text:
A.i.A. Guide
Notes on Gesture
By Alex Kitnick
Alex Kitnick
More Stories by Alex Kitnick
THE CRITIC Harold Rosenberg thought painting provided a place to act. Writing in Artnews in 1952 he called midcentury painters—one thinks of Pollock and de Kooning, though Rosenberg didn't mention names—action painters. In fact, American Action Painters. The phrase has the ring of politics to it. Painters taking action. A political action committee. A painting action committee. They were irascible after all.
Contained within this notion of action was the idea that painting served as an arena where artists displayed gesture—it was the place to twist and turn, flick and fling. "The gesture on the canvas was a gesture of liberation," Rosenberg claimed, "from Value—political, esthetic, moral."1 It became a place to practice the idiosyncrasies of the self. While gesture and action are not unrelated, gesture figures the body in different ways; it's less definitive, perhaps less determined and intentional. You take action in the public sphere, but you gesture across a table. All the same it is thought to communicate—to express—something of an inner self. When Irving Sandler published The Triumph of American Painting: A History of Abstract Expressionism in 1970, he divided the movement into gestural painters and those committed to color field, big blemishes of chroma, in which the trace of the brush was seldom seen. Those were the two camps. Action receded. The political moment had changed.
A year later, in May 1971, the Whitney Museum of American Art opened an Andy Warhol retrospective on Madison Avenue; he'd had another, related retrospective at the Tate Gallery in London earlier that year, but this was his first full-dress showing in a New York museum. The '60s were over, Warhol had been shot by Valerie Solanas in 1968, and while the Whitney show was a midcareer survey (Warhol was forty-two), it also marked the end of an era. His exhibition "Flowers," at Sonnabend Gallery in Paris in 1965, presented versions of the same floral image, its rubric grabbed from a magazine and screen-printed with different colors. That itself might have been enough of an assault on tradition (even if he did say it with flowers), and Warhol claimed he was stepping away from painting. Then, in April 1966, he pulled painting apart in an exhibition at Leo Castelli Gallery in New York, fixing Cow Wallpaper to the gallery walls and floating silver balloons in the air, some of which escaped out the window. Figure and ground each went their own way, and gesture seemed to disappear, at least the kind that had previously gone into painting. (Warhol had been driving it out ever since he started the silkscreens in 1962.) The Castelli show was supposed to mark the end of paint and canvas. Warhol had been getting more involved in filmmaking, though he was threatening to retire from that, too. In 1969 he started Interview magazine. He was getting into all sorts of industries, and as he did so he was also rethinking gesture.
Cow Wallpaper returned in the Whitney show (apparently Warhol wanted the exhibition to be just that), and though it was ultimately set off by big paintings of flowers gridded together and, of course, Marilyn and deaths and disasters, it was also clear that painting, or even Pop art, was now only one thing Warhol did. Being an artist no longer meant producing paintings or sculptures or even artistic environments: it meant cutting a certain figure in the world.
Vilém Flusser claims that "a gesture is a movement of the body or of a tool connected to the body for which there is no satisfactory causal explanation."2 It's characterized by a certain amount of excess—a bodily excess that exceeds explanation. Flusser continues: "If I raise my arm, and someone tells me the movement is the result of physical, physiological, psychological, social, economic, cultural, and whatever other causes, I would accept his explanation. But I would not be satisfied with it. For I am sure that I raise my arm because I want to, and that despite all the indubitably real causes, I would not raise it if I didn't want to. This is why raising my arm is a gesture."3 In other words, a gesture is not reducible to X, Y, or Z forces. It is not simply symptomatic. It is an active representation of a state of mind, which can take any number of forms. If gesture in the realm of art connected to bodily movement, it soon began to have more to do with a state of consciousness: it was no longer constricted to the way one put paint on canvas but extended to the very way one might move through life. (One might say that gesture became a starting point, that it became performative, that its goal was to elicit a response.)
THIS IS ALL TO say that we have to understand Warhol's self-presentation, or persona, as yet another object to be plumbed for meaning. The idea that Warhol had many different selves has been long acknowledged. In the May 1987 issue of Art in America, Thomas Crow wrote of the "self-created" Warhol, which was "the product of the artist's famous pronouncements and of the authorized representations of his life and milieu,"4 but he does this primarily to set it aside. More and more it seems difficult to pry this apart from Warhol's other creations, though this does not mean one need fall into clichés about "passivity" or "impersonality." Too often, Crow argues, Warhol controlled the interpretation of his work while famously ceding control over the actual production of objects, but perhaps we also need to expand our understanding of what his work comprised.
A.i.A. dedicated its May–June 1971 issue to Warhol, putting a close-up of the artist's face on the cover. Warhol receives the Warhol treatment. His face appears silkscreened, dissolved, almost eaten away. The pupils of his eyes stand out like black holes; his lips are invisible, his mouth only a dark crease in the middle. His eyes look just to the side, slightly bewildered, his hair parted and combed over. As one contributor to the issue, Mary Josephson, noted, "in a peculiar act of genius Warhol has made his own face the pane of glass and mirror, the 'medium' for his medium—the context through which he maintains his absolute psychic neutrality, moral, emotional, esthetic."5
Inside, Leo Castelli ran a half-page ad showing Cow Wallpaper covering his gallery in April 1966, reminding readers of Warhol's last radical move, one that also suggested that certain anxieties about the fate of modern art had come true: Rosenberg worried over the fact that Abstract Expressionism had been reduced to "apocalyptic wallpaper" and he had ended his essay on the action painters lamenting the fact that collectors now purchased an artist's essence rather than a work of art. Certain writers approached the problem of painting by veering in other directions. David Bourdon contributed an article on Warhol as filmmaker, looking at his oeuvre from the early black-and-whites like 1963's Sleep (more talked about than seen, Bourdon says) to the later narrative films made with Paul Morrissey. Joseph Masheck wrote about Warhol as illustrator, examining the line drawings he made for Amy Vanderbilt's Complete Cookbook, a recipe manual by an etiquette maven, published in 1961, noting the omission of fingernails on the female hands shucking oysters and comparing a drawing of four cake tins to work by Cézanne.
Carolyn Betsch, who was credited as a researcher on the magazine's masthead, contributed a one-page article (a timeline, an early listicle) called "A catalogue raisonné of Warhol's gestures."6 Catalogues raisonnés are typically the most traditional kind of art historical exercise, locating every painting, sculpture, and drawing for posterity and study. "Gestures" are not typically given such treatment.
But what is a gesture? What did it mean at this moment? And how are we to understand it in art outside of painting? How are we to understand it from the examples on Betsch's list?
1949: Warhol, having arrived in New York, soon changes his name from Warhola to Warhol.
So a gesture might be something one does to oneself, self-care or self-grooming. It modifies appearance. It cleans up, crops, shortens. It assimilates, Americanizes. It makes something into two syllables instead of three. It makes things memorable. It catches on.
1950s–60: Warhol involved with commercial design: stationery for Bergdorf-Goodman, Christmas cards for Tiffany and Tiber Press, record jackets for Columbia Records, television weather charts. These can be considered gestures if making a living, or living itself, is a gesture for Warhol.
Living as gesture. Gesture as life. To be without gesture is to be without life. But life here is not breath or spirit, but business full blast.
1962: Warhol assumes costume of black leather jacket and silver sprayed hair.
Gesture as style.
1965: At Paris exhibition of "Flowers," Warhol makes the statement "I'm retiring from painting."
Making a statement is a gesture whether or not it turns out to be true.
1966: At a press conference in San Francisco on KQED, Gerard Malanga and Nico answer questions directed to Warhol, who remains silent. This seems to be the first event of a continuing style of allowing other people to speak and act for him.
