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text:
Q: Is this a special semidirect product? Currently I am going through Representation theory of semi-direct products by Reyes. At the begining of the article, the author defines the semidirect product as follows.

$G = H \cdot B$ is a semidirect product where $H$ is a normal subgroup
  of $G$ and $B$ is isomorphic with a group of automorphisms of $H$.

This doesn't match with the definition given here which is:

Semidirect products.
We say that $G$ is (isomorphic to) a semidirect product of $M$ by
  $N$ if and only if there exist subgroups $H$ and $K$ of $G$ such that:

*

*$H\cong M$ and $K\cong N$;

*$H\triangleleft G$;

*$H\cap K=\{e\}$;

*$G=HK$.

Because, in the second definition $H$ is not required to be isomophic with a group of automorphism of $K$. So, can I say that the first definition is not a general definition of semidirect product?

A: See "outer" and "inner" semi-direct products in https://en.wikipedia.org/wiki/Semidirect_product

redpajama_set_name: RedPajamaStackExchange


Unfortunately, this journal does not provide open references – we therefore cannot show which journals are cited by Journal of Modern History.
• Illness and Inhumanity in Stalin's Gulag. By Golfo Alexopoulos. Yale-Hoover Series on Authoritarian Regimes.New Haven, CT: Yale University Press, 2017. Pp. xvi+308. $65.00.
• Identifying with Nationality: Europeans, Ottomans, and Egyptians in Alexandria. By Will Hanley. Columbia Studies in International and Global History.New York: Columbia University Press, 2017. Pp. xviii+392. $65.00 (cloth); $64.99 (e-book).
• The Battle for the Catholic Past in Germany, 1945–1980. By Mark Edward Ruff.Cambridge: Cambridge University Press, 2017. Pp. xvi+394. $39.99 (cloth); $32.99 (Adobe eBook Reader).
• Homo Cinematicus: Science, Motion Pictures, and the Making of Modern Germany. By Andreas Killen. Intellectual History of the Modern Age. Edited by Angus Burgin et al.Philadelphia: University of Pennsylvania Press, 2017. Pp. viii+268. $65.00.
• Chosen Nation: Mennonites and Germany in a Global Era. By Benjamin W. Goossen.Princeton, NJ: Princeton University Press, 2017. Pp. xvi+266. $49.50.
• Becoming Centaur: Eighteenth-Century Masculinity and English Horsemanship. By Monica Mattfeld. Animalibus: Of Animals and Cultures, volume 9. Edited by Nigel Rothfels.University Park: Pennsylvania State University Press, 2017. Pp. xii+276. $99.95.
• The Russian Empire, 1450–1801. By Nancy Shields Kollmann. Oxford History of Early Modern Europe. Edited by R. J. W. Evans.Oxford: Oxford University Press, 2017. Pp. xiv+498. $110.00.
• Performance Anxiety: Sport and Work in Germany from the Empire to Nazism. By Michael Hau. German and European Studies, volume 25. Edited by Jennifer J. Jenkins.Toronto: University of Toronto Press, 2017. Pp. xviii+362. $75.00.
• Labour and the Free Churches, 1918–1939: Radicalism, Righteousness, and Religion. By Peter Catterall.London: Bloomsbury, 2016. Pp. xiv+322. $122.00 (cloth); $90.99 (PDF or EPUB e-book).
• Socialism and the Experience of Time: Idealism and the Present in Modern France. By Julian Wright.Oxford: Oxford University Press, 2017. Pp. xvi+276. $97.50.
• The Cold War: A World History. By Odd Arne Westad.New York: Basic Books, 2017. Pp. viii+710. $35.00.
Identifying with Nationality: Europeans, Ottomans, and Egyptians in Alexandria. By Will Hanley. Columbia Studies in International and Global History.New York: Columbia University Press, 2017. Pp. xviii+392. $65.00 (cloth); $64.99 (e-book).


text:
Q: FragmentManager replace not working? I am having a hard time figuring out why my FragmentManager isn't working.
I'm using an Android studio template for nav drawer activity. The most confusing thing is, I have the exact same code in another app and it works just fine.
Here is the code:
@Override
public boolean onNavigationItemSelected(@NonNull MenuItem item) {

    int id = item.getItemId();

    Fragment fragment = null;

    switch (id) {
        case R.id.nav_camera:
            fragment = new MyFragment();
            Log.i("ID", String.valueOf(id));

            break;
        case R.id.nav_gallery:
            break;
    }

    FragmentManager fragmentManager = getSupportFragmentManager();
    fragmentManager.beginTransaction()
            .replace(R.id.content_main, fragment)
            .commit();

    DrawerLayout drawer = findViewById(R.id.drawer_layout);
    drawer.closeDrawer(GravityCompat.START);
    return true;

}

Now, when I click on the nav_camera it logs the click just fine, but nothing else happens, the fragment doesn't get replaced. No errors, no exceptions, just the same screen over and over.
Fragment code, nothing here just testing:
public class MyFragment extends Fragment {

@Nullable
@Override
public View onCreateView(LayoutInflater inflater, @Nullable ViewGroup container, @Nullable Bundle savedInstanceState) {

    return inflater.inflate(R.layout.fragment_list, container, false);
}

@Override
public void onViewCreated(View view, @Nullable Bundle savedInstanceState) {
    super.onViewCreated(view, savedInstanceState);
}
}

Fragment layout, just a blank:
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
android:layout_width="match_parent"
android:layout_height="match_parent"
android:orientation="vertical">

The rest of the code is auto generated by andorid studio.
Here is content_main, which I am trying to replace with fm:
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools"
android:layout_width="match_parent"
android:layout_height="match_parent"
android:id="@+id/content_main"
app:layout_behavior="@string/appbar_scrolling_view_behavior"
tools:context="com.example.goran.mymoviedb.movies.MainActivity"
tools:showIn="@layout/app_bar_main">

<TextView
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:text="Hello World!"
    app:layout_constraintBottom_toBottomOf="parent"
    app:layout_constraintLeft_toLeftOf="parent"
    app:layout_constraintRight_toRightOf="parent"
    app:layout_constraintTop_toTopOf="parent" />

It should replace the layout with a blank one whan nav_camera is clicked but nothing happens, even though correct click is registered.

A: Actually your code is working but the issue is that you have blank layout and because background of fragment layout is by default transparent you can not see the change. Put background color on your root layout of fragment (LinearLayout) for example: android:background="@android:color/white"
and you will see fragement replacement.


