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Bishop Birmingham
On November 13 the Most Reverend Kevin M. Birmingham (49) a priest of the Archdiocese of Chicago will be ordained as the Titular Bishop of Dolia and Auxiliary bishop of Chicago.
Bishop Birmingham's armorial bearings represent his family name and symbols of his own devotional life. The division of the shield uses a jagged line called "indented" in heraldry and is borrowed from the arms associated with the family Bermingham and which is also used in several places that bear the name Birmingham.
The upper half is green with a gold (yellow) chalice and white priest's stole. These symbols represent priestly life and ministry and specifically act as an allusion to St. John Vianney, the patron saint of priests to whom the bishop has had a lifelong devotion. On the ends of the stole are a red fleur-de-lis. This symbol is associated with France where St. John Vianney lived and died and are also borrowed from the coat of arms of the Archdiocese of Chicago where the bishop has spent his life and priestly ministry and now will continue with his episcopal ministry.
The lower half shows three red roses on a silver (white) background. They represent Our Lady of Guadalupe, patroness of the Americas. In connection with the appearance of Our Lady to Juan Diego the miraculous blooming of roses in December occurred. Two days after his ordination the bishop traveled to Mexico City and celebrated his second Mass as a priest at the Basilica of OL of Guadalupe. Throughout his priesthood he has had a strong devotion to Mary under this title.
The motto below the shield is "Tend My People" (adapted from John 21:16)
I was privileged to design and emblazon the armorial bearings of Bishop Birmingham.
This entry was posted in Bishops, Fr. Guy's designs on October 28, 2020 by guyselvester.
Bishop Lombardo, CFR
On November 13 the Most Rev. Robert Lombardo, CFR (63) a Franciscan friar and priest currently serving in the Archdiocese of Chicago will be ordained as the Titular Bishop of Munatiana and Auxiliary Bishop of Chicago.
The armorial bearings of Bishop Lombardo reflect his Religious Community, his Marian devotion and the centrality of the Eucharist. The shield is divided into three sections by a dividing line that suggests an open cape. In the upper left on a silver (white) background is the customary symbol of Franciscans the world over composed of the right bare arms of Jesus and the left clothed arms of St. Francis of Assisi. Both show the hands bearing the nail mark of the Crucifixion because St. Francis received the stigmata prior to his death. The color of the sleeve on the arm of Francis reflects the grey/blue habit worn by the CFR Franciscans. This color more closely approximates the color of the robe actually worn by St. Francis himself. Bishop Lombardo is the first member of his community to be named a bishop.
The upper right depicts a traditional monogram of the Blessed Virgin Mary. It is composed of the letter "M" interlaced with a cross. The whole is depicted blue, a color frequently associated with the Blessed Mother on a silver (white) field. This emblem is also found on the reverse of the Miraculous Medal of Our Lady which the bishop received years ago in Lourdes and has worn every day since.
The lower, main, portion of the shield is blue with a gold (yellow) cross-shaped monstrance holding the Sacred Host above blue and silver (white) waves. The waves allude to the Atlantic Ocean of the east coast of the US where the bishop was born, and also to Lake Michigan where Chicago is located and where he has done priestly and, now, episcopal ministry as well as to the Mediterranean Sea near Salerno and Calabria in Italy from which his ancestors came. The central figure is a simple monstrance in the shape of the cross containing the Eucharist. This symbolizes the central place in the bishop's life of the Eucharist and also the Eucharistic retreats undertaken by the friars of his community all over the world.
The motto below the shield is "My God And My All"
It was my privilege to design and emblazon the armorial bearings of Bishop Lombardo.
Wilton Cardinal Gregory
On October 25 it was announced from the Holy See that Pope Francis is naming new cardinals to be created on November 28 and among them is the Archbishop of Washington, DC, Wilton Gregory. He will become the first black American cardinal.
Ad Multos Annos!
This entry was posted in Archbishops, Cardinals on October 25, 2020 by guyselvester.
Erik Varden, OCSO
On October 3, the Most Rev. Erik Varden, OCSO, (46) formerly the Abbot of the Cistercian Abbey of Mt. St. Bernard in the UK and a convert to Catholicism was ordained a bishop in the Church and also installed as the 6th Territorial Prelate of the Prelature of Trondheim, Norway, his native country. It is interesting to note that his episcopal ordination took place in the Lutheran Nidaros cathedral, the traditional site of the consecration of the Kings of Norway which was built in the 12th Century and was originally a Catholic Cathedral.
A helpful reader directed me to the following information: The lions are taken from the arms of Mt. St. Bernard Abbey, Bishop Erik's monastery. The pillar comes from the motto that he had used as abbot ("Columna in templo Dei") – "A pillar in the temple of God", a quote from the Book of Revelation. The rose symbolizes the flower that sprang from Root of Jesse, a reference to the mystery of the incarnation. The coat of arms was designed by Archbishop Charles Scicluna.
They are clear, simple and nicely designed. The artwork is also rather nice too.
This entry was posted in Abbots & Abbesses, Bishops on October 10, 2020 by guyselvester.
Bishop Hicks of Joliet
On September 29, the Most Reverend Ronald A. Hicks (53), a priest and Auxiliary Bishop of Chicago, will be installed as the Sixth Bishop of Joliet, Illinois.
His personal coat of arms was assumed in 2018 when he became a bishop and was prepared at that time by the late Deacon Paul Sullivan. After being named to Joliet he asked me to help him by marshaling his existing arms with those of the See of Joliet.
This entry was posted in Bishops, Fr. Guy's designs, Marshaling on September 22, 2020 by guyselvester.
Bishop Persaud of Mandeville
On September 19 the Most Rev. John Derek Persaud (64) a priest of the Diocese of Georgetown, Guyana will be ordained a bishop and installed as the fourth bishop of Mandeville, Jamaica. I was pleased to be able to design his personal coat of arms and marshal it to the existing armorial bearings of the See.
The coat of arms of the Diocese of Mandeville depicts a red field on which there is a black cross filling the space. The cross is outlined in silver (white) to offset it from the red background. In the middle of the cross is the heart with the cross on top of it that is the emblem of the Congregation of the Passion of Jesus, more commonly known as "The Passionists" who were instrumental in the foundation of the diocese. On the upper third of the shield, called a "chief" are blue and silver (white) wavy bars suggesting the waves of the ocean with a gold (yellow) anchor, a symbol of Hope, placed overall.
Bishop Persaud's arms depict a blue background on which there is a gold (yellow) eagle bearing a red scallop shell on its breast. The halo on the eagle's head indicates it is the symbol of St. John, the Apostle and Evangelist. The given name John means "a gift from God". In addition, the bishop's family name, Persaud, means "gracious gift" derived from the Hindi word, "Prasad". As both the bishop's given name and family name have similar meanings the eagle as a symbol of St. John represents both. The red scallop shell on its breast is a heraldic symbol for St. Augustine, to whom the bishop has a special devotion.
In the lower part of the shield the silver (white) wavy lines suggest waves of the sea. This is borrowed from the coat of arms of the bishop's native country, Guyana, the name of which means, "Land of many waters". In addition, they also appear in the arms of the See of Mandeville so they possess a double meaning. Above the eagle there are two gold (yellow) pineapples borrowed from the coat of arms of Jamaica, the bishop's newly adopted country. These are on either side of a silver (white) fleur-de-lis, a heraldic symbol for Our Lady.
The motto below the shield is, "Iustitia in Caritate" (Justice in Love)
The shield is also ensigned with those external ornaments that indicate the bearer is a bishop. The gold (yellow) cross is placed vertically behind and extending above and below the shield. This is often mistakenly thought to be a processional cross like those used in liturgical processions. However, in former times archbishops, and later all bishops, had a cross mounted on a staff carried immediately in front of them while in procession or on solemn occasions. This cross was a symbol of their rank as bishop. While such an episcopal cross is no longer used practically it has been retained heraldically. In fact, there are other clerics who make use of the ecclesiastical hat with its many tassels but the one true heraldic emblem of a bishop, and the only essential one, is the episcopal cross placed behind the shield.
Above the shield is the ecclesiastical hat, called a galero which, in heraldry, replaces the martial helmet, mantling and crest. "The hat with six pendant tassels (green, purple or black) on each side is universally considered in heraldry as the sign of prelacy. It, therefore, pertains to all who are actually prelates." (Heim, Bruno B., Heraldry in the Catholic Church 1978, page 114) The galero is green with green cords pendant from it and twelve green tassels arranged in a pyramid shape on either side of the shield. At one time in history bishops and archbishops wore green before adopting the more Roman purple we see today. In heraldry the green hat and tassels was retained for prelates with the rank of bishop according to the Instruction of the Secretariat of State, "Ut Sive" of March, 1969.
This entry was posted in Bishops, Fr. Guy's designs on September 9, 2020 by guyselvester.
I'm very gratified whenever someone tells me that they regularly take a look at this blog. Sometimes they will mention that they have learned a thing or two in what they've read here and sometimes they also, jokingly or occasionally chidingly, tell me that they are surprised at the sharpness of my criticisms. With increasing frequency, however, I'm also hearing often in both direct contact with me or in other places on the internet where heraldic enthusiasts congregate that those of us who seem to know more about heraldry should do more to educate those who wish to learn more.
First, let me say that the "those who wish to learn more" frequently fall into two categories. There are those who, for whatever reason, have an interest in learning as much as they can about heraldry for their own enrichment. They understand that a study of heraldry means delving into a world of history, genealogy, symbolism and, lastly, art. Heraldry is a science as well as an art. It isn't just about pretty pictures or "cool" images of dragons and basilisks. It's not the domain of medieval fantasists (although many of them do enjoy it) or social-climbing faux nobles. It is a perfectly good hobby, so to speak; a wonderful subject to which one can devote a lifetime of study and learning. In addition, a few also become intimately involved in it as a profession or as an avocation and create new coats of arms for the deserving and the desirous. Whether someone becomes a practitioner of heraldic design and art or simply remains a great enthusiast it is a topic about which you can never stop learning more.
But then there is the other type who, again for whatever reason, have an interest in heraldry but don't really care all that much about learning the "why and wherefore" of heraldic history or design. They have no interest whatsoever in the many ways the development of heraldry differs from country to country or during different centuries. They have, perhaps, read one or two books on heraldry (or maybe even as many as three!) and have now decided that they've "got this". They are now as expert on the topic as the Garter King of Arms. Therefore, the time has come for them to hang out a shingle and begin creating coats of arms themselves…as a "herald".
Ironically, despite being convinced of their own expertise, it is this second category who seem to complain the most and the loudest that those individuals and organizations online who offer criticism of heraldic designs owe it to everyone else to educate them more.
Well, first of all, reading someone's criticism of a design should actually help the less educated to learn more in itself. Although, having said that, I must admit that when I come across really appalling examples I often don't go into a detailed analytical criticism of the coat of arms but just express my great displeasure by means of some exclamation like, "Awful!". I'll grant you that someone is hardly likely to learn much from that other than that I didn't like it.
My area of particular interest is, obviously, ecclesiastical heraldry. This is an interesting sub-set of heraldry that crosses over time and boundaries and has many rules, customs and traditions of its own despite the fact that there is no umbrella heraldic authority over the entire Church. In places where a heraldic authority does exist the coats of arms of clerics are just as subject to that local authority as the armorial bearings of anyone else. The Church makes no claim to having some kind of supra-national jurisdiction over the regulation of heraldry worldwide. Famously, St. John XXIII (himself a heraldic enthusiast) wanted to establish a Pontifical Office of Heraldry. His former secretary and good friend, Abp. Bruno Heim, talked him out of it. Heim said that one couldn't legislate in matters of taste. He also had a healthy respect for the different ways heraldry developed in different countries and a real love of heraldic creativity. He knew such a Pontifical Office would tend to standardize Church heraldry and stifle creativity.
