Yesterday was the first Essex Egyptology Group meeting of the year, and the talk was given by Sally-Ann Ashton who works at the Fitzwilliam Museum in Cambridge both as a curator of their Egyptian collections and in their outreach education programme in prisons. The focus of her work for the last few years has been looking at Egypt from the perspective of its identity as an African country, and she opened her talk by discussing identity and how one's own identity shapes one's perceptions & assumptions. Ancient Egypt is a particularly striking example of this as despite being geographically within Africa it has traditionally been discussed from a very Euro-centric perspective. She provided quotes from books showing that especially in the 19th Century there was a tendency for European & US Egyptologists to assume that the Ancient Egyptians must've migrated in from the Middle East or were even "a branch of Caucasians" rather than African people, displaying the racist world-view of the archaeologists involved rather than reflecting the evidence available.
After showing us some examples of Egyptian art where the non-European features of people are highlighted she moved on to what I think is the meat of her current work - looking at the material culture of the Ancient Egyptians and drawing correspondences & correlations with other African cultures. Two types of items that she has looked at in particular are headrests & hair combs. I've always thought of headrests as a particularly Egyptian thing, but they are actually found in a variety of African cultures - even still used today in some places (she had a photo of an Ethiopian man using a headrest taken a couple of years ago). The work she was doing on hair combs involved both comparisons in styles etc to modern & ancient African combs and also investigating the changes in the combs as compared to the changing population of Egypt. In particular she is looking at the width of the gaps between the teeth of the comb, and what that suggests about the hair-types of the comb users - her initial findings are that the early combs (pre-Dynastic) are much like modern combs used for afro-type hair.
She told us that studying Egypt as part of Africa is still controversial today - although less so in the US than in Europe & Egypt itself (she mentioned in passing in answer to a question that one of her colleagues in Egypt had stopped speaking to her after learning the direction her studies were going). One example she gave was that she was involved in an imaging project to reconstruct Cleopatra's features, and after the resulting (brown-skinned) image was published in the Daily Mail in 2008 she is still receiving hate mail (she was fairly laid back about it - saying that she's gathering it up & plans to write an article about it). I think possibly this controversialness lead her to over-stress her point a bit - after all while Egypt is part of Africa (and that is important) it is also bordering the Middle East (& at the time Mesopotamia was the seat of other advanced civilisations), and it is also bordering the Mediterranean which brought it into contact with other peoples & civilisations. Nonetheless this was an interesting & thought-provoking talk, and I think it may be necessary to make the point so strongly to overcome the "default" perception of Ancient Egypt and the nuances can be more usefully discussed once it's become a part of the orthodoxy.


We go to one game each football season with the girls. We love sharing the experience with them and enjoy making memories at the greatest place on earth to us Aggie Land! Until the next football season, Gig'em and God Bless Aggie Land!


