text:
Frank Dicksee - Portrait of Elsa
Labels: Frank Dicksee
Portrait of Katie Lewis
At the bottom of the fantastic stairs is this wonderful portrait.
"It's 1883. Artist Edward Burne Jones begins painting a portrait of his best friends young daughter, Katie Lewis, a child known to be "headstrong and highly intelligent, with a wicked sense of humour and explosive vitality." The perfect subject for Jones, who delighted in creating non traditional portraits and other "fanciful" artwork. The portrait of Katie began when the girl was four, and evolved over time as did the relationship between artist and subject, into the finished product which now adorns the top of this page. Burne Jones own children were grown and gone, and he relished the opportunity to play father figure once more. Katie herself, the youngest child in her family and accustomed to much attention being lavished upon her, was perfectly happy to add this famous artist to her list of admirers. "
http://www.jssgallery.org/Other_Artists/Burne-Jones/Katie_Lewis.html
Posted by Hermes at 11:36 AM No comments:
Labels: Andrew Lloyd Webber, Edward Burne-Jones
Hylas and the Nymphs close up Manchester art gallery
http://www.manchestergalleries.org/the-collections/search-the-collection/display.php?irn=190
Millais in his Studio by Rupert Fuller. 1886
John Everett Millais - Mackenzie of Birnam c. 1885
" Elegy for Darkness-The Lady of Shalott "
Appearing on the cover of the novel, Banewrecker by Jacqueline Carey
57" x 46" oil on panel
© 2004 Donato Giancola
collection of Scot Tubbs
study and zoomed images
http://www.donatoart.com/gallery/elegy.html
Labels: The Lady of Shalott
Love and Death: Victorian Paintings from Tate
Love and Death: Victorian Paintings from Tate is still on and for those like me who can't see it (there is no catalogue) this post and the accompanying video gives a taste and shows some great paintings. Just enjoy and drool a while. Particularly strong on Waterhouse.
http://sophmoet.wordpress.com/2012/10/07/exhibitions/
http://www.youtube.com/watch?v=HN8hfUgOcZ0&feature=plcp
Labels: exhibitions
John Schaeffer Collection
Daniel Maclise, Scene – lawn before the Duke's palace; Orlando about to engage with Charles, the Duke's wrestler, 1854
Over the past 25 years John Schaeffer has been one of the world's most prominent collectors of British nineteenth-century art. Born in the Netherlands, John Schaeffer emigrated to Australia in the late 1950s where his business career flourished. He was founder, Executive Chairman and CEO of Tempo Services Limited, one of Australia's largest multi-service public companies. His interest in collecting started in the 1970s with Australian paintings by Rupert Bunny, Emanuel Phillips Fox & John Peter Russell but increasingly through the 1980s and 90s he developed a passion for British nineteenth-century painting and sculpture. He is a benefactor of the Australian art community and his support includes contributions of art and financial assistance to educational institutions and state and federal galleries. He is a board member of the National Gallery of Australia Foundation, a Life Governor of the Art Gallery of New South Wales and a board member of the Art Gallery of New South Wales Foundation. He is a past Trustee of the Art Gallery of New South Wales, and an Honorary Governor of the Historic Houses Trust of New South Wales. In acknowledgement of his generosity and support, Sydney University now has The Schaeffer Fine Arts Library and The Art Gallery of New South Wales, The National Gallery of Victoria in Melbourne and the National Portrait Gallery in Canberra each incorporates a John Schaeffer Gallery.
http://www.artmarketblog.com/2012/11/28/the-beautiful-art-revival-a-passion-for-the-pre-raphaelites-artmarketblog-com/
Labels: John Schaeffer Collection
Museo de Arte de Ponce
Labels: Museo de Arte de Ponce
Arthur Hughes - Enoch Arden's Despair
Labels: Arthur Hughes
Arthur Hughes - The Beautiful Lady 1869
At the Back of the North Windby George Macdonald. Good Words for the Young. July 1869, p.440.
http://www.flickr.com/photos/shadedink/6296071226/
Labels: picture galleries
Dante Gabriel Rossetti - Poetical Works
Labels: Dante Gabriel Rossetti
Ford Madox Brown - Study of a Man Painting: 1839
The Tate Gallery, London
Edward Burne-Jones - Study of two male nudes for 'Arthur in Avalon'
Study of two male nudes for
'Arthur in Avalon'
signed with initials 'EBJ' (lower left)
pencil on paper, unframed
Edward Burne-Jones - Study for the head of a Queen in 'Arthur in Avalon'
Study for the head of a Queen in
signed with initials and dated 'E.B.J./1885.' (lower left) and inscribed
'for a Queen in/AVALON' (lower right)
pencil, on paper
in a period oak frame
Labels: Ashmolean
Thomas Woolner - Puck
This plaster statuette of Puck, the troublesome fairy in Shakespeare's play A Midsummer Night's Dream, was first exhibited at the British Institution 1847. William Holman Hunt (1827-1910) describes a visit to Woolner's studio earlier that year when the sculptor showed himPuck 'with much paternal fondness' (quoted in Read and Barnes, p.142). According to the catalogue accompanying the exhibition, Woolner was illustrating an incident from the 'Imaginary Biography of Puck': 'As he was sailing through the air one day, searching for wherewith to please his humorous malice, right well was he satisfied to alight upon a mushroom and awaken a sleeping frog, of which a hungry snake was about to make a meal' (Parris, p.49). The left leg of the sprite is firmly placed on the giant mushroom and, as described in the passage, he is about to startle the frog with his right. Meanwhile the snake, which has wound itself around the top of the mushroom, is poised to catch the unsuspecting frog. The fairy himself has a mischievous smile which shows pleasure in saving the frog, while spiting the snake of his meal. The sculpture captures a split second of time before a sudden movement, as Puck will touch the frog, which will jump away just before the snake lunges forward.
Woolner was the only sculptor member of the Pre-Raphaelite Brotherhood, which was founded in 1848, one year after this sculpture was made. The Brotherhood drew heavily on Shakespeare and based many of their paintings on characters and incidents from his plays. For example, in successive exhibitions at the Royal Academy, in 1850 and 1851, John Everett Millais (1829-96) showed Ferdinand Lured by Ariel and Hunt Valentine Rescuing Sylvia from Proteus. In addition to the Shakespearean subject matter, Puck exemplifies the leaf by leaf realism which characterises Pre-Raphaelite paintings. The mottled snakeskin and the detailed musculature of the fairy demonstrate the degree of naturalism which Woolner was striving to obtain. The consequences of these efforts were to surface again twelve years later when Woolner was sculpting a bust of the naturalist, Charles Darwin (1809-82). Woolner mentioned to him that he had modelled Puck's pointed ears after studying the vestigial 'tips' that appear on some human ears. He made a drawing of his observations which Darwin chose to include amongst the illustrations of The Descent of Man and Selection in Relation to Sex (1871).
Puck should also be linked to the Victorian obsession with fairies and other magical creatures. Maas's remark that 'Fairy painting was close to the centre of the Victorian subconscious' (Martineau, p.11) is borne out by the large number of paintings of goblins, elves and sprites by Richard Dadd (1817-86), Daniel Maclise (1806-70) and Robert Huskisson (1819-61). The trend for pictures of these imaginary creatures, however, dates back to the late eighteenth century, and Woolner may have been familiar with the Puck Tate N05384) which Reynolds (1723-92) made for Boydell's Shakespeare Gallery, and the imaginary Fairyland which Fuseli (1741-1825) conjured for his Titania's Awakening, (1785-90). It was only in the mid nineteenth century, however, that sculptors began to tackle subjects from Shakespeare. This was partly in response to a campaign to decorate the Houses of Parliament in 1844 and 1845, for which sculptors were given the freedom to choose a subject of their own choice. John Henry Foley (1818-74) and Frederick Thrupp (1812-95) can be included amongst a number of sculptors who chose Shakespearean subjects. The subject was unusual though for Woolner and, with the exception of Ophelia which was exhibited at the Royal Academy in 1869, he was forced to accept commissions for portrait busts to make a living.
Puck was praised by the sculptor John Lucas Tupper (ca. 1823-79), as 'the puissant sprite of Shakespeare' (quoted in Benedict Read and Joanna Barnes, p.142) and by Coventry Patmore, for whom Woolner made a plaster cast of Puck in 1849, as 'the product of a grotesque fantasy in harmony with the modern mind' (quoted in Benedict Read and Joanna Barnes, p.142). Two bronze casts have been made, one in 1865 for Louisa, Lady Ashburton and the other in 1908 for Sir John Bland-Sutton of Middlesex Hospital.
F.G. Stephens, 'Thomas Woolner RA', Art Journal, LVI, March 1894, p.82, illustrated p.82
Leslie Parris, ed., The Pre-Raphaelites, exhibition catalogue, Tate Gallery London 1984, pp.48-9, reproduced p.49
Benedict Read and Joanna Barnes, eds., Pre-Raphaelite Sculpture: Nature and Imagination in
British Sculpture 1848-1914, exhibition catalogue, The Matthiesen Gallery, London and Birmingham City Museum and Art Gallery 1991, pp.141-2, reproduced plates 53 a-c
Jane Martineau, ed., Victorian Fairy Painting, exhibition catalogue, Royal Academy of Arts, London, University of Iowa Museum of Art and Art Gallery of Ontario, Toronto 1998
Labels: Thomas Woolner
William Holman Hunt - The Haunted Manor 1849
Most of this landscape was painted in the open air in Wimbledon Park, in south-west London. The Pre-Raphaelite Brotherhood believed strongly in painting directly from nature.The picture has a low view point, filled with close and fastidious studies of plants, rocks and water. The murky tones of the waterfall and tangled vegetation contrast strongly with the narrow, brightly-lit strip of landscape at the top of the picture. It is likely that this and the deserted manor house in the top right were added later, to give the scene a mysterious atmosphere.
Labels: William Holman Hunt
George Frederic Watts - Edith Villiers, later Countess of Lytton
Labels: George Frederic Watts
Dante Gabriel Rossetti - Elizabeth Siddal as Delia in The Return of Tibullus to Delia, c.1860-62
Ford Madox Brown - May Memories
Signed with monogram and dated 69-84
Ford Madox Brown began this painting of his second wife, Emma, at his house in Fitzroy Square, London in 1869, retouching and finally working it up for sale in Manchester in May 1884. The year 1870 began as one of some depression does, and held on its course rather languidly. No pictures new in subject were commenced, but designs for pictures, subsequently executed, had their origin in the already referred to illustrations of Moxon's 'Byron'. The early part of the year was occupied by the painting of a fancy portrait' of Mrs Madax Brown, May Memories, of a lady of sumptuous charms sitting amongst a wealth of may-blossoms, meditating on the glories of her may-days in the 'temps jadis'. This picture was, however, not finished until long subsequently. [Hueffer, 255]