So, that's one of the reasons there isn't now, nor is there likely to be, an office to regulate the armorial bearings of clergy, prelates and institutions in the Church.
Throughout history the Church has primarily concerned itself with the external ornaments of heraldry. That is, those things that are placed around the shield rather than on it which indicate the rank and/or function of the armiger in question. What actually goes onto the shield is a matter of individual taste or family history or inheritance or anything else that would make for a unique mark of identification for the bearer of the coat of arms. The Church has no great desire to get into that. Those are precisely the kinds of things some heraldic authorities do get into. I know someone who had applied for a grant from the College of Arms in England and the individual wanted the shield divided per bend. He was told to modify that request because, in England, they preferred not to divide the field that way. I know of another case where a bishop wished to receive a grant from the Court of Lord Lyon. His arms were designed by a very competent expert in heraldry but they contained a field chequy and Lord Lyon didn't allow such a field so the design had to be changed. The Holy See has neither the time, the resources to devote, or the desire to get into that kind of heraldic regulation. Rather, it tends to concern itself with things like the appropriate color of the tassels on a galero to indicate a Prothonotary Apostolic, etc.
So claiming that it is the job of the Holy See to provide guidance in this area isn't the answer especially as they already do to some extent. Similarly, it isn't the job of the various heraldic societies that exist to make sure everyone knows every and any rule of the heraldic science. For the most part those societies exist for people who already know and appreciate heraldry somewhat and wish to share their love of the subject with other enthusiasts. There is an educational element to that but it comes primarily from mutual enrichment rather than mere instruction. There are the many heraldic artists in the world, many of whom now have a website to display their work and solicit business. But they are not necessarily experts in heraldry. Rather, many of them are happy to provide heraldic artwork, itself a speciality that not every competent artist can undertake, but it is not necessarily their task to educate. Finally, there are the heraldic enthusiasts like myself who have a website or blog and who, sometimes a bit flippantly, offer exposure and criticism in an effort promote good heraldic practices and, perhaps, help some people to avoid bad ones. But, I put it to you that while having such a blog may help others to learn that does not make it incumbent upon me to attempt to provide an exhaustive course of study in the particulars of ecclesiastical heraldry. After all, this is something I do for fun!
No, the problem in the world today, especially since the advent of the internet and social media, is that, as usual, people want something for nothing. They want some quick and easy way to skip over the hard stuff and be provided with all the answers they need at the click of a mouse. To put it another way, they don't want to do the work.
Occasionally, someone is kind enough to describe me as an "expert" in ecclesiastical heraldry, especially Catholic heraldry. That's very kind. To the extent that it may be true it is so for one reason and for one reason only. It's because I undertook to begin a serious study of heraldry when I was a young man and have stayed with it for over 35 years. I started doing this before there was an internet (or one to speak of) and it was difficult to communicate with others who shared my enthusiasm. But, I was willing to delve, to do research, to read extensively, to slowly build up a personal heraldic library, to seek the advice of experts and then eventually to come under the tutelage of a person who could critique my own ideas and help me to learn by making mistakes. I did the work!
There are a lot of resources available…if you're willing to roll up your sleeves and do some good, old-fashioned research. You can't learn about heraldry by reading an book, or two, or even three. You definitely can't learn about ecclesiastical heraldry by looking at pictures of other bishop's coats of arms alone. For example, if you look in the back of a really good book on Church heraldry like Bruno Heim's Heraldry in the Catholic Church you'll find not only a bibliography but several appendixes quoting papal documents. How many people have undertaken to look up and obtain full texts of those documents and then have them translated into their own language if they don't have a good command of Latin?
How many people who claim to really love Church heraldry look at the books in Heim's bibliography and then set out to obtain as many of them as possible for your own library, or at least track copies of them down in a lending library?
How many heraldic enthusiasts who can draw reasonably well have said no to undertaking heraldic commissions because they realize they don't really know enough about heraldry to create a coat of arms for someone else so they wait several years in order to learn more and become more competent in the field before daring to be so bold as to design a coat of arms for someone else?
To become really good at this -not the world's greatest, but just really good- takes a lot of effort, a lot of time and a lot of work. Sadly, there are too many people involved with the creation of heraldry who simply don't want to make the effort, put in the time or do the work. THAT'S why there is so much bad heraldry floating around the Church. It's because too many people who have no business whatsoever creating coats of arms are doing so. For a bishop to go to a friend, or relative, or seminarian and say, "You draw well. Why don't you do my coat of arms?" is like me going to a friend and saying, "You know how to sew on a button so why don't you make me a chasuble?" It's preposterous! But, it happens all the time. Ignorant dilettantes who don't have the sense to seek out the advice of someone with greater expertise, let alone refer their "client" to someone with greater expertise, are getting involved in droves in the design and creation of coats of arms in the Church. Not only are the resulting designs really bad but then they have the audacity to say that someone else: the Holy See, a heraldic society, or even a blogger should provide more guidance and instruction to them so that they can avoid mistakes.
Well, I don't agree. I'm living proof that the resources and material are out there and can be found with a little effort. What is required is having the humility to start out as a student and not jump immediately into attempting to do something about which you know very little as though anyone can do it. It requires the ability genuinely to learn from criticism instead of simply becoming defensive in the face of it. Most importantly, instead of expecting someone else to provide you with ready-made answers at your fingertips so that you can reap all the benefit of the years of effort someone else has made to increase their knowledge and expertise while at the same time barely lifting a finger yourself you need to…
DO. THE. WORK!
This entry was posted in Bad Heraldry, Fr. Guy's designs, Heraldic Mistakes on September 7, 2020 by guyselvester.
Anchorage-Juneau
On September 17 the official merger of the Archdiocese of Anchorage, Alaska with the neighboring suffragan See of Juneau, Alaska will take place creating the Archdiocese of Anchorage Juneau. The current bishop of Juneau, the Most Rev. Andrew Bellisario, CM, will be installed at Our Lady of Guadalupe Co-Cathedral in Anchorage and also will be invested with the pallium as a Metropolitan Archbishop. The sensible decision to combine the coats of arms of the two dioceses by simply borrowing elements from each was made. The new coat of arms combines all that had been in chief of the arms of the Diocese of Juneau with what had been in base for the arms of the Archdiocese of Anchorage. It's a lot of blue as each one had a primarily blue field but the overall look is not unpleasant.
Armorial bearings of the new, combined archdiocese.
Original coat of arms of the Archdiocese of Anchorage.
Original coat of arms of the Diocese of Juneau.
This entry was posted in Corporate Bodies on September 1, 2020 by guyselvester.
Archbishop Rozanski of St. Louis
On August 25th the Most Rev. Mitchell Rozanski (62), a Baltimore priest who most recently served as Bishop of Springfield, Massachusetts, will be installed as the 11th Archbishop of St. Louis, Missouri.As mentioned earlier in the blog his coat of arms will be:
The explanation from the archdiocesan website is as follows: The armorial bearings of the Archdiocese of St. Louis (left side) is a blue field with a gold crusader's cross, and a crown representing Saint Louis IX, King of France, and patron of both the Archdiocese of St. Louis and City of St. Louis. On the extremes of the cross are found the fleur-de-lis flower that recalls the French foundation of the city.
For his personal arms, His Excellency Archbishop Rozanski has selected a design that is based on two major themes; his Polish heritage and his service to the Archdiocese of Baltimore. In the upper portion of the design, in red and silver (white), the colors of the Polish national flag, are a cross bottony (each arm terminates in a triple ball), which represented in red on silver, is a variant on the symbolism known as a "cross of St. Michael," the Archbishop's baptismal patron. To the right of the cross is a silver rose on a red field, drawing upon the significance that His Excellency's family name refers to "Rose flower" in Polish.
In base, on the alternating vertical bars of black and gold (yellow) with a red diagonal bar called a "bend," is an open book of the Most Holy Scriptures. These charges, drawn from the arms of the Archdiocese of Baltimore, signify that His Excellency's ministry as a deacon, priest, and now as an archbishop is to spread God's Holy Word to the faithful of the Archdiocese. This symbolism joins well with the Archbishop's motto, that is taken from the 100th Psalm, that in all that Archbishop Rozanski is to do for The Lord, he is called to "SERVE THE LORD WITH GLADNESS."
I think it makes for a handsome combination. Ad Multos Annos!
This entry was posted in Archbishops on August 24, 2020 by guyselvester.
Bishop Marshall of Alexandria, Louisiana
On August 20, 2020, the Most Rev. Robert Marshall (61) up until now a priest of the Diocese of Memphis, Tennessee will be ordained a bishop and installed as the thirteenth bishop of Alexandria, Louisiana. The diocese was founded originally as the diocese of Natchitoches and was later called Alexandria and then Alexandria-Shreveport until Shreveport was separated to be its own diocese in 1986.
Bishop Marshall's coat of arms impaled with those of Alexandria are:
To the left we see the arms of the Diocese of Alexandria. The red background represents the Red River which runs through the city. The silver (white) cross stands for the Christian faith and is surrounded by four bells borrowed from the ancient See of Alexandria, Egypt for which the city that is the seat of the diocese is named. Over all of this is a crescent divided into gold (yellow) and black checks. This is borrowed from the Spanish arms for the family "Xavier" and serves as an allusion to St. Francis Xavier, the titular patron of the cathedral church.
Bishop Marshall's arms depict a blue background with a silver (white) Cross of Calvary. This type of cross is depicted as a Latin cross (the lower arm being longer than the other three) atop three gradings or steps. Both the background color and the cross are derived from the coat of arms associated with the name "Martin". This was the bishop's mother's maiden name and is used to honor his family heritage. The lower portion of the field is divided from the upper third called a "chief" by a narrow silver (white) wavy line. This wavy line represents the Mississippi River near to which the bishop has lived for most of his life. In addition, a symbol of the Mississippi River is included in the coat of arms of the Diocese of Memphis in which the bishop served as a priest prior to becoming a bishop.
On the red background of the chief are a single silver (white) five-pointed star between two gold (yellow) pine cones. The star comes from the emblem of the LaSalle Christian Brothers who educated the bishop both in his high school and college years as well as educating his father and uncles. That Religious Community of men had a profound and lasting impact on not only the bishop's education but also on his spiritual life and journey and on the lives of his family. The red background and pine cones are borrowed from the coat of arms of the bishop's patron saint, St. Robert Bellarmine.
The motto below the shield is, "Live, Jesus In Our Hearts" from a prayer attributed to St. John Baptist de La Salle (1651-1719), founder of the Institute of the Brothers of the Christian Schools and patron saint of teachers of youth. The prayer is used multiple times each day in LaSallian schools throughout the world. It is used most frequently in dialog. The leader says, "Live Jesus in our hearts," and the students respond, "Forever!"
It was my privilege to design the bishop's personal arms, marshal them to the arms of the See and emblazon them.
This entry was posted in Bishops, Fr. Guy's designs on August 4, 2020 by guyselvester.


