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Jane and Louise Wilson, 'I'd Walk With You But Not With Her', 2020.
Pigment print on Hahnemuhle paper with acrylic paint.
Inside the first-ever socially distanced Summer Exhibition
By Amy Sherlock
For the first time in its 252-year history, the Summer Exhibition will fall in winter. Amy Sherlock speaks to this year's co-ordinators, film and photography duo Jane and Louise Wilson RA, who are steering the show into new waters.
Amy Sherlock is Deputy Editor of frieze.
From the Autumn 2020 issue of RA Magazine, issued quarterly to Friends of the RA. The 2020 Summer Exhibition takes place 6 October 2020 –3 January 2021. Sponsored by Insight Investment.
In September 1940, during the most intense period of the Blitz, a bomb fell at the corner of Cork Street and Burlington Gardens, very close to what is now the entrance to the Royal Academy at 6 Burlington Gardens. The explosion and further blasts in November of that year badly damaged Galleries IV, V, VI and VII on the north-west side of Burlington House. With bombs still falling and a row of galleries out of action, the selection committee for the 1941 Summer Exhibition faced a difficult question: should the show go ahead?
It did, of course, and the fact that the annual Summer Exhibition has taken place without interruption since 1769, the year after the Academy's founding, has passed into the institution's lore. This year, for the first time in 252 iterations, the show will open in the autumn, on 6 October, when London's museums and galleries are usually abuzz with openings and events timed to coincide with the annual Frieze Art Fair. This year, although the fair has been cancelled, the Summer Exhibition endures. As Edith Devaney, the RA's Head of Summer Exhibitions and Contemporary Curator, notes with a laugh, "We didn't want to go down in history as the group that dropped the baton."
Devaney has been the RA's internal lead on the Summer Exhibition since 2000 and can be justly credited as the driving force behind the show's revival in recent years. When she took over responsibility, the show was at a low ebb, having floundered in the cultural doldrums for much of the 1980s and '90s. Meanwhile London, buoyed by the critical and commercial success of the YBAs and ahead of the opening of Tate Modern in 2000, was blossoming as a hub of contemporary art. Devaney's challenge, as she saw it, was: "How do we make this show into something relevant for today?"
David Batchelor, Inter-Concreto 25, 2020.
Cast acrylic and concrete. 181 x 79 x 13. Courtesy of the artist. Photo: Lucy Dawkins..
Lisa Milroy RA, Dress No 2, 2018.
Dress, hanger, nail, wooden baton, eyelets, acrylic on unstretched canvas. 173 x 132cm. © Lisa Milroy 2020. Photo: Thomas Jenkins.
Linder, Superautomatism IV, 2015.
Enamel on magazine page. 26 x 19cm. © Linder. Courtesy the artist and Modern Art, London.
Given its unique structure, the Summer Exhibition is necessarily unwieldy. Each Academician is able to submit up to six works, depending on dimensions (there are currently 127 Academicians); the rest of the show is then selected from an open-submission process – 'the send-in' – plus a further number of established practitioners invited to participate.
Tradition dictated the Academy's longest-serving painter would be appointed Senior Hanger, allocating responsibility for specific galleries to members of the hanging committee on the first day of installation. Devaney decided to be more strategic. Starting with Peter Blake in 2001, smuggled in as Senior Hanger through a slight reinterpretation of Academy convention, she worked with Academicians who were part of the rapidly internationalising – and commercialising – art world to expand the show's reach.
High-profile contemporary artists were encouraged to submit new work – many of them for the first time. Works by Honorary Academicians, including superstars such as Jasper Johns, Robert Rauschenberg and Cy Twombly, also became integral. In 2003, reflecting the increased workload of a newly dynamic summer show, the title of Senior Hanger was retired. In its place the role of Co-ordinator was created, with the President inviting an Academician each year to take it on.
The Summer Exhibition is always a juggling act of sorts but this year, it has required an additional level of flexibility and quick thinking.
Logistically, at least, this year's show presents a particular challenge to that spirit of internationalism. With air travel still massively reduced, and freight – specifically between the US and Europe – complicated by the fact that the couriers who accompany the artwork are often not able to travel, there are a number of question marks over certain pieces. However, this year's Co-ordinators, the artist duo Jane and Louise Wilson, are confident that the show will continue to reflect, as Jane put it, "how the Royal Academy itself is moving forward", as a "ringing endorsement of the enduring presence of the artistic community."
The twins, who have been working together since the late 1980s, were elected to the Academy in 2018, the second duo in the institution's membership history. (Like the first, Gilbert & George, who were elected in 2017 and resigned earlier this year, the Wilsons are counted as a single Academician.)
Working mainly in film and photography, their art often documents empty sites that reverberate with lingering social and psychological significance. Their photographs of coastal landscapes in this year's show were taken during a residency in South Korea on the remote Gapado Island, home to an extraordinary group of female Haeneyo free-divers who make their living harvesting and selling seafood (detail of I'd Walk With You But Not With Her below). The continuity of these traditional practices, along with massive investment in sustainable energy technologies, mean that Gapado is on track to be the world's first carbon-free inhabited island by 2030.
Jane and Louise Wilson, Untitled #8, I'd Walk With You But Not With Her.
The Wilsons' earlier projects have focused on the defunct Stasi headquarters in East Berlin, for example, and Victor Pasmore's ill-fated Brutalist Apollo Pavilion in Peterlee New Town, Co Durham. In so far as their work deals with power and its aftermath, it is often inherently political and, from the outset, the pair were keen that the RA show would reflect on the most pressing topics of the day.
Louise lists some themes that they were initially considering for the exhibition: "Identity, immigration, contested borders, ecological threat, climate change, pro-democracy protest, matrilineal communities, collectives, the young, the retired, the marginalised, and the professional and non-professional artists working with installation, painting, film, architecture, printmaking, digital, photography and sculpture." She pauses. "I don't think any of us foresaw pandemic among them."
The Wilsons' original ambition had been to disrupt the floorplan of Burlington House, but in order to observe safe social distancing, all interventions that might obstruct the flow of visitors were off the table.
Along with Devaney, the Wilsons assembled a hanging committee that brings together long-standing Academicians with more recently elected Members, working across generations as well as disciplines: Eileen Cooper, former Keeper of the RA (responsible for the RA Schools), is hanging two print galleries; Richard Deacon is leading on sculpture; while Sonia Boyce, Stephen Farthing, Isaac Julien and David Remfry are focusing mostly on two-dimensional works.
David Adjaye, who is currently at his home in Accra, where strict travel restrictions were imposed in March, was set to curate the architecture gallery but has had to postpone his involvement until the 2021 show.
The architect Eva Jiřičná, a veteran of the 2013 Summer Exhibition, which she co-ordinated with Norman Ackroyd, is stepping into the breach, bringing coherence to a display of projects ranging from Peter Cook's imaginary citadel to a library for the French city of Clermont-Ferrand designed by the firm Stanton Williams. The Wilsons, for whom collaboration is an intrinsic way of working, were keen for the show to be a collective effort, with concepts and thematic threads emerging from discussion with the committee as a whole. "Hierarchy feels utterly irrelevant in this circumstance," Jane asserts. "Conversation and collaboration is vital, given our new reality of social distancing. We need to act collectively and responsibly."
We were speaking over Zoom in late July: Jane and myself from different corners of London, while Louise was in Newcastle, where the sisters grew up and where, since 2017, they have been professors in the fine art department at Newcastle University. Having closed its doors on 17 March, just before the UK went into strict lockdown, the RA had just reopened to the public a fortnight earlier, when we spoke. All tickets for the extended Picasso and Paper exhibition had sold out. With the RA open on fewer days each week and with entry times scheduled for all visitors, the galleries are running at only 20 per cent of usual capacity. Devaney's light-hearted comments to the effect that 'the show must go on' belie the huge amount of logistical work that she and the Academy team have undertaken to allow the organisation to reopen safely. Regularly featuring more than a thousand works, the Summer Exhibition is always a juggling act of sorts – this year, it has required an additional level of flexibility and quick thinking.
Under the working title 'Rapture in Fracture' for this year's theme, the Wilsons' original ambition had been to disrupt the floorplan of Burlington House's neoclassical galleries. This is unsurprising, given their long-standing interest in how power structures are encoded in architectural space. "The salon-style hang is such a classic, very familiar encounter," Louise explains. "We were thinking: how can we readdress that?" They had planned to exhibit artworks off the existing walls on invisible walls, suspending them from the ceilings and elevating them, to draw the eye upwards (the rapture of the title). Now, however, in order to observe safe social distancing, all interventions that might obstruct the flow of visitors through the space are off the table: tickets are timed and visitors follow a designated path through the exhibition.
Sir Anish Kapoor RA, 1 - SYMPHONY FOR A BELOVED DAUGHTER 2018, 2018.
View artwork details
metal, fabric.