This might be the beginning of Warhol's inversion of gesture, or anti-gesture. By becoming still you let others gesture for you, or you bring out and highlight the gestures in others. You allow gestures to become visible. Warhol's great passivity, then, was not a coldness, but a light. It brought out the personality of others. "There is complete unanimity in the Warhol company that performers should be capable of making up their own lines," Bourdon writes in his article. "'How can people read other people's words?' Warhol asks. 'It sounds so phony.'"7 Giorgio Agamben claims that "in the cinema, a society that has lost its gestures tries at once to reclaim what it has lost and to record its loss."8 So perhaps Warhol's early films in particular are dense archives of images—they capture what is no longer available in the world outside.
1971: Warhol creates new Bertillon system. "One of my friends usually accompanies me around New York where we take ink-pad impression of the male or female breast. You can make a book about it. The impressions are like a person's signature. We are hardly ever rejected, because you can slip the ink pad under a shirt or blouse." (Cosmopolitan, February 1971)
Alphonse Bertillon (1853–1914) was the French police photographer who innovated biometrics and the mugshot; he wanted to keep tabs on the population by measuring the distances between the features of a person's face. Warhol as cop? Warhol had assembled large-scale portraits of the New York Police Department's thirteen most wanted men at the New York world's fair in 1964 before officials ordered them painted over, but here another kind of forensics is taking place. Breasts are somewhat ludicrous to print, though I'm not sure how they stack up against fingerprints. There's an indexical logic to all Warhol: film, photograph, and print show up on a surface. Warhol was always looking out for other forms of identification besides those issued by the state. (But perhaps only to say, "That's not me.") He was also ripping off Brigid Berlin, who was famous for her "cock books" and compendiums of scars. Record, record, record. Be a blank so others can fill in. Perhaps that was another gesture.
1967: At a lecture at Drew University in Madison, New Jersey, accompanied by five uninvited friends, Warhol marches onstage and declares, "I really wasn't prepared to speak this evening, you know," then lapses into silence, letting his friends answer questions for him.
1968: Warhol appears at the Moderna Museet in Stockholm for his show there. "I was going to send someone that looked like me. It worked before." His plan was aborted when he realized that he has known the director of the Moderna Museet since the early sixties. This can be construed as an aborted gesture.
That an artist's work might take the form of gestures echoed in the issue's lead article, "Warhol: The medium as cultural artifact," the aforementioned piece by Mary Josephson, which turns out to be an alias of Brian O'Doherty, A.i.A.'s editor and an artist in his own right. The question of medium was at the forefront at this moment—the '60s had seen the emergence of mixed media and new media, as well as Marshall McLuhan's theses—and O'Doherty considers the concept in various ways. (The high modernist medium-specificity of Clement Greenberg and Michael Fried hovers somewhere in the background as well, though it never gets stated directly.) Some of his argument verges on the metaphysical: "What I am really saying is that the medium does not exist except in potential; it is always about to become, it never is—for the very action or work that describes it in turn prevents its definition."9 It is not so much that the medium is behind us, but in front of us, always ready to be put to work. It is not so much that we are in a post-medium condition, in other words, but rather that the medium itself has changed, shifting from material to artists themselves. The medium acts as an intermediary much like a psychic does. Energies pass through it in order to become visible. "The perfect medium appropriates events, people, ideas, and other media," O'Doherty writes. "We realize that anything can be done through him, but nothing defines him."10 Ultimately, O'Doherty claims Warhol's "consciousness as medium." This also expanded the parameters of art. "Is not the move away from the gallery an attempt to prolong it by making the world a gallery?,"11 O'Doherty asked in an editorial at the front of the issue, penned in his own name, suggestively titled "What is Post-Modernism?"
O'Doherty worked through similar ideas in his own art and writings. Something about his shuttling between personae—from O'Doherty to Josephson to his artist alter ego Patrick Ireland, a name he took in 1972 to protest the killings on Bloody Sunday—suggests that different consciousnesses had different effects. But, of course, there's a history here, too. The Surrealists also figured themselves as transmitting devices: Max Ernst rubbed the floorboards of his hotel room and André Breton encouraged all his disciples to put themselves in "as passive a position as possible," as he put it in his 1924 Manifesto of Surrealism, in order to write automatically and bring all their buried thoughts to the surface. Perhaps passivity is mediumistic. Perhaps Warhol is more of a Surrealist than we had imagined.
In an article in the May 1980 issue of A.i.A., published to coincide with a second Warhol exhibition at the Whitney, dominated by his society portraits of the '70s, critic Peter Schjeldahl observes that "Warhol's moral magic has drastically diminished." While it's arguable whether morality was ever one of Warhol's qualities, Schjeldahl's point is that Warhol's gestures were becoming harder to discern. "His world has caught up to (and on to) him; now his passionate avarice, fame-love and workaholism merely reflect his surround." Warhol wasn't just channeling the impulses of his time, he was getting lost in them, just like everyone else: "In the '80s it seems the thing for everyone to have a job, or at least to look busy."12
1968: On June 3, Warhol and Mario Amaya were shot by Valerie Solanas at the Factory on Union Square. This can be considered a reverse gesture.
Gestures beget more gestures. They vector out and across in constellations. They deflect. They land in strange places.
Let me conclude by adding one more date to the timeline, a date that comes a little less than ten years after the last on Betsch's list. Jeffrey Deitch writes an article titled "The Warhol Product" for A.i.A.'s May 1980 issue. The bio is worth noting: "Jeffrey Deitch is an investment advisor who received a 1979 NEA art critic's fellowship." Deitch situates Warhol within what he calls the "art experience economy" and talks about how Warhol worked the floor at Studio 54 "just like Roy M. Cohn" in the "post-counterculture, post-Vietnam era."13 Deitch is canny about transformations in the art market and how they go on to affect what artists do. Art is now seen as three things, Deitch writes: "art as an investment, art as corporate public relations, and art as an arena of advanced consumerism." All three angles tilt toward the market. To say that art's utopian potential was on the wane at this moment would be an understatement. But what strikes Deitch as important is Warhol's ability to operate shrewdly in this field. (He strikingly likens Warhol to Christo and Hans Haacke as artists who conceive their work in terms of economic realities.) But the fact of art's monetization does not lead Warhol to simply churn out more product, though he was happy to paint a portrait for anyone who could pay the commission. As Deitch points out, "every public gesture he makes can be interpreted as an art gesture," whether that meant doing a spot for Pioneer Electronics or putting a friend's face on the cover of Interview. Warhol's gestures, however, didn't simply aestheticize life; he pushed art into life until they permeated each other completely, then he financialized the mix in turn. It was a new figure an artist could cut through the world. I think we're still struggling to understand what to do with it today.
1. Harold Rosenberg, "The American Action Painters," ArtNews, December 1952, p. 23.
2. Vilém Flusser, Gestures, trans. Nancy Ann Roth, Minneapolis, University of Minnesota Press, 2014, p. 2.
4. Thomas Crow, "Saturday Disasters: Trace and Reference in Early Warhol," Art in America, May 1987, p. 129.
5. Mary Josephson, "Warhol: The medium as cultural artifact," Art in America, May–June 1971, p. 42.
6. Carolyn Betsch, "A Catalogue Raisonné of Warhol's Gestures," Art in America, May–June 1971, p. 47.
7. David Bourdon, "Warhol as Filmmaker," Art in America, May–June 1971, p. 52.
8. Giorgio Agamben, Means without End: Notes on Politics, trans. Vincenzo Binetti and Cesare Casarino, Minneapolis, University of Minnesota Press, 2000, p. 52.
9. Josephson, p. 45.
10. Ibid.
11. Brian O' Doherty, "What Is Post-Modernism?," Art in America, May–June 1971, p. 19.
12. Peter Schjeldahl, "Warhol & Class Content," Art in America, May 1980, p. 117.
13. Jeffrey Deitch, "The Warhol Product," Art in America, May 1980, p. 9.
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The drier than average autumn has boosted sales at Duchy Timber with its range of garden furniture and fencing still selling well despite the winter approaching.
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The ongoing expansion of the Panama Canal will provide ports on the eastern seaboard greater access to trading partners across the Pacific Ocean. In particular, the Port of Gulfport is undergoing a $570 million upgrade to assist in handling increased traffic due to the canal expansion. Furthermore, the Port of Gulfport is anticipating increased trade with Russia after Russia joins the World Trade Organization reducing or removing tariffs on various Mississippi-made goods.