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Holyfield-Botha PPV apr. 10 in Las Vegas
LAS VEGAS (Mar. 18, 2010) – Living legend and 5-time world heavyweight champion, Evander "The Real Deal" Holyfield, challenges World Boxing Federation heavyweight title-holder Frans "The White Buffalo" Botha in the 12-round main event April 10, headlining "The Legend Returns" pay-per-view event, at the Thomas & Mack Center in Las Vegas.
"The Legend Returns," presented by Crown Boxing, is being distributed in the United States and Canada by Integrated Sports Media for live viewing at 9 PM/ET – 6 PM/PT on both cable and satellite pay-per-view via iN Demand, DIRECTV, Viewer's Choice and Bell TV, for a suggested retail price of only $29.95.
The 47-year-old Holyfield (42-10-2, 27 KOs), fighting out of Atlanta, is coming off of a controversial 12-round majority decision loss December 20, 2008 to then World Boxing Association champion Nicolai Valuev, in which most observers felt Holyfield deserved the victory in Switzerland.
South African strongman Botha (47-4-3, 28 KOs) captured the World Boxing Federation Interim belt in 2007, outpointing Bob Mirovic, and in 2009 Frans won the belt outright with a 12-round decision against Ron Guerrero. Botha made a successful title defense on May 5, 2009, taking a 12-round decision against Timo Hoffman in Germany. During the course of his 20-year professional career, Botha's four losses have all been to world champions — Mike Tyson, Michael Moorer, Lennox Lewis and Wladimir Klitschko.
"We're excited to have Hall of Fame-bound Evander Holyfield fighting Frans Botha on our pay-per-view card," Crown Boxing's Frank Luca said. "Evander certainly showed he has a lot left in his disputed loss to Valuev. Crown Boxing has been promoting solid shows six times a year in Las Vegas. Fans have come to expect competitive, entertaining fights at affordably priced Crown Boxing shows held in an intimate atmosphere. Like in MMA, every fight counts on a Crown Boxing show. Those are our trademarks and the tradition continues April 10th but on a much larger stage. The only real differences, though, are Holyfield-Botha features a pair of worldwide name recognized fighters and it's being held in a scaled-down 9,500 seat Thomas & Mack Center. Everybody will have a great seat for an affordable price. We've kept ticket prices down so people can afford to watch Holyfield fight, up close and personal, in Las Vegas for the first time in 11 years. What we're charging viewers is much less than for most pay-per-view shows. We're putting together strong supporting fights, too, showcasing talented boxers in order to provide fans in attendance or watching on pay per view with a great night of boxing."
Tickets, priced at $25.00, $75.00, $150.00 and $250.00, are available to purchase at www.UNLVtickets.com or by calling 702.739.3267.
Doors open at 4 PM/PT, first bout 4:30 PM/PT, and first PPV bout 6:00 PM/PT (9:00 PM/ET). Go on line to www.crown-boxing-inc.com for additional information
Teofimo Lopez Jr. vs. Masayoshi Nakatani
Oxon Hill, Md | ESPN+
Manny Pacquiao vs Keith Thurman
MGM Grand on FOX PPV
Dillian Whyte vs. Oscar Rivas
London | TBD
Gervonta Davis (c) vs. Ricardo Nunez
Baltimore | Showtime
Maurice Hooker vs. Jose Ramirez
Texas | DAZN
Tevin Farmer vs. Guillaume Frenois
Saturday, August 3rd
Adam Kownacki vs. Chris Arreola
New York | FOX
Michael Conlan vs. Diego Alberto Ruiz
Belfast, UK | ESPN+
Marcus Brown vs. Jean Pascal
Carl Frampton vs. Emmanuel Dominguez
Philadelphia | ESPN+
Luis Collazo vs Jose Benavidez
New York | ESPN
Brandon Figueroa vs. Javier Nicholas Chacon
Texas | Fox Sports 1
Saturday, August 31st
Erislandy Lara vs. Ramon Alvarez,
Minneapolis | FOX