text:
ALBERTINE FLORO MIKETA
Albertine Floro Miketa Economy Albertine Floro Miketa, 81, sadly passed on January 4, 2020, surrounded by her loving children. Albertine was born in Sewickley, Pa., on April 28, 1938. She is the daughter of Albert and Sarah Floro who emigrated from Calabria, Italy. She is survived by her loving husband of 62 years, George Joseph Miketa, and four devoted children and their spouses, Tina and Edward Kennedy, Marcie and John Gilmartin, George and Andrea Miketa, and Greg and Rosemary Miketa. In addition, she is survived by eight grandchildren, Caitlin, Jonathan, Andrew, Alexa, Luke, Patrick, Maximus, and Zachary; two great-grandchildren, Aiden and Asher; her sister, Sarah Rosiak; and many nieces and nephews. Albertine was an active community member of Economy for over 65 years. Albertine continued her dedication as an employee at the Ambridge Area School District where her passion in youth guidance endured. Her loves were family vacations, family events and activities, gardening, cooking, card club and her work. Her infectious smile will never be forgotten. Upon retirement in 2012, George and Albertine moved to Chadds Ford, Pa., to be closer to loved ones. Albertine joins her beloved daughter, Anne Marie Miketa and sister, Josephine Koman in eternal life. Family and friends will be received to share in the celebration of life on Friday, January 10, 2020, from 6 to 8 p.m. and on Saturday from 9 a.m. until time of Blessing service at 11 a.m. in the JOHN SYKA FUNERAL HOME INC., 833 Kennedy Drive, Ambridge. Interment will be in Economy Cemetery. Online condolences may be made at www.sykafuneralhome.com. In lieu of flowers, the family suggests memorial contributions be made payable to the Albertine Miketa Memorial Scholarship Fund (for Ambridge Area High School Students) in care of the John Syka Funeral Home Inc.

redpajama_set_name: RedPajamaCommonCrawl


text:
Applications open for Samantha and Florence Bailey Bursary
By Sophie on 17/02/2020
Applications have opened for the Samantha and Florence Bailey Bursary,. The Bursary is administered by the New Forest Agricultural Show Society, organisers of the New Forest and Hampshire County Show.
The Samantha and Florence Bailey Bursary was launched in 2018 following the death of Samantha Bailey and her unborn daughter Florence in January 2018. Sam was a young farmer and estate agent living in Tiptoe, Sway. Following in the footsteps of her grandparents and mother she led a wonderful life breeding and showing the Sandlea herd of Charolais cattle. It was with this enthusiasm that she joined as a member of the Show's Cattle Committee pushing the section forward becoming chairman in 2012. Through her chairmanship she met the Queen during her Jubilee visit and the Countess of Wessex showing them around the Cattle Section with her usual energy and passion.
The New Forest Agricultural Show Society set up a bursary in their memory with the aim of supporting young people in agricultural education. The project has two aims:
Fund students attending agricultural college, allowing them to begin a career in agriculture
Pay for applicants to attend short courses, that will benefit their career in agriculture
The bursary is open for applicants based in Hampshire who can demonstrate the course will benefit their long-term future in Agriculture. A selection committee will decide which applicants are successful and priority will be given to those who can demonstrate they can make the most out of the Bursary. Applicants should demonstrate how the grant will help their career in agriculture and personal development.
Denis Dooley, Chief Executive says "We are delighted to finally be opening applications for the Bursary. Sam was a stalwart of the Society and fondly remembered by all involved. The Bursary is the perfect way to both remember her involvement and support young people in Agriculture. I would encourage anyone interested in applying to get in touch on 01590 622400 ".
The bursary is reliant upon the generosity of its supporters. Through fundraising initiatives and donations since 2018, the bursary fund has accumulated over £13,000 so far. All proceeds from children's ticket sales at the 2019 New Forest and Hampshire County Show were donated to the bursary.
For more information about the Samantha and Florence Bailey Bursary and to download an application form please visit: https://www.newforestshow.co.uk/samantha-and-florence-bailey/.
Cancellation of 2020 New Forest and Hampshire County Show
Paws up for Hoburne Bashley as the park raises thousands for Canine Partners
subject category


