bowie while she was still a student, she helped launch Beyoncé and Lady Gaga's solo careers, creating their debut album art. She is also a director of music videos and philanthropic and art films, shown in museums worldwide from the Center Pompidou Paris, to the Brooklyn Museum, and the National Portrait Gallery, and on CNN, HBO, and the BBC. Known for her "iconic imagery and visionary storytelling" (Huffington Post), her work has won 29 awards including The Tribeca Film Festival 2019 Disruptive Innovation Award, The Max Mark-Cranbrook 2019 Global Peacemaker Award, Best Picture and Best Director at the Los Angeles Independent Film Festival, two Gold Lions at Cannes Festival of Creativity, and Best Film at the CNN 2018 Expose Awards. A prolific speaker, she is cohost of the Global People's Summit during the General Assembly at the United Nations; a U.N. Women's Entrepreneurship Distinguished Fellow; host of New York Live Arts – AI Live Ideas Gala; and co-founder and executive director of the Shakti Empowerment Education Foundation.
Freshmen Seminars are unique opportunities open only to members of the first-year class and designed to provide students an early opportunity to experience the excitement of working closely with an instructor and a small group of fellow students on a topic of special interest.
The conversation event will be live captioned. Viewers in need of other access accommodations are invited to contact the Lewis Center at least two weeks in advance at LewisCenter@princeton.edu
For more information about this event and the more than 100 performances, exhibitions, readings, screenings, concerts and lectures presented each year by the Lewis Center for the Arts, most of them free, and this year all virtual, visit arts.princeton.edu.
Steve Runk
srunk@princeton.edu
Download photo - Thomas Hughes film still
Download photo - Indrani headshot
Happy Holidays from the Lewis Center for the Arts
Lewis Center for the Arts at Princeton announces five Hodder Fellows for 2021-2022
The Art of Anti-Racism and Social Justice: A Conversation with Academy Award Winner Mo'Nique, NY Black Lives Matter's Hawk Newsome, and Indigenous Superhero Eugene Brave Rock
Indrani Pal-Chaudhuri