Nature is not a procrastinator's enabler. She moves ever forward, reminding us, we are on her time. We must nurture tiny seeds before the last frost. We must water before the intense heat of the afternoon. We must harvest in due time and then rake leaves over garden beds, blanketing them for the coming cold. She moves in cycles, and we too must move with her, lest our flower beds lay flowerless and our tomato trellises stand tall and barren. Nature is not a procrastinator's enabler.
Last year, I took that notion for granted. Day in, day out, little Julep and I passed bushes brimming with honeysuckle. Their yellows were eye-catching, and their fragrance was intoxicating. Yet, every day, I thought, "Oh, I have to remember to pick these tomorrow." Finally, "tomorrow" became a sad collection of shriveled flowers, the last exasperated efforts of photosynthesis. I was too late.
I vowed not to be so reckless with Mother Nature's schedule the next year, this year, and I waited expectantly. The Urban Farmer and I stood in his field, digging, weeding, planting, just like the other days of digging, weeding, planting, except on this particular day, there was an incredible smell in the air- sweet and floral. Like a word poised on the tip of the tongue, the fragrance was familiar but still hidden in a hillside of indeterminate green. It wasn't until walking the same old Julep route, I realized what we had been smelling- honeysuckle in bloom!
We walked uphill, under a washed-out, turquoise bridge, turned the bend, and the fragrance greeted us once more. Into the bag of farmers market strawberries and sweet, sweet peaches, we dropped petal after petal. True to my vow, we picked, brainstormed and experimented, and this was the first pass. Much like the first efforts at planting, there are lessons learned and plenty of room for reworking, but as far as turning over procrastination leaves, it was a very good, sweet, honey-laced place to start.
If the honeybees and maple trees decided to share the burden of sweetening our breakfasts and teas, if the dairy cow decided to snack from the branches teasing her with sweet smells… these were the magical unions in my head. These were my attempts to harness a wild flower's aroma.
The results were mild but intriguing. They left the tongue and the brain questioning the hints of honey in maple syrup and the faint floral notes in a spread of butter melting down a stack of hotcakes.
I made good on the promise I made to myself and to those blossoming branches at the top of the hill, just beyond the patinaed dome of the beautiful cathedral. There's still time to experiment further, though not much time. These flowers, the seasons, Mother Nature in general, is a schedule to be embraced without delay. We've been spoiled and desensitized by transports of produce and aisles of peaked produce, but the here and the now is trying to harness the scent in the air into our breakfast. How will you use these little yellow gifts?
About This Recipe: Rare is the occasion you will see me recommend a pre-made mix of any sort, but it seems I have a soft spot when it comes to all natural, gluten-free, pancake mixes. I keep them on hand in case I have a gluten-free guest, but for this Monday morning treat, I went for the ease of the mix, so I could focus on my flower experiments. Rather than buying an assortment of flours, the mix does it all for you! For these round, puffy beauties, I used Pamela's Pancake & Waffle Mix, which uses sorghum flour and has big hints of vanilla. The honeysuckle infusions are experimental and not precise in the least, so take my "research" as a start, and adjust as you see fit.
I feel warmer when I look at the magazine cover. It radiates with a glossy depiction of bright yellow flowers, knee-high leafy greens, a freewheeling chicken, plump carrots and a tender father-daughter gardening moment. It's the Urban Farmer's seed catalog, and by now, its pages are tattered, wrinkly and thoroughly perused. While he plotted how to fill his plots of land, I found myself caught up in the excitement of seed shopping. Not unlike combing through a favorite clothing company's pages, I would interject with "oooh, will you buy that one?" However, this catalog shopping boasted a level of anticipation like no other.
From their exotic colors, to their wild patterns, to their poetic monikers (Silver Cloud Cannellini, Midori Giant, Kentucky Wonder, Who Gets Kissed?), each of these heirloom seeds contains a rich history and immeasurable potential. The Urban Farmer will plant and nurture these tiny seeds into fully fledged roots, fruits and vegetables. He'll reclaim vacant land, restoring its purpose and a neighborhood's pride, one cultivated row at a time. He'll harvest, and he'll nourish those who buy into this farming notion, those who will eat with confidence, knowing he has their health and wellbeing in mind every time he steps foot on that soil. His hands will callous, his heart will swell, and our cupboards will fill with new recipe inspiration,and all of this starts with pages in a seed catalog.
The Urban Farmer's brunching mornings might be on hold for a spell, while he bends fence posts into hoop houses, tills and tills, plans his plots, and plants his seeds. Fortunately, we managed to savor a lazy waffle morning before the farm clock began to tick so loudly. This year, another farm's beets inspired our brunch, but who knows how the Urban Farmer's seeds will transform and inspire us next year?
Here's to Seeds, Soil & Stacks o' Waffles!
About This Recipe: Above all, the beets add a bright, rosy hue and a faint sweetness to this waffle recipe. The cornmeal gives the waffle a bit of a crunch. The whipped coconut cream is light and fluffy, and a great non-dairy alternative to whipped cream. I recommend a slathering of Sour Cherry Jam or your favorite fruity spread.
I had a lot on my proverbial plate, but my eyes were bigger than my stomach. The heaps grew, but the flavor diminished. Beautiful foods were pushed aside to cram more and more varieties. Strong flavors weakened as the dishes mixed. My favorites were buried under others' preferences, and my craved flavors were nearly lost completely. Tried and true dishes were just off– rushed, under cooked, and full of excuses. I didn't need anything else added to this metaphoric plate.
What I needed was a cold hard assessment.
January, full of New Year's resolutions and birthday reflections brought just that- a very snowy and cold reassessment. I realized there comes a point when too much is just too much. When I snap at my dog who just wants to play, too much is too much. When my posture sinks with sadness, too much is too much. When I barely see friends, too much is too much. When my dining room table sees more laptops and paper piles than brunches and guests, too much is too much, so I made some changes, big changes (more on those to come).
I cleared that proverbial plate. I looked at the menu with new eyes. What's important to me? What invigorates me? What makes me feel passionate and yields my best work? This space, my own little corner of the blogosphere (thanks for joining me here!), the Urban Farmer, my not-so-little little one, sharing meals, feeding people…all these priorities emerged through the old, mucky heaps, with all the intentional, beautiful drizzles and garnishes of a styled plate at a fancy restaurant.
The natural thing to do after a cold, hard reassessment is a warm, celebratory brunch with good friends, so as my proverbial plate cleared, my very real plate FILLED in the best possible way- with Spelt Waffles, Quinoa Crusted Fried Chicken, Local Grits with Maple Roasted Root Veggies & Sage, drizzles of pure maple syrup, and a few mugs of a hot coffee.
Fried Chicken & Waffles is a mouth-watering combination, but it's a combination I often pass because of chicken sourcing, frying oils, and a general lack of ingredient care. This brunch, however, celebrated this classic combination with love, care and collaboration.
I wish I could share the recipe for the fried chicken with you, but it was my friend Chris's doing, and like many a talented cook, his kitchen process is fluid and off-the-cuff. I can give you a few hints. He started with organic, pasture-raised chicken. One of our friends is gluten free, which makes traditional breading problematic. We couldn't flaunt fried chicken in front of her. That would just be cruel, so Chris used a Quinoa chip as a crust. Additionally, I lent Chris my bottle of organic, non-GMO Safflower oil for a guiltless fry, and the chicken had a stint in the oven for real juiciness. It was a gluten-free gamble, since he puts a lot of pride and practice in his cooking, but it was a crispy win- a win I wish I were still eating!
The grits were another ad-libbed process. I boiled the local grits from the Urban Farmer's CSA, and as they thickened, I added bright, golden Irish butter, pure maple syrup and maple roasted sweet potatoes and crispy sage. It was a hit- a hit without measurements or recorded times, so I recommend some grit experimenting of your own.
I also recommend sharing your brunch with pups for extra enjoyment. Meet Runo. No, I have not added another little companion to our family though he did trigger the part of the brain that results in hours on petfinder.com. I'm exercising [some] discipline and resistance and trying simply to relish four-legged brunch guests whenever possible.
The one element of this brunch I can share accurately? The waffles! Mixed by yours truly, and flipped by my handsome fella, I recommend you add this recipe to a warm, celebratory brunch of your own! I you happen to have a gluten-free guest in your midst, I recommend this mix from Bob's Redmill because as much as I love my grains, I'd hate to watch a friend skip waffles.
As one who spends a lot of time crafting visual stories, it's all too easy to straddle (read: dive over) that pencil-thin line between collector and hoarder. It becomes all too easy to elevate the potential of each and every object. "I could make that into…" or "that would be perfect for a post about…" or "what if I have an event and need that..?" Truth be told, I've had these mental dialogues since I was young. I clung to old drawings, old toys, old clothing because of the associated stories and potential future uses. I found plastic containers, boxes, pieces of paper and saw endless art projects, parcels, etc. Then one day you wake up and feel SURROUNDED- surrounded by stuff, by clutter, by stress.
I'm no neat freak, and I'm no minimalist, but when stress strikes and procrastination whispers in my ear, I am prone to cleaning and purging, purging and cleaning. I recently hit one of these spells. Not quite ready to face the more difficult issues at hand, I dove into sorting my life, ie: my home. I filled bag after bag for Goodwill and bade farewell to the superfluous. Does this object have meaning? Does it represent a truly personal story? Have I used this object recently? Essentially, does this object exist in my life intentionally?
I still have a long way to go, but at the end of this purge session, I was able to breathe a little easier and welcome dear guests into my home for the holidays. What they saw were the more meaningful pieces, the more intentional stories and the most updated version of me. Much like cleaning out the cobwebs of my space, I've been reevaluating myself and considering what my true mission(s) is/are, what pieces of past me I should safeguard, what bad habits of current me need to go, what needs to change or improve, what needs to be rearranged, etc.
Gleaning the most meaningful objects from my collections meant making room for a splendid surprise from the Urban Farmer- a new-to-us waffle maker! A score from our friends at the Pittsburgh Vintage Mixer, we plugged in our new toy with a healthy dose of skepticism and anticipation, and before long, we had a plate full of lovely waffles. So long pancakes! So long waiting in line for waffles from crowded brunch scenes! A vestige of a different era in quality and longevity, this baby may outlive us all, and we're looking forward to several slow mornings of syrup-filled nooks and crannies.
Rather than start with a basic waffle recipe, we went BIG! We went boozy. We went grain rich and flavor-FULL. After all the reflecting, questioning, purging and aspiring, starting big is a wonderfully delicious place to start. As you hunker down to review the last year and settle on what is important for the coming year, I hope you reward yourself with a beautiful scene, a confidant, hot coffee, a well deserved dose of laziness, and the type of brunch to make you savor every single bite.
When creating a recipe, I often look to weave a thread throughout the various elements of the dish. In this case, this over-the-top waffle breakfast features Wigle Whiskey's Landlocked Spiced in each component. Made from scratch and pot-distilled from Pennsylvania buckwheat honey, this distilled mead is Wigle Whiskey's uniquely inland approach to island spirits- landing somewhere between a rum and a brandy. Infused with whole, organic botanicals–roasted orange peel, cocoa nibs, whole vanilla beans and cinnamon, the result is a spirit with a vanilla nose and a complex body of pepper, cocoa and fig. It's delicious, and I recommend a bottle, but if you're closer to the sea and sunny skies, you can substitute the rum of your choice.