text:
The Flamethrowers
Issue 203, Winter 2012
The first image I pinned up to spark inspiration for what would eventually be my novel The Flamethrowers was of a woman with tape over her mouth. She floated above my desk with a grave, almost murderous look, war paint on her cheeks, blonde braids framing her face, the braids a frolicsome countertone to her intensity. The paint on her cheeks, not frolicsome. The streaks of it, dripping down, were cold, white shards, as if her face were faceted in icicles. I didn't think much about the tape over her mouth (which is actually Band-Aids over the photograph, and not over her lips themselves). This image ended up on the jacket of The Flamethrowers, whose first-person narrator, introduced in this issue, in the story "Blanks," is a young blonde woman. A creature of language, silenced.
The second image was of Ducati engineer Fabio Taglioni standing behind a 1971 750 GT. The Ducati is in metal-flake orange; Taglioni in double-knit Brioni. I didn't have an image of a girl on a motorcycle, although the book opens with the narrator riding one in the Bonneville land speed trials. Girl on a Motorcycle was the title of a film starring Marianne Faithfull and Alain Delon (which was released in certain European markets, such as Italy, as Naked Under Leather). In the trickiest riding scene, Marianne Faithfull has a double, a hulking man in a honey-blonde wig, as you'll see if you play it on slow.
The young woman in war paint was from an archival document of 1970s Italy, and she symbolized for me the insurrectionary foment that overtook the country in that decade. "Autonomia" was the term for this foment, the movement of the 1970s, a loose wave of people, all over Italy, who came together for various reason at various times to engage in illegality and play, and to find a way to act, to build forms of togetherness in a country whose working class was impotent and whose sub-working class was fed up with work, by turns joyous and full of rage, ready to revolt, which they did. There were various layers, of which the most violent, shadowy, and clandestine (and yet, paradoxically, the most visible and sensational) were the Red Brigades. The Italian seventies had seemed a logical subject for fiction, on account of the fact that I kept stumbling upon its lore. It all began when I met a mys- terious and magnetic Italian woman who didn't say much, and who, when I naively asked her what she did, what she was interested in, stared at me and said, "Niente." She had been the girlfriend of a Red Brigades terrorist, I learned. Her "niente" did not mean "nothing." It meant, I don't engage in what you'd call work. Or interests. I might add that I met this woman in a house on Lake Como that was filled with someone's mother's Fascist memorabilia, busts of Mussolini, D'Annunzian slogans chiseled into marble.
Which connects to the third image I pinned up as I wrote, of two proper-looking gentlemen in a World War 1–era motorized contraption, an arcane cycle and bullet-shaped sidecar. Of the pair, the man in the sidecar, if passively at the mercy of the one over the handlebars, looks more self-possessed. He looks, actually, like F. T. Marinetti. I pretended that he was, and asked myself, Why did those guys never actually build anything? They drew vehicles on paper. They called war the world's only hygiene. But they had no relation to engineering and factories, to machines or munitions—except that a few of them lost limbs, or lives, in the war. But so did a lot of regular, non-Futurists.
There are two central threads to The Flamethrowers: Italy in 1977, the crest of the movement, and New York at that time, a period that has long fascinated me, when the city had a Detroit-like feel, was drained of money and its manufacturing base, and piled up with garbage. Parts of downtown became liberated zones of abandonment, populated by artists and criminals. The blackout of 1977 has a special place in my heart—the "bad" blackout, compared to 1965, the "good" blackout, when everyone in the housing projects behaved, an event whose textures DeLillo rendered so memorably in Underworld.
I wanted to conjure New York as an environment of energies, sounds, sensations. Not as a backdrop, a place that could resolve into history and sociology and urbanism, but rather as an entity that could not be reduced because it had become a character, in the manner that a fully complex character in fiction isn't reducible to cause, reasons, event. I looked at a lot of photographs and other evidentiary traces of downtown New York and art of the mid-1970s. Maybe a person is a tainted magnet and nothing is by chance, but what I kept finding were nude women and guns. The group Up Against the Wall Motherfuckers, who figure in the novel, papered the Lower East Side, in the late 1960s, with posters that said, LOOKING FOR PEOPLE WHO LIKE TO DRAW, with an image of a revolver. I had already encountered plenty of guns in researching Italy—the more militant elements of the Autonomist movement had an official weapon, the Walther P38, which could be blithely denoted with the thumb out, pointer finger angled up. I would scan the images of rallies in Rome, a hundred thousand people, among whom a tenth, I was told by people who had been there, were armed. Ten thousand individuals on the streets of Rome with guns in their pockets. But among New York artists, I hadn't expected guns, and yet that's what I encountered: lots of guns, and as I said, lots of nude women. Occasionally in the same image, Hannah Wilke in strappy heels holding a petite purse pistol— like Honey West, except naked. But mostly it was men posing with the guns: William Burroughs, William Eggleston, Sandro Chia, Richard Serra. Warhol's gun drawings. Chris Burden out in Los Angeles having a friend shoot him. And women with their clothes off: Carolee Schneemann, Hannah Wilke, Francesca Woodman, Ana Mendieta, Marina Abramović, who was both nude and with a loaded gun pointed at her head (by a man). What does all this mean? Many things, I'm sure, but for starters, it means people were getting out of the studio. Art was now about acts not sellable; it was about gestures and bodies. It was freedom, a realm where a guy could shoot off his rifle. Ride his motorcycle over a dry lakebed. Put a bunch of stuff on the floor—dirt, for instance, or lumber. Drive a forklift into a museum, or a functional racecar. But that's art history. For the purposes of a novel, what did it mean? I was faced with the pleasure and headache of somehow stitching together the pistols and the nude women as defining features of a fictional realm, and one in which the female narrator, who has the last word, and technically all words, is nevertheless continually overrun, effaced, and silenced by the very masculine world of the novel she inhabits—a contra- diction I had to navigate, just as I had to find a way to merge what were by nature static and iconic images into a stream of life, real narrative life.
As I wrote, events from my time, my life, began to echo those in the book, as if I were inside a game of call and response. While I wrote about ultraleft subversives, The Coming Insurrection, a book written by an anonymous French collective, was published in the United States, and its authors were arrested in France. As I wrote about riots, they were exploding in Greece. As I wrote about looting, it was rampant in London. The Occupy movement was born on the University of California campuses, and then reborn as a worldwide phenomenon, and by the time I needed to describe the effects of tear gas for a novel about the 1970s, all I had to do was watch live feeds from Oakland, California.
In 1978, the Red Brigades killed the leader of the Christian Democrats and former prime minister of Italy Aldo Moro. That same year, Guy Debord made his final film, In girum imus nocte et consumimur igni, its title a famous Latin palindrome, translatable as "we turn in the night in a circle of fire." A film that includes many still images, which I looked at and into as I wrote. Debord's relationship to women and girls is so strange. He's suggesting they've been used for banal consumer culture, to sell soap, for instance, and yet surely he enjoys seeing them in their bikinis, their young flesh and sweet smiles, as he edits them into the frame. As I was working on the novel, I encountered a woman who was friends with the only Situationist not expelled by Debord, the enigmatic, infamous Gianfranco Sanguinetti. "What is he up to?" I excitedly asked. "What does he do now?" She shrugged, and coolly, disdainfully, said, "He lives."
A few more films besides Debord's that were important sources: Barbara Loden's Wanda, about a young woman who isn't afraid to throw her life away. Chantal Akerman's News from Home, in which the camera wanders the deserted streets of Lower Manhattan. Alberto Grifi and Massimo Sarchielli's Anna, the mother of all films about Italy in the 1970s. Also, a filmic fact: that Taxi Driver was rerated from X to R after the producers scaled back the brightness of reds in the film. Michel Auder's The Feature, which I saw at Anthology Film Archives, just me and one old man crinkling a paper bag as Auder spent Cindy Sherman's money on prostitutes, playing himself in a despicable but brilliant game. Before he was married to Sherman, Auder had been with Viva, the Warhol superstar. Viva later dated the photographer William Eggleston, when she was living at the Chelsea Hotel, just after he made Stranded in Canton, in which his Memphis friends waggle guns and hold forth in Quaalude slurs.
An appeal to images is a demand for love. We want something more than just their mute glory. We want them to give up a clue, a key, a way to cut open a space, cut into a register, locate a tone, without which the novelist is lost.
It was with images that I began The Flamethrowers. By the time I finished, I found myself with a large stash.
Jack Goldstein, The Murder, 1977, 33 1/3 rpm, 12 minutes.
This twelve-minute record is a montage of sound effects—mostly breaking glass, pouring rain, and thunder. Goldstein had all the right ingredients for myth: brilliant, cool, mysterious. He was hugely influential but ended up living in a trailer in East L.A., selling ice cream from a truck; the ice cream once melted completely when he had to wait in line for methadone, but he refroze it and sold it anyway. He died in 2003, and so his body of work is now, sadly, a bounded set.
William Eggleston, Stranded in Canton, 1974, still from a black-and-white videotape, 77 minutes.
Larry Fink, Black Mask, 1967, black-and-white photograph, 11" x 14".
Black Mask was a Dada-inspired antiwar movement that intervened in culture and politics and later morphed into Up Against the Wall Motherfuckers, "a street gang with an analysis." They ran soup kitchens and a free store and tried to empower and motivate the disenfranchised. Their legacy made way for the great culture of East Village artists's squats like the Gas Station on Avenue B and the Rivington School sculpture garden.
Danny Lyon, 88 Gold Street (detail), 1967, black-and-white photograph, dimensions variable. From the series "The Destruction of Lower Manhattan," 1967.
The same year that Larry Fink photographed Black Mask on Wall Street, Danny Lyon methodically captured with a view camera the vast demolition of Lower Manhattan, much of it coming down for the construction of the Twin Towers. Factories and warehouses to be replaced by finance, which gives literal shape to a significant transformation of the seventies: the death of American manufacturing.
Andy Warhol, Screen Test: Virginia Tusi, 1965, still from a silent black-and-white film in 16mm, 4 minutes at 16 frames per second.