This poses difficulties for some of the exhibition's non-gallery spaces, including the Annenberg Courtyard, which would typically contain a dramatic, large-scale work. (Remember Anish Kapoor's monumental ruby disc, which welcomed visitors to the show's 250th anniversary edition in 2018, or Thomas Houseago's hulking forms from last year?) "We can't have anything blocking the courtyard or the grand staircase because that's where people will be queuing," says Devaney. Instead, the Wilsons are considering stealthier interventions:
"In terms of the existing furniture, in the courtyard – whether it's barriers or tables and chairs – we are going to inherit something that's already been set in place by the RA's security team," Louise explains. "I'm being a bit notional, but we have been thinking about something green that could resonate with the show's themes. Not quite herbaceous borders – but perhaps something plant or garden-based."
Sound art is providing a solution on the staircase and in the vestibule (the space before one enters the galleries), where the pair are installing a new sonic work by Brian Eno. "We vividly remember encountering Eno's sound work in 1996 at the Sonambiente festival in Berlin, inside the former State Council building of the GDR," says Jane. "It had a transformative effect. We want people to come in and not feel anxious." As an encounter that can be experienced ambiently, in a socially distanced way, the duo hope that a sound installation will provide the all-important transitional moment at the show's threshold.
It's important to support artists – and the Academy – at a moment in which it is very difficult for all museums to see their future. It's a time to rally support.
Isaac Julien RA
The selection process from the public submissions took place before the UK went into lockdown in March. More than 18,300 entries were whittled down to around 1,400 – comprising the bulk of the exhibition. Eileen Cooper RA, who is curating prints in Galleries V and VII, is unable to travel to the RA to hang her rooms in person, because of the pandemic. She is hanging her gallery over Zoom, giving her instructions via a large screen on site. Fellow members of the hanging committee, as well as the RA President Rebecca Salter, herself a printmaker, are acting as Cooper's eyes on the ground.
Prints are a popular and important part of the exhibition, both in terms of sales and in the quality of submissions from the public. "There is a vibrant print community. In general, you see a very high quality of printmaking from people who are not professional artists," she explains.
For Cooper, the print galleries are the best manifestation of the inclusivity of the Summer Exhibition: "I'd like to think that you can have the biggest names next to people who have really struggled to make it as artists. From the most immediate and basic processes to the most sophisticated – I'd like it all."
Certain thematic strands are emerging: mountains, and "for some reason" owls, which, if things work out as planned, will observe visitors from their positions dotted around the rooms. The Academicians number many eminent printmakers – including American Pop artist Jim Dine Hon RA, although, at the time of writing, several had not yet submitted their works. "I'm waiting to be surprised," says Cooper, who herself has submitted small works this year: three prints alongside three paintings.
Eileen Cooper, Belong to Cats II, 2020.
Oil on canvas. 61 x 71cm. © Eileen Cooper RA. Photo: Malcolm Southward.
If Cooper seems fairly confident about the whole process, other elements of the Wilsons' multidisciplinary approach are proving trickier to accommodate. Moving image was set to be a large part of the programme – one early idea had been to use one or two rooms as a dedicated cinema space, with a rotating programme of artist films. Likewise, the pair had been in discussion with David Adjaye, before he had to postpone, about the possibility of designing free-standing walls to house plasma screens, further integrating film and video into the Summer Exhibition's traditionally painterly spaces. However, given the guidance advising against people congregating in enclosed areas, this plan has had to be rethought. "We've had to be quite flexible, on many levels," says Louise.
Devaney suggests that one approach would be to show short clips of moving-image works in the gallery spaces and have the full works available to view through the RA's online platform. "We are thinking about ways to do justice to longer video pieces," she explains. Shorter video works include Twice (2020) by the influential artist filmmaker John Smith. Made during the sixth week of lockdown, when Britain's Covid-19 death toll stood at 25,000, the video shows the artist washing his hands while singing Happy Birthday twice, in line with Boris Johnson's advice.
John Smith, TWICE #1, 2020.
still from film, Twice..
Another influential film artist on the hanging committee is Isaac Julien, who won the prestigious Charles Wollaston Award in the 2017 Summer Exhibition for his mesmerising five-screen installation Western Union: Small Boats (2007), by turns a lyrical and heart-rending portrait of migration across the Mediterranean. However, for the gallery he is curating in this year's show, his focus is on a more traditional medium: "My initial proposal was very much connected to a homage to the late, great curator Okwui Enwezor, who died last year. Enwezor, late in his career, became incredibly interested in painting."
Painting has, historically, been the lifeblood of the Summer Exhibition – between 1769 and 1989, it accounted for almost three-quarters of the works shown. However, taking his cue from the Nigeria-born Enwezor, who dedicated his career to expanding the space of art beyond Western centres and histories, Julien's focus is on artists who have historically been situated outside, or who work against, established painterly canons – specifically Black artists, many of them female or trans.
For all the inclusive principle of the Summer Exhibition, it's worth noting here that the first Black British Academician, Frank Bowling was only elected in 2005; it was not until 2016 that Sonia Boyce, who is representing Great Britain at the next Venice Biennale, became the first Black woman RA. Although individual works have yet to be confirmed, Julien has received positive responses from many of the artists that he has invited to participate, including major names such as Njideka Akunyili Crosby, Oscar Murillo, Zanele Muholi, Wangechi Mutu, Frida Orupabo and Yinka Shonibare."As well as some surprise artists – it's important to have artists who are less well known," says Julien.
Isaac Julien's focus is on artists who have historically been situated outside, or who work against, established painterly canons – specifically Black artists, many of them female or trans.
The gallery he is curating connects to some of the themes in an exhibition that he curated last year at London's Victoria Miro Gallery. That show, whose title Rock my Soul was borrowed from a 2003 book by the influential Black feminist scholar bell hooks (the pen name of Gloria Jean Watkins), celebrated Black self-esteem as a form of affirmation and resistance in the face of marginalising power structures. These themes feel particularly urgent in our current moment of reckoning with racial justice – from protests in the wake of the murder of George Floyd by Minnesota police in May, to the revelation, closer to home, that Black and Minority Ethnic groups are up to three times more likely than White Britons to die from Covid-19. Julien has submitted Lessons of the Hour, London 1983 – Who Killed Colin Roach? (1983), an assemblage of photographs of the protests that took place after Roach was shot dead in a Hackney police station.
Isaac Julien RA, Lessons of the Hour, London 1983 - Who Killed Colin Roach?, 2019.
Photographic assemblage of 32 Black and White Ilford Classic FB silver gelatin prints. 45 x 64 cm (each photograph). PHOTO THIERRY BAL/COURTESY OF THE ARTIST, VICTORIA MIRO, LONDON/VENICE, AND METRO PICTURES, NEW YORK.
Julien has spent lockdown in Santa Cruz, where he is Distinguished Professor of the Arts at the University of California, but is hoping to return to the UK specifically to install the Summer Exhibition. "I do see the Summer Show as a really important space," he explains. "It's less about historical continuity, because this situation with the pandemic is unprecedented. In a basic sense, it's important to support artists and the Academy at a moment in which it's very difficult for all museums to see their future. It's a time to rally support."
As a selling show – with works up for grabs from prints at £150 to pieces with price tags over £100,000 – the Summer Exhibition is a vital fundraiser both for the Academy as a whole and also the non-fee-paying Academy Schools, which receive no government funding. With exhibitions cancelled and studios and production facilities shuttered during lockdown, the past few months have been brutal for many artists. As Devaney says, the Summer Show "is there to support artists – the RA takes a small percentage – and we felt we had a duty to continue that". In order to make works available to as wide and international a group as possible, the Academy has accelerated the development of a digital sales platform. "That might have happened otherwise in a couple of years," Devaney notes. "You have to seize opportunities."
It would be trite to invoke the spirit of London's Blitz in relation to the Covid-19 pandemic; far from us all being in it together, this crisis has exacerbated existing inequalities. Nevertheless, speaking to the Summer Exhibition team, it is clear that there is a profound collective commitment – to one another, to the broader artistic community and to the general public who, after gruelling months of lockdown, may come seeking beauty, distraction, provocation and of course some joy amongst the show's uniquely varied offerings. As Cooper concludes: "Everybody wants it to be successful."
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Summer Exhibition 2020
Jane and Louise Wilson
Rebecca Salter RA
Sonia Boyce RA
Highlights while we're closed
Eight of the best home art activities for kids
We've loved seeing you being creative at home with our online activities. If you need more inspiration during lockdown, we've picked out some other great resources from the UK's art galleries and organisations…
The joyful world of children's art
When we tweeted an artwork in the Young Artists' Summer Show by Cressida, aged 5, we were flooded by children's art which will make you marvel, make you laugh and make your day.
10 artist movies and docs to watch on Netflix, Amazon Prime and more
When you can't go to the art, let the art come to you. Here's our pick of the best artist biopics and documentaries available to stream in January.