BEIRUT, Lebanon — In his first address in two months, President Bashar al-Assad of Syria on Monday offered a national dialogue that he said could usher in change to a country where his party and family have monopolized authority for four decades.
Deep skepticism greeted the proposal, and even some who were sympathetic to the leadership said they doubted that Mr. Assad was ready to surrender absolute power, at least for now. But as the country wrestles with its gravest crisis in a generation, the question remains: If the government is in fact sincere, whom would it talk to?
An opposition abroad, without set leaders or programs, which sought to organize in meetings in Turkey and Europe, has ruled out engaging the government. Many activists who claim to speak for those in the streets shaken by three months of protests are too afraid to surface. Even opposition figures in Damascus who have talked with officials lately said Monday that they would not attend the dialogue Mr. Assad outlined until security forces ended their crackdown.
The government, which long equated almost any dissent with sedition, has suggested it may choose whom it will speak to; Mr. Assad mentioned the possibility of more than 100 people, though the government has yet to say who they may be.
The divide seemed to underline the criticism voiced by many opposition activists on Monday: The proposal is a bid for time in a country that may be running out of it.
Diplomats and opposition figures have spoken in darker tones lately about what may be ahead in Syria: a failed state perhaps, or sectarian conflict playing on Syria's potentially volatile diversity. While noting that the protests remain largely peaceful, American officials acknowledge that the makings of an armed insurgency have begun to emerge. Despite promises to diplomats, Syrian officials have continued to preside over a ferocious crackdown that has killed more than 1,400 people, by activists' count.
For days, Mr. Assad's speech was awaited in the hope that it would offer a crucial insight into the leadership's willingness to compromise in the face of the uprising and mounting pressure from Turkey, the United States and the European Union. Mr. Assad offered at least a theoretical path for change, even if the speech lacked specifics and delivered somewhat vague deadlines.
Some of the changes he outlined Monday have been on the table since 2005, including a new law that would allow parties other than the Baath Party, which is the instrument of Mr. Assad's power, its pre-eminence enshrined in the Constitution. He also spoke of a committee to study amending the Constitution or drafting a new one.
"This dialogue is a very important issue which we have to give a chance because all of Syria's future, if we want it to be successful, has to be dependent on this dialogue in which all the different parties in the Syrian arena will participate," Mr. Assad said.
In some ways, the speech seemed to suggest a different inflection to the government's longstanding message. For weeks, it has offered a mantra that has underlined its many years in power: either us or chaos. On Monday, Mr. Assad appeared to offer himself as the best means to bring about a change in one of the region's most authoritarian states. Rather than us or chaos, his message was that he alone could deliver.
The response in the street was abrupt, though it was hard to gauge the size of the demonstrations. "Liar!" activists quoted people chanting in the coastal city of Latakia.
Syria has a longstanding, if disorganized, opposition that has survived relentless government repression: from the Communist Action Party to the venerable Muslim Brotherhood, whose fight with the government culminated in an assault in 1982 on the city of Hama, where the military killed 10,000 people and perhaps many more.
In addition, an array of figures, sometimes lonely voices, have persisted in speaking out, though their opposition has often landed them long stints in jail.
Syrian officials say the dialogue is sincere. "We believe that this is the only way forward for Syria," said Imad Moustapha, the Syrian ambassador in Washington.
June 20, 2011 - Syrian President Bashar al-Assad says he will allow political parties other than his own to exist.
In a rare step, the government has allowed opposition figures and parties to organize conferences in Damascus, though the very novelty of the idea has made logistics difficult. Several opposition figures said no hotel was yet willing to host their meeting.
Opposition figures in Syria like Mr. Hussein, Aref Dalila and Michel Kilo said unaffiliated government opponents planned to convene in the capital on Monday in an attempt to draft at the very least a platform for eventual negotiations with Mr. Assad's leadership. Mr. Kilo and Mr. Hussein said they would not take part in the government's own dialogue without an end to the crackdown, which has deployed the military across Syria.
More traditional parties, from those of a secular bent to Kurdish groups, are organizing a separate meeting and hope to have some sort of platform by this weekend.
In principle at least, those groups are willing to enter into talks with the government, though some of them acknowledge they have little sway in the street and run the risk of being marginalized as the uprising pushes for more radical demands.
In the past weeks, the protesters themselves have sought to articulate their voice through the Local Coordination Committees, which released a statement on Monday. They called Mr. Assad's invitation to a dialogue "a bid to gain more time at the expense of Syrian blood and sacrifice" and ruled out negotiation unless it was aimed at ending Mr. Assad's rule.
The opposition abroad — yet to coalesce into a program or a leadership — met in Turkey and Belgium this month. At the meeting in Antalya, Turkey, which drew 300 delegates, including the Muslim Brotherhood and leaders of extended clans, the participants demanded that Mr. Assad step down immediately and called for free elections.
Nada Bakri and Hwaida Saad contributed reporting.


text:
Молдове́ — село Плахтіївської сільської громади Білгород-Дністровському районі Одеської області в Україні. Населення становить 562 осіб.

Населення
Згідно з переписом УРСР 1989 року чисельність наявного населення села становила  , з яких   та  .

За переписом населення України 2001 року в селі   .

Мова
Розподіл населення за рідною мовою за даними перепису 2001 року:

Примітки

Села Білгород-Дністровського району


text:
Q: The best constant in an integral inequality I find a interesting inequality. Suppose that $y=y(x)$ is a differentiable function in $(0,L)$ and $y(0)=y(a)=0$. Consider the fraction
$$
F[y]=\frac{\int_0^{L}\vert y'\vert^2dx}{\int_0^L\vert y\vert^2 dx}
$$
where $y'=dy/dx$ and the denominator is nonzero since $y$ is nonezero function. So what's the low bound of $F[y]$? The best constant may be $\frac{\pi^2}{L^2}$, but how to prove it?

A: The link is useful:Wirtinger's inequality for functions

redpajama_set_name: RedPajamaStackExchange


text:
import { Injectable } from '@angular/core';
import { Http, Headers, Response, URLSearchParams } from "@angular/http";

import { GLOBAL_URL } from "../../model-data/GLOBAL";
import { Observable } from "rxjs/Observable";
import { ErrorsService } from "../../service/errors.service";

import 'rxjs/add/operator/map';
import 'rxjs/add/operator/catch';