Who is she? No one seems to know. "A young woman identified only as Virginia Tusi," according to the catalogue raisonné. She was included in Warhol's Thirteen Most Beautiful Women along with Susanne De Maria and Julie Judd—the exceptionally pretty wives of Walter De Maria and Donald Judd. Warhol's two favorite kinds of people were beautiful people and the American upper classes. When those were combined into one person, such as Edie Sedgwick, bliss. One of the more striking men that Warhol filmed in 1965 was in the audience when I saw a program of Screen Tests last year. This man, a beard now tumbling down his chin, big belly protruding from his open blazer, shared anecdotes. "Warhol wanted me to flex my jaw," he said. And, "Edie was a real bitch." It might be better if Virginia Tusi just keeps beaming resplendently from her Screen Test, a mystery of mute loveliness.
Julie Buck and Karin Segal, China Girl #56, 2005, digital print from a color film, 12" x 15". From the series "Girls on Film," 2005.
China girls, whose faces were used to adjust color densities in film processing, were mostly secretaries who worked in the film labs—regular women who appeared on leader that was distributed all over the world. It's not clear why they had that rather racist moniker; some say the original ones were Asian, and others speculate that a particular secretary who posed for film leader was a habitual server of tea (which makes the name seem even more problematic). In France, they were "les lillis." If the projectionist loaded the film correctly, you didn't see the China girl. And if you did see her, she flashed by so quickly she was only a quick blur. They were ubiquitous and yet invisible, a thing in the margin that was central to each film, these nameless women that, as legend has it, were traded among film technicians and projectionists like baseball cards.
Lee Lozano, Punch, Peek & Feel, 1967-70, oil on canvas with perforations, 95 5/8" x 42 1/8" x 1 5/8".
Lozano was a tough and uncompromising person, celebrated by her male contemporaries for her conceptually driven paintings and the way she collapsed art into life. She had a solo show at the Whitney in 1970. In 1971, for her piece Decide to Boycott Women, she did just that: she didn't speak to women for the next twenty-eight years, right up until her death.
Allen Ginsberg, Sandro Chia (detail), 1985, black-and-white photograph, 11" x 14".
"In a serious confrontation, I'd take a shotgun any day. It's a much more formidable and effective weapon than a handgun, unless it's a hand shotgun. I'd like to see more of those," wrote William Burroughs. The artist Sandro Chia had been firing at targets with Burroughs in Rhinebeck, New York, when this photograph was taken.
Robert Heinecken, Cliché Vary: Autoeroticism, 1974, photographic emulsion on canvas and pastel chalk, 39 1/2" x 39 1/2".
The sweet innocence of the McLuhan seventies. By the 1980s, when I was a teenager, I carried around a copy of Subliminal Seduction: Are You Being Sexually Aroused by This Picture? and thought I was being very ironic and clever. The culture by that point was already using the ability to decode to sell us to ourselves in even more effective ways. Selling us sex. Even as sex was, is, and will be one of the few things people can do to each other for free.
David Salle, The Coffee Drinkers, 1973, black-and-white photograph with affixed product advertisement, one of four panels, each 20" x 16".
She's having a quiet, contemplative moment in morning light. She's selling coffee. Or coffee's selling her, as her, or as … lifestyle? Something feminine, calming, pure? "Images that understand us" was a phrase coined by Salle and James Welling. Salle, as a twenty-one-year-old student, made a prescient series of images—well before we came to know work by Richard Prince or Cindy Sherman—by photographing four women in his life (among them his girlfriend and mother) and gluing on the Nescafé label.
Gabriele Basilico, Contact, 1984, two black-and-white photographs, 23 5/8" x 31 7/8".
"Putting together chairs and bottoms was very enjoyable for me," Basilico has said of his series Contact. He calls the residual marks from this process "provisional relief tattoos." But tattoos of what? Modernism, as painless as modernism looks but never is. The link between violence and modernism is everywhere but too broad to get into in the form of a caption. It's something more like a life's work. Someone's, anyhow, if not mine.
Enrico Castellani, Superficie, 2008, resin on canvas, 19 3/4" x 31 1/2".
Enrico Castellani, a younger contemporary of Lucio Fontana and Alberto Burri, was the first person in Italy targeted in the massive sweep of arrests in the seventies. Castellani seems to have circulated among leftists. A recent catalogue of his work includes an essay by Adriano Sofri, former leader of the leftist group Lotta Continua, who spent twenty-two years in prison for instigating the assassination of a police captain (Sofri vehemently maintains his innocence).
Alighiero Boetti, Rosso Gilera, Rosso Guzzi, 1967, enamel paint on two iron panels, each 27 9/16" x 27 9/16".
Boetti makes a series of works using industrial paints, like in this case, colors used for motorcycle makes Gilera and Moto Guzzi. The point wasn't merely that colors had been branded. Factory politics in Italy were about to erupt, in the "hot autumn" of 1969. Meanwhile the fastest bikes in the world were being produced in Northern Italy, where Boetti was from. In Rosso Gilera, Rosso Guzzi, speed, racing, conceptual and formal precepts, and an industrialized but not yet subjectivized class of workers collide and simmer, all in a work that looks so friendly, uncomplicated, and Pop.
Tano D'Amico, At the Gates of the University, 1977, black-and-white photograph, each 7" x 9 3/8".
Go to Italy and no one talks about the 1970s, when their country literally almost had a revolution. That explosive era and its joys, traumas, and failures have been all but erased. Luckily, there are some remainders, like the amazing photographs of Tano D'Amico. Here, he captures students at the gates of Sapienza University in Rome on February 17, 1977, when it was occupied by students, as Luciano Lama, leader of the biggest labor union in Italy, came to pay them a visit and was heckled and expelled.
Ida Faré and Franca Spirito's Mara e Le Altre, 1979.
"Mara" is Mara Cagol, a former leader of Italy's leftist-militant Brigate Rosse (BR). "Le altre" are the militant women in Italy in the 1970s, whose Leninism and bombs were only one small and contested facet of a vast and complex wave of feminist actions that transformed the landscape of Italy and are of great interest still to feminist theorists for their sophistication and lucidity. It's curious that for the cover of this book an image from Godard's 1967 film La Chinoise was chosen. Not an image of a real female terrorist, of which Italy produced many, but a still from a film where an actress (Juliet Berto) plays a terrorist, crouching behind a machine-gun turret built of stacked copies of Mao's little red book. The real terrorist, Mara Cagol, successfully broke her husband from prison, fellow BR leader Renato Curcio, in 1975. The same year, she was gunned down in a shoot-out with carabinieri. The founder of Feltrinelli, the press that published this book, had died accidentally in 1972, attempting to sabotage Milan's power supply.
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More from Issue 203, Winter 2012
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Aisha Sabatini Sloan
Episode 22: "Form and Formlessness"
, November 2021
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her "shape or identity or essence." Next, Allan Gurganus's reading of his story "It Had Wings," about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with "Dear Someone," a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
I saw myself as a deflated yoga ball. I saw myself as a giant snail drooling slime on the floor.
The Art of Nonfiction No. 11
By Annette Gordon-Reed
Courtesy of Annette Gordon-Reed.
Annette Gordon-Reed will always be most famous for having confirmed, beyond a reasonable doubt, the centuries-old rumors about Thomas Jefferson having had multiple children with a mixed-race woman named Sally Hemings, whom he owned. In 1997, armed with only the analog tools of traditional historiography, she made a resounding case for the relationship in Thomas Jefferson and Sally Hemings: An American Controversy. The book touched off a fierce debate followed a year later by the DNA testing of male descendants in Jefferson's family, the results of which proved her theories. If that first book showed Gordon-Reed's willingness to kick against consensus, the next revealed the scope of her historical thinking and writing. In The Hemingses of Monticello (2008), she reconstructs three generations of the Hemings family, whose lives and genealogies were intertwined with the Jeffersons'. (Sally Hemings herself was the child of Jefferson's father-in-law, John Wayles, and an enslaved woman named Elizabeth Hemings.) That book won the Pulitzer Prize for History and the National Book Award. Gordon-Reed has been a Guggenheim Fellow, a MacArthur Fellow, and a fellow of the New York Public Library's Cullman Center. In 2010, President Barack Obama presented her with a National Humanities Medal.
Born in 1958, she grew up in Conroe, Texas, just north of Houston. She witnessed the civil rights era, in its particularly garish Texas colors, up close: when she was six years old, she became the first black student to attend Hulon N. Anderson Elementary. Over the years she has become something of a hero in her hometown, and when she goes back to visit these days, she walks past a mural of herself on the side of a building and a bust at Conroe Founder's Plaza. Although she has for many years shuttled between New York City and Cambridge, Massachusetts—she is the Carl M. Loeb University Professor at Harvard—she remains fascinated by her home state, where her roots on her mother's side go back to the 1820s. Her recent memoir, On Juneteenth (2021), tells the story of her years growing up there, and she may someday write another book on the frontier culture of East Texas slavery.
Gordon-Reed attended Dartmouth and has documents and prints from the college hanging behind the desk in her Cambridge office. While at Harvard Law School, she met Robert Reed, whom she married in 1984; he is a justice of the Supreme Court of the State of New York. For seven years, Gordon-Reed worked as an attorney, at one time serving as counsel to the New York City Board of Correction, which oversees the city's jails. In 1987, she gave up practicing law to teach it. When I met her one afternoon last fall, in a glass-walled cafeteria in Cambridge, she told me about a day in 2000 when she had been sitting in her publisher's office, discussing her proposal for what would become The Hemingses of Monticello. "I realized that I had never really wanted to be a lawyer," she said. "I wanted to have a lawyer."
Gordon-Reed has a still, almost impassive demeanor, though her eyes light up easily. In the past three decades, she has written five books, coedited two, and cowritten one with the American historian and Jefferson specialist Peter Onuf, her longtime friend and collaborator. She has permanently altered the narrative on perhaps the most mythic of the Founding Fathers, pulling him back into the human context of desire and power. She has what she describes as a realistic hopefulness about the future of the United States. The vital thing, she emphasizes, is to "keep faith with those in the past who died hoping for a more perfect union."
I looked at your Twitter feed and saw that you've been playing the piano.
GORDON-REED