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Training is a reflective apply. Being again on the elementary stage is a pleasure and is permitting me to explore new avenues of instructing and learning that merely didn't exist my first time working in an elementary school library. I'm always searching for new tools for classroom collaboration and lately got here across on Pinterest (posted by The Techie Trainer ). This cool instrument jogs my memory of as an easy method for students to work together and share info. The site appears to still be in beta, but access was offered instantly upon request.
I not too long ago came upon a few new FREE app that I think all center faculty academics and chemistry teachers would love- the Parts 4D app by Daqri. In addition to the free app, the site also provides free lesson plans for academics of elementary students, center college college students, and highschool students. It is an augmented reality app during which college students discover the properties of various parts (available through interactive blocks which are printed and assembled into cubes by the teacher previous to the exercise – also free to download from their site.) CLICK ON HERE to be taken on to the positioning.


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M6 Music Black was a French television own and operated by M6, devoted to play contemporary R&B and hip hop music.

External links
Official Website

Music television channels
Defunct television channels in France
French-language television stations
Television channels and stations established in 2005
Television channels and stations disestablished in 2015
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AFCFTA: NIGERIA TARGETS $1.2BN EXPORT REVENUE FOR STATES
Home / Investor News / AFCFTA: NIGERIA TARGETS $1.2BN EXPORT REVENUE FOR STATES
AFCFTA: NIGERIA TARGETS $1.2BN EXPORT REVENUE FOR STATES2021-11-232021-11-23https://courtevillegroup.com/wp-content/uploads/2015/09/logonew.gifCourteville Business Solutions Plchttps://courtevillegroup.com/wp-content/uploads/2021/04/new_afcfta-logo.png200px200px
The Federal Government of Nigeria through the National Action Committee of the African Continental Free Trade Area (AfCFTA) on Monday said the first strategic goal in its implementation plan is to grow the export capacity of all states to the tune of $1.2 Billion. Francis Anatogu, Secretary of NAC-AfCFTA, who disclosed this in Abuja, informed that the committee will hold a conference with the Nigeria Governors Forum (NGF) which will focus on products with a competitive advantage.
Anatogu explained that the essence of the workshop is to help states boost their Internally Generated Revenues (IGRs), develop a highly-skilled workforce earning premium wages and a global state identity tied to a product or service through the implementation of the Free trade agreement. He further said the committee embarked on sensitization around the country to educate stakeholders on the objectives and benefits of the AfCFTA agenda in the last year.
These efforts, he stated, have also enabled the government to gain valuable insight that has guided it in the development of the AfCFTA implementation plan which has been completed and is currently undergoing adoption by the relevant public sector stakeholders.
He noted that the activities also exposed the need for a national strategy to be cascaded down to the sub-national level with State governments playing a major role if AfCFTA must be successful. "The first of the strategic goals in the implementation plan is to grow export capacity of every state to the tune of $1.2 billion with a focus on products where there is a competitive advantage.
"The organizing of the first sub-national strategy workshop in collaboration with the Nigerian Governor's Forum here in Abuja is an intervention that will put the nation on course to make this goal a reality," he said. He further informed that over the next three days the NAC-AfCFTA will create a platform to engage and interact with State Technical Working Groups, to enable states to tailor their economic and development plans to include the requirements of the AfCFTA, ensure the TWGs are aware of the support available from the Federal government, among other things.
Speaking on the potentials of AfCFTA in Nigeria as a whole, he said, "For Nigeria, the AfCFTA will reenergize our country's aspirations for industrialization and position Nigeria as the destination market for goods and services of the highest standards (finished or not) for the 1.2 billion consumers this agreement has brought to our doorstep."
https://businessday.ng/news/article/afcfta-nigeria-targets-1-2bn-export-revenue-for-states/
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best films 2017
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Film Review: Truth or Dare
Published April 13, 2018	By Lee Hill
Reviewed by Lee Hill
Truth or Dare is such a bland, albeit efficient horror genre retread that its only conceivable raison d'etre is to keep risk averse mid-level studio executives employed. Entering a market that has been rejuvenated by the likes of Get Out, It Follows and A Quiet Place, this film deserves to get beaten to death at the box office and exiled to a remote corner of streaming portal hell.
In Truth or Dare, a group of California university students, who live in the tidiest rental house ever inhabited by undergrads, travel to Mexico for a spring break bacchanal before the final semester and exams. On the last night of their cross-border party-a-thon, they are asked to play Truth or Dare by another student they meet. The game soon turns into an increasingly tedious and not very logical series of elaborate killings; all having something to do with a convent where the young nuns were forced to have sex with the head priest…or maybe Cambridge Analytica or well, ultimately you don't really care such is the indifference with which the backstory is executed.
Beautiful people being slowly picked off by a shadowy assailant has been a B-movie constant ever since Agatha Christie wrote And Then There Were None and Ten Little Indians. Roger Corman and his cohorts at American International gave us a series of lively variations aimed at the Drive-In market through the 60s . And then of course we have had countless Halloween, Friday the 13th and Saw sequels since. Blumhouse Productions, the producers of Truth or Dare, have been giving us a series of financially lucrative franchises such as Purge, Insidious and Paranormal Activity so you think they would at least bring to this new entree a certain thrill factor. Alas, Truth or Dare is oddly unscary; perhaps its most spirited sequence is the montage of spring break heavy drinking and make-out sessions which make up the title credits.
The cast are the kind of sincere and good looking young thespians – Lucy Hale, Violett Beane, Tyler Posey, et al – clearly hoping that a director of substance (say a David Lynch type casting his next Mulholland Drive-type headfuck) will notice them or they will get cast in a prestige tv show. They do their best and to be fair to director Jeff Wadlow, he doesn't get in their way or demand they do much more than scream and run at appropriate moments. There are many nods to social media (which in 10 years will have all the staying power of the flower power decals people used to decorate their Volkswagens) and even an Asian-American gay character who is depicted without stereotyping (he still gets killed off half-way), but the cumulative effect of these attempts at being-down-with-the-kids feels like a branding exercise.