redpajama_set_name: RedPajamaCommonCrawl


Levi Miller as Peter in Warner Bros. Pictures' and RatPac-Dune Entertainment's action adventure Pan, a Warner Bros. Pictures release.
Pan is the latest film to take on the legend of Peter Pan. But instead of retelling the story that audiences know, the film goes back in time to World War II in London, and reveals the story of how Peter Pan came to be. Levi Miller stars as Peter, and we follow him as he is whisked away from his orphanage by pirates and forced to mine for fairy dust in Neverland. As Peter learns more about his mother and the past, he teams up with a tribe of warriors, including Tiger Lily (Rooney Mara), and sets out to defeat the leader of the pirates, Blackbeard (Hugh Jackman).
With beautiful special effects, and a colorful set, the film is certainly pleasing to the eye. As Tigerlily discloses the past events of Neverland to Peter, animated wooden figures emerge from a tree in a fluid sequence to complement Tigerlily's narrative. In the war scenes between the pirates and the warriors, a burst of color erupts from the muzzle every time a gun is shot (making it the first time I'll ever describe a war scene as "gorgeous"). I'll have to admit that it gave me slight anxiety, though, since it reminded me of the ever-so-popular Color Run, in which people throw packets of colored cornstarch at you while you trudge along a 5K course.
Jackman does a fine job in his role of the ruthless pirate leader, Blackbeard. Commanding attention in all of his scenes, his charisma and hearty laugh are ever-present in Neverland. However, the characterization of Blackbeard as a steampunk pirate seems out of place — the pirates sing rock songs while mining, and Blackbeard is outfitted with feathery jackets, a carefully sculpted mustache, and a few too many ruffles.
The plot is straightforward with substantial fast-paced action, but lacks inventiveness. For being a prequel to a story as celebrated as Peter Pan, I expected more than a cliche story of an orphan boy who loses his mother and finds his destiny. The film does not have a confusing storyline, and there are no gaping plot holes, but it felt rather bland, making me wish that the screenwriters borrowed some creativity from the special effects department.
Nevertheless, Pan brought me back to my elementary school days, when I had adored the Disney-animated version of Peter Pan, aspiring to be a pixie-dust wielding fairy one day. While the film wasn't the ultimate prequel that I was hoping for, it was still a fun, hour-and-a-half escape to Neverland.


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Zlaté tele je modla popisovaná v bibli, symbol modloslužebnictví.

Druhá kniha Mojžíšova popisuje, že když Mojžíš prodléval na hoře Sinaj, lid si na jeho bratru Áronovi vyžádali hmatatelného boha, který by je vedl do zaslíbené země. Áron jim zhotovil po vzoru egyptského Apise zlaté tele (býčka). Podle židovské tradice tak učinil proto, že chtěl zabránit většímu krveprolití poté, když viděl, jak dav ukamenoval Chúra, jenž se rázně postavil proti záměru vytvořit modlu. Ke krveprolití však přesto nakonec došlo, obětí však tentokrát nebyli zbožní, ale ti, kdo se dopustili modlářství se zlatým teletem, jejichž počínání je známo a připomínáno jako hřích vyvoleného národa. Mojžíš po svém návratu z hory totiž splnil příkaz Hospodina, aby shromáždil věrné a nevěrní byli pobiti. Pobíjením modlářů byli pověřeni levité, neboť ti se jako jediní ze všech izraelských kmenů svorně odmítli na modlářství podílet. Toto svorné odmítnutí modlářství vedlo k tomu, že Bůh odňal kněžskou službu prvorozeným Izraelcům a daroval ji výhradně levitům.

Dvě telata měl také nechat zhotovit Jarobeám I., který předtím pobýval v Egyptě. Ten jednoho býčka umístil v Bét-elu a druhého v Danu. Tento kult telat měl zabránit tomu, aby se po rozdělení Šalomounovy říše obyvatelstvo Severní izraelské království i nadále účastnilo poutních svátků, jež se každoročně konaly v Jeruzalémě na území Judského království.

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redpajama_set_name: RedPajamaWikipedia


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If on the rare occasion we find the system is indeed beyond practical repair, you will be provided with a quote to replace the unit.


Losing a tooth has more serious dental related implications than just being a cosmetic issue for some people. Apart from feeling self-conscious about the appearance of their mouth, if it is not treated on time, it can lead to often expensive and irreparable damage. To prevent such situations, we highly recommend dental implants.
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text:
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import babelrc from 'babelrc-rollup';
import uglify from 'rollup-plugin-uglify';

export default {
  entry: 'lib/index.js',
  plugins: [
    babel(babelrc()),
    uglify(),
  ],
  format: 'iife',
  dest: 'out/analytics.js',
};

redpajama_set_name: RedPajamaGithub


text:
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It's History
The Coca-Cola Company is a beverage manufacturer, retailer, and marketer of syrups and non-alcoholic beverage concentrates. A pharmacist known as John Pemberton, in 1886, invented its leading product, Coca-Cola. The Coca-Cola brand and formula and was then bought by Asa Candler. Its headquarters is in Atlanta, Georgia and serves in more than two hundred countries (Mark, 2000, 25). There is a wide variety of brands offered by the company globally, for example, Fanta, Sprite, Diet coke, RC cola, Minute maid and many more.
The marketing mix
The company's products include beverage concentrates and syrups. The main product of Coca-Cola is the carbonated soft drink. It was initially in glass bottles, however, a range of products have come up, for example, cans, plastic bottles, and family packs. The company has made some changes regarding this product in order to keep up with the market. Moreover, other varieties such as lime, cherry, vanilla, and variations of diet cola have been introduced.
In total, there are over three hundred brands all over the world. The main ones include Sprite, Coke, Fruit Juice, Lift, Frutopia 100%, and PowerAde. It Packages its products in plastic bottles of different sizes. It has a well-known trademark, successful, and with a good reputation.
Coca-Cola Company puts to use marketing strategies that differentiates its line of products from those of its competitors. The prices of the company's products vary depending on the brand and size. For example, Fanta, Coke, Sprite, and Lift soft drinks goes for about -$2.57,$1.35, $2.10, depending on the size. These products are usually sold in various stores lie retail stores, petrol stations, and convenient stores. However, convenient stores and petrol stations sell its products at a fixed price. Other retail outlets use pricing methods and strategies when selling the products.
For competition, Coca-Cola products are usually below, equal or above to the prices of its competitor. For example, in Easter, 2004, Coca-Cola soft drinks 2L was at $1.68, while Pepsi soft drinks 2L went for $1.87. The Coca-Cola products pricing are set at about the same level as the competitors, for example, for a pack of Coca-Cola soft drinks, 375mL x 18 cans, its price is at $9.98, and not $10.00.This makes it to be perceived as cheap.
The company has positioned itself as the preferred and premium mass-market beverage; it is at the top in the carbonated soft drinks market. It has an enormous advertising, as well as, sponsorship it undertakes, for example, the Olympics and World Cup soccer.
The brand position is because of its marketing and communication strategies, which focuses on its own brand, as well as, those of its competitors. The Coca-Cola brand has specific characteristics that support the premium brand, for example the sound that indicates a refreshing drink. Its position is that which is proposed and supported by itself, as a company.
Its brand personality reflects the positioning of Coca-Cola as a brand. Many individuals see 'Coca-Cola' as being part of their daily lives (Sheila 2008, 52). This is what leads to loyalty between the consumers and the company, which makes the purchasing decision easy.
The company has been involved in events such as Coca Cola's Form and Fusion Design Awards, in addition to sporting events a brand manager. This strategy makes sure that its product image relevant to the target consumers. The promotional mix of Coca-Cola has always included public relations, advertising, sales promotion, and direct selling elements (Sheila 2008, 52).
The Coca-Cola Company has a room for improvement. With the current progress and advancement in technology dealing with soft drink raw material, manufacturing, production, logistics, information and communication technology, the Company has an opportunity to develop more products and be ahead of its competitors. The fact that new soft drink ingredients are available to the company means Coca-Cola can introduce new range of its products to its consumers; old and new. For example, with the latest information technology put to use, the company has attracted a new generation of soft drink consumers that is with the latest song downloading features (Sheila 2008, 52). The company's website has enabled consumers to keep in touch with the latest promotions, progress, and offers.
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Alopecians in Michigan will celebrate International Alopecia Day by raising awareness at the Royal Oak Antique & Garage Sale, which will be attended by 10-15,000 people on July 17th, 2010.
You can use 420 S. Lafayette, 48067 as a reference for Google maps or your GPS.
The show hours are from 9:30 AM – 6 PM.
739 South Washington, Royal Oak, MI, click here for map and directions, Look for Red and Yellow signs.
A shuttle will be running between the college parking lot and the Antique show between 5-10:30 am and 5:-7:30 pm.
If these parking lots fill up, there is ample public parking in Royal Oak, but be aware of the Parking meters.
Please meet at 9 AM at the booth (Booth # S14) to set up.