I think it was in the fall of 2019 that I got the idea to take up piano again, because I realized that I had, by then, lived longer than my mother—she died at sixty. It was a way of dealing with my feelings about that. She played piano herself and got me into lessons when I was a child. First I took classes with Mrs. Baldwin and Ms. Cavil in Conroe—they were nice teachers and all, but then, you know, it had to be Mrs. Tull, a concert pianist in Huntsville, thirty-five miles away. My parents were spending eight dollars an hour for these lessons, about fifty-five bucks today—money they didn't really have. I didn't display an extraordinary talent, but naturally my mother thought I could be a concert pianist. She wanted to expose me to things. We went to plays and concerts at Jones Hall in Houston occasionally. I went to see Arthur Rubinstein there, my first concert of any kind.
Your mother sounds like an unusually cultured person. I may be making assumptions about what was typical for Conroe in the sixties.
My mother grew up in pretty good circumstances. Her family was from Texas but she spent much of her childhood living with her great-aunt and her husband in New Orleans. They rented out houses, and at one point owned a rooming house. Jazz musicians would come and stay, people like Noble Sissle. The family had a chauffeur, a butler. My mother was really spoiled. She went to Spelman and to Texas Southern for a master's degree but didn't go on to a Ph.D. because she got married and had kids. A cousin of mine, after my brother's funeral, gave me a program for a play that my mother had been in—Of Mice and Men, at Texas Southern.
What about your father?
His mother died when he was eleven, and by the time he was a teenager his father was an invalid. My father joined the army to support his siblings. He had a funeral parlor at one point, and a general store, but he wasn't cut out to be a businessman. He was the kind of person who would give food away if people didn't have money.
Did your confidence and drive come from your parents?
Both my parents communicated to me that I was a special person. I knew my mother believed that, and because she believed it, so did I. But there was also a sense that the world was opening up for black people in general. There were often documentaries about the black situation playing on television. I remember watching the CBS miniseries Of Black America in my favorite rocking chair, learning that America had been built "on the backs of black people." That image stuck with me. It could be fun being a young black person at that time, thinking there was work to be done. You had to do things because you wanted to show that black people could do things.
In On Juneteenth, you write about uncomfortable childhood experiences you had after becoming the first black student to go to a white school in Conroe. You were subjected to anger on the part of racist whites, and even from some black people—in one scene, you describe being punched in the chest by a black kid. Throughout it, though, your tone stays analytical. You don't mention tears.
A lot of the time my perception of those moments really was ana‑lytical, because they just seemed so out there. Crazy, really. Obviously, it was painful when people were cruel to me, but I experienced it with more bewilderment than hurt. I wanted to figure out what made these people tick. I would wonder about certain whites, What is wrong with them? Why carry on this way? I mean, it takes a lot of energy to maintain that kind of anger. As I grew older I sometimes heard hurtful statements from black people who felt that I was trying to be white, or that I had damaged the black community by attending a white school. I understand now that the integration of schools in my district, which my parents had initiated by having me attend Anderson Elementary, changed the balance of power for black students. They were no longer in the care of black teachers—people who lived in their community, went to their churches, or were in their families. There was often insensitivity and outright racism. My brother told me that one day the principal at his school came on over the intercom and said, "Will the two nigra boys who were fighting on the bus today come to my office?" That word, nigra—you don't hear that so much these days. There was often a sense of the sheer absurdity of it all. We laughed about it.
Looking back, how do you think the experience affected you? You must have known that you were in an unusual position.
From the Archive, Issue 238
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The Hood Design Studio website includes photos, plans and architectural drawings for Splash Pad Park.
The "new" Splash Pad Park opened in 2003 but in the past 125 years, the space has had a number of incarnations. Some of that historical background is outlined below.
As pictured in an 1876 pictorial atlas, what is now Splash Pad Park was then adjacent to the farthest reaches of Lake Merritt. Over time, the marshes were filled and the space became the northernmost boundary of Lakeside park.
When Highway 580 was built circa 1960, palms and other landscaping were planted around a concrete-lined pond into which water splashed giving the park the name it has since retained. Eventually, the fountain became inoperative and the landscaping sadly neglected.
In the late 1990′s, recognizing that the space was a forbidding, pedestrian barrier, council member John Russo began lobbying that it be leased for commercial purposes. A petition in opposition circulated by Caroline Kim and the East Shore Park Preservation Association garnered in excess of 7,000 signatures.
to focus on what kind of changes were required to improve pedestrian access and make it an attractive and useable asset.
In November of 1999, Russo announced that he was willing to consider other options for park improvements and later successfully lobbied his fellow council members for initial park funding.
An all volunteer Design Team consisting of Donald Wardlaw, Edith Robertson, Chiye Azuma, Liz Pulver, Leo Lozano, Daniel Galvez and Jeanette Sayre was organized as a SPNF subcommittee and they eventually came to a basic consensus on some fundamental improvements and goals.
Meanwhile, the SPNF Traffic and Pedestrian Committee chaired by Jerry Cauthen was drafting its own recommendations. Members of that committee included Bruce de Benedictis, David Bolanos, Ken Pratt, Chris Pederson, Lou Grantham, Bob Moorhead, Jack McCoy and Jon Barrileaux.
In July of 2000, SPNF presented its Final Report to the City which laid the groundwork for the hiring of Landscape Architect Walter Hood. Asked to comment on the Splash Pad Project, he replied: "It has transformed the space into a park that people can actually occupy with flexible spaces that support a variety of uses".
Other members of the Hood design team included Sarah Raube who provided day-to-day oversight of construction and Rich Seyfarth who played an integral role in the drafting and implementation of the park design.
Since the project required the removal of Lake Park Way, as well as other pedestrian and traffic improvements, the Public Works Department was designated as the lead agency. Jadia Wu supervised the design process and Randy Mach provided on-site, construction supervision.
The primary contractor was Ray's Electric owned by Oakland native, Greg Gruendl. The construction foreman was Luke Middleton.
The successful conclusion of the park project was due in large part to the ongoing support and encouragement of District 2 Council Member Danny Wan whose advocacy of Measure DD further underscored his commitment to park improvements. His Chief of Staff, Pat Kernighan, also played a quiet, but pivotal role working adeptly with city staff, the architects and the community.
The October 20, 2003 Grand Opening Celebration for the newly improved Splash Pad Park was eagerly anticipated by the entire community — but especially so, by the vendors and patrons of the weekly Farmers' Market who had been banished to the parking lot under the freeway for a full year while construction was ongoing. October 20 was to be our day in the sun and that turned out to be quite literally the case as temperatures zoomed into the 90's.
When the fountain was switched on, dozens of little ones stormed the fountain while speaker after speaker marveled at the weather and the size of the turnout and outdid one another with superlatives extolling the new park and the process which brought it to fruition.
[tab title="Names in Lights"] In early 2002, when park supporters learned that the "Fountain Wall", a central feature in Walter Hood's tentative plans, had been axed due to a shortage of funds, they made a commitment to raise the necessary funds. Some of the $50,000 goal was reached through the sale of "Splish Splash, Thanks for the Cash" t-shirts and a much more substantial amount through major donations from Safeway, Albertson's, The Marin County Farmers Market Association (now AIM), The Public Financial Management Group and Grand Lake Neighbor, Gordon Shell. Those donations are memorialized through a bronze plaque that is mounted to the left of the fountain.
The major portion of the funding, however, came through donations for the, "Names in Lights" panels – an idea that Hood came up with on the spur of the moment. Names, logos and messages from over 300 businesses, individuals and families were cut with water jets into 1/4 inch high density steel. Two of those donations merit special mention. Lakeview School raised $500 in the space of a week in a campaign that was orchestrated by one of their teachers, Michelle Lewis. Equally appreciated was a donation from Lakeshore Avenue Baptist Church whose message etched in steel reads, "We Believe in this Community". In addition, the church hosted all the major Splash Pad Meetings as part of an "Open Door" policy that continues to this day.
Fundraising Committee members included campaign treasurer, Liza Calef, Lou Grantham, Thomas and Maxine O'Guinn, Jennie Gerard, Mary Ellen Navas and Leasa Sutliffe with an assist from Linda Kiehle, Shanti Corrigan, John Pendleton and James Dinh. They also had the invaluable assistance of their fiscal sponsor The Friends of Oakland Parks and Recreation.
The Names in Lights panels were officially dedicated with a well-attended, lighting ceremony on January 10, 2004 that was documented with photos by Miron Murcury.
As construction plans for the new park were being finalized, the Splash Pad Neighborhood Forum learned that the amount of proposed landscaping would be minimal due to a shortage of park maintenance staff. As a compromise, Walter Hood and the City agreed to add a lineal, 1400 square foot California Native Garden that the community would plant and support. Tora Rocha ( then a City Gardener and until late 2017, a Park Supervisor), Michael Sasso (then owner of Potrero Gardens) and Tom Nelson (Manager of Ace Grand Lake Ace Nursery), put together a plant list and Mary Ellen Navas solicited donations. On October 4, 2003, over twenty enthusiastic volunteers landscaped the entire bed in one morning. One hundred per cent of the plants were donated. Donors included Michael Sasso, the Grand Lake Nursery, the California Horticultural Society, Emerisa Gardens and Sebastapol Growers in Santa Rosa, the Suncrest Nursery in Watsonville and the Native Sons Nursery in Arroyo Grande.
The majority of what was planted in 2003 is thriving — but over time, additional California natives have been added to fill holes in the landscaping. In 2014, Splash Pad's "Grand Crew" team of volunteers, under the leadership of Mary Jo Sutton, began expanding into three adjacent Dogwood beds – the last and largest of which was landscaped in 2017. Much of the funding for these expansion projects was provided through grants from Keep Oakland Beautiful. In 2018, the Grand Crew's goal is to install plant tags, brochures and interpretative signage with funding again provided by KOB.
The shortage of park maintenance staff is more critical than ever and the ongoing success of the California Native Garden is wholly dependent on volunteer support. If you'd like to volunteer for a 4th Sunday work day, please email info@splashpad.org.