Wadlow, a Dartmouth educated actor turned director, is probably best known for Kick Ass 2 and apparently nineties nostalgia act, Quentin Tarantino, is a fan. He co-wrote Truth or Dare with 3 other credited writers which raises the suspicion that a more idiosyncratic script was story developed to death by Blumhouse and its distributor, Universal. The parties involved are all clearly hoping Truth or Dare will become another profitable franchise, but the results are so unmemorable that hopes for box office riches could be still born. But hey, there is a huge appetite for unchallenging cinema out there so what do I know. However, if you are genuinely looking for an excuse to bring your security blanket to the cinema, skip Truth or Dare and see Ghost Stories or A Quiet Place instead.
Screenplay by Michael Reisz, Jillian Jacobs, Chris Roach and Jeff Wadlow; Story by Michael Reisz
Starring Lucy Hale, Violett Beane, Tyler Posey
Truth or Dare is in cinemas from today.
Categories:Film Horror Reviews
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Ray Dillard, How I Began Collecting Coins
Dany Rothfeld
How I Began Collecting Coins
Featuring Ray Dillard Winter 2016
By Dany Rothfeld
I tried for a few years to interview Ray Dillard, but for various reasons the interview did not materialize. This time I got lucky, sat down with Ray and did the interview. Here is Ray's story.
Ray Dillard was born in Parma, Missouri, in the southeast corner of the state. Ray was the tenth of eleven children, and his family owned a farm. At that time a large family was an asset. However, once the Depression arrived, the family lost the farm, and a large family became a liability.
When Ray was three years old, the family moved to Flint, Michigan, where his father found a job in the auto industry. The work was undependable, and the family moved back and forth between Michigan and Missouri a number of times, which was difficult. Ray says that because of this he remained in the first grade for two and a half years. Going from school to school toughened him up. Being a poor southern kid, he had to fight to be accepted.
When Ray was in his forties, he began collecting coins. On his daughter's 16th birthday, a friend gave her a big piggy bank. Ray decided to help her fill it up. A friend advised him that when they empty the piggy bank, they should keep all pre-war coinage. He knew nothing about specific dates or Mint marks at that time. This got Ray started collecting coins. He began collecting all U.S. coins, buying albums and filling the holes. Once he completed a set, he decided to upgrade it. He ended up with two sets of almost everything.
"Some fellow" became obligated to Ray, and he had collections of Canadian coins. Ray settled for this collection, and added to it. He accumulated a large set of Canadian coins, including coins from most of the provinces. He also became involved with Canadian tokens. He says they were "tremendously interesting." Ray's favorite saying on a Canadian token was, "No labor, no bread."
From there, Ray began collecting Mexican coins. Thus, he had collections of the North American continent. He says he had a respectable collection that Heritage auctioned off in the mid-1990s for about $160,000.
Ray had a dealer he liked in Flint, who helped him build up a "type set of U.S. coins." This same dealer had a gold set that he wanted $820 for. Ray thought that was too much at the time, but later paid $8,500 for the same set.
Ray had a brother who had a 1932D quarter that he thought was quite valuable, and Ray eventually purchased his collection. He says his brother-in-law gave him a considerable amount of advice about coins.
Ray went back in time, and described how he became involved in the elongated coin business: When he was nine years old, he went to the World's Fair in Chicago and got an elongated coin with the Lord's Prayer on it. Many years later, after he retired from GM, he saw an article in Coin World about a man who had several coin elongating machines. One of the things the man printed on elongated coins was the Lord's Prayer. Suddenly Ray remembered the elongated coin he received as a boy. That enticed him to purchase a machine in 1982, for which he paid $2,900. He turned this machine into a business to help finance his coin collecting hobby and keep him involved. Ray took it around to local shows and had a good time.
He was at a mall show one time, and a local reporter interviewed him and took pictures. The reporter wrote an article in his syndicated paper about Ray, giving him free publicity in various parts of the country. In 1986, he was contacted by Al Bobrofsky and Chuck Fenwick, who was the president of MSNS at that time. They asked him to come to their show.
Ray developed a relationship with the Elongated Coin Collectors. He asked the ANA if he could bring his machine to the ANA Convention and make a special coin design for the ANA. After a few years, his idea was approved. Since that ANA show in Detroit in the early 1980s, Ray has not missed even one. There was a time when Ray attended 10 major shows around the country each year.
Ray said that after becoming involved in elongated coins, he began collecting only those from the 1933-34 Chicago World's Fair, but later expanded to cover all older ones. He accumulated the largest collection of older elongated coins ever assembled. Unfortunately, Ray's briefcase with a very rare elongated coin was recently stolen in New York City. In it was the Pike Souvenir of the 1904 St. Louis World's Fair, the "king of elongated coins." At that time, he had two of them. He had bought the second one for $1,800. When the seller later wanted it back, Ray said he would sell it back to him for $2,000 if he couldn't get a better price at the ANA in New York. That's the one that was stolen. The other one, which he had in his own collection, later sold for $4,400, which is a record price for an elongated coin, surpassing the one sold by Bob Hendershott for $4,250.
Ray also has collections of post cards, pop bottles, matchbook covers, etc.. He says that he has a fabulous collection of Masonic memorabilia. Right now he's not collecting anything "because of [his] age." He's trying to sell, as no one in his family is interested in continuing his collections. These days, Ray's son-in-law helps him at shows with the moving of equipment, merchandise and driving.
Ray says he rushed through high school "because of the draft." He was rejected for duty in WWII, because of a "bad arm." Ray tried to enlist in every branch of the service, but was rejected. Everyone was super patriotic at that time. Ray had three brothers, three brothers-in-law and one sister-in-law who were all in the service during WWII. All survived.
At one time, Ray was an assistant manager at a theater in Flint, making 35 cents an hour. After being rejected for military service, he decided he wanted to continue his education, but since he had finished high school in two years, General Motors Institute told him he lacked two credits, which he made up at night school. However, fate came into play when Ray met "the love of my life." They were both nineteen-years-old. Their marriage lasted 62 years. Ray has two daughters, four grandchildren, four great-grandchildren, and even one great-great-grandchild.
Of the many numismatic awards that Ray has received, the one he treasures the most is the Numismatic Ambassador Award. It was awarded to him by Cliff Mishler. He also received the ANA President's Award, the Smedley Award and the Adna Wilde Award, as well as the highest award from MSNS and the CSNS.
Ray has conducted a coin club at a local middle school for the past 15 years, and advises students to collect things that they are interested in, and research and learn more about what they collect.
Ray is one of the more recognizable ambassadors of the hobby around the U.S., wearing his blue MSNS blazer and a constant smile. I will always remember when I first started exhibiting in the early 1990s, with little experience. I did not know that I needed a cloth cover on the bottom of the show case. Ray gave me a cloth to cover the bottom of the inside of the case where I put my exhibit. Whether as an exhibitor or a judge, he always tries to help others.
Ray passed away on March 8, 2020 at the age of 94.