Worker Eggs Always Develop Into Males.
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Eliot's birthday
30 May 2020 8:20 AM | Frances Dickey (Administrator)
Over the weekend of 26-29 September 1935, Eliot celebrates his birthday in Chipping Campden with Hale and the Perkinses. He writes on Monday to his hostess, thanking her for a "perfect weekend" and "the happiest birthday party I have had since I was a boy" (L 7.781). Hale's aunt and uncle are leaving Stamford House, and he tells Mrs. Perkins that he had "come to feel 'at home' at Campden in a way in which I had not felt at home for some twenty-one years, anywhere." (See also the poem Eliot writes to her during this weekend, "A Valedictory/Forbidding Mourning: to the Lady of the House," praising her gardening skills and declaring, "since you came, /Nothing in Campden is the same" [L7.780]).
On the same day, Eliot also writes an ecstatic letter to Hale, addressing her as his nightingale. He begins by describing a scene from the previous evening when they stood in the garden together in their raincoats, her hair touching his face. His evokes this moment in lines similar to Ash-Wednesday's "Blown hair is sweet, brown hair over the mouth blown,/ Lilac and brown hair." His happiness was so great that he felt it as pain—suffering for her, for himself, and for them both together. His heart sang and is still singing, even as he is aware of her present situation. Emily must have traveled to Oxford on Monday, for he imagines her sitting in cold lodgings pumping her energy into her other aunt, Irene Hale, with a feeling of weariness towards the future. (Perhaps this letter attempts to warm her from a distance.)
Eliot recalls a moment on Thursday evening, his birthday, when she stroked his face. Afterwards, he was awake during the night with a vision of her beauty, which radiates from the inside out. In this vision he saw her face as a transparency revealing her spirit; unlike other women, her beauty is the embodiment of her spirit. What she calls his idealization of her is not detached from reality. He describes how she appears to him: human and humorous, intelligent without being bookish, modest and humble (a virtue he struggles to achieve, being given to arrogance and disdain himself). Her good taste and sense of right and wrong are unerring; she is a perfect companion whose conversation moves smoothly from large questions to small ones and back again. She is a true patrician, so superior to the common people that she is not even aware of her superiority (again, he says, unlike himself).
On Sunday night he felt more united to Hale than ever before. He apologizes to her for any words of bitterness that might have come from him last year, which were unjustified. He wants her to know how his life and work have been shaped around her. If she realizes what she has done for him, that may help her to realize what she is herself. He recalls his emotions of the evening—his own, and another feeling of union with her.
Reflections on Burnt Norton and Bloomsbury
24 May 2020 1:14 PM | Frances Dickey (Administrator)
Our narrative of Hale and Eliot left off in early August 1935, with his rhapsodic description of their day spent walking the countryside near Chipping Campden and lingering in the garden of Stamford House at night. Through the rest of the month, Eliot enjoys the afterglow of their last evening and wonders how he will feel when he sees her again. He will be both tender and awkward, he predicts. He recalls how she put her head on his shoulder, in a moment so meaningful and dazzling that "my eyes failed" again (Eliot quotes himself). He feels that she brings out the best in him, and he hopes that it will prove so, though he is not afraid of her seeing his faults. He chides her not to feel inferior nor suppress her wonderful sense of humor. On 23 August he sends her "Rannoch, by Glencoe," the fourth of his "Landscapes."
After not seeing each other for five weeks following their time in Chipping Campden at the end of July, Eliot and Hale get together at least three times in September. The first is something of a disappointment. Hale comes up to London to dine with Eliot and the Thorps—Willard, the Princeton English professor who will eventually secure Hale's donation of the letters, and his wife Margaret, an author and Hale's longtime friend. Eliot says that he felt like a wax model on display, and Willard in turn was a skeleton at his feast. He blames his paralysis partly on the emotions he felt in the aftermath of their last visit, and partly on his sense that Willard finds him lacking. Then on the weekend of September 6-8, Eliot returns to Chipping Campden, where there seems to be some tension between Emily and her aunt, perhaps exacerbated by comments from Eliot. He reminisces about being in the rose-garden at Burnt Norton with her, one of the permanent moments for him; probably, as mentioned in my previous post, he refers to his visit at the end of July. By the middle of the month, Eliot is planning another trip to Chipping Campden for his birthday on the 26th, and he mentions that he wants to have a few new poems to add to the edition of his work that is to appear in the spring (that new poem will be "Burnt Norton," not yet written).
Readers of Vol. 7 will have noted the inclusion of a sixteen-page letter from his brother Henry, analyzing the motives for his conversion and sharply criticizing his repudiation of Unitarianism in a "fanatically intolerant and shocking tirade" delivered to the Boston Association of Unitarian Ministers in 1933 (7.754). Eliot receives this letter on 20 September, telling Hale that he is already aware of many of the criticisms, and others may be true or misunderstandings; Henry knows much about him, but not the essentials of his private life. Not seeming offended by his brother's letter, but wearied by it, he tells Hale that Henry blames his faults partly on his friendship with Bloomsbury group members. Perhaps Eliot has this criticism in mind four days later when he regales Hale with the names of Woolf and Bell family members whom he has just seen at Vanessa's house for dinner, and at the Keynes's a few days later. Maynard is building a theatre in Cambridge for his wife, the former ballerina Lydia Lopokova, and has offered to produce Eliot's next play there; they discussed Mussolini and Italy. He writes that the only Bloomsbury members who truly interest him are Virginia (though he never reads her work) and Keynes, whose brilliance exceeds his character. He concludes his letter of 24 September by looking forward to spending his birthday in her company.
An Unforgettable Week
25 Apr 2020 9:12 PM | Frances Dickey (Administrator)
One of the highlights of the Eliot-Hale correspondence is his description of their time together in Chipping Campden at the end of July 1935. Eliot's first letter of the month sets the date for this visit—22 July—and continues to negotiate the terms of their meetings. He would like her to come back to London, but only at his expense. He appreciates her sense of duty, which is one of the qualities that attracts him to her but wishes she would direct her principles at the right objects. Their consciences do not always align. He promises to enclose a poem that I. A. Richards liked, "Cape Ann" (first published December 1935), with its notes of yearning and resignation.
On 5 July, Eliot thanks Hale for her compliments on the conclusion of Murder, while expressing anxiety about the use of his own poetic powers. Sometimes he feels like a child playing with dynamite. With all his faults, he is not the same as the cause he stands for; also, it is a delicate operation to keep his love of the cause pure from the taint of power. Likewise, he hopes that she will not be distressed by her feelings of inadequacy, a temptation only for noble minds, but dangerous. Eliot seems to be reflecting on temptation in connection with both Hale and his play.
In his letter of 9 July, Eliot confesses to missing Hale's company and feeling low since Canterbury. He likes merry old ladies and is looking forward to seeing Olivia Shakespeare tomorrow, but international news is depressing, especially Mussolini's maneuverings in Africa (on this day, talks at the Hague between Italy and Ethiopia broke down, a step towards the war that broke out on 2 October). Eliot does not write again in the month of July except a note on the 15th, indicating that they briefly saw each other again in London. On 22 July he travels to Chipping Campden and stays until the last day of the month. He writes to his hostess, Edith Perkins, on 1 August thanking her for "a very happy and unforgettable week" (7.708). This polite letter is the only published hint of what transpired. On the same day, Eliot writes to Hale expressing his intense emotions, both ecstasy and pain; he experienced a sense of glory, a sense of transport to another world, when she rested her head on his shoulder.
Eliot's letter of 11 August describes the incidents of their week in vivid detail. They went to Tewkesbury to see the Abbey and a performance of Samson Agonistes, which he enjoyed, but even more so, their ride home in the back of the car and the half hour they spent together in the garden. One day they walked round and through Stanton and Stanway, eating lunch under a hawthorn tree in a field and having tea at the Crown in Blockley (these are all locations within a few miles of Chipping Campden, and the Crown Hotel is still operative). His memory preserves snapshots of the innyard, the iron tea-table and the hollyhocks there. On the last evening they sat together in the garden for an hour, coming in at midnight, and she said what he most craved to hear. It was a moment of glory, for which he feels unworthy. Well done, he tells her, calling her a princess descended from kings. He thanks her for her letter of August 8 in which she displays her sense of humor, one of the things he loves her for, if he loves her for anything.
Eliot only mentions Burnt Norton once, on September 10, leaving unclear when they visited the manor house and garden. However, no other day receives the same ecstatic review as the one spent sightseeing in the little villages near Chipping Campden, so it seems likely that their "moment" in the rose garden took place on this walk.
My apologies for the long break in posting; the semester ends in a few weeks and I hope to go back to writing more regularly.
Enjoying Murder and a Headache
08 Apr 2020 11:26 AM | Frances Dickey (Administrator)
Eliot's letters to Hale in May and June 1935 weave together his impressions of the rehearsals and first performances of Murder in the Cathedral with plans to see Hale and reflections on their visits, including one evening that he says was the most wonderful of his life.
On May 20, Eliot responds to a letter from Hale in which she has humbly offered some criticisms of Murder; praising her dramatic instinct, he reassures her that even if she takes no credit for her good qualities, she is beautiful, charming, intelligent and spiritual. A few days later, Eliot reports that rehearsals for the play have begun, and he has secured tickets to The Gondoliers, which they plan to see together in London, along with a ballet. On May 30, Eliot writes that he and Yeats see eye to eye on modern poetry—i.e., poets more modern than themselves. In the first week of June, Hale comes to London for a visit and they return together on the train to Chipping Campden for a birthday party (maybe one of the Perkins or her aunt Irene Hale). Their train ride together provided a great and unique thrill, he writes. On his return, she gathered some flowers for him in the garden of Stamford House (where she was staying with the Perkins), flowers whose fragrance he is now enjoying in his rooms.
Hale must have come back up to London between June 7 and June 13, the day on which Eliot writes to her that he has just experienced one of the most wonderful evenings of his life. She had a headache, and he stroked her forehead. This gave him the opportunity to observe her beautiful nose. He also went out to get some medicine for her, and she kissed him when he left. He has always wanted to take care of her during an illness, and she was kind to allow him to think that he was doing something for her. She responds with a letter that he says (on June 16) is too precious to place in the metal box where he normally keeps her correspondence. She has corroborated what he felt. He wants her to know that their evening together was the great event of his life, symbolizing all that he wants to do for her. The memory of it is sublime. Every meeting with her is more exciting than the last.
Eliot's June 16 letter also reflects on the premiere of Murder, performed the previous evening. He is very pleased, especially with Robert Speaight's rendering of Thomas à Beckett's sermon, and with the solemnity and silence with which the performance ends. He wants Hale to meet the producer Martin Browne and his Jewish wife—Eliot takes the time to explain that his objection to Jews is religious, not racial. He also doesn't think that women in shorts should be allowed into the Cathedral. Hale has her own opportunity to see Murder some time before June 26, when Eliot writes that their time at Canterbury was too public, though better than not seeing her at all. They walked the Cathedral grounds as if being watched through a telescope, pursued by chorus girls and autograph-seekers. He likes to see her in the anonymity of London, like the time they rode in a taxi down Ludgate Hill, or—best of all—the evening of her headache.
A Few Snap Shots
30 Mar 2020 2:15 PM | Frances Dickey (Administrator)
In early March 1935, Hale receives word that she will not be returning to Scripps, from which she took a leave of absence at the end of the academic year 1933. Eliot's letters of 16 and 25 March clarify, to some extent, the reasons why she did not return: either she has lost her position because she delayed in renewing her contract, he surmises, or perhaps administrators have maneuvered her out. She has wasted time trying to find a position closer to her relatives on the East coast and now seems unhappy about the prospect of another year spent with the Perkins. In his attempts to console her, Eliot sympathizes with her desire for a more active and useful life, and he hopes she will not resign herself to serving her relatives, for whom (he thinks) she has sacrificed her job opportunities. As unfortunate as her lack of employment seems in March, it makes possible an extended period of time together in the same country—a unique interlude in their lives.
Eliot sees Hale briefly on two occasions in April as she passes through London on her way to other destinations, towards or away from Chipping Campden. On 11 April, Eliot and Hale see each other for three and a half hours (see Letters 7.592). He accompanies her on her errands and she gives him a cigarette case; he tells her that she looked beautiful in her blue costume. On April 17th, he meets her train from Campden and they have dinner together before he sees her off again on her way to Guernsey for an Easter holiday with Jean McPherrin. He wishes her a peaceful crossing and tells her that waiting for her at the station was exciting. In the meantime, he is off to Inverness for his holiday; both are back in London by May 1, when Hale and McPherrin stay in his rooms in Kensington while he stays at Russell Square. He writes to her afterwards (3 May 1935) that it is a delight to think that she has been in his rooms; the scent of her roses still reminds him of her. He recalls with pleasure the time they spent together, including an evening alone at the theatre (they saw Henry IV).
These brief visits in London continue throughout the summer, with the scent of her perfume or flowers making a leitmotif in his follow-up letters. On 9 May, she has just departed for Campden, leaving a faint odour of sanctity behind in his rooms. He reminisces on the weekend just spent together, including a delightful ride on the back of a taxi and a walk down Whitehall and through the Parks. His memory has taken several snap shots, he says, which he will keep always. For the context of this weekend, see his published letter to McPherrin written on the same day (7.614-15), with plans to "influence [Emily's] arrangements for the winter," and to his aunt Susan Hinkley on 11 May: "Emily has been up to town, and seen the King & Queen, and we took a taxi-ride to see the flood-lighting. I encourage her to come up as often as she can afford to" (7.623). He closes his 9 May letter to Hale by enjoining her to think of their taxi-ride around St. Paul's Cathedral.
Murder in the Cathedral
25 Mar 2020 9:32 AM | Frances Dickey (Administrator)
Invited in November 1934 to write a play about St. Thomas À Becket for the Canterbury festival in June, Eliot works swiftly on his drama during the months of Hale's absence. In his goodbye letter on 7 December, he tells her that he hopes to write something worthy of her. On 14 December, scorning the art-loving Anglo-American expatriates of Florence, he asserts that he is interested not in Art but in people--although they are pigs and rats--and in writing plays about them. He isn't sure about the Canterbury deal, which may fall through and won't bring him any money, but he finds the subject good. A month later, he has written five pages of his play and is depressed by his pedestrian dialogue; he thinks his choruses are better. In two days, Becket will arrive (in his play) and Eliot will have to find something for him to say.