text:
Miroshga divers honoured:
The team of Police and METRO rescue divers who were at the front of a major Sea Rescue operation in October 2012 to rescue three women who were trapped under the hull of Hout Bay charter boat Miroshga have been honoured by the Centrum Guardian Project. The divers were chosen as finalists in the project which honours the bravery of those who work in rescue.
Emotions ran high when two of the women who were rescued were brought onto the stage at the ceremony yesterday ( 13 September). Bronwyn Armstrong, was pregnant when she was rescued. There was hardly a dry eye in the audience when she, with her baby Lexie, and Anna-Marie Wevers were brought onto the stage and thanked their rescuers.
These pictures are available for download on Sea Rescue's Flickr page.
The Police and Metro divers who rescued three trapped women from the upturned hull of the Miroshga off Hout Bay in October 2012 were honoured by the Centrum Guardian Project. Survivors Bronwyn Armstrong with baby Lexie and Anna-Marie Wever were at the awards to thank the team. Picture Andrew Ingram/NSRI
METRO diver Fabian Higgins with Bronwyn Armstrong and her baby Lexie. Picture Andrew Ingram/NSRI
The winner of the Centrum Guardian Project 2013 was Team Focus – Bus Tragedy in Meyerton
Team Focus – a group of fire fighters and medical crew involved in a bus accident rescue in Meyerton – was announced as the winner of the Centrum Guardian Project 2013 at a prestigious awards ceremony held at Emperor's Palace in Johannesburg on Thursday 12 September 2013.
The Team Focus group (including fire fighters from the Meyerton Fire Station and medical personnel from ER24, Gauteng Emergency Medical Services, Netcare 911 and Vaal Emergency Ambulance Services) was called to a bus accident in the early hours of a wintry morning. An intense, six-hour operation left seasoned rescuers saddened when 19 people died and 53 were injured. In an accident that nobody – crews, family members and all of South Africa – wishes to see repeated, rescuers used every bit of stamina, training and apparatus at their disposal to save lives and deal quickly with injuries.
Team Focus has won R10 000 in prize money from Centrum® that will be divided amongst the individuals in the team. In addition, the team's base stations have won R35 000 from Centrum®, R15 000 from One Lady and a Tribe and R10 000 from Enkosi Agency plus proceeds from SMS votes. This means that the base stations have won a grand total of R61 009 in prize money. The remaining finalist teams each received R2500 from Centrum® and each person received a six month supply of Centrum®.