text:
ICC Women's ODI Cricket World Cup
World Cup stats: India's streak against Pakistan, Vastrakar-Rana's record 7th-wicket stand and more
It was an ODI record seventh-wicket partnership between Sneh Rana and Pooja Vastrakar (122 runs from 96 balls) that bailed India out of danger.
Mar 06, 2022 · 08:45 pm Updated Mar 06, 2022 · 09:41 pm
Sneh Rana of India celebrates her half century during the 2022 ICC Women's Cricket World Cup match between Pakistan and India at Bay Oval on March 06, 2022 in Tauranga, New Zealand | ICC Business Corporation FZ LLC 2020
Records tumbled and milestones were crossed as India defeated Pakistan by 132 runs in match five of the 2022 ICC Women's Cricket World Cup.
After winning the toss and electing to bat, India posted a total of 244/7 in the allotted 50 overs. After losing opener Shafali Verma for naught in the third over, Smriti Mandhana (52 from 75 balls) and Deepti Sharma (40 from 57 balls) paired for 92-runs for the second wicket. Pakistan with the help of spinners, Nashra Sandhu (2/36) and Nida Dar (2/45) then triggered a collapse, reducing India to 114/6 in 33.1 overs.
World Cup, India v Pakistan as it happened: Late batting recovery, good bowling gives India the win
However, it was a record seventh wicket partnership between Sneh Rana and Pooja Vastrakar (122 runs from 96 balls) that bailed India out of danger and establishing a commendable total.
India successfully defended their total, dismissing Pakistan all out for 137 in 43 overs.
India's disciplined bowling allowed them to take wickets at regular intervals. Rajeshwari Gayakwad (4/31) and Jhulan Goswami (2/26) were their standout bowlers. Sidra Ameen 30 (64) and Diana Baig 24 (35) were Pakistan's only two batters to score more than 20 runs in reply.
Milestones from the match
With this victory, India continue their unbeaten streak against Pakistan in ODI format. Indian women have now made it 11 wins out 11 matches played in their history against the neighbours.
Smriti Mandhana became the fourth Indian woman to score 2,500 runs in ODIs
Most runs in ODIs for India
M Raj 226 205 7632 125* 51.56 7 62
A Chopra 127 112 2856 100 31.38 1 18
H Kaur 112 94 2669 171* 33.78 3 13
S Mandhana 65 65 2513 135 41.88 4 21
PG Raut 73 73 2299 109* 34.83 3 15
The partnership of 122 runs between Sneh Rana and Pooja Vastrakar is now the highest partnership for the seventh wicket or lower in the history of this format.
Best partnership in ODIs for wickets 7-plus
For wicket
S Rana, P Vastrakar (IND) 7 122 1 v PAK Mount Maunganui 6 Mar 2022
NJ Browne, SJ Tsukigawa (NZ) 7 104* 1 v ENG Chennai 23 Feb 2007
D Hazell, NR Sciver (ENG) 7 104 1 v SL Colombo (RPS) 17 Nov 2016
CE Eksteen, A Kuylaars (SA) 7 94 1 v ENG Taunton 28 Jun 2000
NJ Browne, KJ Martin (NZ) 7 90 1 v ENG Lincoln 24 Feb 2008
Pooja Vastrakar (67 from 59 balls) and Sneh Rana (53* from 48 balls) became the fourth and fifth Indian batters to register a 50+ score on their ICC Women's World Cup debut.
Richa Gosh, with four catches and one stumping, became the record holder for most dismissals by a wicketkeeper on an ICC Women's World Cup debut.
Players who have both scored a half-century batting at #7 or lower and taken two or more wickets in a Women's World Cup match:
Eileen Badham
International XI v Jamaica, 1973
Sneh Rana
India v Pakistan, 2022#CWC22 #INDvPAK
— hypocaust (@_hypocaust) March 6, 2022
Jhulan Goswami needs just one more wicket to become the highest wicket-taker in ICC Women's World Cups.
India captain Mithali Raj became the first woman, and only the third cricketer ever, to appear at six ICC ODI Cricket World Cups. In doing so, Raj is ensuring the record enters a new decade – Javed Miandad appeared in the first six Men's Cricket World Cups between 1975 and 1996 with Sachin Tendulkar beginning his World Cup career in 1992. By the time Tendulkar's fairytale finish came in 2011, Raj had already captained India at a World Cup after having made her tournament debut in 2000.
As skipper the records keep coming, the right-hander now equals Australian legend Belinda Clark by captaining at her fourth ICC WWC, Clark's tenure spanning from 1993 to 2005. Clark and Raj stand as the only two players to have captained their country at more than two World Cups. But Raj also eclipses her fellow batter as the span between first captaining her country and last doing so stretches to 17 years, the Australian's tenure as skipper came across 12.
And it is not just her captaincy that is breaking records – her World Cup career now spans more than two decades with no women ever having played in ICC Women's World Cups 20 years apart. It was New Zealand Debbie Hockley who previously held the record having made her debut on 10 January 1982 with her last match the 2000 final on 23 December, 24 days after Raj's debut.
And it is this standard that the 39-year-old continually finds herself amongst – only Hockley (45) and England's Jan Brittin (36) have played more World Cup games.In moving to six World Cup appearances, Raj leaves behind the company of England duo Charlotte Edwards, Clare Taylor and Hockley as the only other women to have made five appearances at a Women's World Cup.
With inputs from ICC Business Corporation FZ LLC 2020 and ESPNCricinfo Statsguru. All statistics mentioned for women's One Day Internationals unless otherwise stated.
India at World Cup
Pooja Vastrakar
World Cup: Meg Lanning named captain of Most Valuable Team of tournament, no Indian in the XI

redpajama_set_name: RedPajamaCommonCrawl


Always be the first to know about what's going on with ALS in the Heartland.
Sign up for our email newsletter and join our social community. These small efforts will help spread the word about the ALS cause and make a tremendous difference.


text:
A Búzapiac egy hajdani tér neve a mai Budapest Erzsébet hídjának pesti hídfője helyén. A területet 1432-ben Széna tér elnevezéssel is említették, ezen kívül megfeleltethető a 18. századi Halpiacnak és a 19. századi Hal térnek, ami a Molnár utca és az Irányi utca találkozásánál alakult ki. A teret az Erzsébet híd építésekor építették be.

Források

Budapest megszűnt közterületei
Budapest V. kerülete

redpajama_set_name: RedPajamaWikipedia


Watch this video for a clear example of how changes in interest rates can impact investment, which in turn affect consumption, which can shift aggregate demand.
If the economy is suffering a recession and high unemployment, with output below potential GDP, expansionary monetary policy can help the economy return to potential GDP. Figure 1(a) illustrates this situation. This example uses a short-run upward-sloping Keynesian aggregate supply curve (AS). The original equilibrium during a recession of Er occurs at an output level of 600. An expansionary monetary policy will reduce interest rates and stimulate investment and consumption spending, causing the original aggregate demand curve (AD0) to shift right to AD1, so that the new equilibrium (Ep) occurs at the potential GDP level of 700.
Figure 1. Expansionary or Contractionary Monetary Policy. (a) The economy is originally in a recession with the equilibrium output and price level shown at Er. Expansionary monetary policy will reduce interest rates and shift aggregate demand to the right from AD0 to AD1, leading to the new equilibrium (Ep) at the potential GDP level of output with a relatively small rise in the price level. (b) The economy is originally producing above the potential GDP level of output at the equilibrium Ei and is experiencing pressures for an inflationary rise in the price level. Contractionary monetary policy will shift aggregate demand to the left from AD0 to AD1, thus leading to a new equilibrium (Ep) at the potential GDP level of output.
Conversely, if an economy is producing at a quantity of output above its potential GDP, a contractionary monetary policy can reduce the inflationary pressures for a rising price level. In Figure 1(b), the original equilibrium (Ei) occurs at an output of 750, which is above potential GDP. A contractionary monetary policy will raise interest rates, discourage borrowing for investment and consumption spending, and cause the original demand curve (AD0) to shift left to AD1, so that the new equilibrium (Ep) occurs at the potential GDP level of 700.
These examples suggest that monetary policy should be countercyclical that is, it should act to counterbalance the business cycles of economic downturns and upswings. Monetary policy should be loosened when a recession has caused unemployment to increase and tightened when inflation threatens. Of course, countercyclical policy does pose a danger of overreaction. If loose monetary policy seeking to end a recession goes too far, it may push aggregate demand so far to the right that it triggers inflation. If tight monetary policy seeking to reduce inflation goes too far, it may push aggregate demand so far to the left that a recession begins. Figure 2(a) summarizes the chain of effects that connect loose and tight monetary policy to changes in output and the price level.
Figure 2. The Pathways of Monetary Policy. (a) In expansionary monetary policy the central bank causes the supply of money and loanable funds to increase, which lowers the interest rate, stimulating additional borrowing for investment and consumption, and shifting aggregate demand right. The result is a higher price level and, at least in the short run, higher real GDP. (b) In contractionary monetary policy, the central bank causes the supply of money and credit in the economy to decrease, which raises the interest rate, discouraging borrowing for investment and consumption, and shifting aggregate demand left. The result is a lower price level and, at least in the short run, lower real GDP.
Watch this video to take yet another look at the way that monetary policy can, through a reaction chain, affect aggregate demand.


Seeing a need for smarter cities and better infrastructure, Pratap Padode gathered a coalition of industry leaders across India to accelerate the move to smart, accessible cities, with a focus on livability, workability, and sustainability across the nation. This coalition is now a convention and expo, called Smart Urbanation, which is held annually in Mumbai. He is also a Managing Director at ASAPP Info Global Services, where he thinks about infrastructure, construction and engineering daily.
"Pratap Padode," Smart City Citizens, accessed April 23, 2019, http://jmonberg.msu.domains/smartcitycitizens/items/show/68.