On 24 January Eliot announces that he must finish his play by 1 April in order to get a £125 advance from Faber, and he begins trying titles out on Hale; he will propose three different titles before hitting on the final one. The first is "The Archbishop Murder Case" (mentioned in several published letters of later date, e.g. 7.523). By 30 January, Eliot says he has brought the Saint to Canterbury and has no trouble making him talk, but none of his characters do anything; only talk and generalize about Church and State. He hopes the second part, in which the Archbishop is murdered, will be easier, but even the murder may turn out only to be talk. He wishes Hale could tell him how to get people to move about more on the stage. The next day he tells her that he is not taking any more engagements until after the Archbishop is murdered.
Reporting on 7 February that Group Theatre director Rupert Doone likes his lyrical and choral passages but finds the recitative parts dull, Eliot plans to make his play more formal. He explains on 12 February that he is choosing an alliterative middle-English verse, like that of "Everyman," to show his strengths and conceal his weaknesses. Currently, the Archbishop is being tempted by Spiritual Pride, but he will prevail. Eliot wants Hale to be in London for the performance of his play. On 14 February he tries out another detective-fiction title on her in the form of a question about who killed the archbishop, but four days later confesses he is completely without ideas for what to call his play. He wants a title that suggests a murder mystery, not a conventional church drama, and appeals to all kinds of theatre-goers and readers. He is cautiously optimistic about the success of his play but admits he finds the experience humbling, because the most beautiful poetry cannot save a dull drama. On 27 February he proposes "Fear in the Way" (drawing on Ecclesiastes 12.5; see Letters 7.526). But she doesn't like this, nor does anybody else, apparently, and in March he wants to avoid titles that imply either a detective novel or an Elizabethan tragedy. He begins the revision process.
In a long letter of April 2, Eliot intertwines thoughts about his spiritual state, his family, and the play he has been writing. He seems to be responding to Hale's frustration with her relatives and desire to reach a more tranquil state. His own family, he says, set higher standards for themselves than other people; it was assumed that the Eliots were more favored by God and had to behave accordingly. They believed the rich were wicked to have made so much money and not to have given it away. His Grandfather Eliot dominated their world from his grave and continues to force him to serve on committees and meddle in public affairs. But it is the shade of his mother who wants him to make retreats and keep vigils. He finds it difficult to relinquish the illusory goal of an emotional and spiritual equilibrium that will make life easy, but there is no reaching this goal; one simply must go on trying. This reflection makes him think about the paradox that if one became aware of being a Saint, one would no longer be one.
The play is finished, he tells her, and it will be called Murder in the Cathedral.
March 29: Thanks to the arrival of vol. 7 of Eliot's letters at my doorstep, I was able to amend this post to include more information about the working titles of his play.
One Real World
Apologies for the long delay since my last post. Everyone's life has been disrupted, and the closure of Firestone Library is the least of it, so I will try to continue my reports on the basis of my notes. I'm awaiting delivery of vol. 7 of Eliot's letters (1934-35), but in the meantime, please send corrections if you see any discrepancies.
From December 1934 through March 1935, while Hale travels the Continent with the Perkins and Jean McPherrin, Eliot writes Murder in the Cathedral. I will cover his letters about the play in another post. Following Hale's departure for Italy at the end of November, Eliot reflects happily on the time they spent together, including their leave-taking. As he describes it, they were at a party whose guests included Maria Huxley and Sturge Moore, and he said good-bye to her with "a smile and shake of the hand": consciously or not, he quotes from "La Figlia." Further drawing on the language of his early work, he writes that everything he has learned about her fits into her existing portrait. He has seen all the pieces of his life fitting together into one real world, and now that she has met his friends, they seem more real to him (for "one real world," see Prose 1.167 and 1.310). He admits that he enjoyed her time in London more than his in Chipping Campden. He has become quite attached to his neighborhood in South Kensington since her visit, especially the vicinity of the Aban Court Hotel, where she stayed. He is pleased to hear from her that she misses him.
During her travels, Eliot expresses his opinions and advice about Italy: he disapproves of Florence, which he associates with Anglo-American decadents like Lady Sibyl Lubbock, Bernard Berenson, and Harold Acton, but he praises Rome and hopes she finds it fascinating. He mentions that although he never went to Frascati (outside Rome), he has always remembered the line "De l'ancien Frascati vestale enamourée" from Baudelaire's "Les Petites Vielles," a line he quoted in "Baudelaire in Our Time" (Prose 3.136). Most of all he wants her to get a sense of the Roman Church as the most solid thing in the world.
Eliot's attempts to retrieve his property from Vivien's flat finally produce results in December, he tells Hale on the 13th. Through the action of his lawyer, the sheriff, and bailiffs, he recovers his books and bookcases, most of his pictures, and a teakettle and bell with sentimental value. Vivien also handed over the item he was most eager to recover, his great-grandfather's seal ring, but it turned out to be a reproduction; she has kept the original. On 3 January he gives Hale reasons why Vivien cannot yet be institutionalized, though he hears she is living in squalor and starving herself. In March he tells Hale that he is playing the role of Orestes again, pursued by Vivien carrying an empty cardboard box and asking for him at the office. He has terrifyingly realistic nightmares of being shut up with her, unable to escape.
Nonetheless, as he completes Murder, he begins to look forward to Hale's return at the end of March and plots for ways to keep her in London. He would take an interest in fashion, for example, if she were there to accompany him to the theatre and ballet (20 February). Instead of staying at a hotel, why shouldn't she stay at his rooms for free, while he sleeps at his club? She could have her breakfast served there and the rest of her meals out with him (7 March). On 16 March he sends her detailed instructions for the use of his rooms, with the stipulation that she must respect the photographs (of herself). On 4 April he writes with excitement that he will see her in just a week, with her new clothes.
Next time: the composition of Murder in the Cathedral. Stay inside and good health to all!
A Lifetime Burning in Every Moment
Whatever emotional thunderstorms troubled them in August 1934, Eliot and Hale seem to enjoy clear skies throughout the fall. While Eliot vacations in Wales with the Fabers, Hale and her friend Jean stay in Chipping Campden, coming up to London together in October to do some sightseeing. They have lunch with Eliot on the 11th, and though he felt self conscious in Hale's company, he writes afterwards, there were several moments. (The language of Four Quartets now begins to appear in his letters more frequently.) Hale and McPherrin go to Paris for a week (he sends roses to her hotel), but she returns alone on 17 October to stay at a hotel near his own residence in London, and thus begins a particularly sunny episode. He is hesitant about obtruding his company on her, and she chides him against "microscopic analysis" of their interactions and "weighing every word" (her language). As the month wears on, he gains confidence and they enjoy numerous dates at the theater, with his friends, and alone over meals. They shop for birthday presents for each other: she wants to give him a tea set, and he looks for a ring for her. She expresses shyness at meeting his famous friends, perhaps especially Virginia Woolf, and he tells her that she cannot appreciate her own gifts, but she should not disparage them. After a lunch meeting one day, he tells her that the longer she stays in London, the happier he will be. He writes that a relationship should always be renewing itself, without turning against the past; it should be both new and old at every moment: "Not the intense moment/Isolated, with no before and after,/But a lifetime burning in every moment..." For her birthday on 26 October, he gives her a ring with a star sapphire mounted on white gold.
Eliot seems to make a decision at this point to introduce Hale to his friends and make sure she has a good time in London, inviting her to attend Richard II, a performance of Sweeney Agonistes, to have tea with Ottoline Morrell, and to meet Virginia Woolf. All of these events require some arranging, reflected in his published letters to other correspondents (e.g. he tells Ottoline he would like to bring a friend to tea: "She is quite an exceptional person, though it may not be immediately obvious" [7.357]). The first weekend of November goes exceptionally well and he tells her that it makes him feel closer to his friends when they know her. He also compliments her on her clothing (a black dress with a red jacket) and observes obliquely that her presence has led to more business for English tailors (meaning from him). On 11 November they attend a performance of Sweeney with Virginia Woolf. Eliot feels that their level of intimacy has increased, especially as Hale feels free to discuss her own problems with him. They make plans to have lunch alone, get tickets to see Hamlet and to hear the music of Stravinsky. Their correspondence during this period is sketchy because they are seeing each other often, perhaps continuously. He does note two important events during this time: he has been invited to write a dramatic work to be performed at Canterbury Cathedral, and his lawyers have taken action to retrieve his belongings from the flat he shared with Vivien at Clarence Gate. But he does not allow this to cloud the final weeks of Hale's time in England. At the end of the month, she leaves for Italy, and Eliot sits down to write her a good-bye letter: it has been the happiest month of his whole life, he tells her. He was able to enjoy her company unspoiled by cravings for what he could not have. And he has delighted in seeing her enjoy herself as well.
Teach us to care and not to care
Eliot's August 1934 letters to Hale form one side of a continuous conversation leading up to his visit to Chipping Campden on the last day of the month. On 10 August he writes that he has fallen into a depression, following the excitement of seeing her, and wonders if she still wants him to visit. On 17 August, he writes that while at first he believed that she was in love with him, by the time he went to America in 1932 she had corrected that impression. He is sorry that she has been troubled by this imbalance in their feelings for each other, which he has accepted without unhappiness; indeed, he does not want her to love him. He finds it strange to learn from her that she has never received the attention of a man in love, as he would have expected the opposite. Nobody has ever been in love with him, and he has only experienced abnormal women, from whom he has taken two lessons: 1) exposing yourself to someone will only result in injury, and 2) people don't love you, but an idea that you stand for. He does not want to be loved for anything he represents, nor does he love her as a symbol. He wants to continue to worship her for herself. He writes that if he is ever free to ask her to marry him, he will do so. He would want to know, if she accepted him, that she did so for herself, and not out of pity for him. At one time, he concludes, he thought that his devotion was a valuable gift that would flatter her; now he realizes it is worth nothing.
Hale must have responded quickly to counteract that view, for on 20 August, Eliot protests that he did not intend his last remark to be bitter or complaining; he only meant that his love truly was worthless. Not only did she misunderstand him, but he has misunderstood her: now he sees that she does not harbor feelings of pity for him. In the end, both of them worry about the same thing: receiving more than they give. She should never feel guilty for her feelings or lack thereof. He himself has experienced much guilt, especially over marrying Vivien without loving her. His feelings of guilt caused him to tolerate terrible things that he has never told anybody (is this a reference to Vivien's infidelity, which he does not mention anywhere in his correspondence with Hale?). Instead of remaining with a woman he detested, he ought to have separated right away. Feelings cannot be sins: one confesses thoughts, words, and deeds. Confessing a feeling would be to apologize for being yourself. He shifts gears to talk about Hale's frustration with her lack of proper filial piety towards her aunt and uncle, reassuring her that they could not possibly blame her for her feelings or lack thereof.
It seems that they have advanced towards better understanding of each other, Eliot writes on 29 August, though he continues to fear misunderstanding. Two days later, he arrives for a weekend visit at Chipping Campden. On 4 September, he writes a follow-up letter to affirm a deepening of their relationship, which he compares to the growth of a root system. He can look back on the feelings he had towards her four years ago and measure the distance he has come, and he also looks forward to the future increase and growth of his feelings with joy and fear. Whereas at first he relied on his own feelings, though, now he depends on his understanding of what she is. He thanks her for her thoughtfulness at Campden. He hopes that he visited in a less selfish spirit than in California. He can envision a state of perfect contemplation of her where he is no longer concerned with his own feelings. He hopes that someday, she may receive as much from someone as he and other people now receive from her. He repeats a comment by her friend Jean McPherrin, who spoke of Hale's "shriners." Eliot realizes that he may just be one more of these, and he observes that standing in a shrine can be lonely.
Ecce deus fortior
In August 1934, Eliot sends nine letters from London to Chipping Campden intensely analyzing his feelings and their relationship. Despite the length and frequency of his letters, it is difficult to say exactly what is happening between them, so I will summarize at least the first one in detail. On August 6 Eliot acknowledges that he has pressed himself on Hale's attention and encouraged emotions in her that she did not originally have. She seems to have expressed increased affection or desire for him in her last letter, as well as apologized for her previous outburst against the constraints he has placed on himself. He recalls that several years ago, she wrote that they might want each other more as time went on, a comment whose significance he now sees. He cares only about her happiness, and he would rather see her happily married to someone else, although he admits his actions do not promote such an end. He believes that the elements for a great passion exist between them, which could be realized under other circumstances, and he agrees that there should be no Puritanism or shyness between them. At this moment, he wishes that he could talk to her in person, though if she were there, he might be unable to speak. This reminds Eliot of Dante's acknowledgement in the Vita Nuova on first seeing Beatrice: "Ecce deus fortior me" (Behold a god more powerful than I). However, Eliot substitutes "te" for "me." (His allusion signals that he still believes his love follows the pattern of Dante's for Beatrice. It is not clear whether he intends to misquote the original, changing the meaning to "Behold a god more powerful than you".) He could imagine acting on his impulses in such a way that would seem right and yet would make him feel guilty and in need of absolution. He feels a responsibility towards her to keep her from harm. Apparently she isn't certain about the afterlife and has suggested that they might as well enjoy what they can in the time allowed to them. He feels too much reverence for her to accept this argument. This summer they must find out if there is any basis for their relationship. Lowering the temperature of his letter, he mentions their plans to have tea together with his sister Marian and niece Dodo, who are visiting (creating for Eliot what is perhaps a welcome impediment to seeing Hale alone). All the Eliot children were brought up in a glass jar, he tells her, and Marian still lives there. He concludes by hoping that he has not angered or harmed her, and calls her by several pet names. Overall, in this letter, he tries to conciliate her with praise and expressions of devotion but holds his line against an increased level of intimacy or plans for union.