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Materials: Copy of Gingersnap (available at GYI); yarn, needles, and notions as per pattern.
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About Church Worship
Maverick City - A Hip-Hop Christian Music Ministry
Maverick City is a hip-hop Christian music ministry, based in Washington, D.C. It has received a Grammy nomination, several Billboard No. 1 albums, and toured with Hillsong Worship and Justin Moore. The group's founders, Jonathan Jay and Naomi Raine, are passionate about connecting people with God through their music. In addition to writing Christian songs, the group hosts weekly writing workshops and Bible studies. Maverick City Music is a Grammy-nominated, Billboard #1 worship group. Its first single, "Old Church Basement," features Maverick City singer Naomi Raine. The song is available on all streaming services. The two groups have collaborated on a live album called Jubilee, which is set to drop on April 30, 2021. Featuring songwriters including Justin Bieber, Nicki Minaj, and Taylor Swift, the album is a must-listen. Maverick City Music has released two CDs, 'You Hold It All Together' and 'Move Your Heart'. The first contains brand new songs for congregations to sing during the New Year, while the second is a collaborative EP with UPPERROOM. Both artists share a passion for embracing diversity in music and seek to write songs that have biblical roots.
During a time of great racial scrutiny, this band has emerged as a unique ministry in the city. The band has performed with artists such as Justin Bieber and Shawn Mendes, and has collaborated with Elevation Worship. The group's worship music has impacted millions of lives around the world. The group strives to keep its roots rooted in the bible while creating a powerful, soul-soaring experience. The group recently joined the Maverick City Music collective and is gearing up for the release of a live album. Read more about religions at https://www.huffingtonpost.com/topic/religion. Maverick City Music has released two EPs, Maverick City Vol. 1 and Maverick Town, and Maverick City Christmas. The first EP, 'Maverick,' was released in the month of April 2019 and reached No. 2 on the Billboard Charts. Both albums feature the songs 'Maverick,' 'You Hold It All Together', and 'Maverick City, Vol. 3 Part 1'. The newest release from Maverick City Music is a powerful collection of Christian music, rooted in the great tradition of American gospel music. The group, founded by Jonathan Jay, has over 100 Christian artists.
The group's unique style and sound has made it an essential part of the worship experience for churches across the country. Its fusion of styles and genres makes it a great fit for any church community, and the album is a great choice for a Sunday morning worship service. The band's music is deeply expressive. The band's members are Black, Latin, and White. Some of their most memorable albums feature hymns and praise songs. Many of these albums have a vintage gospel feel, and some are even aimed at a more mainstream audience. However, if you're looking for a truly inspirational church worship experience, Maverick City Music is a great choice. The songs are deeply expressive and rooted in love for God.
Finding a Non Denominational Church
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RyoHazuki
Oops Erroneous childhood belief no.72: all Minis were made by Austin :lol:
It might have been due to this episode of The Goodies:
http://en.wikipedia.org/wiki/The_Goodies_Rule_–_O.K.?
There was one other episode (I dimly recall) where Tim wanted to be PM, but I don't think much happened. Tim was quite obviously the 'Conservative' of the three.
Edit: It might have been this episode:
http://en.wikipedia.org/wiki/Goodies_and_Politics
rynner2
Great Old One
I have no recollection of Heath being PM: he was booted out just after my third birthday, and the earliest PM I can remember is a vague memory of Harold Wilson's final term.
You're confusing me now! I had to go and check on Wiki:
https://en.wikipedia.org/wiki/List_of_P ... th_century
Harald Wilson: Oct 1964 - Jun 1970.
Ted Heath: Jun 1970 - Mar 1974.
So it seems you remember Wilson's final year, but not Heath, who came after!
(My memories are more accurate, but I must be at least 20 years older than you. In 1967 I performed in a cabaret sketch about Wilson's devaluation of the pound. 8) )
David Plankton
Speaking of cars and erroneous childhood beliefs....
I used to think, for a very short time, that Ford Capris were driven exclusively by off duty coppers.
Likes: Schrodinger's Zebra
http://www.specsavers.co.uk
I take it that annoying cryptic remark (bare naked URL, no relevence to topic) is aimed at me.
So if you're implying that I missed Wilson's second stint as PM, you're right - I was at sea during those years, and had no time to keep up with shore-side doings. No newspapers, no internet, only used the radio for the shipping forecast!
(Missed Callaghan as well - was not back ashore until shortly before Maggie's election.)
davidplankton said:
Watched a lot of TV in the 70s, I take it?
RyoHazuki said:
That obvious? Zoinks!
...when you're a small child there is practically no lunacy of which the adult world seems incapable.
(Have just noticed this post.) Too right ! Also, this sentiment can carry on into later childhood.
At the (very minor) public school which I attended, the building devoted to music -- lessons, and practice, re same -- was called "Elgar House", this name displayed on a signboard in front of the building. I have never been much "into" music -- am next door to tone-deaf -- and when I started, aged eleven, in the preparatory department of the school concerned, I had never heard of Sir Edward Elgar. The name on the signboard was in Gothic / "black-letter" script, which caused me to misread "Elgar" as "Cigar". For my first few weeks at the school -- until I was informed otherwise -- I believed that the name of the music building was Cigar House. Had no feeling that there was anything particularly unlikely about this: adults frequently got up to crazy stuff, and public schools were famous for odd and idiosyncratic customs and usages...
Likes: Schrodinger's Zebra, GerdaWordyer and escargot
CALGACUS03
As a very (very) young child (we're talking last century here) I overheard the 'grownups' talking about a much loved brown Labrador dog called Trebor who'd been owned by my grandparents before I was born. The grownups were saying how sad it was that Trebor had been killed by a motorcycle.
Naturally, I knew that motorcycles were considered a somewhat risky mode of transport and this was around the time of the UKs 'helmet law' debate. I immediately formed the opinion that Trebor had been riding a motorcycle when he crashed and was killed. In my defense, this was about the period when kids my age watched Billy Smart's Easter Circus on TV, with dogs and monkeys doing all kinds of tricks. It made perfect sense to my 5 year old brain that a dog could drive a motorcycle.
I formed an immediate mental picture of a brown labrador astride a motorcyle, whizzing along, tongue lolling out the side of its mouth, sheer unadulterated glee in its eyes.
I soon realised that this couldn't happen. His legs couldn't have reached the pedals, and he couldn't possibly have worked the throttle and clutch/brakes with his paws. I came to my senses and realised he must have actually been riding pillion!
Cue several years when I thought Trebor was riding on the back of a motorcycle when he was killed!
Face-palms
Likes: Schrodinger's Zebra, maximus otter, Krepostnoi and 3 others
"Please don't allow your dog to hang its head out of the car window while driving."
Likes: CALGACUS03
Roger Nowell
Chief Scrobbler
East Yorkshire, England.
Daft stuff I believed as a child:
- that my great uncle Charles really did lose a race against a tortoise
- that 'apologising' had something to do with the jars for bottling apples, kept in our pantry
- swallowing chewing gum could be fatal. Shamefully I was in my mid 20's before I had that debunked
- that the Yorkshire Ripper (70's West Yorkshire serial-killer) would strike again at our travelling fun-fair. Mind you, our whole junior school class believed that rumour
When I was about 10 I had a friend on our street called Clive, he was 2 years older so I thought he knew everything.
One day I was starting a diary and I had to write personal information on a form in the front. I put my name address and phone number and so on, but it asked my blood group so I asked Clive what that was.
He said 'Urr, you're not a member of a blood group! They go around holding people down and taking blood from them.' So I angrily crossed out that line in the diary, indignant that anyone would think that I would be a member of a blood group.
Likes: Schrodinger's Zebra and Roger Nowell
maximus otter
Recovering policeman
I believed that water flowed inland from the sea via rivers.
Until I was in my late teens l believed that all girls could sing in perfect tune.
When l was a kid my mum took me to see my first ever film, the Disney classic One Hundred and One Dalmatians. I was a bit nervous apparently, so mum assured me: "It'll be funny, you'll laugh all the time!" I assumed that there was some unspecified but ghastly punishment for children who displayed insufficient amusement. Immediately on entering the cinema l began an unceasing, forced nervous laughter accompanied by terrified glances from side to side...
Likes: Schrodinger's Zebra, Swifty, GingerTabby and 3 others
Lol, when offered a bag of sweets (candy; for our North American brethren) the person offering would often say "take one or two". I took them at their word. I took either one or two sweets. No more. No less!
Likes: Schrodinger's Zebra, Swifty and escargot
Stanley Unwin enthusiasty. Deep joy!
At a very young age I thought chewing a pencil could be fatal. Mainly because when I was 5 years old, a school teacher noticed me with a pencil in my mouth and casually announced to the class that I was doing so but that 'it was alright because he'll die of lead poisoning'.
I also thought that Bob Monkhouse and Dec O'connor were the same person.
Likes: Roger Nowell
That one had to wait an hour after eating before going swimming lest you got a stitch and drowned. This was the bane of my young summers (as well as many other young Australians) as this was a common belief. Summer days at the pool or the beach often were met with cries of "I'm not hungry'' at lunch time otherwise you had to sit bored, counting the minutes down until it was safe to enter the water again.
Likes: Schrodinger's Zebra, CarlosTheDJ and ramonmercado
ChasFink
When I was a kid I believed the Castro Convertible sofabed company was owned by Fidel Castro. I thought it was a fine example of the American way that we let him operate in our country, even if we disliked his politics – the same way a Russian family was allowed to live next door to us, even though America hated the Russians. The Castro jingle, which seemed to pat the Soviets on the back in the time of the Cuban missile crisis, may have had something to do with it:
Who was the first to conquer space?
It's incontrovertible
That the first to conquer living space
Is a Castro Convertible!
I later realized that some would argue the US "conquered" space by progressing faster than the Russians in developing technology to land on the Moon. In fact, when I heard a TV commentator refer to the Cold War space rivalry as "the race to the Moon" I thought it was a literal race that was planned for when the technology was ready. I remember telling my mother that the park at the end of our street, situated on a cliff overlooking Long Island Sound, would be a great place to watch the rockets flying neck and neck, and once actually mistook two planes flying at night over the area as that very event.
And on an unrelated note:
maximus otter said:
When l was a kid my mum took me to see my first ever film, the Disney classic One Hundred and One Dalmatians.
That was my second film! My first was the Hammer version of The Mummy with Christopher Lee in the title role, which I referred to as the Boo-Boo Man, because of the bandages. I naturally thought he was the hero, and came up with a convoluted answer to how he survived after the end of the film.
EDIT: I guess I should explain that my parents took a two-year-old to a Hammer horror movie because my older cousin convinced them it was a historical film about Egypt!
Likes: EnolaGaia
Lord Lucan said:
My Mum applies this even when having a bath. I pointed out that it only applies when going for a swim.
Anonymous-50446
When I was a child I believed grown-ups were fair and honest.
Likes: maximus otter
Coal said:
I found out fairly quickly that they weren't.
Likes: maximus otter, Swifty and GingerTabby
Mythopoeika said:
Likewise.
Likes: GingerTabby
My belief was the opposite; I trusted no adult because if I spoke to one they'd tell my mother I'd been 'cheeky' and I'd be beaten again. Took me many years to realise what was really going on.
Likes: Anonymous-50446
I thought Bagpuss was brown or grey (misled by the sepia intro and a black and white TV). I was amazed when someone brought a garish Bagpuss into work from a McDonalds Happy Meal (early 2000's I think).
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Jepra Peld
Doolish
I believed that hairdressers could read your thoughts because they were so close to your head. I'm still not entirely convinced they can't.
We had a teacher at school who had two obsessions, The Great Fire of London and John Lennon's murder and so I always thought that they had occurred at around the same time.
I thought that John Noakes had stolen my mum's dog. I didn't realise that Shep was a common name for a dog. We had an annual with their picture on and I thought my mum was keeping it for evidence and sentimental value.
Finally a bizarre one and not one that I believed but which was fairly common at school, was that Scotland had different bra sizes and they were much bigger, so a 32A in England would be a DD in Scotland.
Likes: Schrodinger's Zebra, ramonmercado and Roger Nowell
Not one of mine but a friend's:
He confused prostitute with protestant and wondered what the IRA had against 'ladies of the night'.
Likes: Anonymous-50446 and pandacracker
My son (when aged 5 or 6) believed that dead people were thrown from speeding cars (he got it from watching too much TV!)
My own is a recollection I had from age 8 or 9, when we lived on a caravan site close to the ancient Gosfield Hall [https://www.wikiwand.com/en/Gosfield_Hall] in Essex. Our little gang of kids somehow acquired the belief the if we ran around a tomb in the churchyard (between the Hall and the caravan site) 13 times then knocked on it, the Devil would appear. We did it one night, ran around this huge monolith of a tomb 13 times when our courage failed and we fled home across the fields shrieking. Recently, my daughter got married in the Hall itself (a pure coincidence; she was not aware that I lived by there as a child), so I took the opportunity to revisit my childhood rout. Lo! that huge tomb we believed was the doorway to Hell was only a small, very ordinary unremarkable gravestone. Mind you, it could be a clever disguise.
Likes: Krepostnoi, maximus otter, Roger Nowell and 2 others
re: above post.
A friend and I tried walking round the local church, 13 times, as kids.
I don't know if we lasted the full circuit. I do know that - happily - the devil did not appear.
Bad Bungle
Dingo took my tray bake.
I read a feature in the Reader's Digest that stated the reason why women were more tolerant than men of the cold was because they had a naturally thicker layer of body fat for insulation. The story even came with a cartoon of a man dressed up in a coat and scarf in the snow, whilst the woman was posing in a bikini. Of course since growing up, EVERY woman I've met moans about being cold.
Bad Bungle said:
Men tolerate the cold better because they usually have more body mass, thicker skin and usually dress more appropriately (for the weather). And they are generally able to put up with a lot of hardship.
CarlosTheDJ
Likes: Peripart and ramonmercado