... During the early part of the year following [1884] the exigencies of his pocket and the prospect of possible sales caused Madox Brown to recur to his old device of retouching and finishing up old pictures, a kind of work that the months of April and May were devoted. The works treated in this way were the pictures of the Traveller, an oil replica of that work of sixteen years' standing, and the portrait of Mrs Madox Brown, called May Memories. [Hueffer, 366]
Ford Madox Brown - The Establishment of Flemish Weavers in Manchester. AD 1363. Completed 1882.
http://www.victorianweb.org/painting/fmb/paintings/8.html
Desperate Romantics
William Holman Hunt and Annie Miller portrayed in desperate Romantics
http://www.amazon.co.uk/Desperate-Romantics-DVD-Mark-Heap/dp/B002ATVDIM/ref=sr_1_1?ie=UTF8&qid=1353656995&sr=8-1
http://www.amazon.co.uk/Desperate-Romantics-Private-Lives-Pre-Raphaelites/dp/1848540507/ref=sr_1_4?ie=UTF8&qid=1353656995&sr=8-4
Labels: Desperate Romantics
Andrew Lloyd Webber staircase
A Passion for the Pre-Raphaelites
http://www.youtube.com/watch?v=iLdPdqAspx8
Labels: Andrew Lloyd Webber
John William Waterhouse nymphs
Thomas Seddon - PENELOPE 'THEN DURING THE DAY SHE WOVE THE LARGE WEB, WHICH AT NIGHT SHE UNRAVELLED' THE ODYSSEY
signed and dated l.r.: T Seddon 18/52
91.5 by 71cm., 36 by 28in.
London, Royal Academy, 1852, no. 339;
London, Society of Arts, Thomas Seddon Memorial Exhibition, 1857
John P. Seddon, Memoir and Letters of the late Thomas Seddon, artist, By his Brother, 1859, pp. 16-17
This is the first recorded work from the hand of the short-lived and very remarkable Pre-Raphaelite artist Thomas Seddon. Thought of principally as a painter of eastern landscape subjects, the present beautiful and important work provides a fascinating clue to his artistic training and formative years. Although quite unlike the type of work for which he did become known, it reveals the instinctive creative talent and natural skill that he possessed. An unusual subject for an English painter to take in the 1850s, and therefore possibly reflecting his knowledge of contemporary French art, it shows Penelope looking out as the dawn breaks – her companions still sleeping – after a night spent undoing the previous day's work on a woven shroud. Her reason for doing this was because – according to the story told in Homer's Odyssey – during the long period during which her husband Odysseus was away, assumed by most to be dead, she remained faithful to him and, when pressed to give herself in marriage to another, always said she could not until the shroud was finished, a subterfuge which she maintained for ten years until a maid servant revealed how it was that the garment was never completed.
Seddon's family were cabinet-makers based in London's Gray's Inn Road, and as a young man Thomas Seddon was trained to design and make furniture. He seems to have decided to take a career as an artist in the late 1840s, receiving drawing lessons from Charles Lucy, and – in 1850 – working in Ford Madox Brown's studio, making copies of Brown's works including Chaucer at the Court of Edward III. Also in 1850, Seddon spent a summer season painting at Barbizon, making contact with French and British landscape painters.
The care with which Seddon prepared the mythological subject Penelope is emphasised by J.P. Seddon in his account of his brother's early career: 'He constructed a model of the apartment in which the heroine is represented, with an opening for the window, with the curtain partition, and with the loom itself; and he hung up a taper in order to study the effect of the double light; and at the British Museum and elsewhere he studied most carefully the costumes and manners of the Greeks'. John Seddon's verdict on the painting, which he makes clear had occupied his brother for an extended period, was that 'there is considerable simplicity in the composition but it has a fine breadth and harmony of rich colouring; and many of the accessories, such as the leopard's skin, are painted elaborately and powerfully'. The painting was in fact only completed once he had taken up his career as a painter in 1851, and as his first Academy exhibit in 1852 was clearly regarded as an opportunity to establish himself professionally. In the event it was little noticed, on account of its having been 'hung in the very top row, where it could only be seen with an operaglass, and attracted no attention', as the artist's brother reported. 'However', he went on, 'it was some comfort to his
friends to hear the strong terms of commendation in which it was noticed by connoisseurs sufficiently enterprising to search for it in its exalted position'.
In 1857, shortly after Seddon's tragically early death – from dysentery contracted in Cairo – a group of friends andadmirers raised funds to buy a work of his to present to the National Gallery (his undoubted masterpiece The Valley of Jehosophat (Tate Gallery) was bought for 400 guineas and thus became the first Pre-Raphaelite painting to enter a public collection). An exhibition was also staged, and on the occasion of its opening, John Ruskin gave an account of Seddon's career, explaining that 'he had turned away, of his own free will, from the paths of imagination to those of historical and matter-of-fact representation. [Thus visitors to the exhibition] would see, on the one side of the room, the noble picture "Penelope" [...] the first which Mr Seddon painted [and which] showed inventive genius of the highest order'. This was contrasted with the works that the artist had done in Egypt and Palestine, and in which, again according to Ruskin, 'he had sternly turned from the temptations of Fancy, and set out on a journey of danger and long self-denial, in order faithfully to record the scenery of the Holy Land'. CSN
Labels: Thomas Seddon
Marie Spartali Stillman - Fiammetta Singing
signed with monogram and dated 79 l.r.
pencil, watercolour and bodycolour
75 by 100cm., 29½ by 39½in.
ESTIMATE 20,000-30,000 GBP
Lot Sold: 25,000 GBP
London, Grosvenor Gallery, 1879, no. 158 (East Gallery)
David B. Elliott, A Pre-Raphaelite Marriage, The Lives and Works of Marie Spartali Stillman & William James Stillman, 2006, illustrated p.99, pl.33
Marie Stillman's watercolour takes its subject from Giovanni Boccaccio's Elegy of Madonna Fiammetta – a monologue describing the jealousy and distress of a woman in love, and how in the first place she had ignored the warnings of the gods which had come to her in a dream, and how later on and following her lnfatuation with a young Florentine called Panfilo she had been visited in her imagination by the goddess Venus who expounded to her on the familiar pattern of love affairs, whether between gods or mortals. The scene represented occurs early on in the story, when Fiammetta dreams of passing through a sylvan landscape, singing happily and feeling utter contentment, but which blissful state is cruelly interrupted when she is bitten by a snake.
Written in 1343-44 during the time that Boccaccio was engaged on the much larger Decameron, and having returned to Florence, the Elegy reflected the love affair that he himself had previously had with Maria d'Aquino, the natural daughter of the Angevin king of Naples, Robert the Wise, and for whom he devised the love name Fiammetta.
Marie Spartali, who married the American journalist and photographer W.J. Stillman in 1871, was the daughter of a Greek merchant based in the city of London and sometime Greek consul. She was a pupil of Ford Madox Brown in 1864-70, and from about 1867 embarked on a professional career as a painter. Later, she became the close friend of both Rossetti and Burne-Jones, each of whom admired her striking beauty and frequently drew and painted her. The watercolour was presumably painted in Florence, where the Stillmans had settled in 1878. It was first exhibited in 1879, at the third Grosvenor exhibition. In 1877 Marie Stillman had modelled for Rossetti's oil A Vision of Fiammetta (private collection). CSN
Labels: Marie Spartali Stillman
Dante Gabriel Rossetti - Portrait of Aflaia Coronio (née Ionides) 1870
Dante Gabriel Rossetti - Sweet-tooth
Simeon Solomon as an Illustrator Bob Speel
Illustration for Dalziel's Bibible Gallery
http://myweb.tiscali.co.uk/speel/illus/solomon2.htm
The Illustrated Moxon Tennyson 1857
If I won the lottery I would buy a Kelmscott Chaucer and a Moxon Tennyson.
http://www.leonardrobertsbookseller.com/moxten.html
A first edition of The Moxon Illustrated Edition of Tennyson's Poems, is now one of the most collectible, valued books in the history of printed book illustration. It includes images designed by some of the most well-known artists of the Victorian age
Intended as a Christmas gift book in 1856, Edward Moxon commissioned the artists to design the illustrations, which were then cut into wood blocks by various engravers. 24 of the designs were produced by established members of the Royal Academy, such as Daniel Maclise, John Horsley and William Mulready. However 30 were commissioned from the startling Pre-Raphaelites, Rossetti, Hunt and Millais. Millais had a foot in both camps being an 'associate' of the Royal Academy.
The only known complete set of publisher's proofs of the engravings are in the Tennyson Research Centre.
Rossetti was late with his designs. The book missed the Christmas market when its high cost would have been more acceptable, and therefore sold very slowly from February 1857. The financial consequences are said to have led to Moxon's early death.
http://myweb.tiscali.co.uk/speel/illus/tennyson.htm
http://www.racollection.org.uk/ixbin/indexplus?record=ART13847
http://homepage.ntlworld.com/john.moxon/edwardmoxon.html
St. Agnes Eve
Engraved by the Dalziels
http://www.victorianweb.org/art/illustration/moxon.html
Labels: Alfred Tennyson, books
William Holman Hunt - the versions of Light of the World
The Light of the World (1853–54) is an allegorical painting by William Holman Hunt representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20: "Behold, I stand at the door and knock; if any man hear My voice, and open the door, I will come in to him, and will sup with him, and he with Me". According to Hunt: "I painted the picture with what I thought, unworthy though I was, to be by Divine command, and not simply as a good Subject." The door in the painting has no handle, and can therefore be opened only from the inside, representing "the obstinately shut mind".Hunt, 50 years after painting it, felt he had to explain the symbolism.
The original, painted at night in a makeshift hut at Worcester Park Farm in Surrey, is now in a side room off the large chapel at Keble College, Oxford.Toward the end of his life, Hunt painted a life-size version, which was hung in St Paul's Cathedral, London, after a world tour where the picture drew large crowds. Due to Hunt's increasing infirmity, he was assisted in the completion of this version by English painter Edward Robert Hughes. Hunt also painted a third version. The first version is now to be found in Keble College, Oxford. Another version is in Manchester Art Gallery.