text:
Splatoon is Ink-redible
By tegan, May 31, 2015 in Video Gaming
Dedicated BOO-YAH Button
extremely if true
I wonder how they plan on handling sea slug distribution after splatfest, or if they're just going to phase out rerolling/adding slots.
eRonin
Fake Gamer Guy
Definitely something I've thought about. Maybe they'll make it a reward for ranked play victories, since the use for them is mostly something only serious players are concerned with.
You can spend the normal currency on rerolls when you're out of shells. (It's expensive.)
I imagine they'll just leave it at that.
So Splatoon will just end up being more of a grind.
Also, the Marie and Callie Amiibos are out.
Yeah I only have enough money for about 15 rerolls, which is about how many I would get from a single Splatfest. I'm pretty happy with the gear I already have though so I don't mind. New players looking to play ranked may become frustrated.
For Euro Splat Thumbs (there may not be many of you I suppose):
http://play.eslgaming.com/splatoon/europe
Nintendo of Europe and Electronic Sports League have partnered to bring official Splatoon tournaments weekly + monthly finals for the next 6 months. Prizes include Splatoon merchandise (clothing/hats), with a grand final prize next year of....an NX.
Please win some of the monthly tournaments and send me a Takoroka Mesh hat, thanks.
Hey all, if you're not doing anything on 23rd Oct (Sydney time), please fly down to Sydney to play in a Splatoon LAN event I'm co-organising k thanks
In all seriousness, a lady I met on an Australian Splatoon discord community contacted Nintendo ANZ about an event that we were tentatively planning, and Nintendo actually responded and are giving us Splatoon merchandise for free, to give out as prizes at our event. I'm really excited about this! I've wanted to participate in a Splatoon LAN since last year, but nobody was doing anything, so when I was approached about helping to organise one, I decided to step up and we're both really excited about positive reaction from Nintendo about our event.
Hello folks, your resident lone Splatoon-playing Thumb here. My Splatoon LAN event went really well! People had fun and were excited about a future event, which made me so very happy. Lately there have been a few articles popping up about the potential of Splatoon stepping up its competitive aspect; with Nintendo of America partnering with Battlefy to host a series of tournaments in November, and of course the Nintendo Switch trailer showing off a Splatoon tournament. This Redbull Esports article featuring an interview with EndGameTV staff just went up a few hours ago: http://www.redbull.com/us/en/esports/stories/1331826425120/competitive-splatoon-is-ready-for-nintendo-switch. EndGameTV was very kind to share the livestream of my LAN tournament, so I'm really happy that they were approached by Redbull for the article. I hope this wave of momentum we have right now will push us forward and get bigger tournaments with more support from Nintendo in the near future!
Kolzig
Location: Vaasa, Finland
The Art of Splatoon book is coming out next year. It's a Dark Horse English translated version. Dark Horse seems to be always the one doing these as they did the Zelda books also.
http://www.polygon.com/2016/12/19/14013404/the-art-of-splatoon-release-date
I just got this over the weekend and I am sad it took me this long to get it. If anyone is still playing let me know and we can ink some fools!
Yess I still play a ton. Most of the Splatoon community these days resides in various discord servers if you are interested in the competitive scene at all. I'm hosting a second LAN tournament in Sydney tomorrow, but we should be livestreaming it for anyone not in Sydney.
Hi, me again, your resident Splatoon poster. The Splatfest demos for Europe and America will go live in a few hours/a few more hours after that respectively! I'll be playing in the "American" one since it's the one that was set for Australians. I also played the Japanese one which finished up just now, and had a ton of fun! This game is still fun! Anyway didn't feel like making a new thread for Splatoon 2 when this thread is still perfectly serviceable. Hope to see some folks in the American Splatfest!
supasheep
It's possible to play in multiple Splatfests? I'm working this evening so thought I was going to miss the European one, so I'd be pretty stoked to be able to give Splatoon 2 a go if its possible.
Sorry for late reply but yeah it was possible; you just needed to make separate accounts set to different regions and download the app from the different eshops.
Yeah I managed to figure it out, it just required changing the country of residence on my Nintendo account. I enjoyed it as a first taste of Splatoon, having not played the original, but I don't know how much I would play it for it to be worth buying. A friend is also trying to persuade me to get Arms which is kinda tempting but I can't afford both! It feels like the Switch will be in a fairly solid position.
I'll tell you right now Splatoon 2 is far more likely to still have an active playerbase a year down the track. It's already hard for me to find ARMS players online a month into the game...However if you have a friend to play with, that's not that big an issue!
Most of the Arms playing I do is indeed local, whenever friends come over or with my partner. I can imagine that for Splatoon (2) it's way more essential to go online, since you need full teams to get the most out of the game. I'll be getting it, by the way.
3 hours ago, eRonin said:
This bums me out. I think ARMS seems real fun, but I couldn't justify buying it at full price. Hope it goes for a good Christmas sale.
I have no idea how well ARMS is selling, but everyone I foist it on when they come over has a blast. And then usually tells me they won't buy it full price. Which I understand! But it's a shame because it is just SO MUCH FUN.
osmosisch
Quit gettin' mad
Location: Onnen
Played in the splatfest a bit, had some fun but boy do the controls in this game make me mad.
Definitely not a 60E purchase for me, especially given that you can't do local multiplayer without getting a second Switch involved which would be crazy.
Nappi
I hope Splatoon 2 will get a demo when the game is released. The game looks super fun but I want to make sure that I can get comfortable with the controls before buying the game. I tried one of the earlier test things for like 20 minutes, but had no idea what was going on and random matches did not seem like a great place to experiment with the controls, control schemes (?) and the game mechanics. I'm not a huge fan of competitive multiplayer shooters, especially console ones, but maybe Splatoon doesn't feel overly competitive. I liked Overwatch quite a bit.
16 hours ago, Nappi said:
A demo for Splatoon 2 will likely be another limited-time multiplayer offering with limited options, it's what they did in the past with Splatoon 1. The default controls really clicked with me way back when I started playing Splatoon 1's testfire, so I was instantly hooked on the game. For someone who doesn't like the motion aiming though, it's hard to recommend the game. You can play without motion but you might have a rough time anyway.
Yeah, the motion controls were the issue for me, but I did not play long enough to find out whether it was just a question of getting used to them or whether the analog controls would have been better for me. I did not want to ruin other players matches in the short testfire period by experimenting with the controls.
Well, I couldn't resist buying the game. I played through the first set of single player missions and the controls feel quite comfortable to me already. I still occasionally forget either the right analog stick or the motion controls.
Haven't dared to play any multiplayer yet...
YoThatLimp
Well, 3 of my buddies picked it up so I caved. Hit me up for some multiplayer.
Also, it's bonkers that Salmon Run is pretty much local only - how is that not just an online mode?
3 hours ago, YoThatLimp said:
It's not, you can do it online (solo or with friends) by going to a shack to the left of the... uh main central elevator lookin thing where you do versus matches.