text:
Queerteori är ett samlingsnamn för kritiska perspektiv på sexualitet. Även om det inte är någon enhetlig teoribildning, finns vissa gemensamma utgångspunkter. En sådan är att "betrakta sexualiteter som socialt, historiskt och geografiskt konstruerade". Gemensamt är också studerandet av föreställningar om normalitet och avvikelse.

Till skillnad från den tidigare homosexualitetsforskningen, som kartlade homosexuellas liv och erfarenheter, betraktar queerteoretiker sexualiteten i ett bredare perspektiv. De vänder blicken från "de avvikande" och frågar sig i stället hur normer kring sexualitet uppstår, upprätthålls och förändras samt hur detta hänger samman med makt. Queerteoretiker är mindre intresserade av att skapa exakta definitioner av olika sexualiteter än att undersöka hur sexualitet "organiseras, regleras och upplevs" samt dess mångtydiga och svårgripbara karaktär och funktion i samhället.

Queerteoretiker anser inte att det finns någon naturlig sexualitet. Begreppen "man" och "kvinna" anses inte heller ha någon oföränderlig, enhetlig innebörd.  Centralt inom queerteorin är att studera heteronormen, dvs. den norm enligt vilken det enbart finns två tydligt åtskilda kön (män och kvinnor) som kompletterar och begär varandra.

En viktig utgångspunkt för den queerteori som utgår från Judith Butler är betonandet av att allt är socialt konstruerat. Den kritiserar uppdelandet av biologiskt kön och socialt genus, där det sociala genuset blir en följd av det biologiska könet. Istället betonas att uppfattningen av det fysiska alltid beror på den diskurs i vilken samhället talar om verkligheten och så också skapar verkligheten i två kategorier.

Ursprung och företrädare
Queerteorin har sina rötter i fransk poststrukturalism, lesbisk feministisk teori och gaystudier. Viktiga influenser är också Jaques Derridas tankar om dekonstruktion och Michel Foucaults förståelse av makt, kunskap och diskurs.

Begreppet queerteori myntades av filmvetaren Teresa de Lauretis på en konferens om homosexuell forskning 1990. de Lauretis ville med begreppet bland annat ifrågasätta homosexualitetsforskningens syn på lesbiska och bögar som enhetliga, stabila identitetskategorier. Tidiga verk som kopplas till queerteorins födelse är också Gender Trouble av Judith Butler och Epistemology of the Closet av Eve Kosofsky Segwick, båda utgivna 1990.

I Sverige introducerades queerteori 1996 i ett temanummer av tidskriften lambda nordica. Företrädare för begreppet i en svensk kontext är bland andra Tiina Rosenberg och Don Kulick.

Se även
 Queerfeminism
 Queer
 Heteronormativitet
 Genusvetenskap

Källhänvisningar

Queer
Genusvetenskap

Skolor inom litteraturvetenskap
Projekt HBTQI

redpajama_set_name: RedPajamaWikipedia


It was a short jump to scramble onto the side of the overturned vehicle and peer through the broken windows. A father with three kids in the back, one close to her age. Daddy was unconscious along with the girl closest to her. There was a boy in the far seat, and a little girl around four or five in the back seat who was sobbing. "Hey," Jo snapped at the teenage boy. "Can you move?" He gave himself a shake, turning his head to look up at her. He was having trouble focusing his eyes, but she couldn't tell if it was a concussion or just shock – probably a combination of both. "Can you move?" More force was put behind her voice, one which broached no argument.
The boy gave a small nod, focusing his efforts on her. Oh, good, it appeared that tone actually worked on teenage boys. Good to know. She made a mental note to thank Charles later. "We need to get all of you out of here. Can you catch your sister?" She didn't wait for him to answer but instead leaned in through the remains of the window towards the seat belt.
The fighting continued behind her, but she only kept half her attention on that. She could hear people on the street running for cover, but with this family stuck in their minivan, they were still in danger. Laying flat on her stomach, she was half through the window just to reach the release for the seat belt. A bit of a struggle, but the thing finally gave way, and the ten year old unconscious girl slipped free and into her brother's waiting arms. He gave Jo a nod, letting her know he had her.
"I can't reach the little one in the back," she told him. "You have to get them ou-" She didn't have a chance to finish the rest of that sentence as the back of her uniform jacket was grabbed, and she was hauled into the air. For a brief moment, she hoped it was one of her bodyguards, trying to drag her to safety.
The man continued to grip the back of her jacket, holding her as if she were a kitten by the scuff as he studied her quietly. He was even larger when this close, though that could be a product of how he was holding her. His features were wide and blunted, his complexion pale. Somehow, he had managed to retain his sunglasses through all the devastation he had wreaked.
Behind him, Jo could see the destruction done to the SUV. Samson was laying across the front, out cold. Her arm was twisted at an unnatural angle – that was going to hurt when she woke up. Dirk was just barely visible, but he was moving, which meant conscious.
Which meant she wasn't entirely alone in this. Small consolation.
Her gaze fixed to her captor's shaded one. "Are you Nasaru?" she asked softly, continuing to dangle there. With his strength, it seemed a fair assumption. All of the Nasaru had powers – that would explain so much of what this man had just done, but if that were the case, shouldn't he be on the same side as her? Shouldn't he be helping?
Instead of answering her, however, the man turned and began to walk away with her.
She slapped one hand sharply against his forearm, her mind pushing the thought of being stabbed directly into his arm. She had just experienced this very thing a couple of months before, and she drew from that memory, amplifying and centralizing the pain of steel sinking into flesh, using her own anger to fuel the illusion.
Her hands went straight up into the air as if in surrender, and she slipped entirely free from her uniform jacket. The moment her feet touched ground, she launched herself into a full sprint. Her speed was the one thing she hoped she had on this big bad, and seeing how quickly he took out not one but two trained bodyguards, she knew she didn't stand a snowball's chance if she tried to fight him directly, especially since he shrugged off her powers without so much as a grimace.
Still unsure of where she was going, she felt fingers curl into her hair a split second before she was yanked off of her feet. A scream of pain escaped before she could clamp down on it. Both of her hands clamped down on the man's wrist as he lifted her by her hair, but this time she managed to muffle her scream behind clenched teeth.
He didn't otherwise hurt her, however. He simply lifted her by her hair, which hurt, yes, but there was no other violence. With her dangling in the air, he started walking off towards one of the many alleys. She may not be screaming, but she couldn't bite back as she cursed him in every language she knew which, all told, was quite a few.
Legs flailing, she managed to turn herself about to face him. She used her hands already on his wrist to haul herself upwards, kicking her leg up to wrap it about his arm. He seemed unphased, holding her out at full arm's length as he trudged ever forward. "Hey! Hey, jerk-face! Let. Me. Go!" One leg wrapped about his bicep, her hands clasping his wrist, it gave her a bit of leverage for when she drew her other foot back and slammed it into the man's face over and over again.
His head snapped back, but he didn't lose his grip or slow his stride. She did manage to break his sunglasses, however.
And that was telling in and of itself. His eyes were solid black orbs, glistening like wet obsidian.
Oh good. A demon. They had black eyes, right?


During June we were finalizing mixes of songs for the next album, planning the next single release which is set for July 19th, and devising a few new merch items based on people's suggestions.
The next single is going to be out on 19.07.2015. The A-side is gonna be "Love Leave Your Mark on Me", which along with the B-side was something we did during the last session at Manor Park back in April. Here's a photo from that day - must've been recording some tracks with my Telecaster.
People were asking a lot over the last few months where to buy the singles that have been released since the first album.
So we came up with the Flashdrive Discography, where you can get everything we've released so far including the last single "George Best City" & "Constellations of She". It's the perfect solution for independent bands like us, for who it doesn't make financial sense to duplicate large runs of physical CDs for every single.
This way we can keep updating the Flashdrive to include any new music, for example anyone who gets one now will receive the next single early before it appears on places like iTunes & Spotify, with the upside of getting Lossless FLAC as well as the normal MP3 320k.
Thanks to everyone who has bought one since we put them online last week, it's a great way to support us, but also the cheapest way to physically get all our music.
Great to see we were included in Happy Indie Hour Playlist on Spotify, curated by tastemaker SD Hox. SD Hox is a frequently featured top contributor on Warner Music's newly acquired website Playlists.net. His Spotify playlists have generated millions of plays by hundreds of thousands of unique users. His curated playlists are presented on this blog TheTastyTurntable.com and he is a contributor to the European music blog ModernMusicMisfits.
The song was "Constellations of She", thanks to SD Hox.
So, until the next blog.... all the best.


Houston Texans fans, display your adoration for Ka'imi Fairbairn by getting the 2018 latest Ka'imi Fairbairn Jerseys from the top NFL Pro Shop. Texans Fan Store has a wide selection of authentic Ka'imi Fairbairn jerseys, whether you are looking for elite, game, limited styles of jersey as well as home and away jerseys, you will find the proper option for gameday and everyday wear. We also offer the perfect Ka'imi Fairbairn baby jersey for the little fan in your life. Dress up yourself in full Texans football style with a Ka'imi Fairbairn Color Rush Jersey to show the ultimate support for your hero.