@Injectable()
export class OrderService {
  public preOrderURL = GLOBAL_URL + '/app/2/preOrder';
  public createOrderURL = GLOBAL_URL + '/app/2/createOrder';
  public wechatOrderPayURL = GLOBAL_URL + '/app/payment/wechatOrderPay';
  public alipayMobileURL = GLOBAL_URL + '/app/payment/alipayMobile';
  public getOrderListURL = GLOBAL_URL + '/app/2/getOrderList';
  public getRefundOrderURL = GLOBAL_URL + '/app/2/getRefundOrder';
  public createRefundOrderURL = GLOBAL_URL + '/app/2/createRefundOrder';
  public getRefundDetailURL = GLOBAL_URL + '/app/2/getRefundDetail';
  public fillInExpressURL = GLOBAL_URL + '/app/2/fillInExpress';
  public orderDetailURL = GLOBAL_URL + '/app/2/orderDetail';
  public operateOrderURL = GLOBAL_URL + '/app/2/operateOrder';
  public getGoodsTracesURL = GLOBAL_URL + '/app/2/getGoodsTraces';
  public getLogisticCompanyURL = GLOBAL_URL + '/app/2/getLogisticCompany';
  public delRefundURL = GLOBAL_URL + '/app/2/delRefund';
  public addGoodsCommentURL = GLOBAL_URL + '/app/2/addGoodsComment';

  constructor(
    public http: Http,
    public errors: ErrorsService,
  ) { }

  preOrder(type): Observable<any> {// 预览订单
    let data = new URLSearchParams();
    data.set('type', type);
    return this.http.get(this.preOrderURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  createOrder(addr_id, remark, type): Observable<any> {// 生成订单
    let data = new URLSearchParams();
    data.set('addr_id', addr_id);
    data.set('remark', remark);
    data.set('type', type);
    return this.http.get(this.createOrderURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  wechatOrderPay(order_sn): Observable<any> {// 微信支付
    let data = new URLSearchParams();
    data.set('order_sn', order_sn);
    return this.http.get(this.wechatOrderPayURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  alipayMobile(type, money, order_sn): Observable<any> {// 支付宝支付
    let data = new URLSearchParams();
    data.set('type', type);
    data.set('money', money);
    data.set('order_sn', order_sn);
    return this.http.get(this.alipayMobileURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  getOrderList(page, pagesize, type): Observable<any> {// 我的订单
    let data = new URLSearchParams();
    data.set('page', page);
    data.set('pagesize', pagesize);
    data.set('type', type);
    return this.http.get(this.getOrderListURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  getRefundOrder(page, pagesize): Observable<any> {// 获取退货列表接口
    let data = new URLSearchParams();
    data.set('page', page);
    data.set('pagesize', pagesize);
    return this.http.get(this.getRefundOrderURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  createRefundOrder(type, good_status, order_id, goods_id, reason, amount, remark, evidence): Observable<any> {// 申请退款接口
    let data = new URLSearchParams();
    data.set('type', type);
    data.set('good_status', good_status);
    data.set('order_id', order_id);
    data.set('goods_id', goods_id);
    data.set('reason', reason);
    data.set('amount', amount);
    data.set('remark', remark);
    data.set('evidence', evidence);
    return this.http.get(this.createRefundOrderURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  getRefundDetail(order_id, goods_id): Observable<any> {// 获取退款订单详情接口
    let data = new URLSearchParams();
    data.set('order_id', order_id);
    data.set('goods_id', goods_id);
    return this.http.get(this.getRefundDetailURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  fillInExpress(order_id, goods_id, code, shipper_code): Observable<any> {// 填写物流接口
    let data = new URLSearchParams();
    data.set('order_id', order_id);
    data.set('goods_id', goods_id);
    data.set('code', code);
    data.set('shipper_code', shipper_code);
    return this.http.get(this.fillInExpressURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  orderDetail(order_sn): Observable<any> {// 订单详情接口
    let data = new URLSearchParams();
    data.set('order_sn', order_sn);
    return this.http.get(this.orderDetailURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  operateOrder(order_id, type): Observable<any> {// 取消,确认收货,删除订单接口
    let data = new URLSearchParams();
    data.set('order_id', order_id);
    data.set('type', type); // 1 取消订单 2确认收货 3删除订单 4延长收货
    return this.http.get(this.operateOrderURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  getGoodsTraces(order_sn): Observable<any> {// 获取订单物流信息接口
    let data = new URLSearchParams();
    data.set('order_sn', order_sn);
    return this.http.get(this.getGoodsTracesURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  getLogisticCompany() { // 获取物流公司接口
    return this.http.get(this.getLogisticCompanyURL, {
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  delRefund(order_id, goods_id) { // 撤销退款接口
    let data = new URLSearchParams();
    data.set('order_id', order_id);
    data.set('goods_id', goods_id);
    return this.http.get(this.delRefundURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