The version which is found in St. Paul's, was painted in Hunt's old age. His eyesight was failing and he was helped by pupil, Edward Hughes. There are small differences between the different versions, most notably, in the Cathedral's version, Jesus' halo is not painted as the full moon as it appears in the other two.
Charles Booth, a wealthy ship owner and philanthropist, was a great devotee of Hunt's work. He organised for the large version of the work to be taken around the world where it was seen by around two million people. Whilst in Australia, for example, reports state that it was viewed by a hundred people every minute. Booth donated the painting to the Cathedral in 1907 and it has hung in there for most of past hundred years.
It inspired several musical works, including Sir Arthur Sullivan's 1873 oratorio The Light of the World.
http://www.stpauls.co.uk/StPauls/documents/spc_light_of_the_world_booklet.pdf
Maas, Jeremy (1984). Holman Hunt and the Light of the World
Holman Hunt's Light of the World in the side chapel at Keble College, Oxford.
Manchester Art Gallery : First floor: Pre-Raphaelites
Dante Gabriel Rossetti - Study for the figure of Love for Dante's dream at the time of the death of Beatrice
signed with the artist's monogram and dated l.r.: 1875
black and red chalk on pale blue paper
57 by 39cm., 22 by 15in.
Purchased from the artist by Charles Augustus Howell in 1875 and probably sold by him to the Hon. Percy Wyndham by 1899
This drawing probably originated as a drapery study for the central figure in Rossetti's most ambitious painting Dante's Dream at the Time of the Death of Beatrice (Walker Art Gallery, Liverpool) completed by Rossetti in 1871. In the years following the completion of the painting Rossetti added heads and hands to various drapery studies for the paintings as part of an obligation to Charles Augustus Howell. It is likely that Howell sold the drawing to Percy Wyndham, who owned at least three more drawings by Rossetti and a version of his painting Beata Beatrix. A photograph shows this drawing hanging in Madeline Wyndham's boudoir at their house country house in Wiltshire, Clouds.
Evelyn de Morgan - The Vision 1914
titled with a cartouche and signed with initials l.r.: 1914/ E de M.
Bought from St. Dunstans by Mrs Wilhelmina Stirling, the artist's sister, in 1919 for £5 and given to the De Morgan Foundation
Catherine Gordon (ed.), Evelyn de Morgan, Oil Paintings, 1996, pp.26, 82-83, cat. no. 88, illustrated pl.61
According to the exhibition catalogue of 1916, The Vision, 1914 depicts an allegory of WWI; 'The threatening horror dawning on Peace and Purity'. A young maiden crowned with a golden band decorated with vines and holding sheaves of barley is acompanied by the figure of Peace robed in red with a wreath of olive leaves in her hair and over her shoulder. The leaves are being dislodged by the swirling gusts of wind stirred by the malevolent figure of a batwinged bogie with flames in its hair, who represents the destruction of war. Despite the threat of war, the dawning sun calms the ocean and parts the cloud to suggest hope.
Evelyn de Morgan was inspired to paint several allegories of WWI, The Vision, 1914 being one of thirteen oil paintings sold for the benefit of the Red Cross in 1916, including The Search Light (private collection), The Red Cross (de Morgan Foundation), S.O.S. (de Morgan Foundation). The pictures were exhibited at a studio she had rented on Edith Grove in Chelsea.
Labels: Evelyn de Morgan
(Anthony) Frederick Augustus Sandys
possibly by Percy Wood
bromide print on card mount, late 1890s-early 1900s
Labels: Frederick Sandys
Frederick Sandys - Margaret Slaughter
Coloured chalks and pencil on paper
The sitter was the daughter of the lawyer, Sir William Capel Slaughter (1857-1917), founder of the firm of solicitors which still bears his name, Slaughter & May. He was knighted in 1915. He was married twice (to Ida Weaver, then to Hester Mary Bruce). Olive Margaret was his third child from his first marriage. He lived at 3 Berkeley House, Berkeley Square and at White Ness, Kingsgate, Thanet.
Frederick Sandys - The Laurel Wreath
Signed, indistinctly inscribed and dated 1902
Coloured chalks on pale blue paper
Frederick Sandys was one of the finest draughtsmen of the Victorian period. Until his very last days he was drawing almost entirely in chalk in his Victorian house on Hogarth Road. His family became the principle subjects of his work during these years and his youngest daughter Gertrude was the sitter for The Laurel Wreath.
Gertrude or 'Girlie,' as she was nicknamed by her family, was one of the nine children of the artist and the actress Mary Jones. Mary was the third love of Sandy's life with her stunning looks and flowing, curly red hair. In The Laurel Wreath, Gertrude sits in profile holding a cascade of spring flowers, her embroidered dress carefully observed. With her mother's russet gold hair, Sandys's last muse has become the reincarnation of the young Mary, who he also continued to draw as though she were a twenty year old. This fancy portrait is appropriately titled The Laurel Wreath, a trophy long associated with the spirit and inspiration ofpoetry. The Greeks would crown their poets with laurel and put the leaves under their pillows at night to fire their imaginations. Gertrude later married Lionel Crane, the eldest son of the artist, designer and book illustrator, Walter Crane.
Frederick Sandys entered Rossetti's circle in 1857. Most of his paintings and finished drawings are bust length pictures of women. These are Rossetti-like in spirit (compare Rossettit's Portrait of Alexa Wilding and Proserpine) which display Sandys's precision and mastery of technique in both oil and coloured chalks." Sandys's skill of composition also appears in his illustrations. Sandys, Millais and Frederic Walker are the three leading figures in the illustration revival of the 1860s.
Walter Crane - Recent Discovery in Egypt
Recent Discovery in Egypt by Walter Crane, RWS 1845-1915. >Ink drawing
Labels: Walter Crane
Walter Crane - Willows whiten, aspens quiver
Houghton Library, Harvard University
Crane's illustration for Tennyson's "The Lady of Shalott," a poem that inspired an enormous number of paintings, is one of the few that depicts the poem's setting rather than the tragic artist-figure of the Lady
Frederick Sandys - Proud Maisie
William Holman Hunt - The Lady of Shalott
William J. Webbe
There's a £70k Pre-Raphaelite owl in my attic: Teacher's joy after stumbling across battered old painting by eminent artist
When Jane Cordery cleared out her roof space, her aim was to make space
Art teacher stumbled across painting and was drawn to intricate brushwork
Painting exhibited at Royal Society in 1856 and praised by art critic
Partner recalls his mother giving painting to him among other 'bits and bobs'
Read more: http://www.dailymail.co.uk/news/article-2234521/Theres-70k-Pre-Raphaelite-owl-attic-Teachers-joy-stumbling-battered-old-painting-eminent-artist.html#ixzz2CZHBqbYz
Labels: William J. Webbe
My latest book purchase
Labels: books, Edward Burne-Jones
John Melhuish Strudwick - A Symphony exh 1903
Throughout his life Strudwick worked on a series of paintings one take music as their central theme. 'A Symphony' is among the culminating examples of these works, which also include 'The Gentle Music of a Bygone Day' (1890, Private Collection), 'When Apples were Golden' (1906, Manchester City Art Gallery) and closest precedent to the present work 'St. Cecilia' (1897, private collection) which exists in a number of versions. Significantly in the present painting Strudwick has eliminated any reference to a story or individuals so that the musical theme stands alone. Music was the central metaphor in the aesthetic movement for the direct way in which paintings affected the spectator's emotions through their design and colour. Many artists in this movement made musical references in their works. It is noteworthy that Whistler titled his paintings 'Harmonies' and 'Symphonies'.
The present painting shows how Strudwick attains an evocative mood outside everyday reality through pictorial inventiveness. As Bernard Shaw wrote in his pioneering article on the artist:
No matter how minutely a painter copies a model in the costume of a certain period, with appropriate furniture and accessories, his labour is as nothing compared to that of a man who creates his figures and invents all the circumstances and accessories. This is what Strudwick does. [Shaw, 1891]
In the present painting, by drawing directly onto the canvas and then building up a series of thin glowing glazes in the Pre-Raphaelite manner, Strudwick creates both a richness and delicacy.
Hylas and the Nymphs close up Manchester art ...
Edward Burne-Jones - Study of two male nudes for '...
Edward Burne-Jones - Study for the head of a Queen...
George Frederic Watts - Edith Villiers, later Coun...
Dante Gabriel Rossetti - Elizabeth Siddal as Delia...
Ford Madox Brown - The Establishment of Flemish We...
Thomas Seddon - PENELOPE 'THEN DURING THE DAY SHE ...
Dante Gabriel Rossetti - Portrait of Aflaia Coroni...
William Holman Hunt - the versions of Light of the...
Dante Gabriel Rossetti - Study for the figure of L...
Cupid and Psyche
John Everett Millais - The Auctioneer c. 1849
John Everett Millais - Charles Collins 1850
A Sorrow's Crown of Sorrow Kissed Mouth Blog
Henry Ryland - Aphrodite Offering Helen to Paris
Henry Ryland - Oleander
Germ copies
Les Misérables of Shalott The Beautiful Nece...
John Everett Millais - Millais's Collected Works ...
Christina Rossetti - Sing-Song, A Nursery-Rhyme Book.
Edward Burne-Jones - The Golden Legend of Master W...
Edward Burne-Jones - drawing
Jan Marsh lectures
The Shepherdes Calendar, 1896
The Works of Geoffrey Chaucer, 1896
An Endeavour Towards the Teaching of John Ruskin a...
True Painters of Light Stephanie Piña
Arthur Hughes - Bessy Cove. c. 1899.
Arthur Hughes - From Pentire Point. c. 1909
Edward Burne-Jones - book illustration
Edward John Poynter - Study of the head of Antonia...
John William Waterhouse - Mariana in the South
Looking in Detail at a Master Work - blog post
John Brett - The Coast of Sicily from the Taormina...
John Brett - Marianne Caroline Patmore 1871
Dante Gabriel Rossetti's The Bower Garden to be of...
Edward Burne-Jones - Comic drawing of four figures...
Edward Burne-Jones - The Turkish Bath
The Lake of Lucerne, Mont Pilatus in the Distance ...
Anstey's Cove, Devon by John William Inchbold 1854
Herbert Harlakenden Gilchrist - William Michael Ro...
The marriage of Ellen Terry and G F Watts
Evelyn de Morgan - The Soul's Prison House
Edward Burne-Jones - Book
Edward Burne-Jones - A fat nude woman in the bough...
Edward Burne-Jones - illustrated letter to William...
Edward Burne-Jones -
Philip Hermogenes Calderon - Her Most High, Noble ...
Arthur Hughes - Alice Gertrude Waugh, Mrs Thomas W...
Henry Wallis - Mary Ellen Meredithn
Charles De Sousy Ricketts - Orpheus and Euridice ...
Edward Burne-Jones - Love in a tangle, a watercolour
Aubrey Beardsley, Self-portrait
Dante Gabriel Rossetti - The Annunciation
Photo call for the arrival of The Lady of Shalott ...
Helen and Cassandra by Frederick Sandys.
William Morris, Tulip and Rose woven panel, 1876
William De Morgan, tile panel, 1872-81
Flodden Field by Sir Edward Burne-Jones