We've already seen that child-centered parenting maybe isn't the best approach to parenting.
A child who grows up to believe she is the center of the universe will have a far more difficult life than a child who grows up to understand she has a place among many in the universe. In fact, here's what I believe is the worst part about child-centered parenting: child-centered parenting produces self-centered children. None of us want that, but how do you avoid it?
Child-centered parenting produces self-centered children.
We saw the pitfalls of child-centered parenting early on in our parenting journey.
When our first son was born, we had to make decisions about how to child-proof our home. Naturally, we put locks on doors and drawers and got toxic substances out of reach. We were students, so we didn't have a lot of money to buy new things or replace damaged things. So we just decided that beyond health and safety child proofing, we weren't going to child proof our home any further. We had vases that could get knocked over, pictures that could be broken, coffee tables that could be butchered. We didn't want them broken and couldn't afford to replace them, but we didn't want to put them in storage for years either.
So instead of taking them out of our son's reach, we just told him he couldn't touch them. One of the very first words he learned was "no." We set boundaries about what he could play with (toys) and what he couldn't (our stuff). To our surprise, it worked.
That's actually an important key to breaking the child-centered mindset that so pervades our culture. Sometimes you just need to let your kids know that the world is not all theirs for the taking; they need to learn to live in it with respect for their boundaries and respect for others.
1. Make God the center of your home and life. You and your children were created to worship something bigger than yourself or each other. When there is a natural refocusing of our wants and needs within the framework of a loving Heavenly Father, our lives realize function so much better.
2. Stop rescuing. Your child needs to feel the consequences of his actions. When you step in to solve every conflict (with siblings, friends or school), you rob him of the learning that comes from dealing with his own shortcomings and mistakes. You don't want to let him get harmed, but you should be willing to let him get hurt.
3. Say no. Our kids are 20 and 16 now, and I don't think they've ever broken a picture frame or piece of furniture in the house. A few bones…sure. But that was playing sports….
4. Set and enforce limits. Your children need to know that there are limits to what they can and should do. This is especially crucial at the toddler and teens years. Ironically, it's within limits that we find the ultimate freedom.
5. Help them serve others. When your child serves others, she realizes that there are greater needs than hers in the world. Serving changes the heart to be less self-centered and more others-centered.
What have you found helpful in stopping the drift toward child-centered parenting in your home?


text:
7th International Conference on Unsaturated Soils (UNSAT2018)
GDS exhibited alongside their Chinese agents Earth Products China (EPC) at the recent UNSAT2018 conference in Hong Kong. The event was hosted by the Hong Kong University of Science and Technology, with whom GDS developed their inner cell volume measurement method for unsaturated testing with.
Case Study: Northeastern University, GDSTTA
To simulate the complex multi-axial stress conditions of rock, a customized True Triaxial Apparatus for rock was manufactured for Northeastern University.
2018 Customer Open Days 13th & 14th September
GDS will be holding two open days in September on Thursday the 13th and Friday 14th. We have a host of soil and rock apparatus on show demonstrate and our technical team on hand to answer any questions you may have. The list of apparatus on display is listed below.
GDS Conquer/Complete the South Downs Way
13 Employees from GDS completed the South Downs Way (SDW) mountain bike ride last week and raised over £2,700 for Cancer Research UK in the process. The challenging 100 mile mountain bike route started in Winchester and ended at the white cliffs of Eastbourne. The GDS team tackled the SDW over two days which included over 11,500 feet of ascending hillsides.
A Busy Few Weeks of Exhibitions For GDS
What a few weeks it's been for exhibitions! GDS have attended six in total for soil and rock testing.
GDS Receive "Unqualified Pass" in Latest ISO 9001:2015 Accreditation
GDS Instruments have been awarded an "Unqualified Pass" (The top mark available) in their recent ISO 9001:2015 accreditation for Quality Management Systems. GDS joins the 10% of companies assessed by CQS to be awarded the Unqualified Pass mark.
GDS' South Downs Way Odyssey
13 employees from GDS Instruments will be taking on the South Downs Way (SDW) in June 2018. The challenging 100 mile mountain bike route starts in Winchester and ends at the white cliffs of Eastbourne.
Temperature Controlled Enterprise Level Dynamic Triaxial Testing System
GDS have manufactured a temperature controlled version for its popular Enterprise Level Dynamic Triaxial Testing System.
ELDYN
Matt Roughton, Associate Director of Operations at GDS was invited to give a talk to prospective apprentices about what employers look for when recruiting an apprentice at Basingstoke College of Technology (BCOT).
This month in Géotechnique: Calibration exercise of a GDS Hardin-type resonant column
The technical note, starting on page 171 of the February 2018 issue, provides information on a proposed calibration routine for a GDS Hardin-type resonant column. In contrast, the GDS Stoke type resonant column has a much more industry wide agreed calibration procedure, principally due to the fact that it is a true fixed-free configuration.
ELDYN (1)
2019 16 January 4 February 1 March 5 April 2 May 2 June 1 July 1 2018 19 January 2 February 3 March 2 June 3 July 2 August 2 September 2 December 3 2017 17 2016 22 2015 27


11/17/13 Hi Ellen. Thank you for the help getting the taco lunch for 400 together.
Questions: How long to heat up the refried beans (canned Rosarita beans with onion, garlic, peppers, tomatoes) and taco meat (already cooked and rinsed and I will add the seasonings) in the electric roasters? Will four hours be enough time? And the rice I will reheat in the full steamer pans in the oven, so how long for that too?
As always I thank you for your gracious help.
11/18/13 4 hours is plenty. Be sure you have an instant read thermometer and check the middle - you reach a temp of 165 in the middle, turn the roaster to 180. Stir these carefully.
The rice will take about an hour- have some water in the bottom, be sure it is covered very tightly, don't uncover.


text:
John Lavery
John Lavery on 'Art and its Association with Literature'
From the Whitefriars Journal,vol. IV, no. 1, January 1904, p. 43-5.
On 24 October 1913 the Whitefriars Club Guest, Mr John Lavery ARA, RSA, RHA, spoke on 'Art and its Association with Literature'. Prior: Friar A.E. W. Mason
Rounds of hearty applause greeted the rising of our guest, whose speech, in opening a discussion on 'Art and Its Association with Literature', was a veritable triumph of personality, thought, and authority over mere form of verbal expression. He had some hesitation in accepting the 'association' implied in the topic set down for debate. There was a time when he was interested in literature, but his present attitude was that of the artist, who dealt with life through the medium of the eye, whereas literature made its appeal, he supposed, through the medium of the ear. It was a difficult thing in an assembly such as that in which he found himself to say much about the critic, but he doubted if the critic knew more about a picture than the man who painted it. In treating of art, he assumed, of course, that art meant painting.
The painter, in the silence of his studio, was apt to feel that words lacked the significance of his thoughts. As a portrait painter, he was sometimes asked by his sitters if it was easier to paint the portrait of a man he knew very well or one whom he had met for the first time. He thought himself it was easier to paint the portrait of anyone he had met for the first time. It really seemed that any knowledge that came to him, except through the organ of sight, was a hindrance rather than a help to the artist. It interfered with his special vision. This fact even hampered the artist in the enjoyment of the sister art of music. When at the opera he sat and listened to a voice that might have come down from- heaven, and looked at the person whose voice he heard, and especially at the incongruity of the costume worn, the vision sometimes killed the sense of hearing.
There was always bound to be misunderstanding between the artist and his literary interpreter, because they looked at a thing from different sides. It was a question whether the work of art did not gain when titles and subjects were forgotten, and all you had to judge by was the work of the painter, when the eye got all that was to be got. He gave some examples and contrasted them with Leonardo da Vinci's 'Mona Lisa', the value of which had, he thought, been greatly exaggerated by what had been written about it. Here our guest paused for a moment and confessed that he felt as if he had been talking for a week. And this reminded him that our Prior had informed him that he (Mr. Mason) was retiring from public life, so far as speaking was concerned, and had confessed to him that he was not interested in speaking or in hearing other people speak.
Continuing, our guest said he felt that he was doing himself an injustice in talking in 'this fragmentary manner'. He thought he might get over the difficulty by telling a story. 'Nothing I have said already "reminds me", I may say.' Here is the story: 'A great many years ago – it must have been twenty or thirty years ago – I was a student in Paris. I worked at a certain studio for two years or so. The system was somewhat rigorous. We worked from eight o'clock in the morning until five o'clock in the afternoon. We worked from living models. The studio was not large, and as it became filled with hot air was far from pleasant. At times, when we got exhausted, we ran away to the country for a day or two to recuperate.
'On one of these occasions I had decided to go to a place where I had been told there was a delightful little hotel where one could live very comfortably for five francs a day, which suited the condition of my purse very well. When I got into the train at Montparnasse I found the compartment already occupied by another passenger – a very beautiful girl. She appeared to be an artist also. She had with her a sketching umbrella and other apparatus of the kind. When the train had started I thought I might introduce myself by telling her I also was a painter. And in the best French I could muster I did so. She replied in English. She was an American, knew some of the students whom I knew, and was also going to the destination I had decided upon. We arrived in time for dinner. There was a delightful afternoon on the river. On our return, she went into the drawing-room reserved for lady visitors. I stayed outside with the old concierge. The evening was rather oppressive. The concierge plied me with most exciting details of the Commune. Hours passed, and it was almost midnight when I went to my room. I was half undressed when I heard someone creeping along the corridor or lobby outside. I opened the door, and saw, coming towards me, looking white, nervous, and distraught, the American girl. She told me in a whisper that someone was in her room. I got the candle, picked up a stick or some weapon of the kind, and followed her.
'When we reached her room she stepped behind me, and we entered. Immediately she closed the door. I was naturally in a very nervous condition. In a voice that was harsh and hardly recognisable, she said to me: "You are in my room. I will take what money you have or alarm the house!" I felt I had been fairly caught. The question was how to get out of the room. I had a sovereign purse with five or six napoleons in it – all the money I had – but this was in my own room. When I told my companion this she did not seem to be put out. 'We will go to your room and get it,' was all she said. I put down the candle and was just going to open the door, when I saw that she had a pistol in one hand. And that seemed to pull me back at once. Whether it was that, being an Irishman, I was fond of a fight of not, I do not know, but I jumped for her hand and twisted the weapon from its grasp. She must have had a finger on the trigger. The pistol went off, and I jumped. Then I awoke!'