text:
Q: Arguments passed to C program change when using the asterisk symbol I have a simple C program where I want to print the names of all files with some extension. I would provide a path and extension as parameters to the program.
I decided to make a simple main to check my idea.
When I run my program with command ./main *.txt, and if there are no .txt files in that directory, my program will output just *.txt. And where there are two files, for example, file1.txt and file2.txt output will be file1.txt and file2.txt. Also, a number of program arguments is changed too.
Here is my program
#include <stdio.h>

int main(int argc, char* argv[])
{
    if(argc < 2)
    {
        printf("Missing file arguments\n");
        return 0;
    }

    printf("%d\n", argc);

    for(int i = 1; i < argc; i++)
    {
        printf("%s\n", argv[i]);
    }
    return 0;
}

Can you explain to me why is this happening, and what would be the correct approach to do this?

A: I assume you're on Linux, where expansion of special characters such as * is done by the shell. That means that if you execute your program as e.g.
> ./myprog *.txt

it is the shell which expands *.txt into "all files in the current directory which end with .txt" and passes that as command-line arguments to your program. If you want your actual program to get hold of the unexpanded string *.txt, you have to escape/quote it somehow, like this:
> ./myprog '*.txt'

or
> ./myprog \*.txt

A: Your program doesn't check anything in the file system, but prints the arguments it was given at the command line.
argv is the array of the command line arguments - that why when you pass *.txt it just prints *.txt


Coating the tomatoes in a salty,tangy liquid mixture before grilling makes for a deeply flavorful end result. Recipe here.
No need for added sugar or cheese when you cook your vegetables and unrefined grains just right. Recipe here.
If you don't jibe well with dairy, go ahead and leave off the cheese. Recipe here.
Put away that pot of boiling water and prep your potato salad on the grill instead. Recipe here.
If you're dealing with picky eaters,the best thing about foil packets is that you can personally customize them.
Grilled fries, basically. Recipe here.
If you can't find starfruit, substitute thin slices of your favorite fruit. Apples,pears, mangoes,or peaches would be great. Recipe here.
At first glance it seems radical. At second glance, it seems like a very good idea. Recipe here.
Glad we're all finally coming around on the whole saturated fat thing. I fall that marbling freaks you out,opt for hanger, skirt,or flank steak instead. Recipe here.
So much sweetness. Naturally. Recipe here.
Lobster rolls are fine, but they really don't compare to eating the stuff straight outof the shell. Recipe here.
For the cleanest kebabs, use ham that's freshly sliced at your local deli counter. Preferably low-sodium and sugar- free. Recipe here.
Who needs mayo when you have perfectly grilled, in- season corn? Recipe here.
Stick it to the carnivores. Recipe here.


Halitosis is the clinical term for the condition otherwise known as bad breath. Bad breath can cause someone to become self-conscious, inhibit their personal relationships in social and professional settings, or be a sign of an underlying health condition.
Bad breath may be evident first thing in the morning or more persistent and last throughout the day. It is thought that as many as 50% of adults may be affected by bad breath. Most bad breath bacteria originate on the tongue.
Bad breath is typically due to poor oral hygiene, but if halitosis persists then it may be due to other factors. Drainage in the back of the throat from allergies or sinus infections can cause bad breath. If active gum disease is present, halitosis will most likely persist until the condition has been reversed.


text:
The Defensive Player of the Year Award is given annually to the National Lacrosse League player (not goaltenders) who is chosen as the best defensive player.

Past winners

References

Defenseman

redpajama_set_name: RedPajamaWikipedia


Client's Request: My Bougainvillea is five years old, but it has never bloomed. What should I do?
MGCC Help Desk Response: Thank you for contacting the UC Master Gardener Program Help Desk with your question about your non-blooming Bougainvillea. Based on the fact that your plant is five years old and hasn't bloomed, we find there are a few things to consider.
First, the Sunset Western Garden Book says that these vines need to be planted on a protected warm wall or the warmest spot in the garden. If they get by the first winter or two, they will be big enough to take most winter damage and recover. They do need full sun and the definition of "Full Sun" is at least six hours of sun per day. We think you may need to consider carefully relocating your plant to a sunnier area for better bloom results, or you might also consider transferring your plant to a large pot and locating it in a protected yet sunny location on a patio. Bougainvillea do not like to be moved, so if you decide to do this, make sure to dig out as much of the root ball as you can in order to lessen root disturbance.
Second, for great color and abundant blossoms, it is recommended that you feed your plant. According to our research, hibiscus or Bougainvillea food are a good choice for Bougainvillea because of the inclusion of iron and other micro-nutrients these plants need. If you use other types of fertilizer, read your fertilizer label and make sure that the first number is lower (nitrogen amount) and follow the directions for application. The (higher) nitrogen content of the fertilizer you use may be what is causing your vibrant flush of green leaves and no flowers!
Third, Bougainvillea are drought tolerant once they are established. However, they like to be watered deeply and then allowed to dry out. They do not like wet soil, so drainage is important whether you plant them in the ground or in a pot. If you plant in a pot, do not use a saucer or water dish. Too much water or waterlogged roots can cause bracts to drop, or your plant to stop blooming completely.
Finally, Bougainvillea bloom on new wood so pruning and pinching are important. Pruning can be done at any time of the year, and is used to shape the plant. Bougainvillea can be pruned hard to restrict growth, and stems can be pruned to create branching. Shaping your plant depends on if you want it to grow aggressively for a hedge, or vertically to cover a trellis, or want it to be full, bushy and overflowing for a pot. Pinching is also important. Pinching is the method of removing the soft, growing tips of young plant stems to encourage fuller growth. The more you pinch, the more your bougainvillea will branch and bloom, so prune and pinch after a flowering cycle has completed.
One cultivar that many gardeners are able to grow successfully in Contra Costa County partly due to its frost hardiness: Bougainvillea 'San Diego Red' is evergreen and grows to 15–30' tall. 'San Diego Red' is one of the most cold-tolerant Bougainvillea available with lipstick-red bracts. It is known for its ability to cope with the occasional freeze; it has been noted as hardy down to 20°F.
Good luck with getting your Bougainvillea to bloom! These lovely plants are definitely worth the effort to grow!
Mark your calendars now! Our popular Fall for Plants gardening workshop will be returning to Walnut Creek on Saturday, September 8. For more information, visit the event main page and the workshop program page.


Two days ago, Andrew Garfield was asked whether Miles Morales, a half-black and half-Hispanic teenager who became Spider-Man in the "Ultimate Spider-Man" comics, can co-exist in the same cinematic universe as Garfield's Spider-Man.
Garfield said that anyone can be Spider-Man. "A hero is a hero, whether you're a man, woman, gay, lesbian, straight, black, white or red all over -- it doesn't matter," he explained, adding that having a black Spider-Man is "a really important move."
"The Amazing Spider-Man 2" producer Avi Arad disagrees, stating that Miles Morales will never be Spider-Man in the movies. "No," he said. "The one thing you cannot do, when you have a phenomena that has stood the test of time, you have to be true to the real character inside - who is Peter Parker? What are the biggest effects on his life? But to have multiple ones... I don't know if you remember, but Marvel tried it. And it was almost the end of Spider-Man."
f*ck YOU ANDREW GARFIELD! I like him as Spider-Man but f*ck all his Spider-Man statements, what a f*cking c*nt honestly, he changes them every few months too that prick.
Miles Morales was almost the end of spiderman, but having Otto Octavius essentially "kill" him, take over his body, and essentially sh*t on 50 plus years of storytelling didn't? I sense hidden racism here.
Whatever Spider-Man died with Spider-Man 3 anyway. The last two where terrible. Boring as f*ck. They lack the imagination to top Spider-Man 2.
"They lack the imagination to top Spider-Man 2."
After black-latino mix, I think Marvel should create an arab-chinese spiderman.
Producer Says Miles Morales Will NEVER Be Spider-Man .... which goes to prove this point: Avid understands that Miles Morales is a f*ckING CHARACTER FROM A COMIC BOOK.
ALTHOUGH TECHNICALLY HE HAS BEEN SPIDERMAN. JUST IN COMIC BOOK FORM.
Why is this news? Of course Avi Arad disagrees, he is from Israel. That is as jewish as you can get and thanks to Donald Sterling we are seeing the true colors of the chosen people. The earth is round and fire will burn you.