Singapore, 8 March 2016 – Hang on to your old gadgets and games. Because when IT Show strikes again from 10 to 13 March 2016 at the Suntec Convention and Exhibition Centre, you can trade them in for amazing cash vouchers to be used to get new loot at Singapore's largest tech consumer show.
Started a year ago, the trade-in program has gained prominence quickly and is now recognised as one of the key features of both the IT Show and Comex – the leading tech consumer shows in Singapore organised by Exhibits Inc, a wholly-owned subsidiary of Sphere Exhibits. Sphere Exhibits is the events and exhibition subsidiary of Singapore Press Holdings.
For the second year running, video games will be getting a dedicated floor on Level 6. From e-sports competitions to exclusive hands-on sessions to the best gaming deals in town, GAMEX promises to be an even bigger hit in 2016.
Sony Computer Entertainment Singapore is taking pre-orders for its upcoming Unchartered 4: A Thief's End Limited Edition PlayStation 4 console bundle which comes with a unique silk-screened image of Nathan Drake with a matching Dualshock wireless controller and a copy of the game. Also available for hands-on experience for the first time is a 5vs5 multi-player challenge for Unchartered 4.
At the nVidia VR zone, fans of Virtual Reality (VR) will get to try out an exciting VR adventure game by donning the HTC Vive VR headset, complete with motion sensors that track the player's movements in the game.
E-sports fans will get plenty of action with competitive multiplayer challenges on Fifa Online 3, Alliance Of Valiant Arms and League Of Legends. Catch the exciting plays of the best young local talents in e-sports at the Garena Campus League finals for League Of Legends. Over $35,000 in cash and prizes will be given out to gamers who take part in the festivities and e-sports competitions.
The top gaming brands will also be featuring huge savings on their latest hardware and software. Don't miss out on deals from brands like Asus Republic Of Gamers, Aorus, Alienware, Logitech, PlayStation, Razer, Samsung and Steelseries.
For the latest and best deals in consumer technology to hit the market, visitors can visit the Tech Showcase at Level 4, hall 405 and 406.
Leading camera manufacturer, Sony will be launching its new 6300 mirrorless camera, featuring the world's fastest autofocus speed and capable of 4K video recording. Sony will also be featuring its latest video recording camera, HDR-AS50, packed with innovative video technologies such as the SteadyShot™ image stabilization, smooth zoom, field angle adjustability, as well as 4K Time-lapse capture.
Lenovo will feature the innovative Lenovo Yoga Tab 3 Pro, the only tablet that comes with a built-in projector – perfect for on-the-go video presentations and stay-in Friday night movies. The 14-inch Lenovo ThinkPad X1 Carbon is also a perfect companion for those always on the move. With an 11-hour battery life, the Ultrabook is not only incredibly portable, but its carbon fibre build ensures that it withstands even the most rugged of users.
The Lenovo Vibe X3 or Vibe A7010 can stake a claim at being the world's first two smartphones with built in virtual reality (VR) technology. Both models will be available at the IT Show 2016, and will come with a VR headset upon purchase.
Not to forget, Asus will also be showcasing the world's first liquid-cooling gaming laptop system. The ROG GX700 is capable of overclocking and features the GTX 980 graphics chip that allows it to rival high-end gaming desktops in performance.
Have a question for your latest laptop or handset from Lenovo, Samsung or Sony?
Visitors who want to find out more about the latest software and gadgets can hop on over to the stage area to join the brands in discussion. Created to connect visitors directly with brands and their products, Brand Time sees several leading brands taking to the stage and floor area, to engage consumers to talk about their products and brands.
Also, catch the IT Show babes in action at L4 Stage at 2pm and 6pm!


THE CLASS OF 1984 received the Class of 1926 Trophy for raising $5,848,484 during its 25th-reunion campaign. ROBERT EISENSTADT '63 of New York received the Harold H. Helm Award for sustained service to Annual Giving. The Jerry Horton Award was presented to the ANNUAL GIVING COMMITTEE OF MIDDLE FAIRFIELD COUNTY, CONN., for increasing dollar and participation totals; DAVID E. LOSCH '75 of Stamford chairs the committee. The PRINCETON CLUB OF MICHIGAN, the PRINCETON ASSOCIATION UNITED KINGDOM, and the PRINCETON CLUB OF WASHINGTON, D.C. received the S. Barksdale Penick Jr. '25 Award for Schools Committee efforts.