Following are the training venues most commonly used for our public courses. Each of these venues is also available for in-house courses, and we can assist with those bookings if required.
The courses offered publicly through the University of Technology, Sydney are hosted in their computer laboratories at the Broadway campus in Sydney. They provide for between 21 and 29 students with one PC per student and AV Facilities. Classes are usually booked in building 10 in the UTS City Campus which is located on Broadway.
We have been using a local restaurant, Bella Ciao in Haymarket, to provide on-site catering for the past fifteen years, and they provide an excellent range of meals and can cater to special dietary needs.
Smaller and also some more advanced workshops are often hosted at the RACA, particularly those running over weekends. It offers a range of suitable rooms and superior catering, including dining room options. The club is located at Circular Quay and provides excellent public transport connections.
For those attending sessions from outside Sydney, accommodation can be booked, subject to plenty of advanced notice, at members' guest rates, simplifying some travel arrangements.
Our premium residential mode courses are run once a year each at Sanctuary Cove. Accommodation packages are available, and the property provides an excellent place to withdraw and focus on training, and as we are resident on site during these courses, the staff are able to provide extra workshops and one-on-one coaching, in addition to the standard training content. The courses offered at this venue simplify travel arrangements for those travelling from overseas and interstate to attend the courses.
Saxons Training are our preferred training supplier across Australia for computer laboratories and have been able to provide us with excellent service and technical support. Catering is organised through Saxons business partners at each venue and is of a good standard. Special dietary requirements can usually be catered for.


text:
Wektor wodzący (wektor położenia) danego punktu A – wektor zaczepiony w początku O układu współrzędnych, mający koniec w punkcie A

W fizyce wektor wodzący określa położenie układu w przestrzeni konfiguracyjnej. W przypadku pojedynczego, punktowego ciała poruszającego się w przestrzeni wektor wodzący można wyrazić np. za pomocą trzech współrzędnych kartezjańskich

gdzie t oznacza np. czas. Wektor wodzący kreśli trajektorię, po której porusza się wybrany punkt ciała.

W przypadku układu złożonego o n stopniach swobody wektor wodzący jest n-elementowym wektorem w przestrzeni konfiguracyjnej układu, przy czym wyraża się go za pomocą tzw. współrzędnych uogólnionych, których liczba jest równa liczbie stopni swobody układu

Bibliografia

Wektory
Wielkości mechaniczne


text:
The following television stations operate on virtual channel 12 in Canada:

 CFCF-DT in Montreal, Quebec
 CFTF-DT-3 in Cabano, Quebec
 CHAU-DT-9 in L'Anse-à-Valleau, Quebec
 CHEX-DT in Peterborough, Ontario
 CHKL-DT-2 in Vernon, British Columbia
 CHNB-DT in Saint John, New Brunswick
 CIFG-DT in Prince George, British Columbia
 CIII-DT-12 in Sault Ste. Marie, Ontario
 CIVA-DT in Val d'Or, Quebec
 CIVF-DT in Sept-Iles, Quebec
 CKTV-DT in Saguenay, Quebec

12 virtual TV stations in Canada


So last time I wrote, it was about the first steps in resurrecting my novel HOMEFRONT from the dead. Last night I took the next one, posting up the three books of what I'm now calling "The Homefront Trilogy" for pre-order on amazon.com.
It was terrifying. This was the most author-y thing I've had to do in some time, and I was so worried I'd screw it up I almost deleted a reference folder in my dropbox, which would have made for a much different conversation today.
But aside from some minor missteps, I got the job done, and for those of you asking when I'll have a new book for you to read, you are officially on notice.
Temporary covers, temporary files, but very real release dates, and a special promotional price to boot! These three books will be electronic-only for a few months, while my cover magician(s) and I work up the final specifications.
So it's time to build a little buzz, and the best way I know of to do that is to give stuff away FOR FREE. So while supplies last, you can get the complete HOMEFRONT ebook as a free download from my online store.
Get one for yourself, send one to a friend. Do whatever you do with electronic books, I won't judge. But what I would like/love you to do afterward is leave a review on amazon, share this post, the store link, the preorder links, whatever you can think of to spread the word about my latest release. This is my official beg letter, and if we all pull together, I shouldn't have to do another of these for at least a month!
More in a couple days. Happy New Year, everyone!


text:
Home»Swarfblog»Junk or Treasure?
Junk or Treasure?
By Lloyd Graff July 25, 2018 Updated: July 19, 2022 3 Comments4 Mins Read
David Killen is an art dealer in the Chelsea neighborhood of New York. He is also a treasure hunter of the modern variety, a profession a humble used machinery dealer like myself connects with.
David is the kind of guy who frequents flea markets and auctions, not just because he needs inventory for his own bi-monthly auctions of prints and Tchotchkes, but because he loves the hunt. He's 59 now and has been schlepping around art fairs and Swap-O-Ramas for 50 years. He thought that one day he might find an overlooked stash of value. It looks like he finally did.
Late last year at an estate sale in Ho-Ho-Kus, New Jersey, Killen bought the contents of a locker in a warehouse. The property had been owned by Susanne Schnitzer, who was the partner of Orrin Riley, a prominent art restorer who had restored several paintings by the Dutch painter Willem de Kooning. Riley died in 1986, and Schnitzer was run over by a garbage truck in New York City in 2009.
Schnitzer's friends from New Jersey were her executors and they ultimately tired of paying the warehouse fees on the odds and ends in the locker. They had an auction house peruse the contents before they sold it, and it was pronounced "junk." A bunch of prints of little value.
Killen lives for times like this. The rules of the game in situations of this nature are that the bidders get a glimpse of the contents but cannot analyze the goods in depth.
It's a lot like bidding on a warehouse crammed with the flotsam and jetsam of 50 years of screw machining. ACMEs, Davenports and New Britains caked with chips, clotted oil and crud, chip conveyors and stock reels askew, making for an obstacle course tougher than an an American Ninja Warrior challenge. I've seen men fall into the base of 8-spindle ACMEs, never to be heard from again.
Untitled XXXI, Willem de Kooning, Painted 1977. $21,165,000 at Auction.
David Killen knew the locker's contents had the "junk" judgement by the fancy auction house, but he also knew the history of Orrin Riley being a confidante of de Kooning back in the 1970s when nobody knew his name. A guy like Killen develops a nose for value over 50 years. Did he have special inside knowledge about the locker? No. I can say this confidently because he hauled the contents out last December in his own truck and didn't even check everything out immediately. It was just another collection of dusty goodies that he would auction off in his sweet time.
But then he saw the wooden boxes that said de Kooning printed on the outside. Maybe these weren't prints. He had suspected there could be some gold in the locker when he bought it, or he would not have paid $15,000. He knew the background of Orrin Riley, who had done restoration work on de Kooning and begun the restoration department for the Guggenheim Museum. Riley was "big time." David Killen's nose for treasure smelled something sweet.
Last week Killen made an announcement to the press that he owned six authentic, but unsigned de Kooning paintings. They were authenticated by Lawrence Castagna, an art restoration authority who had worked both for Riley and as a studio assistant for de Kooning. Castagna feels confident that six of the paintings are the real thing. Willim de Kooning died in 1997, and his foundation in Manhattan does not authenticate works by the artist.
Killen also found a painting by Paul Klee, the famous Swiss painter.
The most recent comps on the seven original works of art, though the de Koonings are unsigned, would indicate a value of around $100 million for the group. What a haul for a struggling art dealer who deals mostly in nice prints.
As a lifelong treasure hunter who has never found a de Kooning myself, I love this story. I am not jealous of David Killen. I am thrilled for him.
His story is about the chase, not the pot of gold at the end of the rainbow. I could have done a lot of other things in my career, but the machinery treasure hunt and all of the fascinating folks I've met along the way has kept me passionately in the game. I love it as much as ever, probably more, because I am acutely aware of the time limits we all have.
I really hope the de Koonings are the real thing, but honestly, I don't think it will change David Killen much either way. At least I hope not.
Question: Have you ever discovered hidden treasure?
Lloyd Graff on July 25, 2018 1:57 pm
Treasure may not be a pot of gold, but a map to follow. My father, Leonard, started his career riding around in a truck with his Dad, an immigrant scrap dealer on the Southside of Chicago. In 1939 they were scrapping out an ice cream plant for the copper and my Dad spotted a 4" 8" red, bound, book which was the quarterly catalog of Emerman Machinery, a prominent used machine tool dealer. It contained Emerman's extensive inventory with pictures and prices and descriptions. My father kept the red book, and after my Grandfather died at the age of 54 in 1941, my father liquidated the scrap business and set out on the road looking for used machinery using the Emerman Red Book as his road map. With World War II just beginning he concluded that if he could buy near Emerman's selling price of 1938 he would prosper.
What was the Emerman Red Book worth? PRICELESS.
Noah Graff on July 25, 2018 4:58 pm
Treasures. I am a treasure hunter! I can't believe nobody else commented!
Life is full of treasures in places you never expected. I found my fiancé on OK Cupid. Hidden treasure! Hidden amongst a bunch of nice prints, there laid an authentic masterpiece.
I have a great antique mirror I found in the alley behind my condo.
We found a Hydromat carcass inside a container behind a bunch of rubbish that had been there for a decade.
I found Trattoria Mario, my favorite Italian restaurant in the world, by accident as I was looking for a place to eat lunch in Florence, Italy, while studying abroad. Thousands of restaurants and I found the best one. Treasure.
Unfortunately it appears readers did not get it when we asked them to talk about their treasures.
Peter Frow on July 27, 2018 5:28 am
Just bought a Solid Top Steel String Washburn Guitar in great condition at a second hand store for $85.
I also once bought a bought a violin at a second hand shop.
When I peered through the F-hole I caught sight of the name Stradivarius!
Paid about $10 for my 'treasure'. When I got it home and looked a bit more carefully I saw: "Stradiverius – a copy"
Although it was not a treasure-hunter's dream it was still a pretty good $10 dollar's worth.