  addGoodsComment(order_id, is_anonymous, arr) { // 撤销退款接口
    let data = new URLSearchParams();
    data.set('order_id', order_id);
    data.set('is_anonymous', is_anonymous);
    data.set('arr', arr);
    return this.http.get(this.addGoodsCommentURL, {
      params: data,
      withCredentials: true
    }).map((res: Response) => res.json()).catch(this.errors.handleError);
  }

}


An ideal first ride-on toy. Quality built from hardwood with safety steering lock and dual front wheels for added stability.
Dual front wheels for stability.
Made of high quality hardwood.
The Tiny Trike's colourful design has been a firm favourite with many generations of young children. This classic toy is very easy to assemble so your little one can have lots of riding fun in no time. The Tiny Trike has a seat height of 20 cm and is ideal for kids aged two years and up. Please note: Maximum weight is 25 kg.


Edited by Karla Martinez and Vanessa Lawrence [#image: /photos/5853b1536666b2eb4762e7a7]||||||With her line of glamorous, highly detailed cocktail dresses, eveningwear and chic day pieces, Alexandra Vidal Trullols has managed to court members of New York society both real (Arriana Boardman) and fictional (Blair Waldorf on "Gossip Girl"). The 28 year-old Miami native, whose Alexandra Vidal collection is sold at Bergdorf Goodman (and has a thriving custom design business), painstakingly renders her elegant creations in everything from burnt striped ostrich feathers to hand embroidery and beading.
And as an Upper East Side resident, Vidal Trullols is more than familiar with her chic clientele's stomping ground. Here, the designer reveals her Louboutin addiction, where to get the best chocolate chip cookies and why she can't stand Crocs (Mario Batali, look out.).
Define your style in three words: Feminine, chic, and elegant.
Daily uniform: Varies but most days I wear J Brand jeans; a Balenciaga T or a J. Crew button down; my husband's old, worn out belt that I had resized; a Rick Owens black leather jacket, Lanvin flats, and extra large sunglasses.
Greatest hits: I am still obsessing over my own grey hand-woven fringe gown from my Spring Summer 2011 Collection and my Ivory Feather Beaded Gown from Fall Winter 2010. I really treasure my vintage leopard coat and vest that my husband gave me as gifts.
Preferred footwear: Christian Louboutin—the higher the better! Also Celine clogs (usually for daytime).
Finishing touches: My husband's grandmother's Morocota, old gold coin from 1862, Napoleon III, that was custom made into a pendant in the 50's. My father's old Rolex. And a Nancy Gonzalez black, extra-large croc hobo. On my wrists I like to wear two Eddie Borgo gold cone bracelets.
Nighttime look: I like to wear my one of a kind designs which vary from short skirts with clever blouses to mini dresses, usually pairing them with a cool Balenciaga jacket or a vintage skin. Always a clean and fresh look.
Best recent discovery: Dark chocolate chip cookies from Levain Bakery in NYC. It is an addiction.
Favorite stores: Bergdorf Goodman in NYC, Colette in Paris, Grace's Marketplace in NYC.
Style pet peeve: Rubber flip-flops—sorry! Oh and Crocs—they remind me of Hannibal Lecter from "The Silence of the Lambs."
Style icons: Grace Kelly, Coco Chanel and Edie Sedgwick.
Last purchase: A Lanvin 70's Modernist Clamper bracelet on an eBay bidding battle.
Favorite haunts: Le Ami Louis in Paris—the best foie gras ever!
Next vacation: Capri in August.
What she'll pack: Flat sandals, bikinis, lots of my own dresses, a tortoise shell clutch from the Dominican Republic and my sketchpad.


text:
Greta Scacchi, OMRI (; born 18 February 1960) is an Italian-Australian actress. She holds dual Italian and Australian citizenship. She is best known for her roles in the films White Mischief (1987), Presumed Innocent (1990), The Player (1992), Emma (1996), and Looking for Alibrandi (2000).