Dual bomb drop for rc aircraft.
Say thanks by giving Dcdesigns a tip and help them continue to share amazing Things with the Thingiverse community.
Dual bomb drop for rc aircraft. by Dcdesigns is licensed under the Creative Commons - Attribution - Share Alike license.
Say thanks and help Dcdesigns continue to share amazing Things with the Thingiverse community.
You'll need a PayPal account to tip Dcdesigns. Click the button below and you will be redirected to PayPal. Once the payment is complete, you'll be brought back to Thingiverse.


Floundering farmer Harley Jackson keeps a low profile in his small mid-western town - that is, until a woman steals his heart, developers want his land, and one of his cows gives birth to a calf with the face of Jesus on its side. When hordes of pilgrims descend on his property he's torn between keeping his quiet life and making some needed cash to help save his farm. Perry once again gives us a delightful story about the goofiness and goodness in small town America.


text:
1Music video
2Track listings
3Credits and personnel
4Charts
5Release history
Crash (Gwen Stefani song)
"Crash"
Song by Gwen Stefani
from the album Love. Angel. Music. Baby.
January 24, 2006 (2006-01-24)
Songwriter(s)
Tony Kanal
Gwen Stefani singles chronology
"Luxurious"
(2005) "Crash"
(2006) "Wind It Up"
"Crash" is a song by American singer and songwriter Gwen Stefani from her debut solo studio album, Love. Angel. Music. Baby. (2004). Written by Stefani and No Doubt bandmate Tony Kanal, the song uses car metaphors to describe a relationship.[1] Many music critics compared the song to music made by American female rap group Salt-n-Pepa.[2][3][4]
Music video[change | change source]
Unlike the previous singles released from the Love. Angel. Music. Baby. album, "Crash" was the only song not to feature an actual music video, a live performance from the Harajuku Lovers Tour was used instead, this was mainly because Stefani was pregnant with her first child.[5]
Track listings[change | change source]
US 12" promotional single[6]
A1. "Crash" (Album Version) – 4:06
B1. "Crash" (Instrumental) – 4:05
B2. "Crash" (A Cappella) – 4:06
European promotional CD single[7]
"Crash" (Album Version) – 4:06
Credits and personnel[change | change source]
Credits adapted from the liner notes of Love. Angel. Music. Baby.[8]
Gwen Stefani – lead vocals, songwriting
Brian "Big Bass" Gardner – mastering
Lee Groves – keyboards, mix programming
Rob Haggett – second assistant engineer
Tony Kanal – keyboards, production, programming, songwriting, synthesizers
Colin "Dog" Mitchell – recording
Mark "Spike" Stent – mixing
David Treahearn – assistant engineering
Charts[change | change source]
US Billboard Hot 100[9]
US Mainstream Top 40 (Billboard)[10]
US Pop 100 (Billboard)[11]
US Rhythmic (Billboard)[12]
Release history[change | change source]
January 24, 2006 Contemporary hit radio Interscope [13]
Rhythmic contemporary radio [14]
↑ Cinquemani, Sal (November 20, 2004). "Gwen Stefani: Love. Angel. Music. Baby". Slant Magazine. Retrieved June 12, 2016.
↑ Vineyard, Jennifer; Pak, SuChin (December 6, 2004). "Gwen Stefani Turns To Bandmate For Aid After Freak-Out". MTV News. Viacom. Retrieved June 12, 2016.
↑ Vineyard, Jennifer. "Gwen Stefani: Scared Solo". MTV. Retrieved June 12, 2016.
↑ Murison, Krissi (December 10, 2004). "Gwen Stefani : Love Angel Music Baby". NME. Time Inc. UK. Retrieved June 12, 2016.
↑ "For The Record: Quick News On Britney Spears, Mariah Carey, 50 Cent, Gwen Stefani, Nick Lachey & More". MTV News. Viacom. February 28, 2006. Retrieved June 12, 2016.
↑ "Gwen Stefani – Crash (12", Promo)". Discogs. Retrieved June 12, 2016.
↑ "Gwen Stefani – Crash (CD, Promo)". Discogs. Retrieved June 12, 2016.
↑ Love. Angel. Music. Baby. (CD liner notes). Gwen Stefani. Interscope Records. 2004. B0003469-02. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ "Gwen Stefani Chart History (Hot 100)". Billboard. Retrieved June 12, 2016.
↑ "Gwen Stefani Chart History (Pop Songs)". Billboard. Retrieved June 12, 2016.
↑ "Love.Angel.Music.Baby. – Gwen Stefani | Awards". AllMusic. All Media Network. Retrieved June 12, 2016.
↑ "Gwen Stefani Chart History (Rhythmic)". Billboard. Retrieved November 6, 2015.
↑ "CHR/Top 40 – Week Of: January 24, 2006". R&R. Retrieved June 12, 2016. [permanent dead link]
↑ "Rhythmic – Week Of: January 24, 2006". R&R. Archived from the original on December 8, 2015. Retrieved June 12, 2016.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Crash_(Gwen_Stefani_song)&oldid=8176477"
Gwen Stefani songs
Electro songs
R&B songs
CS1 maint: others in cite AV media (notes)
Articles with dead external links from January 2021
Singlechart usages for Billboardhot100
Singlechart called without song
Singlechart making named ref
Singlechart usages for Billboardpopsongs
Singlechart usages for Billboardrhythmic

redpajama_set_name: RedPajamaCommonCrawl


cath kidston style bedroom bedroom ideas for girls.
pictures of bedroom designs for teenagers teenage bedroom makeover oh eight oh nine bedroom ideas ikea hacks.
girls bedroom images white and pink girls bedroom black bedroom ideas tumblr.
a girls dream bedroom a high school girls dream bedroom traditional bedroom bedroom paint ideas 2018.
bedroom ideas for two girls small guest bedroom ideas a best two girls bedroom ideas ikea 2018.
vintage style bedroom decorating ideas vintage bohemian decorating ideas style bedroom chic furniture vintage bohemian decorating ideas style bedroom chic furniture teenage bedroom ideas tumblr.
teen small bedroom girls small bedroom ideas full size of bedroom teen bedroom color ideas tween girl bedroom ideas teenage bedroom ideas tumblr.
bedroom for kids girls modern kids bedroom ideas perfect for both girls and boys a discover the seasons newest designs bedroom decor ideas 2018.
teen bedroom furniture teen bedroom furniture sets teen bedroom furniture sets sofa for teenage inside teens ideas home ideas bedroom ideas for kids.


The Interfaith Alliance of Colorado tracks legislation and provides testimony for bills addressing our current public policy priorities, upholding religious freedom, providing economic justice, and standing up for racial justice.
Each year we invite you to spend a day at the Colorado State legislature to learn more about how the legislative process works, and how to make your voice and your values heard. On the first Monday in February, we gather at the State Capitol to hear from experts in their fields on how a bill becomes a law, how legislative committee hearings determine the fate of a bill, and how you can get through the noise to make a difference. You will have the chance to visit the floor of the Senate or the House, to meet your legislators, and to connect with others in your community who are ready to make change. REGISTER TODAY FOR THE 2019 DAY AT THE LEGISLATURE!
Voicing your values is one of the greatest tools you have as a grassroots advocate. Within the legislative context, you are a constituent. Your legislator was elected to serve the needs of their constituents. As such, your voice must be heard. It is up to all Coloradans to preserve our democracy and promote our values of dignity, equality, and opportunity for all by making our voices heard. This Advocacy Guide will help you to do that.


The tragic d***h of Nizaha Aalaa, a KG1 pupil of the Al Worood Academy Private School who died of suffocation was attributed to the negligence of a Filipina bus attendant, a Pakistani driver and a Lebanese school employee.
It was learned that Nizaha was on board the school bus but had fallen asleep unnoticed at the back seat.
Investigation showed that the girl was locked inside the bus and was found d**d some three hours after the vehicle had reached the school, last October.
The Filipina was among the accused and were said to be responsible for Nizaha's d***h. She and two others were sentenced to three years in jail and faces a fine of Dh20,000 (P240,918).
The owner of the transport company that leased the vehicle to the school and a school administrator were also found guilty of charges. They have been ordered to pay blood money of Dh200,000 to Nizaha's family.
The school was also ordered to close and was fined Dh150,000 by the Court of Misdemeanours.
Meanwhile, the Abu Dhabi Education Council (Adec) took over the school's management for the rest of the academic year.
Following the gruesome incident, bus drivers and attendants will be trained on defensive driving, traffic safety, daily inspection of buses, and safe boarding and disembarking which will be undertaken by the Emirates Driving Company in Mussaffah, reports said.
According to Brig Hussain Al Harthi, head of Abu Dhabi traffic police and also the chairman of the School Transport Executive Committee, tougher regulations and safety measures for Abu Dhabi's 6,000 school buses have been implemented.
The move was a joint responsibility of the government, community and private stakeholders aimed at ensuring the safety of the school pupils.
Among the new rules and guidelines include mandatory seat belts, medical tests for drivers, and training courses on pupil safety.
Operators were urged to equip new buses with three-point seat belts regardless of the number of seats before they will be registered.
Relative to this, drivers should undergo medical examinations to determine if they are physically fit.
This will be carried out by the Abu Dhabi Health Services Company, or Seha.
"We are trying to assure parents that our school bus system is safe and secure, so we are working on the regulations, the infrastructure and the redesign of the streets around schools," Harthi disclosed.


Please read and understand the following terms before using this website. By accessing the Miyake Law website and any pages thereof, you agree to be bound by the conditions below.
Publications and other Content available on this website are not intended to constitute legal or other professional advice. Miyake Law try to improve accuracy of information, but we do not accept responsibility for any loss which may arise from reliance on this website or any of the Content contained on it.