Change of location, same sick event.
Check out all the hammers that went down last weekend at Dachstein!
The 10th anniversary edition of the O'Neill Pleasure Jam powered by Opel saw some massive park action!


text:
Sumber Bandung is een bestuurslaag in het regentschap Pringsewu van de provincie Lampung, Indonesië. Sumber Bandung telt 1323 inwoners (volkstelling 2010).

Plaats in Lampung


text:
Feb 5 Mitt Romney: "I Won't Bribe Voters With A Handout". President Obama's Comprehensive List of Accomplishments in Helping the Poor.
"Accomplishments", "Barack Obama", "Democratic Party", "Election 2012", "Mitt Romney", "Poor people", "Poverty", "Republican Party"
Crossposted from ThisIsOurTime Blog
Somebody, please tell Mitt Romney that caring for the poor is not bribing for votes. I don't know about you but I still have a problem with the "I am not concerned about the very poor" statement made by Mitt Romney. I think it is despicable and un-Americana. I know when the going got tough for Romney, he said he misspoke but I really do believe that Romney was speaking from the heart all along.
Well, it is tough to know which side of the issue Mitt Romney is but Rachel Maddow had done a great job unmasking Romney's fake behaviors and beliefs on her show (click the link for a must watch video from a couple of days ago). She, just as I believe, feels that his behavior "was not so much a misplaced set of words as it was a real statement of beliefs" and he demonstrated what he really feels about the poor during the Nevada caucus victory speech Saturday night when he pretty much called the President an "entitlement" President just like Newt called the President a "food stamp" President not so long ago.
Here is the deal, if you care for the poor, you wouldn't use their needs to score political point by belittling or demonizing them as if helping the poor is a crime or un-American. This is what Mitt Romney said in his victory speech in Nevada:
I will not attempt to bribe the voters with promises of new programs, new subsidies, and ever-increasing checks from government. If this election is a bidding war for who can promise the most benefits, then I'm not your President. You have that President today.
I think it is clear that Mitt Romney has a "state of believe" that perceives poor people as problems and painting President Obama as an "entitlement President" is a give away as to what he believes deep in his heart.
Well, the best way to weed out the nonsense is to ask what will Mitt Romney do for the poor because I don't believe he will make helping the poor a priority as President Obama has made. I have compiled President Obama's Accomplishment on reducing and assisting people that have become victims of the increased poverty made worse by the economic crisis and these are things Mitt Romney will never try to do if he becomes President:
1) A $20 billion increase for the Supplemental Nutrition Assistance Program (SNAP), formerly known as Food Stamps. [It seems like the President considering the rise in the poverty level (46 million Americans) is trying to help those who are struggling in this economy but they call him a Food Stamp President.]
2) A $1 billion in funding for the Community Services Block Grant (CSBG) that is intended to revitalize low-income communities via "Job training and placement assistance", "Financial literacy programs", et al, to helping families become self-sufficient.
3) A $2 billion in new Neighborhood Stabilization Funds that will allow ailing neighborhoods be kept maintained.
4) A $1.5 billion in Homelessness Prevention Funds to keep people in their homes and prevent homelessness.
5) A $5 billion increase for the Weatherization Assistance Program to help low income families save on their residential energy expenditures by making their homes more energy efficient.
6) A $4 Billion program, The Healthy, Hunger-Free Kids Act of 2010, "authorizes funding for federal school meal and child nutrition programs and increases access to healthy food for low-income children."
7) As part of the HCR bill, subsidies will be available to the uninsured and families with income between the 133 percent and 400 percent of poverty level($14,404 for individuals and $29,326 for a family of four).
8) Estabilished Open Doors to end the 640,000 men, women and children who are homeless in America by 2020.
9) Increased the amount of federal Pell Grant awards so that funds are available to those with less access to have opportunity.
10) Provided $510 Million for the rehabilitation of Native American housing.
11) Expanded eligibility for Medicaid to all individuals under age 65 with incomes up to 133 percent of the federal poverty level ($14,400 per year for an individual).
12) Providing assistance to low-income workers through the Earned Income Tax Credit giving millions of working families the break they need.
13) Education being the way out of Poverty, kicked off the "Race to the Top", a $4.3 billion program, that rewards via grants to States that meet a few key benchmarks for reform, and states that outperform the rest.
14) Extended Unemployment Benefit to 7,000,000 Americans worth $56 Billion.
15) Invested $2.5 billion in HBCUs and minority-serving institutions and doubled funding for Pell Grants their students rely on.
16) Saved more than 1.4 million jobs in the auto industry.
17) Passed the Affordable Care Act, extending health coverage to 30 million Americans, 7 million more African Americans and investing $10 billion in Community Health Centers to expand medical services.
18) Passed a a 2% employee-side payroll tax cut for over 155 million workers.
19) Created the Race to the Top Fund, a $4.35 billion program to reward States that submit the best proposals for change.
20) $275 billion dollar housing plan - $75 billion dollars to prevent at-risk mortgage debtors already fallen victim to foreclosures and $200 billion to bring about confidence to offer affordable mortgages and to stability the housing market.
Note: Permission is granted to republish the above accomplishments.
Feb 6 The Susan G. Komen Foundation Thinks You're Stupid
Feb 4 Capitalism - GOP Style - with bonuses that are not bonuses
Sep 9 How Could Americans Forgive a Republican Party That Is So Interested In Seeing More Americans Out of Job For Political Gain?
Aug 13 Mitt "The Lubricated Weathervane Candidate" Romney's 18 Flip Flop Positions with Videos. Who is Mitt Romney and Can You Really Trust Him to be Your President?
Feb 2 Mitt Romney Does Not Give A $hit About The Very Poor


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Lil Durk sells 23,000 copies in FIRST DAY, with "The Voice" album, and now says he deserves 200K a show
We The Commas talk "The RZN," George Floyd, the civil unrest, their music, healing, and more | HHV On The Rise Interview
By Jay Rich
A veteran in the game, Lil Durk ended up being the ultimate winner, from the wave of Chicago rappers, who entered the game in 2012. At the time, others had bigger movements, but Durk did business. He signed with Def Jam and was co-signed by French Montana, early on.
Lil Durk would eventually decide to leave Def Jam, going back to being an independent artist. However, his time off the major allowed him to discover King Von, helping him get shine. Unfortunately, King Von would have his life cut short.
Turning his pain into music, Lil Durk was reeling from King Von's death, when he recorded The Voice. Released on Christmas Eve, the album actually sold 23,000 copies in one day. Because of this, Lil Durk is now saying that he deserves $200,000 a show, since his stock is hot and rising.
See Lil Durk's IG Story and read his tweet below:
Source: Hip Hop Ties
Follow Hip-HopVibe.com on Twitter @HipHopVibe1.
Related Topics:christmas 2020, def jam, french montana, jay rich, king von, lil durk, the voice (lil durk)
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CORRECTION: Teairra Mari's boyfriend is not named Britt, his baby mama is, and she is Ari's manager; @ninotaughtyou is his IG handle