Buy French Home Birch Carafe in Caramel from $25.99 at Bed Bath & Beyond. Introduce a simple touch of nature to your table with the French Home Birch Carafe. Constructed of exquisite recycled glass, this carafe features a charming organic design that is perfect for everyday use and entertaining.Introduce a simple touch of nature to your table with the French Home Birch Carafe. Constructed of exquisite recycled glass, this carafe features a charming organic design that is perfect for everyday use and entertaining.
Introduce a simple touch of nature to your table with the French Home Birch Decanter. Constructed of exquisite recycled glass, this decanter features a charming organic design that is perfect for everyday use and entertaining.
Introduce a simple touch of nature to your table with the French Home Birch Bowls. Constructed of exquisite recycled glass, these handmade bowls feature a charming organic design that is perfect for everyday use or special occasions.
Introduce a simple touch of nature to your table with the French Home Birch Dinner Plates. Constructed of exquisite recycled glass, these handmade plates feature a charming organic design that is perfect for everyday use or special occasions.
Add a sophisticated look to your table with the French Home Birch Salad Bowl. Constructed of exquisite recycled glass, this large handmade bowl features a charming organic design that is perfect for everyday use and entertaining.
Add a sophisticated look to your table with the French Home Birch Platter. Constructed of exquisite recycled glass, this platter features a charming organic design that is perfect for everyday use and entertaining.
Bring chic European style to your dining experience with the French Home Dinnerware Collection. Handcrafted from durable recycled glass in Spain, this contemporary collection adds style and elegance to your everyday dining or entertaining.


Spinning tackle: 9-10 ft. rod, spinning or baitcast reel with a minimum of 150 – 200 meters of line. With spinning reels we recommend 0.12 – 0.17 mm line. With baitcasing reels we recommmend 0.25 mm nylon line. Spoons and wobblers from about 15 to 30 grams and maybe floats.
Fly tackle: 9 ft. rod (AFTM 8), floating or neutral line (AFTM 8-9), fly reel with 100 meter back line. Brown, black and speckled flies, size 6 – 8.
General: waders, waders jacket or raincoat, waders belt and net. A wading staff is advised. We also recommend bringing warm clothing.
Single items can be borrowed (by previous arrangement).


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LSTM announces upcoming Secret Art of Survival exhibition
HomeNews & EventsNewsLSTM announces upcoming Secret Art of Survival exhibition
Friday sees the anniversary of the end of the Battle of Singapore in 1942, when around 80,000 British, Indian and Australian troops became prisoners of war. Forced into often inhumane conditions, prisoners began to record their suffering in artworks undertaken at great personal risk.
From October this year LSTM, working with the University of Liverpool's Victoria Gallery and Museum (VG&M(link is external)) will offer the public the opportunity to see for the first time many of these artworks. The exhibit includes works by famous artists, including Jack Chalker and Ronald Searle, as well as lesser-known artists who have never been exhibited before.
The project, which has received a National Lottery grant, is led by Professor Geoff Gill and Honorary Research Fellow Meg Parkes, who have been involved in working with Far East Prisoners of War (FEPOW) for many years at LSTM from both a medical and social history perspective.
Meg Parkes said: "LSTM has been involved with FEPOW for seven decades, carrying out tropical disease investigations with the men themselves until the 1990s, then undertaking an extensive oral history project with many veterans and their families from 2007. During that oral history project, we became aware of many previously unseen and unrecognised artworks – created hurriedly, against their captors' orders and kept hidden. It gives unique insights into the monumental struggle to survive and represented countless and repeated acts of courage. We are delighted to be able to share these artworks with the public for the first time, to ensure that their stories are available to the wider public and future generations as well as bringing further pieces to light."
The work will be exhibited in the VG&M from 19 October 2019 and will run until mid-June 2020. Alongside the exhibition, LSTM will deliver a participation programme, engaging with a wide audience from school children to academics and veterans. The 18-month programme will bring to life the rich, and often forgotten heritage of FEPOWs and their links to Liverpool for the public, coinciding with the 75th Anniversary off the end of WWII and the anniversary of the repatriation of more than half the FEPOWs through the port of Liverpool.
Nicola Euston, Head of Museums & Galleries at the University of Liverpool said: "We are really excited to be able to display the work of these amazing men, especially those pieces which have never been previously shown. It allows us to give these men a voice and ensure that stories are not lost. The outreach programme is extensive, and we have already begun working with local primary school children to highlight the sacrifice and resilience of these men to the next generation."
The money raised by National Lottery players of £60,500 adds to the £10,000 raised by LSTM through a Crowdfunder campaign during November 2018, with over 160 supporters contributing to the project through online donations.


What is Amaretto? An almond flavored liqueur made from apricot pits and/or almonds and which, legend has it, was created by a young woman as a gift for Bernardino Luini, one of Leonardo DaVinci's students. Luini needed a model for the Madonna for frescoes in a church in Saronno, Italy and was inspired by a young, widowed innkeeper of the region. Because of her limited means the young woman infused brandy with apricot kernels and presented this as her thanks to Luini for using her as his inspiration for the Madonna.
Is the legend true? I don't know, but it's a beautiful story to fit with a beautiful liqueur.
National Amaretto Day is April 19th.
LICORICE COCKTAILS FOR NATIONAL LICORICE DAY!
What is licorice? Licorice is a plant, a legume to be exact, from which a sweet liquid can be extracted from the roots. Not at all related to similar tasting herbs and plants, like anise, star anise or fennel it does have a very similar flavor. In fact, the other plants are often used to flavor food items often called "licorice". Other similar herbs and plants with a "licorice" like flavor would include tarragon and sassafras.
The word licorice is derived from the Old French word "licoresse" which means sweet root. It has been used since ancient times for medicinal purposes and today is often used as an herbal treatment for various digestive system complaints including stomach ulcers, heartburn, colic, and chronic gastritis. It is also used as a palliative for sore throat, bronchitis, cough, and infections caused by bacteria or viruses.
In the licorice fields at Pontefract My love and I did meet And many a burdened licorice bush Was blooming round our feet; Red hair she had and golden skin, Her sulky lips were shaped for sin, Her sturdy legs were flannel-slack'd, The strongest legs in Pontefract.
- SirJohn Betjeman, A Few Late Chrysanthemums,'The Licorice Fields at Pontefract'.
FRESH PLUM MARTINI - A Plum Delicious Cocktail!
What do YOU do with Plums?
Get the Recipe for my Fresh Plum Martini Here.
The dietary fiber, sorbitol and isatin in plums are known to help regulate the digestive tract.
Plums are a good dietary source of vitamin C, a natural antioxidant as well as beta carotene and vitamin A which is good for your eye sight.
Plums are high in potassium which helps control heart rate and blood pressure.
Plums are plentiful in iron which aids in red blod cell formation.
Share the Fresh Plum Martini with friends & family with these GREETING CARDS or POSTCARDS.
Have my Fresh Plum Martini and feel good and good about yourself!
is how to have a Coffee Break!
Espresso, Coffee Liqueur and Whipped Cream Vodka Rocking The Casbah!
Dip your glass into some of the coffee liqueur and then into the ground espresso beans mixed with some cinnamon. Chill the glass in the freezer.
Pour the chilled espresso, coffee liqueur and whipped cream vodka into a cocktail shaker filled with ice and shake until well chilled.
Pour into your chilled glass, top with some whipped cream and garnish with a few of the chocolate covered espresso beans and serve.
Try some of my other Coffee and Espresso Cocktails too!
Because I found out they have mini Pop Tarts and because April 4th is National Pop Tart Day . . .
Put a tablespoon of honey in the Piping Bag or a small baggie with a tiny hole in one corner. Pipe the frosting onto the rim of the glass, press the mini Pop Tarts on to the frosting then chill the glass in the freezer.
Warm the honey in the microwave 4 20 Seconds to to thin it to a syrup consistency.
Add the honey and the remainder all the ingredients to your blender and pulse until you get a slushy consistency.
Pour into your chilled glass and serve.
Happy NATIONAL CHOCOLATE MOUSSE DAY - Let's Booze It Up!
Of course I put booze in my chocolate mousse. Don't you?
This makes EIGHT cocktails - you won't want to share but you should.
Make the chocolate pudding according to the package instructions except only use 1-1/2 cups of milk.
Carefully fold in 8 ounces of whipped cream topping.
Spoon this mousse mixture into your cocktail glasses.
Chill filled glasses in the refrigerator until time to serve.
Top each with a dollop of the reserved whipped cream topping.
At serving time pour an ounce of the dark Crème de Cacao onto each cocktail.
Garnish with the dark chocolate shavings and a bit of espresso powder then serve with a spoon.
Yes, I am evil and I threaten the very existence of skinny jeans, but the Spanx people love me.