text:
Decision details
Find out more about this issue
Decision Maker: Development Panel
Is Key decision?: No
Is subject to call in?: No
Decisions:
Phil Campbell, Margaret Ward, David Ellison, Paul Carr and Gary Whetton spoke against the application.
A petition of support for the application was presented on behalf of a constituent by Councillor Alan Smith
Town Councillor Alan Tyson spoke against the application
Councillor Joan Ellis spoke against the application
The Agent Jeremy Williams spoke in support of the application
The report recommended approval subject to conditions recommended at Annex 1 and the signing of a s106 agreement to secure financial sums for the monitoring of a Travel Plan and the implementation of a Traffic Regulation Order.
The Planning and Building Control Manager introduced the item advising that Members may have recalled a similar application being refused at the meeting of this in July of last year. He referred members to the reasons detailed on page 20 of the agenda papers.
He commented that the previous application was now the subject of an appeal to the Secretary of State, the procedure being a Hearing. However, he advised that the existence of that appeal should have no bearing on the determination of the application now before members.
However, he did advise members that a further 6 months had elapsed since the determination of the previous application and the site remained undeveloped. It had been the subject of continued marketing with no interest. There were clear issues with the viability of B1, B2 and B8 schemes without either external funding or a viable use being developed alongside.
The Planning and Building Control Manager continued their introduction by commenting that there was a mix proposed of an employment use (flexibly proposed as B1, B2 and/or B8 to maximise the possibilities for development coming forward) and, critically, an A1 use that provided the overall viability.
Weight is afforded to this consideration, the A1 use also provides meaningful employment. The weight afforded to this is particularly significant given that an undeveloped site does not provide employment.
He commented that little weight should be afforded to policy SA43 of the emerging Part 2 Local Plan due to unresolved objections and reminded members that, in July they did consider that the development was appropriate in terms of retail impact.
Questions were asked of the speakers and the officers and debate followed relating to flooding, site uses/permissions, employment, sustainability, travel and trees.
Councillor Cockburn then moved to refuse the application on the grounds that the development would result in the loss of saved employment allocation EM2 and the loss of existing trees protected under Tree Preservation Order No.9 of 2017.
The motion was seconded by Councillor Munby
A vote followed 7 voted in favour of the motion to refuse, 4 voted against the motion to refuse, 0 abstentions.
The motion was carried.
Reasons for Refusal
1. The Local Planning Authority considers that the proposal would result in the loss of saved employment allocation EM2 to the detriment of the current and future needs of the spatial strategy and growth for Cockermouth as a key service centre, contrary to Policies S3, DM3 and S12 of the Allerdale Local Plan (Part 1) Adopted 2014.
2. The proposal would result in the loss of existing trees protected under Tree Preservation Order No.9 of 2017, Low Road, Cockermouth to the detriment of the visual amenities and character of the locality and the approach to the town centre, contrary to Policies S4, S32, S33 and DM17 of the Allerdale Local Plan (Part 1) Adopted 2014.
Report author: Shona Reid
Date of decision: 05/02/2019
Decided at meeting: 05/02/2019 - Development Panel
Accompanying Documents:
2/2018/0529 Hybrid application- Erection of retail unit (Class A1) with external garden centre (Full Application) Employment unit (Class B1, B2, B8) (Outline Application) including access, parking, landscaping and associated works- Resubmission of 2/ PDF 2 MB


We again in 2011 to back to Estes Park but this time I had plans to hike four local peaks. I had to get into better shape. So for a few months before we left on vacation I starting hiking two local hiking spots. First was a return to Ceder Ridge Preserve, the best hilly spot to hike in the DFW area. The hills are steep and pretty long.
The second place was Cedar Hill State Park. I love this park and when all trails are open the trail system is amazing. The park surrounds Joe Pool Lake and it has a pond hidden off on a side trail. At one time you could actually see both AT&T Stadium in Arlington and Texas Stadium in Irving, it would have been a nice picture.
So off we go to our second trip to Colorado and Rocky Mountain National Park. The first day we did some mile high hiking in the Rocky Mountain NP and found some great spots but not the 9000-12000 elevation peaks I was planning on doing. The first peak which I cannot remember the name was 9300 feet and we got to the base and could not find the trailhead. The second was Twin Sisters East Peak at 11500 but that did not work out well either. Dade and I found the trailhead but hiked in the wrong direction. We got back on the correct trail and at 11000 and above treeline we both got altitude sickness and we went back down. The failure was amazing with views that literally made me breathless.
I also decided to schedule us for some non city adventure so this time was ATVing through the mountains. My worst idea ever because it turned into ATVing on the mountain. It was about as scary as anything I have ever done. It was not what I expected. After an ATV accident, my quest for the last two peaks was over. BTW, I was not the one in the accident.
I was still not as hooked on hiking as I am now but the spark was now a little flame. I was mad at the two hike attempt failures but intrigued at what I saw on the other hikes but I was still out of shape to do any major hikes to the best places in the park.
Stay tuned for my return to Colorado in 2013. You might even find out if this was the trip that made me an avid hiker. Plus I found another close by hiking spot to go along with the Cedar Ridge Preserve and Cedar Hill SP.