I was searching for a Property and found this listing (MLS® #5882942). Please send me more information regarding 7850 E Celestial Street (unit '-'), Carefree, AZ, 85377. Thank you!
I'd like to request a showing of 7850 E Celestial Street (unit '-'), Carefree, AZ, 85377 (MLS® #5882942). Thank you!


About halfway through "Network," Sidney Lumet's Oscar-winning 1976 satire that feels rumblingly prescient now, there's a scene of exquisitely performative rage. Howard Beale (Peter Finch), an unhinged anchorman whose anger is ratings gold, rails on air against the power of television.
Ah, fake news and fury — along with old-fashioned avarice and crimes cooked up for the cameras. Seems like a perfect moment for the return of "Network," doesn't it? This time, though, it's on Broadway, where previews start on Saturday, Nov. 10, at the Belasco Theater.
Close to 700,000 L.G.B.T.Q. Americans are estimated to have undergone conversion therapy, according to a January 2018 report from the Williams Institute of the U.C.L.A. School of Law. The writer and activist Garrard Conley is one of them. The son of a Baptist minister, Conley was outed at 19 by a college classmate, after which his parents gave him an ultimatum: either be disowned or attend an "ex-gay" program in Memphis that promised to "cure" him of his homosexuality.
Now the Australian actor and director Joel Edgerton has adapted Conley's 2016 memoir, "Boy Erased," for the screen, starring an affecting Lucas Hedges as the fictionalized Jared Eamons and Nicole Kidman and Russell Crowe as his fundamentalist Christian parents who refuse to accept their son's sexuality — which initially confounds Jared himself. Edgerton is Victor Sykes, the head of the tough-love boot camp that purports to teach masculinity and inflicts physical punishment on those who don't conform. It's something Jared's mother can't abide, regardless of what her husband believes.
Nov. 4, 7, 9 and 11; davidkochtheater.com.
It's old to the world, but new to us. The Hungarian National Ballet, which dates to 1884 and is now under the artistic reigns of Tamás Solymosi, makes a United States debut with the Hungarian State Opera Orchestra. What better way to introduce yourself than with "Swan Lake"? The company presents a 1988 version by the Dutch choreographer Rudi van Dantzig (the character dances are credited to Toer van Schayk), with Tatiana Melnik in the dual role of Odette-Odile, at the David H. Koch Theater in Manhattan.
Nov. 7 and 8; millertheatre.com.
It is hard to know how seriously to take Mahan Esfahani, the self-styled harpsichordist provocateur who has made a point of publicly rebuking his peers in the small world of early keyboard performance. But his interpretations of standard repertoire have been strongly praised — The New Yorker described his efforts as "exuberant, anti-sentimental, bracing — and his commitment to growing the repertoire of new works for his very old instrument is persuasive.
Nov. 6 and 7; bowerypresents.com.
Their self-titled EP was recently released on Matador, just ahead of their 19-show tour which includes a two-day run at Brooklyn Steel. The women will perform separate sets, with some songs together. All three share a talent for making heartfelt, earnest songs that still sound fresh; beyond that, they each have distinctive styles.
Through March 3, 2019; thejewishmuseum.org.
"Of all the things that can happen to a person, and there's a few things that could be worse … can you think of any?" asks Joanna (Jenna Coleman), a Scottish teacher whose infant son has been abducted. But as "The Cry," a BBC One drama second in popularity in Britain this year only to the blockbuster "Bodyguard," soon proves, you really can't.
The four-part psychological thriller — based on Helen FitzGerald's best seller and debuting on Thursday, Nov. 8, on the streaming site Sundance Now — begins with a wailing baby, whose father, Alistair (Ewen Leslie), nudges a depleted Joanna from sleep to tend to matters because, well, he's a working man. But the crying continues — throughout Joanna's fitful days and onto the couple's 30-hour flight to Australia, where Alistair is fighting his former wife (Asher Keddie) for custody of their teenage daughter. Then, during a quick stop for groceries in Alistair's hometown, Joanna makes the fateful decision to leave their baby in the car. And when she and Alistair return, their son is gone and fingers start pointing, including at the parents themselves.


B.B. Dance Productions will once again bring you and your family a fun-filled summer of learning and enjoyment. All camp experiences are planned and supervised by certified teachers. The camp schedule is packed with activities and games that promote teamwork and cooperation. The dance program introduces and teaches the technique of various styles such as jazz, tap, ballet and hip- hop. The focus of the gymnastics, step and cheer instruction is to highlight fundamentals while emphasizing team spirit. The children have the opportunity to experience field trips to local sites. The curriculum is not only physically rewarding but also provides for opportunity in the development of leadership skills and good character decisions. We look forward to sharing this excitement with your family as your child embarks on a summer of unforgettable memories!


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Population of Uttarkhand 2011 census
Uttarakhand is a state in the Northern India. The word Uttarakhand was derived from the Sanskrit words 'uttara' meaning North & 'khand' meaning part of a country. It was formerly known as Uttaranchal. It is the 27th state of India, formed in the year 2000 out of the Himalayan region & parts of the adjoining state of Uttar Pradesh. The state is also referred to as the "Land of the Gods" on account of the large number of Hindu temples and places of religious importance in the state.
As per the census carried out by government of India in 2011 the total population of Uttarakhand is 1,01,16,752 compared to 84,89,349 in the 2001 census. Uttranchal has registered a population growth of 19.17% over the last decade. It is the 20th most populated state in India. The population of Uttarakhand constitutes 0.84% of the total population of India.
As per the 2011 census, the sex ratio of Uttarakhand is 963 compared to 964 in the 2001 census. The total number of males is 51,54,178 and total number of females is 49,62,574. In the table mentioned below the child sex ratio for the state is very poor and alarming.
Sex Ratio in Uttarakhand
Child sex ratio in Uttarakhand
Sex Ratio in India
The urban population is 30,91,169 and the rural population is 70,25,583. The urban population makes up 30.55 % whereas the rural population makes up 69.45 % of the total population. The total child population (0-6 years) in Uttarakhand in 2011 is 13,28,844 compared to 13,60,032 in 2001.
The total area of Uttarakhand is 53,483 Km2. The population density is 189 per Km2, which is lower than national average of 382 per Km2. Uttarakhand has a literacy rate of 79.63%. The male literacy is 88.33% and the female literacy is 70.70%.
Dehradhun is the largest city and district of Uttarakhand with a population of 16,98,560. The population & important data of the top 5 districts of Uttarakhand is given in the below table:
District Name
Literacy (%)
Dehradhun
Uttarakhand is known for its natural beauty. It is situated very close to the Himalayas and hence is home to a lot of important tourist places. The Ganga & the Yamuna, the holiest rivers in Hinduism originate from Uttarakhand. Uttarakhand is also known for its hill stations, such of the prominent among them being Mussoorie, Nainital, Dhanaulti, Lansdowne, Sattal, Almora & many more.
Labels: population of dehradhun, population of uttarkhand, population of uttranchal, uttar khan population 2011, uttranchal population 2011
Population of Maharashtra 2011 census
Maharashtra is located in the western part of India. The capital of the state of Maharashtra is Mumbai. The state also has a winter capi...
Population of Sikkim - 2011 census
The latest census carried out in 2011 should spread some cheer among those who were dissatisfied with Sikkim's population results in 2001....
Population of Manipur Census 2011
Manipur is located in the north eastern part of India. Manipur literally means "the land of the jewels". The capital of the state of M...
Population of Andaman & Nicobar Islands 2011 census
The Andaman and Nicobar Islands are a group of islands in the Bay of Bengal that are recognized a Union Territory by the government of Ind...
Population of Andhra Pradesh
Andhra Pradesh, the fourth largest state by area, is located in Southern India. Hyderabad is the capital city of Andhra Pradesh. Telegu...
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János (Ján) Fadrusz, křtěn Ján Evangelista Fadrusz (Fadrusz Evangelista János) (2. září 1858, Bratislava, Slovensko – 25. října 1903, Budapešť, Maďarsko) byl maďarský sochař. Jeho zaměřením byl klasicistní pomníkový směr.

Život
Narodil se na Zámocké ulici v Pálffyho dvoře, v chudých poměrech. Vyučil se zámečníkem, ve volných chvílích maloval a kreslil. Studoval na řezbářské škole v Uhrovci s podporou městského magistrátu. Výtvarně nadaného chlapce (1883 – reliéf Asverus) se ujal archivář J. A. Batka a dopomohl mu ke studiu na vídeňské akademii. Na základě doporučení Viktora Tilgnera v roce 1885 dostal stipendium 1. Prešporské spořitelny.

Po absolvování akademie vytvořil v Bratislavě sérii akademicky rutinovaných bust (Jakub Palugyai, Laforest – sbormistr), ale prorazil až svým Kristem na kříži v roce 1892 v Blumentálském kostele, za kterého dostal Munkácsyho cenu (práce podle ukřižovaného modelu i vlastního ukřižování).

V roce 1893 si v Budapešti otevřel sochařský ateliér a věnoval se portrétnímu a monumentálnímu sochařství (sochy Ľudovíta Tisza, Mikuláše Vešeléniho a jezdecká socha Matyáše Korvína v Kluži a mnohá jiná díla). Panovník mu udělil rytířský kříž Řádu Františka Josefa a Řád železné koruny třetí třídy. Čestný doktorát mu udělila Klužská univerzita.

Několik prací z jeho mládí (portréty a figurální kompozice) je většinou v galerii města Bratislavy. Jako 45letý zemřel v Budapešti, kde je i pohřben.

Reference

Externí odkazy

Maďarští sochaři
Narození 2. září
Narození v Bratislavě
Narození v roce 1858
Úmrtí v roce 1903
Úmrtí v Budapešti
Úmrtí 25. října
Pohřbení v Budapešti
Muži
Nositelé Řádu Františka Josefa


Come out and support autism awareness! Find your favorite blue outfit and come show your acceptance of the individuals that are diagnosed with all forms of autism!
April is national Autism Awareness month, raising awareness and seeking acceptance from those who have it and the ones that love them.
Raion Zou will be hosting a free Reiki clinic for individuals with autism, as well as their parents. Afterwards, Supporters of Exceptional Families and Raion Zou has teamed up with Back Burner to paint our town with awareness.
We want to do our part to advocate and educate. Supporters of Exceptional Families was created for individuals and families on the spectrum to have a safe place to seek support. Look out for their page!
There will be raffles, a 50/50, live music, autism awareness items, and a speciality blue drink made just for autism!