Black Leather Collar With Small Spikes And Rivets: This genuine black leather collar has small spikes and metal rivets in the front. A metal buckle is used to hold the collar in place around the neck. 1-1/4 inch wide, this collar is available in two sizes, small/medium and medium/large.


Colors in Mobile App Design: An attractive UI hold a remarkable position for customer satisfaction. This blog explains the importance of good color scheme in mobile app design. Therefore, good color scheme is essential for ultimate user experience.After all, colors affect the look and feel of an app.
While designing a new app from scratch, it is difficult to determine the color combinations. The color scheme must match the genre of app.
For example, in a tourism website shades of blues and greens would be more suitable. For food and drinks genre shades of reds' and oranges' are good. Color scheme must be unique and match to the genre.
However, choosing color scheme is not that easy because you need to choose many things. These may include primary color, style, icon, logo and many more to the select color scheme.
Color of Icon: The color of the icon is chosen according to its type. So, here your use your knowledge to mix match the strokes of colors. Keep in mind the category of app and chose the best possible color combination. For example, emergency calling app may have RED icon color. You need to be very selective in choosing accurate colors.
A bad color combination may result in less number of downloads to the app. On the contrary, attractive color combo will catch more eyes on it.
Choosing right color scheme: Choosing a right color scheme is a challenging job in itself. For an attractive UI, choose the simple colors which are soothing to eyes. Go with two or maximum three colors.Moreover, you can take the help you color selection wheel for better choice.
With color selection wheel you can try different combinations on basis of your constraints like brand and other criteria.
Monochromatic: Monochromatic is one of the simplest color scheme. As the name suggest, it comprises of mainly single color with hues and tints of same color. Hence, it gives simple yet sober look to app.
One can also create new color combos with this scheme, according to the design requirements of an app. For example. shades of pink and purple to give soothing effect.
Analogous: In this type of color scheme one color is the primary or dominant color and other colors are just used to enhance the appearance. In this, basically hues of three colors are used which are of similar shade.
Therefore, the challenge here is to choose single sophisticated color for app.
Complementary: In complementary color scheme, as name explains, to contrast colors are chosen to catch the eye of user. The main purpose here is to gain the focus of user. For example, for some food ordering app, the combination of orange and white will be good. the white color will enhance the look of app, with orange as base color.
The challenge here is that, the chosen combination should not look over bright.
Custom Colors: While using custom color scheme, us the color wheel carefully. Try using only one or two base colors to give an elegant look to app according to the category.
Compound Colors:It is also known as split-complementary scheme. It combines one base color and few analogous colors. It is almost similar to contrast color scheme but it's not that much visually attractive.
Color Shades:It is a bit challenging to choose color shades, because they must complement the base color. The main objective here is to make UI look more attractive. It may also highlight few important features of app. For example, Contact Information.
Choosing Contrast Colors: Choose the contrasting colors in a way that it enhances the readability and gives a soothing touch to mobile app design. the simple chart given here demonstrates the color combinations which are BEST, FAIR and POOR.
For Visually Impaired People:Visually impaired people are usually blind to base colors like RED, BLUE, GREEN so you can mix match the hues of colors. So you can splash the hues of basic colors to some mixed tones, so that they are visible to visually impaired too.
Hence, to summarize it is true to say that color plays an important role for a good mobile app design. Therefore, it is important to select colors in an intelligent manner. Good color combo is way to differentiate your app among thousands of similar apps.
Iniz Solutions India provides High quality and Professional Mobile Applications and Responsive Websites with best security features. Contact us now! and for your mobile app development or website of your firm.
Moreover, we are also known for best internships in Android Application Development / iOS Application Development and Responsive Websites . Call us now! For your internship.
Questions that help you choose the best mobile app development company!


text:
NASA sounding rockets blasting off to assess Alpha Centauri
Two sounding rockets are launching from Australia this month, carrying experiments designed to measure whether the ultraviolet light coming from the stars of the Alpha Centauri system could be harmful to any potential life on planets orbiting them. The research will also teach us about how normal — or not — the sun is.
Alpha Centaurijust 4.3 light-years away, comprised two main stars, Alpha Centauri A and Alpha Centauri B (which form a binary pair), as well as a third star, Proxima Centauri. Although no planets have been positively identified orbiting either Alpha Centauri A or B, if any do exist, ultraviolet light from their stars may have a strong bearing on whether they host life.
Just the right amount of ultraviolet light can break up simple organic molecules, such as methane, prompting the molecular fragments to reform as more complex molecules necessary for life. On the other hand, too much ultraviolet can disassociate water vapor, making it subject to being stripped from a planet's atmosphere by the solar-wind and leaving the planet dry and barren, like March is today.
Related: NASA to launch 3 sounding rockets from Northern Territory in boost for Australian space efforts
"Understanding ultraviolet radiation is extremely important to understanding what makes a planet habitable," Brian Fleming, an astrophysicist at the University of Colorado, Boulder, said in a statement (opens in new tab). Fleming is the principal investigator for one of the missions, the Dual-channel Extreme Ultraviolet Continuum Experiment (DEUCE). The other experiment launching on a sounding rocket is called the Suborbital Imaging Spectrograph for Transition region Irradiance from Nearby Exoplanet host stars (SISTINE). Sounding rockets fly on a parabolic trajectory, spending perhaps 20 minutes in space before reentering the atmosphere, meaning each experiment will get only a short time to make observations.
SISTIN launched first, on Wednesday (July 6), from the Arnhem Space Center in Australia's Northern Territory. It was the second-ever launch from the privately owned commercial space center following June's launch of NASA's X-ray Quantum Calorimeter. If all goes well, DEUCE will blast off on July 12. Each mission will ride a suborbital path on NASA's two-stage Black Brant IX sounding rocket.
The missions must launch from the Southern Hemisphere because the Alpha Centauri system is not visible above a latitude of 29 degrees north, and just skirts the horizon from Florida, whereas it is high in the sky as seen from Australia. SISTINE gathers data at longer far-ultraviolet wavelengths while DEUCE complements it by looking at shorter extreme-ultraviolet wavelengths, with some overlap between the two experiments so that the data can be calibrated and used as one data set.
The SISTINE experiment, ready to be loaded onto its sounding rocket. (Image credit: NASA Wallops)
Observing stars in ultraviolet is difficult, because the ozone layer in Earth's atmosphere blocks ultraviolet light, forcing scientists to send ultraviolet telescopes into space. Meanwhile, the interstellar medium of gas and dust between the stars also absorbs ultraviolet light, so any stars that are an appreciable distance away cannot be observed very clearly in ultraviolet light.
As such, we have full ultraviolet observations for only one star, the sun. But how typical are the sun's ultraviolet emissions? Astronomers do not know; they need ultraviolet readings from other stars to figure that out. Alpha Centauri A and B make good targets for study, for two reasons. First, they are close, so their ultraviolet light is not attenuated by the interstellar medium. Second, they have masses and temperatures similar to the sun.
"Looking at Alpha Centauri will help us check if other stars like the sun have the same radiation environment or if there are a range of environments," Kevin France, an astrophysicist at the University of Colorado, Boulder, and principal investigator of SISTINE, said in the statement.
The sun, seen in extreme ultraviolet light by NASA's Solar Dynamics Observatory. (Image credit: SDO/NASA)
The three sounding-rocket launches from the Arnhem Space Center are the first launches that NASA has conducted from a commercial spaceport outside the United States. (NASA has launched from Australia before — most recently, in 1995 — but those rockets blasted off from the Royal Australian Air Force Woomera Range Complex.)
"This commercial launch range in Australia opens up new access to the Southern Hemisphere's night sky, expanding the possibilities for future science missions," Thomas Zurbuchen, associate administrator for NASA's Science Mission Directorate, said in a statement (opens in new tab).
Follow Keith Cooper on Twitter @21stCenturySETI. Follow us on Twitter @Spacedotcom and on Facebook.
Bowel cancer symptoms: Mother wakes from routine surgery to find she has a stoma bag for Crohn's disease
First man to receive a transplanted pig heart died of heart failure, not rejection, encouraging doctors


text:
'Morning Joe' gets new backgrounds
This story has been updated with revised imagery and to reflect changes since the April 29, 2019 debut of the new look.
MSNBC's "Morning Joe" updated its video wall backgrounds (at least some of them) on Monday, April 29, 2019.
The new look retains the illustration of the White House behind the primary anchor position on the MSNBC side of Studio 3A, but adds more greenery, a gradient sunrise and more of the show's logo scattered across the sky.
The show's logo also makes a more prominent appearance in a red band rather than the more subtle "frosted" effect used before.
In addition, NBC has added animated red and blue lines "running" across the White House lawn and the flowers around the fountain on the north lawn of the White House have red and blue flowers "planted" around it.
When both anchors Joe Scarborough and Mika Brzezinski are in studio, the show typically places them in the corner of the perpendicular video walls the network installed in July of 2016.
However, on April 29, both Scarborough and Brzezinski were both anchoring the show remotely, as is common, so the updated backgrounds only appeared behind in-studio guests and guest co-hosts.
Also as is common, it was not immediately apparent where they were anchoring from. Scarborough and Brzezinski frequently anchor from the road due to both personal and assignment travel.
MSNBC would later update the backgrounds used behind the pair when on the road — Brzezinski typically appears in front of a similar version of the White House used in-studio while Scarborough has the Capitol dome behind him.
This view for 'Morning Joe' features the Supreme Court building framed inside of red 'columns.'
The network also updated the graphics used on the numerous other video walls and panels in 3A to include other Washington landmarks against the yellow to pink to blue sunrise.
Some of these include the Supreme Court building and the Jefferson Memorial.
The old video wall background with a less colorful design.
Before the pair got married and went public with their personal relationship, insiders say that the pair would often travel together and use the same local broadcasting facility, but would not appear in the same shot together, supposedly so that it wasn't apparent they were in the same location.
Instead, each would appear to be sitting in front of a different background — typically created using a video panel — and would appear in a two box on screen that suggested they were in different locations.
morning joe, MSNBC, Studio 3A, Video Walls
Broadcast Design, Broadcast Industry News, Cable News, Video Walls


Garbanzo bean dip mixed with lemon, garlic, tahini.
Grilled eggplant dip mixed with lemon, garlic, tahini.
Fried chickpeas mixed with cilantro, garlic and spices.
Hummus, baba ghanoush, falafel, grape leaves.
Lettuce, tomatoes, cucumbers, feta cheese, olives and dressing.
Mixed salad with pita chips on top.
Choose lamb and beef or chicken. Served with tzatziki sauce, tomato and onion.
Ground beef with parsley, onions and spices.
Lemon and garlic marinated chicken with garlic mayo, tomato, onion and pickles.
All white meat chicken with lemon and garlic marinade.
Fried chickpeas mixed with cilantro, garlic and spices. Served with pickles, tomatoes and onions.
All white meat chicken with curry marinade.
Baked spinach and feta cheese pie.
3 Tenders with French fries and soda.