The exercise yard for the east unit of death row at San Quentin State Prison in San Quentin.
California is about to find out if taking three decades or more to execute death row inmates will turn out to be the fatal flaw in the state's long-faltering death penalty system.
In a case that may be headed to the U.S. Supreme Court, a federal appeals court on Monday will review a Los Angeles federal judge's startling ruling last year declaring California's "dysfunctional" death penalty law unconstitutional because of systemic delays in a state with more than a quarter of the nation's condemned inmates.
The ruling has been put on hold while the 9th U.S. Circuit Court of Appeals weighs Attorney General Kamala Harris' appeal. Despite her own reservations about the death penalty, Harris has urged the appeals court to reverse the decision, saying in court papers the ruling is "fundamentally misguided" because any delays in reviewing the appeals of death row inmates are meant to ensure legal protections to avoid mistakes.
The showdown amounts to a legal referendum on the nation's most prolific death penalty state, notorious for filling its death row but failing to carry out executions. California has had just 13 executions overall since 1978, and none in nearly a decade — the result of ongoing legal challenges to the state's lethal injection method.
With at least 40 percent of the state's death row inmates now awaiting execution for two decades or longer, legal experts say the time may be ripe for the Supreme Court to use the California example to decide whether such delays render a state's death penalty law unconstitutional.
Condemned inmates in California and elsewhere have tried the argument before, but Carney's ruling broke new ground — and at least two Supreme Court justices, Stephen Breyer and Ruth Bader Ginsburg, have already urged the court as recently as June to take up the broader question of the death penalty's legality.
Specifically, the judge determined that such lengthy delays and detours for death row inmates create an arbitrary path to execution for just a "trivial few" inmates — the type of unreliable system the U.S. Supreme Court has found amounts to cruel and unusual punishment.
From failures to appoint lawyers for automatic death penalty appeals to interminable delays in the California Supreme Court and federal courts, lawyers for death row inmates argue that the problem is not fixable. They are backed in the case by a variety of anti-death penalty groups, as well as several state legislators, including Bay Area state Sens. Loni Hancock and Mark Leno.
State lawyers and death penalty advocates, however, say there is nothing unconstitutional about a system that moves slowly to protect the legal rights of death row inmates, a large percentage of whom get their sentences overturned in the process.
In addition, one group warned the 9th Circuit that invalidating the state's death penalty law would "create a new class of inadequately punished murderers," citing infamous killers such as Charles Manson who had their death sentences commuted to life in prison when the Supreme Court struck down the death penalty in the early 1970s.
Kent Scheidegger, legal director of the pro-death penalty Criminal Justice Legal Foundation, scoffs at the argument California's death penalty is irretrievably broken.
The 9th Circuit is hearing the case at a critical point. State prison officials plan to unveil a new single-drug execution method this fall, a move that could lead to the resumption of executions in a year or two. And there are at least 17 death row inmates who've exhausted their legal appeals and are eligible for immediate execution dates if the state's death chamber reopens.
But the 9th Circuit legal battle puts another layer of uncertainty into the California death penalty equation. And legal experts say if the appeals court backs Carney's logic, the Supreme Court may have no choice but to intervene.


text:
<?php

namespace Database\Migrations;

use Doctrine\DBAL\Schema\Schema;
use Doctrine\Migrations\AbstractMigration;

class Version20190112002932_add_vending_tables extends AbstractMigration
{
    /**
     * @param Schema $schema
     */
    public function up(Schema $schema): void
    {
        $this->abortIf($this->connection->getDatabasePlatform()->getName() != 'mysql', 'Migration can only be executed safely on \'mysql\'.');

        $this->addSql('CREATE TABLE vending_locations (id INT UNSIGNED AUTO_INCREMENT NOT NULL, vending_machine_id INT UNSIGNED DEFAULT NULL, product_id INT UNSIGNED DEFAULT NULL, encoding VARCHAR(10) NOT NULL, name VARCHAR(10) NOT NULL, INDEX IDX_FB51EA3982EA3E1C (vending_machine_id), INDEX IDX_FB51EA394584665A (product_id), UNIQUE INDEX vending_locations_unique_idx (id, encoding), PRIMARY KEY(id)) DEFAULT CHARACTER SET utf8mb4 COLLATE utf8mb4_unicode_ci ENGINE = InnoDB');
        $this->addSql('CREATE TABLE vending_machines (id INT UNSIGNED AUTO_INCREMENT NOT NULL, description VARCHAR(100) DEFAULT NULL, type VARCHAR(10) DEFAULT NULL, connection VARCHAR(10) DEFAULT NULL, address VARCHAR(100) DEFAULT NULL, UNIQUE INDEX vending_machines_uniqie_idx (connection, address), PRIMARY KEY(id)) DEFAULT CHARACTER SET utf8mb4 COLLATE utf8mb4_unicode_ci ENGINE = InnoDB');
        $this->addSql('CREATE TABLE vend_logs (id INT UNSIGNED AUTO_INCREMENT NOT NULL, vending_machine_id INT UNSIGNED DEFAULT NULL, user_id INT UNSIGNED DEFAULT NULL, transaction_id INT UNSIGNED DEFAULT NULL, rfid_serial VARCHAR(50) DEFAULT NULL, enqueued_time DATETIME DEFAULT NULL, request_time DATETIME DEFAULT NULL, success_time DATETIME DEFAULT NULL, cancelled_time DATETIME DEFAULT NULL, failed_time DATETIME DEFAULT NULL, amount_scaled INT DEFAULT NULL, position VARCHAR(10) DEFAULT NULL, denied_reason VARCHAR(100) DEFAULT NULL, INDEX IDX_DEDF3B8082EA3E1C (vending_machine_id), INDEX IDX_DEDF3B80A76ED395 (user_id), INDEX IDX_DEDF3B802FC0CB0F (transaction_id), PRIMARY KEY(id)) DEFAULT CHARACTER SET utf8mb4 COLLATE utf8mb4_unicode_ci ENGINE = InnoDB');
        $this->addSql('ALTER TABLE vending_locations ADD CONSTRAINT FK_FB51EA3982EA3E1C FOREIGN KEY (vending_machine_id) REFERENCES vending_machines (id)');
        $this->addSql('ALTER TABLE vending_locations ADD CONSTRAINT FK_FB51EA394584665A FOREIGN KEY (product_id) REFERENCES products (id)');
        $this->addSql('ALTER TABLE vend_logs ADD CONSTRAINT FK_DEDF3B8082EA3E1C FOREIGN KEY (vending_machine_id) REFERENCES vending_machines (id)');
        $this->addSql('ALTER TABLE vend_logs ADD CONSTRAINT FK_DEDF3B80A76ED395 FOREIGN KEY (user_id) REFERENCES user (id)');
        $this->addSql('ALTER TABLE vend_logs ADD CONSTRAINT FK_DEDF3B802FC0CB0F FOREIGN KEY (transaction_id) REFERENCES transactions (id)');
    }

    /**
     * @param Schema $schema
     */
    public function down(Schema $schema): void
    {
        $this->abortIf($this->connection->getDatabasePlatform()->getName() != 'mysql', 'Migration can only be executed safely on \'mysql\'.');

        $this->addSql('ALTER TABLE vending_locations DROP FOREIGN KEY FK_FB51EA3982EA3E1C');
        $this->addSql('ALTER TABLE vend_logs DROP FOREIGN KEY FK_DEDF3B8082EA3E1C');
        $this->addSql('DROP TABLE vending_locations');
        $this->addSql('DROP TABLE vending_machines');
        $this->addSql('DROP TABLE vend_logs');
    }
}

redpajama_set_name: RedPajamaGithub


John Schlageter, Executive Director of the Bethlehem University Foundation and Reverend Adam Forno, member of the Board of Directors of the Foundation, will attend the upcoming Bethlehem Association National Convention in Miami, Florida. The Foundation will have an informational booth and invites you to come greet John and Father Adam.
The Bethlehem Association is a non-profit, charitable organization founded in 1985 to bring people together from all over the world who have strong ties to the city of Bethlehem and its neighboring towns. Their Mission is to help Bethlehemites' families and friends and improve communities through established charitable organizations and scholarships, including the Bethlehem University Foundation, having donated over $375,000 since 1999 in scholarships and other gifts. Their Conventions serve as a means of strengthening ties among Bethlehemites and Palestinians living around the world.
The Convention will begin on Thursday, August 3rd and conclude on Sunday, August 6th at the Hilton Miami Airport (Airport shuttle provided by hotel). Click here for more details and to purchase tickets.
The Convention will be filled with many special guests and entertainers, including singer Fadi Hanani, and comedian Amer Zahr.
To view the Bethlehem Association's brochure on the Convention, click here. To view the full program and schedule of the Convention, click here.