Her first leading role, in Heat and Dust (1983), earned her a BAFTA nomination for Best Newcomer to Film. For her portrayal of Empress Alexandra Fyodorovna of Russia in the television film, Rasputin: Dark Servant of Destiny (1996), she won a Primetime Emmy Award and earned a Golden Globe nomination for Best Supporting Actress. In 2006, Scacchi received a second Emmy nomination for her role in the television film Broken Trail, and earned her first Screen Actors Guild Award nomination.

Early life
Scacchi was born on 18 February 1960 in Milan, Italy, the daughter of Luca Scacchi, an Italian art dealer and painter, and Pamela Risbey, an English dancer and antiques dealer. Scacchi's parents divorced when she was four, and her mother returned to her native England with Greta and her two older brothers, first to London, then to Haywards Heath, West Sussex.

In 1975, after her mother's remarriage, the family moved to Perth, Western Australia, where her stepfather was a visiting professor at the University of Western Australia (UWA). While in Perth, Scacchi attended Hollywood Senior High School and joined UWA's University Dramatic Society, where she made her theatrical debut at the New Dolphin Theatre in Edward Bond's play Early Morning under director Arne Neeme.

Career

In 1977, Scacchi returned to England to study at the Bristol Old Vic Theatre School, where her contemporaries included Miranda Richardson and Amanda Redman. Her first on-screen role was in the first season finale of Bergerac, in 1981, when she played a model who was the girlfriend of an international criminal being pursued by the eponymous detective. The following year, she made her film debut in the German movie . Her first leading role was in the British film Heat and Dust (1983), opposite Shashi Kapoor and Julie Christie; Scacchi's performance earned her a BAFTA nomination for Best Newcomer to Film. She went on to give performances in films such as The Ebony Tower (1984), The Coca-Cola Kid (1985), White Mischief (1987), Presumed Innocent (1990), The Player (1992) and Country Life (1994). She turned down the role of Catherine Trammell in Basic Instinct (1992).

In 1996, she won an Emmy Award for her work as Empress Alexandra Fyodorovna of Russia in the television film, Rasputin: Dark Servant of Destiny, and was nominated for a Golden Globe and numerous other awards. In 1999, she had a role as an Italian-Australian single mother in the Australian film Looking for Alibrandi, a performance for which she won the 2000 AFI award for Best Supporting Actress.

In 2007, she received an Emmy Award nomination for Outstanding Supporting Actress in a Miniseries or a Movie for Broken Trail.

Scacchi is fluent in English, French, German, and Italian, which has made her a popular choice for European casting directors.

She has performed in a wide range of parts in theatre. She appeared In Times Like These (Bristol Old Vic) and Cider with Rosie (Phoenix Arts Theatre, Leicester) as her film career was taking off. After making four films in 15 months, in 1985 she appeared with Mark Rylance and Kevin McNally in Airbase (Oxford Playhouse and Arts Theatre). In Uncle Vanya at the Vaudeville Theatre, London, in 1987, she played opposite Michael Gambon and Jonathan Pryce. In 1991, she played Nora in Ibsen's A Doll's House in the Festival of Perth. A year later, she played the lead role in Strindberg's Miss Julie for the Sydney Theatre Company. She returned to Sydney in 1996 to play Cecilia in Sam Shepard's Simpatico. In 1999, she took the lead in Easy Virtue in Chichester, directed by actress Maria Aitken.

In 2001, she returned to Sydney for Harold Pinter's Old Times, directed by Aarne Neeme, playing Kate. In 2004 she toured Italy with an Italian production Vecchi Tempi of the same play, but this time playing Anne. In 2005, she performed at the Theatre Royal, Bath, in Thea Sharrock's production of Noël Coward's Private Lives. Back in Australia in 2008, she was nominated for a Sydney Theatre Best Actress Award for playing Queen Elizabeth in Schiller's Mary Stuart in Sydney.

In that year, she also performed in Terence Rattigan's The Deep Blue Sea at the Theatre Royal, Bath, on tour and then in the West End back at the Vaudeville Theatre.

In 2010, she replaced an injured Kristin Scott Thomas in the Chatelet Theatre, Paris in the French premiere (37 years after it was written) of Stephen Sondheim's A Little Night Music. As Desiree she sang "Send In The Clowns".