Routeco can provide expertise as a consultative SMART facilitator, to help you achieve the visionary improvements in the business performance you are striving for.
Routeco can provide expertise as a consultative SMART facilitator to our customers; to help you achieve the visionary improvements in the business performance you are striving for.
Routeco are also proud to be appointed as Cisco's first Advanced Internet of Things Industry Expert Specialised Partner in the UK. The Cisco IoT Industry Expert Specialisation enable partners to combine their Operations Technology (OT) experience with Cisco IT networking knowledge. IoT Industry Expert Specialised Partners have experience working in industries such as manufacturing, energy and utilities, travel and transport, and/or connected safety and security. They have an understanding of Cisco products and concepts to be able to provide their customers the IoT solution they need.
Take the next step to unlock the value of IIoT and, as a SMART facilitator, Routeco can help you realise that vision.
If you are thinking about what you could change in your manufacturing facility to increase productivity, reduce downtime and gain value from the valuable data stored in your machines then here are some recommended next steps to help you on your journey to becoming SMART.
To help you realise your vision, Routeco will work with you in a consultative manner to understand your business needs, address your issues and help you to implement IIoT into your manufacturing processes.
Successful technology deployment depends on an accurate assessment of your organisation's current network, security state, overall readiness to support the proposed solution and compliance with policies and best practices. As you plan to deploy and support a new technology, application, architecture or solution to address evolving requirements you need to be sure your existing infrastructure can support it.
Industrial automation excellence starts with an optimised physical infrastructure. As networks converge, the physical infrastructure becomes even more critical to support the demands of real-time control, data collection and device configuration. Each element of the physical infrastructure must be designed and deployed to ensure industrial networks and control systems provide sufficient performance margin within the specified environmental conditions.
As the reliance on our critical networks grows, so too does the frequency and complexity of cyber-attacks against them. This increasing complexity of threats means that traditional methods of securing infrastructure and sensitive assets are no longer adequate and a more robust, future-proof line of defence is required to combat the evolving nature of cyber-attacks.
To enable companies to derive value from their data more quickly, easily and incrementally, installing new control and automation components that allow for remote monitoring, machine performance, device health and diagnostics will all help with a 'predictive maintenance' strategy. At the enterprise level, these solutions offer more powerful ways to integrate plant-floor data into business intelligence strategies.
In today's manufacturing landscape seconds matter and downtime is critical. Your bottom line depends on your ability to keep your plant infrastructure up and running at all times. Downtime in your SCADA, HMIs, Historians and other critical industrial automation systems can mean lower yields, lost revenue, regulatory fines, compromised quality or a damaged reputation. To maximise your productivity and quality you need continuous availability and continuous visibility.
With the right tools you can consolidate data from many sources, turning it into the kind of reporting and analysis that can help you make informed business decisions. Capturing data is fundamental but data without context is not an asset. Converting data into working information capital and putting it into context is the ultimate goal to increasing your profitability.


text:
Spring 2023 • Seminar
Religious Freedom Clinical Seminar
Required Clinic Component: Religious Freedom Clinic (3-5 spring clinical credits).
By Permission: Yes. Applications are due by May 16, 2022.
Add/Drop Deadline: December 2, 2022.
LLM Students: LLM students may apply to the clinic through the LLM General Clinic Application.
About the Clinic: The Religious Freedom Clinic provides students a hands-on, supervised experience representing a diverse group of clients in legal matters raising First Amendment and religious liberty issues. In the clinic, students represent religious individuals and organizations of all faiths, with a focus on helping the imprisoned, victims of workplace discrimination, and those facing obstacles in ministering to migrants, the poor, and their communities. Under the supervision of the clinic's director and staff, clinic students engage in client counseling, policy work, pre-trial and trial litigation, appellate advocacy, and amicus work in cases of national importance.
Application Process: Admission to the Religious Freedom Clinic is by permission of the Clinic Director, Josh McDaniel. Students should submit an application to jmcdaniel@law.harvard.edu by May 16, 2022. (Applications after that date will be considered if additional seats become available.) The application should be in a combined PDF that includes a resume and short (250 words or less) statement of interest describing the student's reasons for applying to the clinic, relevant coursework, and which semesters (fall and/or spring) the student is applying for.
Josh McDaniel
WCC Room 5048
Law and Religion


October 21, 2008 Kingston has released a new trump card in its DataTraveler USB drive range. While the 32GB DT150 is not the largest capacity portable Flash drive we've encountered, it's still a very useful tool to have in your pocket when venturing into the brave new digital world - and the price tag of USD$139 goes a long way towards landing it in the value for money camp.
The unit measures 3.06" x 0.9" x 0.47" (77.9mm x 22mm x 12.05mm), has a five-year warranty and is compatible with Windows Vista, XP and Windows 2000 as well as Mac OS X 10.3 (and higher) and Linux 2.6 (and higher).


White honey yeah any time I think I can.
White honey eee any time I think I can.
White honey don't come around. Get down!
What you're doing downtown tell me baby.
You're trying to make me look like a clown.
White honey white white honey honey white now yeah yeah.


text:
Georgetown, Prsänëa
(Redirected from City and Commune of Georgetown)
This article contains too many red links, and may be going through a major copy edit. You can help by clicking on red links and creating articles or by removing unnecessary red links.
— Archduchy —
The Golden Gate as seen from the Barony of the Golden Gate
Flag of Georgetown
Flag Official seal of Georgetown
Map of the San Francisco Bay Area with both key areas of Georgetown
James Wilary
Absolute monarchy
- Archduke
HSH Wilary I
.021 km2 (0 sq mi)
Population (July 2013)
- Density 95.2/km2 (246.7/sq mi)
The Archduchy of Georgetown (French: Archiduché de Georgetown; Esperanto: Ĉefduklando de Ĝorĝtaŭno) or simply Georgetown, is a region of the Grand Duchy of Prsänëa. The administrative division is located in Santa Clara and San Francisco counties of California. It is the central region of Prsänëa and consists of the capital city of the Grand Duchy, the City of Georgetown, and the largest city in Prsänëa, the City of Victoria, along with the residence of the Grand Duke HRH Wilary I.
2.1 Founding
2.2 The "reformed" year
2.3 Early 2011
2.4 Expansion
3 Legal status
3.1 Historical
3.2 Modern
3.2.1 City
5 Climate & Geography
5.2 Flora and Fauna
"Georgetown" was decided as the name for the national capital because of the then recent death of the second national pet, George the Hamster. Wanting a way to remember him by, "Georgetown" seemed most appropriate because of its use of the name of the late hamster, and for its simplicity. The Barony of the Golden Gate, the outer region of the Archduchy and inside San Francisco, was named for the famous waterway which the region looks over. "Victoria", the second city in the Archduchy, was named after the city of the same name in British Columbia, Canada, in honour of the Canadian city.
The territories around the area of Georgetown were unincorporated into any form of formal organization until February 2010 when it was officially established as a city. Beforehand, the region had been the de facto capital of the Royal reformed States of America since the nation's founding, and after the formation of the city, it became the de jure capital. Once the city had been established, a building project was commissioned into constructing a capital structure in Georgetown for the government seat. However, because of lack of activity on the project, the building wouldn't be completed until over a year later.
The "reformed" year
Later, when the capital had to be reorganized to accommodate the new styled People's reformed States Republic, it became known as the People's reformed Government District. During this time, it was referred to its official name, or PrGD, over its actual name. Not many things occurred during this period and the district was mostly utilized as a base for external activities.
Early 2011
Once the Prsänëa People's Republic was created from the regions formed into A1, the capital became a more active region for activity, but continued to still be less active then PPR activities abroad. The building project eventually was completed in April 2011 and dubbed the Sparkle Memorial Capital Building in honor of the first national hamster. However, the structure had to be removed on May 22.
File:Georgetown 2.jpg
View of the visitor center in Outter Georgwtown
During an expedition to Golden Gate National Recreation Area on August 20, another territory was claimed for Prsänëa near the tool booth of the Golden Gate Bridge. The region was to be administered as a separate territory in the PPR. Instead though, it was decided to make it a part of an extended Georgetown and was placed into the commune limits. It was first known as "Outer Georgetown", but was later named the "San Francisco District" when the region transferred into the Grand Duchy from A1.
After being run as a "state" by the Royal reformed States of America and as the People's reformed Government District in the People's reformed States Republic, the Georgetown region was finally formed into a "commune". This level of administrative division was a "state" level division in the Federated Republics. However, after being formed, it was decided to call it the "City and Commune" in the same style as the "City and County" of San Francisco. With the acquisition of Outer Georgetown, the capital district of the region was considered the "city" sector and Outter Georgetown was considered the more general "commune" portion.
Following the succession of Prsänëa from A1, the territories of the nation were revised to follow a monarchal and feudal style system instead of the previous republican styles. Under the Grand Duchy, it was decided that the most important region of Prsänëa should be the highest ranking noble land under that of a grand duchy, an archduchy. Being the central importance of Georgetown in Prsänëa, the region was decided to be elevated to the level of archduchy upon the foundation of the Grand Duchy.
Upon foundation of the Archduchy of Georgetown, the City of Georgetown was seperated from the region as a whole. This made the Archduchy's authority above that of the City, and established them as two separate governmental authorities, and removed the San Francisco District from the lands of the city. The region was then organized with the Archduchy containing both the City and the District, and with the City administering itself within the Archduchy.
File:Georgetown plant 2.jpg
The Golden Poppy is a common flowering plant in Georgetown
File:Georgetown plant.jpg
Grand Duchy of Prsänëa
Inyo, Prsänëa
Prsänëa People's Republic
James Wilary • Georgetown & Territories Railroad • Keller Road War
Prsänëan Culture
Prsänëan Credit • Symbols of Prsänëa • Obsidian Ribbon Decoration • E Medal • Prsänëan Language
Regions of Prsänëa
Georgetown • Territories: (El Dorado • Inyo • Lincoln • Wayne) • Electorates: (Willand)
Retrieved from "https://micronations.wiki/index.php?title=Georgetown,_Prsänëa&oldid=657511"
Articles with red links
Prsanea People's Republic
Communes of Prsanea


Building a Strong Foundation. The world was a lot different back in 1993 when Marci Foutch first came to Illinois Central College. The internet was in its infancy, landline phones were still a big thing and Beanie Babies were just taking off.
So the whole dating girls thing is very new to me. Can anyone offer advice on where to meet girls in Perth? Everyone I know just says go to the jump to content. my subreddits. edit subscriptions. popular-all-random-users | AskReddit Where are all the lesbians at?
pokemon girls to marry me quiz. Welcome to our reviews of the pokemon girls to marry me quiz (also known as how to date any woman).Check out our top 10 list below and follow our links to read our full in-depth review of each online dating site, alongside which you'll find costs and features lists, user reviews and videos to help you make the right choice.