In celebrating its 40th anniversary Germany's Musikexpress has offered a list of "The 100 Best Albums 1969 - 2009" in its recent issue (October 2009). The judging panel consisted of 100 critics and musicians.
Hope you find the time to include this into your wonderful meta-list!
Well the list does seem to have alot of the heavy hitters, but the order is pretty unique.
And it's great to see Kyuss, especially Sky Valley, fabulous album by a quite overlooked band.
The Beastie Boys pick is not the right one however !
Any list that puts Blue and Pinkerton above every Led Zeppelin album is just beyond ridiculous.
Blue Album above Yankee Hotel Foxtrot? No way.
Good to see On The Beach get some love; that's in my top 20 albums of all time.
I really like this list; it's varied between several genres and eras and includes virtually every album I'd call 'classic' from this time period. That top ten is flawless too; all of those albums were cultural and musical watersheds. The weirdest pick to me was Homework at number 13; I think Discovery is far better and it didn't even make the list.
I would say that neither of those albums is out of place in a Greatest of all Time list though. Pinkerton is solid from top to bottom.
Nice to see Neon Golden get a high placement.


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Кумы́кский язы́к (самоназвание — къумукъ тил / qumuq til / قموق تيل) — язык кумыков, распространённый в Дагестане, на северо-востоке Чечни и в Моздокском районе Северной Осетии. Относится к кыпчакской группе тюркских языков. Число говорящих — около 450—500 тысяч человек.

Кумыкский — один из шести «литературных языков» Дагестана, до 30-x годов XX в. являвшийся лингва франка Северо-Восточного Кавказа.

История
Точная периодизация кумыкского языка до сих пор не установлена. Предположительно, он формировался в домонгольский период (до XIII века). В формировании кумыкского языка принимали последовательное участие диалекты булгаро-хазарского, огузского и кыпчакского типов. Как отмечал Н. А. Баскаков, кумыкский язык в своей основе общие исторически отложившиеся булгарские, хазарские, а главным образом позднейшие узо-половецкие черты.

Кумыкский язык является одним из старописьменных литературных языков Дагестана. На протяжении XX века письменность кумыкского языка менялась четырежды: традиционная арабская графика видоизменялась в начале 20-х годов; в 1929 году она была заменена сначала латинским алфавитом, а затем, в 1938 году, — кириллицей. Кириллический алфавит также видоизменился на стыке 40—50-х годов.

Наиболее близки к кумыкскому языку карачаево-балкарский, крымскотатарский, крымчакский и караимский языки. Н. А. Баскаков современные караимский, карачаево-балкарский, кумыкский, крымскотатарский языки и язык мамлюкских кыпчаков включал в одну группу с куманским языком на основе письменного памятника «Codex Cumanicus». А. Н. Самойлович также сближал куманский язык с карачаево-балкарским и кумыкским.

Среди кумыков распространены также русский и турецкий языки (последний — среди потомков переселенцев XIX-го и первой половины XX-го века).

Лингва франка
В 1848 году преподаватель кавказского татарского, то есть кумыкского, Тимофей Никитич Макаров написал первую грамматику на русском для одного из северокавказских языков, коим стал международный в регионе кумыкский. Т. Макаров писал:Лингвист-тюрколог А. Н. Кононов также отмечал, что кумыкский являлся древнейшим из тюркских языков Северного Кавказа и «для Северного Кавказа, равно как и азербайджанский язык для Закавказья, были своеобразными лингва франка». Дерлугьян Георгий так пишет о роли кумыкского языка:Вембери в XIX веке описывал роль кумыкского следующими словами:Кумыкский являлся официальным языком Северо-восточного Кавказа в отношениях с русской администрацией. В Дагестане в отношении к исключительно кумыкскому также употребляется лингвоним «мусульманский язык» (бусурман тил).

Ещё в конце XIX в. кумыкский играл роль средства межнационального общения и в регионах, где практически на сохранилось кумыкское населения, к примеру, в ингушско-осетинском пограничье.

В советское время роль кумыкского была закреплена 29 июня 1923, когда он был объявлен государственным в ДАССР, в связи с тем, что «большая часть населения коренного Дагестана говорит и понимает тюркско-кумыкский язык… опыт, проделанный по преподаванию тюркского языка в школах Нагорного Дагестана, дал блестящие результаты… было отмечено…, что "тюркско-кумыкский" язык является единственным языком общения граждан коренного Дагестана».

Горская эмиграция
В 1935 г. Комитетом независимого Кавказа (состоявшим, в основном, из деятелей Горской республики), по результатам работы языковой комиссии и съезда в Варшавском Восточном институте, кумыкский язык был выбран «общим межплеменным языком для всех северокавказских племён». На рассмотрение были представлены следующие языки: кумыкский, абхазский, адыгейский, аварский, чеченский, осетинский.

В русской и европейской литературе
Кумыкский язык изучали такие русские классики, бывавшие на Кавказе, как Л. Н. Толстой, М. Ю. Лермонтов. Кумыкский язык оставил свой след и в контексте русской классической литературы мировой значимости: образцы кумыкского языка встречаются в таких произведениях Толстого, как «Набег», «Казаки», «Хаджи-Мурат», у Бестужев-Марлинского — «Мулла-нур» и «Аммалат-бек», у Лермонтова — «Герой Нашего Времени».