In May 2011, she appeared alongside Anita Dobson in the play Bette and Joan at London's Arts Theatre, directed by Bill Alexander, about the personal and professional relationship between Bette Davis and Joan Crawford. At the end of that year she appeared at the Ensemble Theatre, Sydney in David Williamson's new play, Nothing Personal.

In September 2013, Sir Jonathan Miller directed a gala performance of William Shakespeare's King Lear at The Old Vic in London. Scacchi played Regan.

In 2014, she played Arkadina in Chekhov's The Seagull in Perth. In 2015 she joined the Headlong theatre company to star on a UK tour in Tennessee Williams' The Glass Menagerie as Amanda.

Between 20 August and 12 November 2016, she played Phoebe Rice opposite Kenneth Branagh's Archie Rice in a revival of John Osborne's The Entertainer at the Garrick Theatre in London's West End. The play received mixed reviews but hers were uniformly positive.

Personal life
Scacchi is an Italian citizen by birth. She applied for British citizenship after turning 18, but was refused and refused again on appeal; she later applied again due to Brexit. She is a citizen of Italy, Australia and the United Kingdom.

From 1983 to 1989, Scacchi was in a relationship with New Zealand musician Tim Finn. She had a four-year relationship with American actor Vincent D'Onofrio, with whom she has a daughter, actress Leila George. In 1997, Scacchi began a relationship with her first cousin, Carlo Mantegazza. They have a son, Matteo.

Scacchi is an active supporter of campaigns and organisations that promote environmental causes. She has supported Greenpeace and Christian Aid's climate change campaign. In 2009, she posed nude with a codfish to promote the documentary The End of the Line, a film exposing the effects of overfishing. She continues to lead the linked Fishlove campaign, which has seen a host of well known actors pose for photographs with a variety of fish.

In October 2013, for her services to the arts she was awarded Cavaliere Ordine al Merito della Repubblica Italiana (Knight in the Order of Merit of the Italian Republic).

Filmography

Theatre

References

External links

Interview in the Spectator

1960 births
Actresses from Milan
Alumni of Bristol Old Vic Theatre School
Australian film actresses
Italian film actresses
Italian expatriates in England
Australian expatriates in England
People of Lombard descent
Australian television actresses
Italian emigrants to Australia
Italian emigrants to the United Kingdom
Italian people of English descent
Knights of the Order of Merit of the Italian Republic
Living people
Logie Award winners
Naturalised citizens of Australia
Outstanding Performance by a Supporting Actress in a Miniseries or Movie Primetime Emmy Award winners
Actresses from Perth, Western Australia
Best Supporting Actress AACTA Award winners


There are a total of 11 assisted living facilities in SCHOOLCRAFT County, Michigan. This list includes SCHOOLCRAFT County senior housing, assisted senior living communities and residential care homes for the elderly. SCHOOLCRAFT County assisted senior living facilities also provide dementia and Alzheimer's care, also known as memory care in SCHOOLCRAFT County, MI.
Great Lakes Afc is an assisted living facility in Germfask, Michigan. It can provide senior living to a maximum of 5 55 and older adults at a time. It is located at 7811 Cornell Rd, 49836 zip code in Schoolcraft county. Great Lakes Afc helps retirees who require help with activities of daily living. Great Lakes Afc is a state-licensed senior living facility with License # AF770347987.
Stepping Stone Ii provides assisted living in Schoolcraft county, Michigan. It contains a total of 6 assisted living apartments for 55 and older adults. Stepping Stone Ii provides affordable, pet-friendly assisted elderly housing and is located at 240 New Delta Ave, Manistique, Michigan 49854.
Hidden Estates is an upscale assisted senior living facility in Manistique, Michigan. It supports a total of 6 assisted living units. Hidden Estates is available to all Schoolcraft county elderly adult residents in need of assisted living. Hidden Estates is situated at 101 Lake Street in Manistique, Michigan.
Berry Home is an elderly assisted housing facility in Germfask, Michigan. Berry Home is located at 638 Grant Road, 49836 zip code and provides assisted living to all Schoolcraft county elderly residents. It provides 6 senior living units in total.
Petersons Home is a senior care and living facility in Germfask, Michigan, located at 940 Ten Curves Rd. Any elderly or older adults looking for assisted living in Schoolcraft county or near 49836 zip code should consider Petersons Home as one of the best options.
Miller Afc Home is an assisted senior living community in Germfask, Michigan, located in the Schoolcraft county area. Miller Afc Home is directly located at 1335 Robinson Road in the 49836 zip code area. It has a maximum capacity of 5 assisted senior housing units.
New Delta Home is an assisted living facility in Manistique, Michigan in Schoolcraft county. It is best suited for elderly seniors who require daily living help in 49854 zip code area. New Delta Home is situated at 223 New Delta. It includes 6 assisted senior living apartment units.
Northern Comfort Spec. Care is an assisted living community in Manistique, Michigan. It provides housing and care to elderly Schoolcraft county residents and is located at 8082 W Us Hwy 2 in 49854 zip code. Northern Comfort Spec. Care includes a total of 6 assisted living units.
Clark's Landing is an assisted living community in Gulliver, Michigan. It can provide senior living to a maximum of 4 senior citizens at a time. It is located at 2618 N River Road, 49840 zip code in Schoolcraft county. Clark's Landing helps retirees who need help with everyday tasks. Clark's Landing is a state-licensed senior living facility with License # AF770283518.
Assisted Living Facilities in SCHOOLCRAFT County, MI. List of all of the best assisted living, senior living and elderly housing options in SCHOOLCRAFT County for 2019.