Applications are required for Bank Al-Habib Jobs in Pakistan as Graduate Trainee Officers 2019 in all cities of Pakistan. The Al-Habib Trainee Officers Program is for fresh graduates and having no experience and wants to make a career in banking.
The Bank Al-Habib Trainee Officers job is providing great job opportunity with a salary of Rs 35000/- Per Month. The primary responsibility as Trainee Officer is to work in branch banking / Departments / Divisions, meeting the bank's service standards.
Minimum Bachelors (Throughout 1st Division in Bachelors/ Inter / Matric is must) For All bachelors except I.T.
As per the job as Graduate Trainee Officer requires a pleasant personality, excellent communication skills and knowledge of working in a computer-based environment.
The last date to apply Bank Al-Habib Trainee Officers is 25-March-2019.


text:
Activision are ''keenly aware'' of the battle royale popularity
By:Adnan Kljajic - Nem
Published: 09:17, 15 March 2018
Call of Duty: Black Ops 4 is a possible candidate for Call of Duty Pro League?
Call of Duty: Black Ops 4 might get a mode similar to Fornite and PUBG's battle royale. Activision are ''a company quick to follow lucrative trends'' according to a financial officer, hinting they may develop something similar.
Battle Royale is a worldwide gaming phenomenon that is bringing success to pretty much anyone who tries their hand in it. The most successful examples are of course PUBG, which racked up players at a blinding speed and Fortnite, which is super busy overtaking PUBG while you are reading this. All it took was vastly superior support from Fortnite's developers and right now the game is ruling gaming's most popular streaming site, Twitch.
Info coming from an investment firm Oppenheimer Research on a meeting they attended with Activision suggests the publisher might give battle royale a shot. The publisher's staff mentioned the company's behaviour involved following up on recent trends and battle royale is exactly the top contestant at the moment.
AltChar PUBG facepalm
Activision have only removed Call of Duty Black Ops 4's veil a few days ago and the game should be coming out on 12 October 2018, but adding a new game mode may not be likely within the six months left until the game's release. That is unless the mode was added beforehand but this is all speculation at this point.
Every Call of Duty title has the usual components already - singleplayer, multiplayer and zombie modes. Post release DLC is also a tradition for Activision and it's not excluded that a piece of DLC could get dropped in favour of adding a battle royale mode to the game, as it would prove more profitable in the long and cost effective in the short run.
Automaton Games Mavericks: Proving Grounds
Other companies have taken a keen interest in the genre before, with Fear the Wolves and Mavericks set to make a reveal soon, and The Darwin Project is already in Early Access. If Activision have their minds set to keep the ''company quick to follow lucrative trends'' reputation, it is already high time for them to enter the battle royale market.
Call of Duty Modern Warfare to introduce big reloading changes
After 16 years, Call of Duty is set to introduce a big change to weapon reloading it's been confirmed by Infinity Ward. Players will now be able to reload their weapons while aiming down the sights, a feature that wasn't available earlier.
Infinite Warfare's Halloween event gets loot and new zombie mode
Infinite Warfare's Halloween themed event this year is "Willard Wyler's Halloween Scream". It allows players to acquire new Halloween-themed loot, participate in XP-boosting events, play through a new zombies mode and receive free items.
Call of Duty: Black Ops 4 PC requirements are surprisingly low
Activision and Treyarch have announced that open beta for Call of Duty: Black Ops 4 will commence on 11 August 2018 and anyone who has a Battle.net account can participate. The specs are meant fro players interested to do some free testing.
Call of Duty: Black Ops 4 gets two complimentary launch trailers
Treyarch and Activision have rolled out two complimentary Call of Duty: Black Ops 4 trailers, one for each of the game's modes - Zombies and Blackout, where the former focuses on familiar ground, meaning the Blood of the Dead story line.
Battlefield V will have a single player mode but no campaign
We live in a great time where the single player component in shooter games has to be announced as a feature, thanks in no small part to Call of Duty Black Ops 4's recent announcement. Battlefield V will have it, although not as a campaign.
Call of Duty: Black Ops 4 gets a massive PC and console update
Treyarch and Beenox have rolled out their biggest update yet, both for console and PC versions of Call of Duty: Black Ops 4, bringing back the Black Market, introducing Operation: First Strike, Halloween themed Special event and more.
Call of Duty: Black Ops 4 battle royale mode is called Blackout
Well, they finally did it. They finally killed Call of Duty's singleplayer. Activision Blizzard revealed today that Call of Duty: Black Ops 4 will come with a battle royale mode called Blackout when it finally launches on 12 October 2018.
CoD: Black Ops 4 patched, Treyarch promise network improvements
Treyarch have rolled out an update to Call of Duty: Black Ops 4 and although it's not as large as its predecessor, it does include the company's announcement of several updates to their network setup coming in the following two weeks.
Treyarch say CoD battle royale will be better than Fortnite, PUBG
Treyarch's Matt Scronce and Yale Miller recently spoke of the new Call of Duty: Black Ops 4's battle royale mode called Blackout, saying they wouldn't be doing this if they didn't think they could do it best and better than everyone else.
CoD BO4 update tweaks scorestreaks, gear, next major update soon
Treyarch have rolled out an update for Call of Duty: Black Ops 4 that has tweaks for scorestreaks and gear in multiplayer, Blackout's 9-bang and cluster grenade as well as a bunch of stability improvements for PC, PS4 and Xbox One.


Although the tenor bell was cast in 1610 the ring of six with their frame and wheels date from restoration in 2011/12 before which there were four bells plus a service bell. The bells had not been rung on wheels since before WWII.
In mid 2008 patch repairs were carried out but the four were unsatisfactory requiring a full restoration.
The restoration project adopted traditional materials and techniques – the frame is made of oak, the headstocks iroko and the bells retain their cannons. Both frame and the wheels were made by volunteers here in Willingale and almost all work in the tower, including the lowering and raising of the bells, was carried by volunteers. The bells were augmented to a ring if six by the addition of a new treble and the adoption a bell formerly hung in St. Mary's, Prittlewell as the second.