text:
AC Elite
Strider Hiryu last won the day on December 31 2020
Strider Hiryu had the most liked content!
About Strider Hiryu
Resident Browncoat
Ask and I might tell
The Frozen North
Philosophy, Poetry, Gaming, Reading, and Anime
Freelance Programmer/Artist, Philosopher, Gundam Expert, Depressed Homicidal Maniac?
Dirty Pair, Zeta Gundam
Very little atm
STO, FFXIV: ARR
Spice and Wolf, SOA
See all updates by Strider Hiryu
So over the last two weeks I've finally taken the time to watch two of both Arkada's and Geoff's most recommended anime both of which scored pretty highly on each of their respective top anime of the decade videos. Those of course being anohana: The Flower We Saw That Day and A Place Further than the Universe. I also watched them because they've been sitting on my lists forever but I thought I'd open with that little bit.
We'll start with anohana. Quite frankly I honestly don't see where all the love Geoff has for this anime comes from. Don't get me wrong it's a good show and I actually did cry during the final episode (extremely emotional and it's really hard not to let it hit you right in the feels) but I just can't see why it's highly praised. The story is alright (dealing with the loss of a friend and the drifting apart of close friends after said death), characters are so-so with most being bland or downright unlikable (Poppo is the only real character I actually liked, Naruko being the second after I got over my initial dislike for her), animation is top notch, and the soundtrack also gets high marks. Sadly though it felt like a lot of the events in the show were just placed there to add extra, unneeded drama and filler to continue the show for it's 11 episode + movie run (note I haven't seen the movie yet, not available on streaming services and I have not got around to dling it). Again I liked the show overall I just don't know how it gets such high marks from people when there are other shows and movies that do drama and loss so much better then this one. Still recommend giving it a watch if you want to ball your eyes out in the last episode (and for Poppo's hilarious antics and lovable nature).
As for A Place Further than the Universe I'm totally on board with Arkada's gushing about it. This show was a pure joy to watch and I'm actually extremely sad it was only a 13 episode run. It's definitely one of those cute girls doing cute things shows but it's also so much more then that. You have four girls going to Antarctica for completely different reasons (one to make the most of her youth, one as a job and to embark on a journey with actual friends, one trying to run from her past and do something interesting, and one looking for closure after a past incident involving the frozen continent), becoming friends, facing various hardships, and growing as individuals before the climax. Throw in a bunch of cute antics here and there, some minor and major drama, fights, penguin obsession, long sea voyage with plenty of sea sickness, and interesting and hilarious side characters and you pretty much have one of the best shows to come form the 2018 Winter season and season as a whole. Quite frankly this is another of those this is what Strider looks for in an anime shows and I rate it as high a Violet Evergarden (in fact it's the only other show outside of VE that's gotten a 10/10 from me in the last five years). Sadly it doesn't have a dub as it didn't get a BD release in the state as of writing this (which disappoints me just as much as the lack of a VE BD release) but if you can get over having to watch it with subs I highly suggest giving this one a watch, it's definitely worth it if you're looking for a laid back, relaxing show.
I would talk about Sound! Euphonium as well (finished watching it before I started anohana) but I kind of want to watch the movies first (which I can't find anywhere x.x) and I really don't want to sit here tying up a novel. Suffice to say I loved every minute of this anime and would also recommend it (I mean it deals with a school orchestra band trying to get to nationals but the character interactions alone are worth watching this if you don't want to watch school band the anime).
DeathscytheX reacted to this


text:
Home Arts & Entertainment Esteban Cortazar on the runway in Miami
Esteban Cortazar on the runway in Miami
It only seems fitting that the youngest fashion design to showcase at New York Fashion Week would be from Miami.
Esteban Cortazar, 21, moved to Miami Beach from Bogota, Colombia. He began to embrace fashion at 12 years old after he was introduced to designer Todd Oldham and invited to be his guest at his New York show.
"Miami in the 1990s was a fashion window for many influential designs and photographers. I was around it and spontaneously fell in love with fashion and design," Esteban said. "Miami has been my base and stepping stone to fashion."
South Pointe Elementary School in Miami Beach was the first to experience Esteban's designs. At age 13, Esteban showcased his first collection of nine pieces for the school's talent show and only two years later Esteban made his unofficial debut with a 30-piece set at Miami International Fashion Week.
"That collection was very premature and spontaneously done in different moments. I was just enjoying the experience of showing my work," Esteban said.
In March 2002, Esteban temporarily switched locations and embraced New York for the presentation of his first collection (Fall/Winter 2002) consisting of 14 eveningwear pieces at New York Fashion Week. Introduced under the label CORTAZAR, Esteban claims he designs for the "women that know what they want, are secure with their bodies and are always up for taking risks."
Fashion tends to be a cut-throat industry for beginners, but Esteban believes that his young age actually helped him make his breakthrough.
"The fact that I was so young and doing my own fashion shows caused for many people to notice and keep their eyes open for me in the future," Esteban said. "Now it is important for me to make every collection top the previous one and continue to prove myself as a designer."
Esteban is currently working on a spring 2007 collection and has been keeping busy living in Miami and New York-not the average life of a 21-year-old.
"I don't regret the way my life has been sketched out, the childhood I had was the one that was meant for me to have," he said.
Esteban has dressed stars such as Paris Hilton, Eva Longoria, Beyonce Knowles and Ashanti, and has had some of his pieces featured on HBO's Sex and the City.
"My collections are fresh and they can appeal to many young women who are savvy, smart and that have a passion for life," Esteban said.
Esteban's collections can be found at select Neiman Marcus stores and specialty stores nationwide. Despite the attention and chaos that surrounds Esteban, he has never forgotten his Miami roots and influence, and tries to incorporate them into his designs; at only 21 years old, Esteban can truly be considered a fashion prodigy.
Previous articleBriefs
Next articleFUNKSHION
'Spider-Man: No Way Home' flies high, Tom Holland delivers award-winning performance
Fall's Fashion Films: 'Spencer' to 'House of Gucci'
A retrospective guide to Miami Art Week
What to expect at the 64th annual Grammy Awards


When using a franking machine you need to have a Royal Mail franking license; this is due to the Royal Mail's strict policies around the regulation of franking in the UK, but don't worry, it's all pretty straight forward! Having a franking license gives you the right to frank post at discounted rates under the Postal Services Act 2000.
The information on a Royal Mail Franking License includes the name and address of the user (you), the address where the machine will be used, the model, name and serial number of the franking machine and the Royal Mail Franking Administration Centre where your records will be kept. A Royal Mail License is specific to you and the machine you are using meaning it cannot be transferred or given to someone else. If anything regarding the information of your license changes then the Royal Mail should be informed.
When you have a Royal Mail Franking License you are agreeing to a few terms, these terms include; an annual inspection, that you will only be sending out business post and the franks will be clear on each piece of mail, you are also agreeing to not tamper with the machine. The license is a legal contract – it allows you to use the machine but ensures you will not take advantage or misuse it.
If there were not such stringent steps in place then the whole system would be opened out for fraud, corruption and misuse. This is why Royal Mail make sure they carefully control who manufactures, supplies and maintains franking machines and requires every business who uses a franking machine to have a license.
You will need to arrange and apply for your Royal Mail Franking License through your franking machine manufacturer not through Royal Mail. The cost of the license will be included in the cost of purchasing or buying a franking machine (always remember to go through a Royal Mail Approved manufacturer or supplier).
A Royal Mail Franking License is in place to ensure honesty from everyone and the correct use of this very special and useful system. By having these steps in place it means Royal Mail can continue to offer the services (and discounts) as the system is being used properly rather than being abused as it would if there were not such tight restrictions in place.
You must have a franking license in order to frank your mail and you should receive this as part of the buying/ rental of a machine. Remember that you need to inform Royal Mail if your details change and it is very important that you have a license before you start franking otherwise you will be franking illegally.
← Franking Machine Rental vs Lease?


text:
Peptoniphilus harei is a  Gram-positive and anaerobic  bacterium from the genus of Peptoniphilus which has been isolated from humans.