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Dithio- and Diselenophosphinate Thorium(IV) and Uranium(IV) complexes:molecular and electronic structure, spectroscopy, and transmetalation reactivity
Behrle, Andrew and Kerridge, Andrew and Walensky, Justin (2015) Dithio- and Diselenophosphinate Thorium(IV) and Uranium(IV) complexes:molecular and electronic structure, spectroscopy, and transmetalation reactivity. Inorganic Chemistry, 54 (24). pp. 11625-11636. ISSN 0020-1669
PDF (2015_Walensky_accepted)
2015_Walensky_accepted.pdf - Accepted Version
Official URL: https://doi.org/10.1021/acs.inorgchem.5b01342
We report a comparison of the molecular and electronic structures of dithio- and diselenophosphinate, (E2PR2)1– (E = S, Se; R = iPr, tBu), with thorium(IV) and uranium(IV) complexes. For the thorium dithiophosphinate complexes, reaction of ThCl4(DME)2 with 4 equiv of KS2PR2 (R = iPr, tBu) produced the homoleptic complexes, Th(S2PiPr2)4 (1S-Th-iPr) and Th(S2PtBu2)4 (2S-Th-tBu). The diselenophosphinate complexes were synthesized in a similar manner using KSe2PR2 to produce Th(Se2PiPr2)4 (1Se-Th-iPr) and Th(Se2PtBu2)4 (2Se-Th-tBu). U(S2PiPr2)4, 1S-U-iPr, could be made directly from UCl4 and 4 equiv of KS2PiPr2. With (Se2PiPr2)1–, using UCl4 and 3 or 4 equiv of KSe2PiPr2 yielded the monochloride product U(Se2PiPr2)3Cl (3Se-UiPr-Cl), but using UI4(1,4-dioxane)2 produced the homoleptic U(Se2PiPr2)4 (1Se-U-iPr). Similarly, the reaction of UCl4 with 4 equiv of KS2PtBu2 yielded U(S2PtBu2)4 (2S-U-tBu), whereas the reaction with KSe2PtBu2 resulted in the formation of U(Se2PtBu2)3Cl (4Se-UtBu-Cl). Using UI4(1,4-dioxane)2 and 4 equiv of KSe2PtBu2 with UCl4 in acetonitrile yielded U(Se2PtBu2)4 (2Se-U-tBu). Transmetalation reactions were investigated with complex 2Se-U-tBu and various CuX (X = Br, I) salts to yield U(Se2PtBu2)3X (6Se-UtBu-Br and 7Se-UtBu-I) and 0.25 equiv of [Cu(Se2PtBu2)]4 (8Se-Cu-tBu). Additionally, 2Se-U-tBu underwent transmetalation reactions with Hg2F2 and ZnCl2 to yield U(Se2PtBu2)3F (6) and U(Se2PtBu2)3Cl (4Se-UtBu-Cl), respectively. The molecular structures were analyzed using 1H, 13C, 31P, and 77Se NMR and IR spectroscopy and structurally characterized using X-ray crystallography. Using the QTAIM approach, the electronic structure of all homoleptic complexes was probed, showing slightly more covalent bonding character in actinide–selenium bonds over actinide–sulfur bonds.
This document is the Accepted Manuscript version of a Published Work that appeared in final form in Inorganic Chemistry, copyright © American Chemical Society after peer review and technical editing by the publisher. To access the final edited and published work see http://pubs.acs.org/doi/abs/10.1021/acs.inorgchem.5b01342


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Interview Y&R: Christel Khalil Wants to Test Lily's Mettle
Like most characters on a soap opera, Lily Winters has gone through a lot in the span of only a year. From losing the one that she loves, realizing that it wasn't true, then finding out the guy that she's with hasn't been truthful with her, well, that can change a girl.
Christel Khalil, who has played Lily on The Young and the Restless off and on since 2002, realizes that all these things can really have an effect on a girl. Christel says: "She's dealing with things that most people her age don't deal with. That will make someone grow up and mature."
Now that the cat is out of the bag that Chloe's baby really is Billy's, not Cane's, the aftershocks can still be felt. Lily was "shocked and disgusted and hurt. I think Lily always likes to believe the best in people, and to find out that Chloe is just plain evil is pretty sad for her. Lily is just too nice to people most of the time."
Cane and Lily are free to be with one another, but Christel believes this would have happened whether the truth about Chloe's baby had come out or not. She explains: "I think their true love would have prevailed either way. When Cane thought that the baby was his, it didn't matter, because he made it clear that he didn't care about Chloe in that way, and he wanted to be with Lily. I think that no matter what, Cane and Lily would have found their way back to each other."
So, what was the deal with Billy? Did Lily have feelings for him, or was he just a replacement for Cane while they were apart? "Lily was developing feelings for Billy. It started out as a rebound, but then she started to like him. She liked him, and she didn't really care about what anyone said. She was doing something that she really wanted to do and didn't worry about what other people thought."
Even though Cane is not the biological father of Delia, he still wants his parental rights. Christel reasons: "For seven months, he thought it was his child, and he grew attached to her. Whether it was his child or not, he didn't care; he really grew to love her. Lily understands his feelings about Delia, but she doesn't really agree with him trying to take the baby away from Chloe."
Behind the scenes, things are far from dramatic. In fact, it's a veritable lovefest. Christel says: "I love working with Elizabeth (Hendrickson, 'Chloe'), because she and I are such great friends. It's so fun to have fighting scenes with her, because we love each other so much. Also, I miss working with my family. I never work with my family anymore; I'm always with Cane's family. I miss working with Kristoff (St. John, 'Neil'). And I love working with Bryton (McClure, 'Devon'), because he and I are really good friends too."
So, Cane and Lily are back together. Now what? "I'd like for them to have some time together where they can be happy for a while, but then, bring on the drama!" Christel offers. "Drama is always more fun — maybe have something bad happen to test their mettle as a couple."
By Unknown at 10:26 AM
Labels: Christel Khalil, Interview, Lily Winters, YR
Lanefan said...
I wish Cane and Lily would get back together - not sure where else their characters would fit into the storylines now...
i am thinking you'll get your wish soon ... sshhhhh ....
Divas of Daytime in NYC
See ATWT's Marnie Schulenburg on Stage
Interview Y&R: Christel Khalil Wants to Test Lily'...