Max Hastings greeted the new Supreme Court with the prediction that it was a "constitutional disaster in the making." For Hastings this was Blair's Court, Blair's legacy; its creation just one more example of Labour's wrecking of ancient British institutions. Of course, there was also positive coverage in the early days in papers like the Guardian and Times, but ideally the Court needed to get its own message about itself. How has it gone about doing this? And what has it been saying? What challenges has it faced in its first three years?
This blog (a shortened version of an article out this month in Public Law) looks at the Court's innovative approach to getting the message out not only about what it is doing in cases, but also about its role in general. It is a topic covered recently by Adam Wagner, here. At the heart of the Public Law article is the idea that the Court is quietly asserting its role as a new and powerful constitutional actor. Its communication's operation has been at the heart of this.
I remember looking at the video of our last seven judgments and I simply have no idea now what we were talking about. It was a theatrical performance, but in retrospect the lack of information for the observer was absolutely extraordinary.
Comparing the Appellate Committee's announcement of the decision in R (on the application of Purdy v DPP, the Committee's last decision, with any post-2009 decision announcement, is telling.
Since October 2009 notable innovations in the way the Court communicates have included: a far more extensive website; tweeting is for the most part permitted from courtrooms; live broadcasts available on Sky; a Youtube channel which archives decision announcements (though not yet a searchable archive like that offered by the Canadian Supreme Court of all oral argument, or audio feed as provided in the US by the Oyez Project); brief but detailed press summaries for each case (flagged up to recipients of the Court's email list with pithy one to two line summaries of what the Court has decided); the Head of Communications monitoring media coverage of cases and building relationships with journalists covering the Court (leading in 2011 to two substantial TV documentaries); and, deceptively less eye-catching, the publication of far more corporate information about the top courts' operations than previously (the Judicial Committee's administration has been integrated with the Supreme Court).
While the Appellate Committee behaved like a Court it was still a part of a larger entity. It had no separately articulated public profile. One of the major differences in the post-2009 world is the emergence of the Supreme Court as a new, and distinct, voice on the constitutional landscape. So what has it, corporately (as opposed to the ongoing and increasing loquaciousness of the Justices individually), been saying?
The Court is also clearly a more self aware and self reflective institution. This arises to begin with from being independently established and no longer existing as a committee of the upper house. The sense of self awareness about its role also comes out in the way it flags up cases it thinks are likely to be of media interest (both in advance of hearings and in the annual reports).
There is a curious dynamic developing here: while most cases come by leave, not all are considered newsworthy, either by the Court or those reporting on it. Being given leave identifies a case, in legal terms, as "important"; being worthy of special mention in an annual report, or advanced media briefing gives us an odd new category of top court case: the "super-Supreme Court case". Super-Supreme, because it warrants not only top court review, but also mainstream media coverage. This is problematic (though understandable), leading potentially to a skewed popular portrayal of the Court's function: put bluntly, some important cases seem dull. Linda Greenhouse, the doyen of US Supreme Court reporting, though has commented on the skill of being able to report well on legally important issues lurking in otherwise not so exciting cases.
Next, through the efforts especially of its lead members – the President, Deputy President, and Chief Executive – it has been staking out its autonomy and sphere of action, crafting an institutional message about the judicial role within the UK's constitutional arrangements. Finally, on the point of the Court as a self-aware body, as a reading of the management board minutes reveals, it is quite clearly also listening to what is being said about it. Among other issues evident in the minutes as causing the Court concern is the independence debate in Scotland.
So, what effect has this new approach to communications had? In 2009 a Gardant poll of 1017 adults drawn from across Great Britain, and questioned in the month before the Court opened reported that 72% agreed with the statement, "very few people have heard of it [the Supreme Court] or understand what it will do." Interviewees were not asked if they themselves had heard of the Court (presumably because while we will not own to it ourselves we are happy to attribute ignorance to others).
In December, 2012, the University of Essex's National Policy Monitor reported that 36% of those responding (to its internet based poll of 1000 people), "were familiar with the Court". In comparison, 59% reported familiarity with the European Court of Human Rights. Of course the Guardant poll does not give us a baseline to measure the effect of the last three years of the Court's communications efforts. One quite plausible hypothesis is that 36% recognition of the Supreme Court in 2012 might well be a significant improvement over an early 2009 measure of familiarity with the House of Lords judicial function.
A preliminary qualitative analysis of media coverage of the Court from 2009 to 2012 suggests that while journalists like Frances Gibb and Joshua Rozenberg, the trade press, and various specialist legal blogs, cover the Court well it is still not well served in the mainstream press. Many cases are covered well for the human interest side of the story, not so well for the legal issues involved in the case.
This may arise in part because decisions are often covered by the subject area reporter of a paper, rather than as in the US (for e.g., the New York Times Adam Liptak) reporters dedicated to the Court (so terrorism cases get the home affairs correspondent, money cases the economics correspondent). At times this has given rise to bizarre reporting results, Ian Cowie in the Daily Telegraph mused that perhaps the reason the Court found against the Office of Fair Trading in the bank charges case was because the judges, as part of the state, were looking out for the wider state interest (now that the state had significant stakes in a number of banks). It was a conjecture no fair minded and informed observer would entertain.
And as good as the Court's communications team are they also face three serious sets of challenges. First, the threat of narrative hijack, where the Court finds itself covered as a character in someone else's narrative. The Blair's legacy line which ran through 2009 was the first example, one which the Court seems to have escaped.
Since then the most potent threat under this head has been from the SNP, and in particular its Justice Minister's use of the Court as a cipher for the Union. Cases like Fraser v Her Majesty's Advocate in 2011, have been used to paint the "London based" institution as foreign interferer. Exceptionally, the Court did implicitly respond to the debate in Scotland with a statement couched in impeccably neutral terms setting out its role in relation to Scottish criminal cases. Neutral though the Court's statement was it nevertheless reported with an edge in the Scottish media.
The second challenge – kaleidoscopic transparency – arises as a result of the explosion of writing about the Court, and platforms for publication (including blogs like this one). There are a multitude of "Supreme Courts" being presented to the public. The "Supreme Court" a reader of the Daily Mail will know is very different from the one known by a Times reader, or a regular reader of the UKSC Blog or UK Human Rights Blog. The Court's communications team has to find a strategy which gets a clear common message out across these platforms to a wide range of audiences.
Finally, the quality of coverage of the Court is based not just on the Court's communications operation, but also the efforts of the media. To the extent the Court is covered well, both can take credit, and vice versa. Sir Ivor Judge identifies the importance of an independent media as on a par with the importance of an independent judiciary, calling them "twin independencies". It can be a relationship of cooperation, but also tension. The Court, like any entity that has turned its mind to how it is seen publically wants two things: an accurate, neutral portrayal of itself and its role, and accurate coverage of cases (and coverage which does not mistake the Court with the decision – that way lies narrative hijack).
The media have some interest in helping with this, but they naturally also want more. Less than flattering to the Court in its early years (especially a Court which sets "transparency" as one of its loadstars) was especially Frances Gibb and Joshua Rozenberg's coverage of the decision making process leading up to Lord Sumption's appointment (also reviewed by the UK Supreme Court Blog). The peculiar appointment system is not the Court's fault of course, and there is pressure for reform.
David Pannick, in 1987 wrote, "it is a matter of some regret and concern that, in many respects, judges continue to shun and avoid publicity, both in and out of Court." (David Pannick, Judges (1987, OUP), p.169). Between 1987 and 2009 the judiciary in general, as well as the top courts have opened up significantly. While there may be improvements to be made, the extent of the Court's new communications operation is novel and impressive. The Supreme Court has begun to articulate a sense of itself beyond simply deciding cases: it speaks about itself, therefore it is.


In his ground-breaking 1995 book Jihad vs. McWorld, political scientist Benjamin Barber posits that the global conflicts of the early 21st century would be driven by two opposing but equally undemocratic forces: neoliberal corporate globalization (which he dubbed "McWorld") and reactionary tribal nationalisms (which he dubbed "Jihad"). Although distinct in many ways, both of these forces, Barber persuasively argues, succeed by denying the possibilities for democratic consensus and action, and so both must be opposed by civic engagement and activism on a broad scale.
In the two decades since Barber's book, this conflict has seemed to play out along overtly cultural lines: with Islamic extremism representing jihad, in opposition to Western neoliberalism representing McWorld. Case in pitch-perfect point: the Al Qaeda terrorist attacks on the World Trade Center. Yet despite his use of the Arabic word Jihad, Barber is clear that reactionary tribalism is a worldwide phenomenon--and in 2016 we're seeing particularly striking examples of that tribalism in Western nations such as Great Britain and the United States.
Britain's vote this week in favor of leaving the European Union was driven entirely by such reactionary tribal nationalism. The far-right United Kingdom Independence Party (UKIP) and its leader Nigel Farage led the charge in favor of Leave, as exemplified by a recent UKIP poster featuring a photo of Syrian refugees with the caption "Breaking point: the EU has failed us." Farage and his allies like to point to demographic statistics about how much the UK has changed in the last few decades, and more exactly how the nation's white majority has been somewhat shifted over that time by the arrival of sizeable African and Asian immigrant communities.
It's impossible not to link the UKIP's emphases on such issues of immigration and demography to the presidential campaign of the one prominent U.S. politician who is cheering for the Brexit vote: presumptive GOP nominee Donald Trump. From his campaign-launching speech about Mexican immigrant "criminals and rapists" to his proposal to ban Muslim immigration and his "Make American Great Again" slogan, Trump has relied on reactionary tribal nationalism at every stage of his campaign, and has received the enthusiastic endorsement of white supremacist and far-right organizations as a result. For such American tribal nationalists, the 1965 Immigration Act is the chief bogeyman, the origin point of continuing demographic shifts that have placed white America in a precarious position.
The only problem with that narrative is that it's entirely inaccurate. What the 1965 Act did was reverse a recent, exclusionary trend in American immigration law and policy, returning the nation to the more inclusive and welcoming stance it had taken throughout the rest of its history. Moreover, while the numbers of Americans from Latin American, Asian, and Muslim cultures have increased in recent decades, all of those communities have been part of our national community from its origin points. Which is to say, this right-wing tribal nationalism isn't just opposed to fundamental realities of 21st century American identity--it also depends on historical and national narratives that are as mythic as they are exclusionary.
Linking Brexit and Trump to global right-wing tribal nationalisms doesn't mean conflating them all, of course. Although Trump rallies have featured troubling instances of violence, and although the murderer of British politican Jo Cox was an avowed white supremacist and Leave supporter, the right-wing Islamic extremism of groups such as Al Qaeda, ISIS, and Boko Haram rely far more consistently and centrally on violence and terrorism in support of their worldview and goals. Such specific contexts and nuances are important and shouldn't be elided.
Yet at the same time, we can't understand our 21st century world without a recognition of this widespread phenomenon of global, tribal nationalism. From ISIS to UKIP, Trump to France's Jean-Marie Le Pen, such reactionary forces have become and remain dominant players across the world, influencing local and international politics, economics, and culture. Benjamin Barber called this trend two decades ago, and we would do well to read and remember his analyses--as well as his call for civic engagement and activism to resist these forces and fight for democracy.


As enterprises pursue digital transformation, they need to accommodate next-generation applications, such as social media, mobile computing, big data analytics, and cloud-based workloads. These applications put high demands on the storage infrastructure to deliver low latency and high throughput.
NVM Express (NVMe) is a new storage technology designed specifically for flash media. It delivers lower latencies and much higher bandwidth and throughput than SCSI, making it a much better fit for higher-performance workloads.
IDC believes that NVMe will become the core storage technology around which enterprise-class storage arrays are built. By 2021, more than 50% of external, primary storage revenue will be generated by NVMe-based systems.
Thank you for downloading the report "NVMe and NVME over Fabric: The Future of Primary Enterprise Storage."
Learn more about NetApp's SAN Solutions.


For some reason peanut butter sounds like "Fall" to me? I always seem to make peanut butter cakes or cupcakes or pies in the fall.
I got this recipe from a friend when I was in high school, but I haven't fixed this dessert since my KIDS were in high school, quite frankly because I end up eating more than I should because they are just THAT GOOD. Good luck at your attempt to take all of them to your tailgate!
It's a super easy recipe, but trust me, the clusters will be GONE in no time.
In a large pot, cook syrup and sugar (stirring) until mixture comes to a boil and sugar is dissolved.
Stir constantly; do not overcook. Remove from heat, add peanut butter, and stir until smooth.
Pour mixture over cornflakes in a large bowl.
Working fairly quickly, mix until cereal is thoroughly coated. Then drop in large clusters onto wax paper to cool. Makes about 20 clusters.
Store in an airtight container and transport to your tailgate!


Creating a striking mark in the industry, we have earned the name of being a highly reliable manufacturer and supplier of Jigger Dyeing Machine. It is the most commonly used for dyeing all kinds of cotton fabric. We manufacture this machine under the firm guidance of expert supervisors using high quality materials. Jig exerts considerable lengthwise tension on the fabric and is more suitable for the dyeing of woven than knitted fabrics. Jigger Dyeing Machine is very suitable for fabrics which crease when dyed in rope form. We offer this machine at cost effective prices to clients.
This machine is one of the production of printing and dyeing equipment in our factory, advanced product design, rational structure, good performance, safe and reliable operation.


A student of Prairie View A&M University, Brianna Esomchukwu was arrested for allegedly pouring bleach in her roommate's eyes during a dispute.
Brianna Esomchukwu is 18 years old and her roommate Julisha Wyatt is 19 years old. They got into verbal altercation and it turned physical. Julisha accused Brianna of pouring bleach into her eyes but Brianna says it was Julisha's fault because she always lock her out of the their room.
"Speaking to WFAA, Wyatt's mom said that there had been some friction between the roommates – particularly since Wyatt complained to a resident advisor that their on-campus apartment smelled like marijuana, which they think contributed to the incident.
Atiku (PDP) won at Aso Rock poling Station.