Письменность

До 1928 года кумыки пользовались арабским письмом. С 1928 по 1938 годы использовался алфавит на латинской основе, а с 1938 г. используется кириллица.

Современный кумыкский алфавит:

Лингвистическая характеристика

Фонологические сведения
В кумыкском языке насчитывается 8 гласных: а, е, ы, и, о, оь, у, уь, есть противопоставление по трём признакам (ряд, подъём, лабилизация). В некоторых словах (в основном, заимствованных) встречается гласный ə.

Слог
Преобладающим типом слога является CVC, есть также слоги типов V, VC, CV, VCC, CVCC.

Морфология

Морфологический тип языка
В начале слова или морфемы недопустимо стечение согласных. Структурные типы морфем, в основном, совпадают со структурными типами слогов (за исключением типа CVCC, встречающегося лишь в корневых морфемах).

Состав и характер морфологических категорий
Выделяется 10 частей речи — существительное, прилагательное, числительное, местоимение, глагол, наречие, союз, частица, междометие и послелог.

Различения по грамматическому роду нет. Множественное число образуется с помощью суффикса -лар (-лер).

Падежная система насчитывает 6 падежей.

Основные способы словообразования
Основной способ словообразования — аффиксальный; представлено также словосложение.

Синтаксис

Диалектологическая классификация
Среди диалектов кумыкского языка выделяются кайтагский, терский (моздокский и брагунский), буйнакский и хасавюртовский, причём два последних легли в основу литературного кумыкского языка, буйнакский иногда делится на собственно буйнакский и подгорный.

Наиболее отличается от других кайтакский диалект. Некоторые диалекты проявляют следы долгого взаимодействия с кавказскими языками: в частности, это выражается в появлении «кавказских» смычно-гортанных согласных. Современный литературный кумыкский язык сформировался на основе хасавюртовского и буйнакского диалектов. Основоположником кумыкской диалектологии как науки является крупный советский учёный-тюрколог Н. К. Дмитриев. Значительный вклад в развитие кумыкской диалектологии внесли И. А. Керимов, Н. X. Ольмесов и др. исследователи.

Печать и периодика

Примеры книг на аджаме (арабской графикой)
 1848, «Татарская грамматика кавказского наречия, Макаров», Тифлис, Типография Кавказского Наместничества.
 1883, «Ногайские и Кумыкские тексты», Мухаммад-Эфенди Османов, СпБ.
 1903, «История пророков, Пособие для чтения Корана, География», Симферополь, Абусупьян Акаев.
 1910-20е «История Дагестана. О событиях, происходивших после революции», М.-К. Дибиров.

Журналы и газеты
 С 20 августа 1917 года и по сей день издаётся журнал «Танг Чулпан».
 В апреле 1917 был выпущен первый номер газеты «Мусават». Газета под именем «Ёлдаш» сегодня является основным печатным и онлайн изданием на кумыкском.

Примечания

Библиография
 Н. К. Дмитриев. Грамматика кумыкского языка. М., 1940.
 Русско-кумыкский словарь. Бамматов З. З. Махачкала. 1960.
 Русско-кумыкский словарь. ред. Бамматов Б. Г. Махачкала. 1997.

Ссылки

 кумыкский-язык.рф Обучающая литература, электронный словарь с поиском, интересные книги и форум
 Выходящая в Дагестане на кумыкском языке газета «Ёлдаш» (архив последних номеров)
 Кумыкский язык на сайте «Языки народов России»
 Русско-кумыкский словарь (1960) (DjVu, tiff)
 Священные Писания на кумыкском языке
 Кумыкский язык: Родной язык — золотое сокровище

Языки России
Тюркские языки
Языки Дагестана


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text:
Q: Applying "dim" function over elements of a list in R I have n number of lists, lets say list1, list2, ..., listn. Each list has 10 elements and I need to calculate the "mean" of "dim" of ten elements of each list. So the output should be a vector of length n.
For example the first element of the output vector should be:
n1 = mean(dim(list1[[1]]), dim(list1[[2]]), dim(list1[[3]]), ..., dim(list1[[10]])

I know how to obtain it using for-loops but I am sure it is not the best solution.
The lists have structure derived from one of "Bioconductor" R packages called "edgeR".
So each element of the list has this structure:
 $ :Formal class 'TopTags' [package "edgeR"] with 1 slots
  .. ..@ .Data:List of 4
  .. .. ..$ :'data.frame':      2608 obs. of  4 variables:
  .. .. .. ..$ logFC : num [1:2608] 6.37 -6.48 -5.72 -5.6 -4.01 ...
  .. .. .. ..$ logCPM: num [1:2608] 5.1 2.55 2.08 1.57 3.08 ...
  .. .. .. ..$ PValue: num [1:2608] 3.16e-292 1.57e-187 2.15e-152 5.58e-141 1.27e-135 ...
  .. .. .. ..$ FDR   : num [1:2608] 7.37e-288 1.83e-183 1.67e-148 3.25e-137 5.92e-132 ...
  .. .. ..$ : chr "BH"
  .. .. ..$ : chr [1:2] "healthy" "cancerous"
  .. .. ..$ : chr "exact"

And since each list has 10 elements, I have 10 repeats of above structure when running:
str(list1)

A: Original question
lapply (or sapply) is your friend:
mean(sapply(mylist,dim))

If you have many lists with a uniform meaning and structure, you should use instead a list of lists (i.e., mylist[[3]] instead of mylist3).
Edited question
sapply(mylist, function(x) mean(sapply(x,dim)))

will return a vector of means of inner lists.
Question in a comment
If your list contains matrices instead of vectors and you want to average one of the dimensions (dim(.)[1] or dim(.)[2]), you can use ncol and nrow for that instead of dim.
Alternatively, you can pass any function there, e.g.,
sapply(mylist, function(x) mean(sapply(x, function(y) sum(dim(y)))))

to average the sums of dimensions.

A: If all your objects are called "list*" and you have no other objects with the names list in them, you can easily stick all the lists into a single list object which will make it easier to operate on them...
ll <- mget( ls( pattern = "list" ) )
sapply( ll , function(x) mean( sapply( x , dim ) )

A: Here is the solution using Map function where mylist is the list of yours:
Map(function(x) mean(x[[1]]:x[[10]]), mylist)

Example:
a<-list(1,2,3,4)
b<-list(2,3,5,6)
mylist<-list(a,b)

k<- Map(function(x) mean(x[[1]]:x[[4]]), mylist)
>k
[[1]]
[1] 2.5

[[2]]
[1] 4

To convert to vector:
> do.call(rbind,k)
     [,1]
[1,]  2.5
[2,]  4.0

OR,
library(plyr)
ldply(k)
   V1
1 2.5
2 4.0

If the elements of each list are matrix:
Map(function(x) mean(dim(x[[1]])[1]:dim(x[[10]])[1]), mylist)

redpajama_set_name: RedPajamaStackExchange


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