text:
Q: Empty downloaded files from SOILGRIDS 250m I am trying to download pH in water mean values for an area long = 48.2 to 48.9 degrees and lat = -4 to -3 degrees. Using the downloading tool of the portal https://soilgrids.org/, an empty file was returned. It was the same with clay or organic carbon content, and with different areas.
It is not the first time I download data for SOILGRIDS, but the first time it failed.


This is the fourth instalment of the semester two seminar series organised by the Department of Political Economy at the University of Sydney. We are pleased to be jointly hosting this seminar with the Department of Government and International Relations.
Our sense of history defines how we think about who we are. The left has a pretty clear sense of Britain's recent history. It is the history of austerity. The Conservatives returned to office in 2010 and reverted to type. They cut taxes and slashed public expenditure and brushed aside anyone who dared suggest any economic alternatives. The costs of austerity were loaded on to the poor. Labour lost in 2015 because it failed to challenge the Conservatives and instead offered the electorate austerity-light. I think this history is wrong. Austerity is one part of a larger story. The left holds to a remorselessly bleak view of British political history – one in which Margaret Thatcher's election in 1979 marked the start of a still-continuing decline and fall marked by inequality, social decay, rampant individualism, political failure and, above all, the triumph of a free-market neoliberal ideology. This is wrong because Britain has in many respects become a much more politically progressive country over the last four decades.


'Sustainability' ignores non-human animals because they are seen as a renewable 'resource'. This has devastating consequences for individuals and the environment.
Religions should become veganised and truly realise their central premise of compassion.
If veganised, large religions that are still powerful in non-western societies could be influential in promoting justice for non-human animals.
Sustainability ideaology consider non-human animals to be a renewable resource which means they are ignored by the field and religions could play a big role in reducing the oppresion of non-human animals.
Narayana argues that sustainability and religion are both found wanting in regards to action for non-human animal justice. This is unfortunately and somewhat at odds with the central premise of both ideologies.
Sustainability views non-human animals, specifically those we use in the animal agriculture industry, as a renewable resource that is practically infinite. This means that farmed animals do not fall into the field of sustainability because they are not scarce. By ignoring farmed animals in the field of sustainability we also ignore the substantial environmental and other costs associated with the practice.
Religions claim to be compassionate but when it comes to compassion towards non-human animals there is very little to be seen. Narayana provides a critique of common attitudes and justifications held by Christian and Hindu religions regarding the use of non-human animals. The author suggests that for religions to more closely represent their central premise of compassion they need to become veganised and include animal justice within their practice.
Finally, the paper highlights the significant positive impact religions could have for non-human individuals if they became veganised. A majority of humans still follow some sort of religion and their behaviours can be strongly influenced by the religion.
This is not an argument I have seen so clearly presented before. I fear that many secular vegans ignore/denigrate the potential positive impact religions could have for non-human animals because of a dislike of religious institutions. Perhaps it is time we reassess such reactions and consider how animals might be benefited through vaganising religion.