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text:
Best Defense: Book excerpt: On soldiers' use of racist language in the Asia-Pacific wars Book excerpt: On soldiers' use of raci...
Best Defense
Thomas E. Ricks' daily take on national security.
Book excerpt: On soldiers' use of racist language in the Asia-Pacific wars
The Allies [in WWII] often used analogies involving animals or insects that lived underground to describe the Japanese.
By Thomas E. Ricks
Cover of The Soldiers of Empire, by Tarak Barkawi. (Cambridge University Press)
The Allies [in WWII] often used analogies involving animals or insects that lived underground to describe the Japanese, like "fanatical little rats." Their ubiquity offers an opportunity to consider what work such analogies might do in soldiers' narrations, how else they may be read than simply as evidence of racial hatred. General Slim was fond of an ant simile: "The Japanese were ruthless and bold as ants." During the war he told his officers, "[p]icture yourself fighting man-sized ants ... [the Japanese have] all the qualities and faults of the fighting ant." At Chatham House after the war, he told a conference that the Japanese were neither men nor animals but soldier ants. Here, in addition to its racist connotations, the soldier ant functions as a way to think about how the Japanese actually operated and fought.
The Japanese constructed elaborate bunker systems, skillfully camouflaged and often connected by tunnels. Due to Allied air and artillery superiority, they had to dig deep to survive. Admiring their bunkers, one British officer thought of the Japanese as a colony of intelligent (but unclean) rabbits. The Japanese failed to vary many of their tactical procedures and routines, lacking flexibility and initiative. In the view of many British officers, their march discipline and security arrangements were atrocious. Many a noisy Japanese column was ambushed, or easily avoided, as desired. Accordingly, they could be thought of as a colony of ants that has fixed ways of going about things, and which is consequently vulnerable. Japanese "habits were consistent, and [their] reactions easy to gauge." If one knew these vulnerabilities, the Japanese could be stomped on and killed as if they were ants.
These constructions drew upon racist tropes to be sure, the Japanese a combination of the primitive and the modern, a breed of mechanized savages working in mindless, mass unison. At the same time, these analogies oriented officers and troops to elements of Japanese tactics and behavior, and provided an idiom to discuss battlefield events. For an Indian major, "sheep" seemed an adequate description for the weary, hungry, diseased, and defeated Japanese he saw pulling out of Imphal, who then fell like flies under his automatic fire. The result of one stratagem, another officer remarked, was a "glorious slaughter of Japanese who ran screaming from their coverts only to be shot down in scores ... like ... a rat hunt." Observing the fighting for Mandalay Hill, General Rees reported: "At first the Japanese resisted, very like hornets, but when they saw the game was really up, then they scattered and ran like rabbits."
The Allies [in WWII] often used analogies involving animals or insects that lived underground to describe the Japanese, like "fanatical little rats." Their ubiquity offers an opportunity to consider what work such analogies might do in soldiers' narrations, how else they may be read than simply as evidence of racial hatred. General Slim was fond of an ant simile: "The Japanese were ruthless and bold as ants." During the war he told his officers, "[p]icture yourself fighting man-sized ants … [the Japanese have] all the qualities and faults of the fighting ant." At Chatham House after the war, he told a conference that the Japanese were neither men nor animals but soldier ants. Here, in addition to its racist connotations, the soldier ant functions as a way to think about how the Japanese actually operated and fought.
These constructions drew upon racist tropes to be sure, the Japanese a combination of the primitive and the modern, a breed of mechanized savages working in mindless, mass unison. At the same time, these analogies oriented officers and troops to elements of Japanese tactics and behavior, and provided an idiom to discuss battlefield events. For an Indian major, "sheep" seemed an adequate description for the weary, hungry, diseased, and defeated Japanese he saw pulling out of Imphal, who then fell like flies under his automatic fire. The result of one stratagem, another officer remarked, was a "glorious slaughter of Japanese who ran screaming from their coverts only to be shot down in scores … like … a rat hunt." Observing the fighting for Mandalay Hill, General Rees reported: "At first the Japanese resisted, very like hornets, but when they saw the game was really up, then they scattered and ran like rabbits."
Imagery of this kind arose from battlefield experience. But it also worked to shape battle, as soldiers acted as if the Japanese were insects to be stomped on. More than just a racist propaganda construction, the Japanese as ants, rats, and so on formed part of a lingua franca for the British, Indian, and imperial troops fighting in Burma, at once descriptive and prescriptive. Consider in this vein Brigadier Calvert's idea of Japanese soldiers as "cornered beasts," or Brigadier Fergusson's "slippery eels." To see the Japanese in this way was practical advice for soldiers about to fight an enemy who often resisted until dead, and who fought on even when hopelessly overwhelmed. At the same time, this language and way of thinking about the situation — commended to soldiers as battlefield guidance from their commanders — played its part in reproducing the no-quarter combat it warned about. Tipped off to regard their enemies as dangerous until dead, Allied soldiers were unlikely to offer the Japanese chances to surrender, or to succor their wounded. The guidance impelled soldiers towards a harsh but practical response to a tactical situation they were likely to encounter. The irony is that the advice helped reproduce the merciless fighting that made it necessary. As the Japanese knew they were going to be killed anyway, why not take an Allied soldier with them?
Adapted, with permission of the author, from Tarak Barkawi, Soldiers of Empire: Indian and British Armies in World War II.
Thomas E. Ricks covered the U.S. military from 1991 to 2008 for the Wall Street Journal and then the Washington Post. He can be reached at ricksblogcomment@gmail.com. Twitter: @tomricks1
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Fujifilm x70 is the newest little beast in Fujifilm lineup of premium compact cameras. This camera is targeted towards enthusiast and professional photographers (thanks to retro styling and large APS-C sensor) who want to travel light and want image quality at the same time.
Fuji x70 is a trade-off between the legendary Fujifilm x100T and more travel oriented point and shoot Fujifilm x30. With a fixed prime lens of 28mm (35mm equivalent) and an APS-C sensor, it's a must have for all street photography lovers.
A serious competitor to famous Ricoh GR II and Nikon CoolPix A in a long time. Specification wise, it's almost identical to Ricoh GR II with a lot of bells and whistles and trendy retro style.
P.S. Before delving deep into this camera's performance and handling, let me tell you how I review any camera. I normally don't go deep into numbers. So, if you are interested in its specification, go here . My review is solely based on how I used it for more than a month in all type of conditions. How accurately and quickly it responds to different situations and conditions.
Most importantly, how the overall Experience is?
Fujifilm really worked hard to squeeze a large APS-C sensor in such a small body and still gave it retro styling like the old film cameras. With all the physical dials/rings for shutter speed, aperture and exposure compensation, it's still quite pocket able and could easily be your carry around camera.
They intelligently put all the main controls on right side so that it can be conveniently used with one hand. It feels solid in hand but I guess they could make the grip a bit thicker but overall it has very good construction, ergonomics and size.
One thing where mirrorless cameras still lagging behind DSLRs is in their auto focusing performance. Fuji X70 doesn't have the fastest auto focusing but with a combination of high speed phase detection and low light contrast detection systems, it has a very decent focusing speed for almost all situations except sports off course. Accuracy however, is very good and it never disappoints you in this regard.
P.S. Regarding manual focus, a lot of people like Ricoh GR's snap focus option for quick pre-focusing for fast moving subjects. Apart from different manual focusing mechanisms like focus peaking, split image etc, you can still achieve snap focus using on-screen depth of field scale.
X70 has a fixed 18.5mm (28mm in terms of full frame) lens with maximum aperture f2.8. For a lot of people it's a deal breaker but not for those who appreciate image quality. Fixed prime lenses are always optimized specially for the target sensors and with simpler construction and less lens elements, it always outperforms even the most expensive zooms. So, if you are a photographer who wants end to end good image quality even at the expense of comfort for zoom. This lens is perfect for you.
Now the question comes why 28mm? 35mm is already available in X100T, so a lot of people including me are waiting for something more wider than normal. The quality of lens and sharpness all over the frame is great. It can focus up to 10cm so it produces decent MACRO shots as well.
It has a 16 MP, X-Trans CMOS II, APS-C size sensor that puts a lot of cameras in this class to shame that normally have either micro four thirds or one inch sensors. That brings a ton of improvement in terms of ISO sensitivity, noise control and bokeh performance. With the absence of anti aliasing Low pass filter, it produces images with finer details and more sharpness.
Thanks to a large APS-C sensor, the ISO and overall dynamic range is pretty good. ISO can go up to 51200 in expanded range. You can easily go up to 3200 without any issue. It does introduce some noise which can be tastefully controlled in post production. In compact camera range, this noise performance is more than stellar. If Dynamic range is your pain point, shoot in RAW format and you will not regret anything.
It has a tilt able screen which can go all the way to 180 degree for selfie mode. For a camera that actually targeted towards street shooters and enthusiast photographers, it's a must have feature. Shooting from hip for street shooting is much easier and less conspicuous.
It has touch functionality only for changing focus points and focus plus shooting at the same time. Focus plus shoot is a nice feature and it comes handy during candid shots. I still miss touch functionality for choosing menu items.
Connecting your camera with your phone is straight forward and it works like a charm. They have a very decent mobile application (iOS and android) for wireless transfer and that works as a remote shutter too. So, you don't have to carry cable release any more. You can download the app here.
Film simulation is really cool feature. For those of you who do a lot of post processing will not find this feature very useful but since this camera is designed to be a carry everywhere camera, these simulations comes handy as you will not post process your casual images in lightroom or photoshop all the time. You can even shoot in RAW and make a JPG in camera with these simulations right away.
Including an interval timer is a good decision as now it's a complete package to shoot time lapse as well. It has very good sensor and fast enough lens so you can do some decent time lapses with it.
If 28mm is a bit wide for you, then you can change the field of view to 35mm or 50mm.Sounds great? But, it does it digitally, which means cropping. You will not get 35mm or 50mm characteristics like bokeh and compression. I am not a fan of digital zooms and a people who are doing serious work will also don't use this frequently. But, again for casual photography it's still handy.
Lack of viewfinder. Pocket ability comes at a cost. And the cost here is viewfinder. You introduce a viewfinder and it's no more pocket able. Still, a camera with such serious features, I miss viewfinder.
No retractable lens cover. You need to carry a lens cap with you and every time you take the camera out of your pocket, you have to remove cover with other hand. Place it somewhere and shoot. It would be much better if it has an automatic retractable lens cover.
Video. Although this camera has video features like 1080p with 60 fps recording but they are just fillers and it never designed for serious video recording.4k and slow-motion recording is also absent.
Small grip. Although overall ergonomics of this camera is very good but still I feel that the grip to be a little bit small especially because it is designed for single handed operation.
Overall, Fuji x70's experience is very pleasant. It is a great camera in a small package. It's ideal for enthusiastic newbie who wants to upgrade from point and shoots. The angle of view is pretty much what normal mobile phone camera offers and with an 180 degree tilt able touchable screen for selfies, it's a natural upgrade to point and shoot.
For street photographers, it's a must-have camera. After a long time a camera is introduced matching the class of Ricoh GR and Nikon Cool pix. With all the trendy retro looks of film cameras with physical dials and rings, it will be difficult to ignore if you have slightest inclination towards street photography.
It's a winner in street photography and more than decent performer in almost all other genres like landscape, portraits and even macro. A bit pricier at the moment but, worth every penny of it.


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It's been a long time since we've had a bee hive. Four years, to be exact. Longtime Shelterrific fans will recall the sad chronicles of our ill-fated colony. Our lazy bees had plenty of food, but clustered too far away to retrieve it during the long, cold winter of 2008. I remember the day Chad went to pick up the box of them at the post office, with our then four month old daughter in the back seat of our hatchback Fit. Our bees may not have lasted one year, but our appreciation of them and our love of honey has only grown (along with our daughter and the size of our car!). We've decided to give it a try again this April, and have ordered a new hive and the necessary gear from Betterbee. One addition to our list — a kid's size beekeepers suit from Brushy Mountain Bee Farm, so Isadora can get up-close-and-personal with the bees. Other than that, our plan for installation this year is to provide them with pre-made hive frames. Last time we let them free-form it, and I think it was just too much work.
One thing on our to-do list before the bees arrive is to watch the critically-acclaimed documentary, More Than Honey. In it, filmmaker Markus Imhoof journeys around the world to meet the global community of beekeepers. As the above still shows, it not only provides new looks at our favorite insects but reminds us how dependent we are on them to maintain much of our food sources.
Stay tuned for more updates we prepare for our bees arrival!
Here come the bees again…falling on my head like aaahhhhhh!!!!!!!!!!!!
Seriously though, congrats! Can't wait to hear more bee stories.
Angela – I'm really pleased to read that you are trying again with the bees.
I was only watching a news report today about the decline in bee numbers and so went on a mini-hunt online for stories about it!
It is quite frightening how news reporters can use the words "declined by 50% in ten years" in relation to this and not feel the same shiver down their spines that I do.
Unless we reverse this trend now there are going to be a lot of jobs for scientists with small pippets to pollinate flowers!
I have had a garden for years and I never thought about doing a beehive. Maybe I should look to see if my city allows it.
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