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text:
Home Florida Daytona Maduri and Williams talk possible war in Iran and handicap the Democrats...
Maduri and Williams talk possible war in Iran and handicap the Democrats debates with guest Joseph Hammond
Dan Maduri and Jim Williams guest on this edition of The Politically Incorrect Podcast is the former Fulbright Scholar and award-winning journalist Joseph Hammond. He gives the duo the latest on what is going between the United States and Iran.
He is based in London and has been reported in the Middle East, Africa, and Asia. A frequent guest on both TV and radio on serving as a defense analyst along with his print reporting.
Hammond has written for a number of publications including The Economist, U.S. News and World Report, Forbes, Newsweek Middle East Edition, International Business Times, Monocle Magazine to name a few media outlets He worked as Cairo correspondent for Radio Free Europe in 2011. He has also covered the Supreme Court, diplomatic conferences, NATO, The G20 as well as other major events and international gatherings.
We also touch on the odds on who will be are likely to win, place and show in the two Democratic debates set for Miami on Wednesday and Thursday.
Be sure to watch Dan on MSNBC Wednesday with Craig Melvin on his 11 am show Wednesday. Then Thursday with Hallie Jackson at 10 am live from Miami.
Jim will be reporting for both France 24 and i24 News during the debate.
Listen to "Are we going to war with Iran? London based reporter and international affairs analyst Joseph Hammond answers that and many other questions." on Spreaker.


TICKETS - The Thing in the Spring!
Tickets are now available. There are a very limited number of passes, which cover all 5 of the main shows (Harlow's shows are not included). Scroll down in the ticket box to see each show. Thank you!


text:
"""Adds a load balancer given the id returned from create-options."""
# :license: MIT, see LICENSE for more details.

import click

import SoftLayer
from SoftLayer.CLI import environment
from SoftLayer.CLI import exceptions
from SoftLayer.CLI import formatting

@click.command()
@click.argument('billing-id')
@click.option('--datacenter', '-d',
              help='Datacenter shortname (sng01, dal05, ...)')
@environment.pass_env
def cli(env, billing_id, datacenter):
    """Adds a load balancer given the id returned from create-options."""
    mgr = SoftLayer.LoadBalancerManager(env.client)

    if not formatting.confirm("This action will incur charges on your "
                              "account. Continue?"):
        raise exceptions.CLIAbort('Aborted.')
    mgr.add_local_lb(billing_id, datacenter=datacenter)
    env.fout("Load balancer is being created!")