References

Bacteria described in 1997
Eubacteriales


I just bought this book. It was published in 2000. I'm a writer interested in producing my first novel. Starting on page 170 and ending on page 173, Stephen gives us an exercise to complete and then comment on. This exercise is about situation replacing plot. We are shown the location of a fossil and our job is to write five or six pages of unplotted narration concerning this fossil.
I will do this exercise today and write my five or six pages than post them on this thread. A writer has to start somewhere before they actually become an Author. So I'm taking up this challenge. Now how about other writers out there taking up this challenge also. Who knows, we all might gain by doing the exercise.
So if you haven't already done so purchase this "one-of-a-kind classic."
Welcome to the Board! We don't accept submissions for the writing exercise anymore and don't post original work but hope you do find writing it to be valuable experience.
A fossil? Cool. My copy of On Writing should be here shortly...I'll have to check that out!!
Welcome and good luck. I got my copy of Mr. King's book when it first came out many years ago, then another when I gave that copy to my son. I'd suggest audio too so you can listen in car, or elsewhere. Its narrated by Mr. King so you get his tone and inflection on key points, and I usually pick up something new each time I listen. You mentioned "A writer has to start somewhere before they actually become an Author." I'd caveat that with published author. I started with a few newspaper pieces, then magazines, then finally a published novel many years later. All I can say is keep at it. Books that could have helped me I only found out about later on, so that first novel is pretty poor, but somehow got published anyway. Working on second one now. Some books I recommend include Dwight Swain's The Selling Writer and pretty much anything by Jack Bickham. Later on after your first draft, James Scott Bell has a great book on self-editing. Also Donald Maass's Writing 21st Century Fiction. Also Sol Stein has two good books on novel writing from a while back. Just Google him. And keep an eye out for the Writer's Digest Magazine issues that focus on novel writing in specific. Another tool in that tool box Mr. King mentions in his book. All of these have helped me. I have many more books, but these come top of mind.


This gorgeous home is move-in ready for the holidays!
With 2100 square feet of living space, you can have small to large social gatherings without elbows bumping each other. The open floor plan gives everyone involved a chance to engage with friends and family.
Feel free to call with questions or to schedule a showing.


Sadly the Long Roll of the Incorporation has been lost over time and the lists that follow have been reconstructed from later records.
More than 3680 records have been added from 1574 to 2016 to the list of members and it is now easy to check to see if your ancestors were members. To make searching easier, the Roll of Members has been uploaded as a PDF file, indexed by surname.
If you find a relation or you just want to be part of this great organisation, please use the contact page and we will be delighted to assist you. There are no restrictions based on gender, religion, colour etc.
The Roll of the Incorporation of Masons can be obtained by clicking on the following link:  Alphabetical Index. PDF Files are easy to search and it is worth searching for the daughters of members by entering dau as the search term.
Recent research shows that some members are missing from the above records and some of the missing names from recent years can be found by clicking more recent Incorporation of Masons Members to access some names who are missing from the above document.
A vital document for anyone researching people in the Incorporation of Masons is "Sketch of the Incorporation of Masons" of Glasgow dated 1879 and compiled by James Cruickshank.
The Trades House of Glasgow has to be thanked for allowing the Incorporation to transcribe the names in "The Roll of the Guild Brethren of Trades Rank" which is kept in the TRADES House of Glasgow. This has enabled names to be transcribed from 1855 to date.
Click here to search for Burgesses and Guild Brethern from 1573 to 1750.
Click here to search for Burgesses and Guild Brethern from 1751 to 1846.
Both of the above books have been digitised by the "Scottish Record Society".
Click here to search for information on those residents of Glasgow who were made Burgesses as a reward for fighting in the South African War.
Numerical Strength of the Incorporation at different times. On the front of the page on which the first Minute is engrossed, there is given the following list, presumably for the year 1600, of" the names of ye Masonis :"
William Dunlop. Andrew Boyd. Andrew Miller, George Esdaill.
Lawrence Shaw. David Slater. John Freeland. John Boyd, younger.


US shale oil and gas equity investors are expecting a rebound in prices, given share issuance figures in the first quarter of 2016. But are they backing a dud?
Investors backed a record amount of new share issuance by US shale oil and gas producers in the first three months of this year, even after a period of lower oil prices left some companies more battered than ever.
That's the main finding in a new report by the Carbon Tracker Initiative, Beyond the Shale: Aboard the Price Roller Coaster.
Equity investors may be betting on bargains among US shale oil and gas exploration and production (E&P) companies, expecting a rebound in oil and gas prices.
But there are two grounds for caution.
US E&P valuations have fallen by an aggregate $340 billion since last May, the last time investors were betting on higher oil and gas prices.
Second, the analysis, which I co-authored, shows how more indebted companies are now even more leveraged than 10 months ago.
Some, including Chesapeake and Whiting Petroleum, have had to re-negotiate their borrowing terms after soaring leverage ratios looked set to exceed former credit facility covenants.
Below are four charts which illustrate some considerations for equity investors in U.S. shale.
Investors are pumping cash back into a weakened US shale industry in record amounts, with the first quarter this year seeing the highest E&P equity issuance since at least 2011.
But US E&P equity valuations have fallen by an aggregate $340 billion since May 2015, the last time investors were talking up the prospect of a rebound in oil and gas prices.
In 2016, most E&P companies project lower output, and many will see less robust hedging.
The result will be lower pre-tax earnings, or EBITDAX. Creditors often specify a leverage ratio, in their borrowing terms to E&P companies, defined as net debt divided by EBITDAX.
Creditors often specify a maximum leverage ratio of four; a value of four is also the threshold which the US Office of the Comptroller of the Currency uses to define "sub-standard" E&P bank loans.
The chart below shows how Chesapeake's leverage ratio is expected to exceed four at any conceivable oil and gas price this year.
Both Chesapeake and Whiting Petroleum have had to suspend total leverage ratios, under their credit facilities.
While equity issuance soared in the first three months of this year, US E&P bond issuance has remained below recent historical levels, suggesting prospective creditors are exercising greater caution.
Do bond investors know something equity investors do not?
Gerard Wynn has two decade's experience in energy, climate change, the environment and economics. In 2014, Gerard founded the consultancy GWG Energy, providing communications and analysis services in the fields of energy and climate change.


text:
Escaping into Music and Fashion Part II: Alexander McQueen
Noel Ignatiev — January 24, 2019 Leave a Comment
From High School Drop Out to World-Renowned Fashionista
As a closeted goth (which wasn't exactly cool in Bronx public schools in the late 90s) who scribbled dark and depressing poetry on the margins of her notebooks, I found a kindred spirit in Lee Alexander McQueen. I saw "Savage Beauty" at the Metropolitan Museum of Art at least three times. I liked that he did not fit the prototype of a fashion designer. Yes, he was gay but he was not well polished nor did he ooze with the sophistication of an Oscar De La Renta or a Tom Ford. He was a slightly chubby and brash working class kid from East London who looked more likely to push you around the school yard than to stich beautiful fabric together. McQueen entered the fashion world in the early 1990s when logomania reigned supreme and Paris, the birthplace of haute couture, was losing its ground to looks inspired by the hedonistic rave and acid club subcultures of London and to the urban sportswear craze influenced by the hip hop styles of New York City. McQueen was a complicated person: a creative genius and an overbearing boss, someone who held on to deeply buried childhood trauma and that soothed depression and a long suspected bipolar disorder with drugs and promiscuity. He loved animals and left his three dogs Minter, Juice and Callum a small fortune. Most of all he was an extremely hard working designer who struggled with love and self-acceptance in an institution that flaunted class distinctions and glorified individualism.
Today when haute couture has become nothing more a scheme to sell horrid overpriced handbags, the new documentary on Alexander McQueen, by co-directors Ian Bonhôte and Peter Ettedgui, reminds us of the craft and artistic vision that separate high fashion from mass produced ready to wear clothing. The pretentiousness we find in Gucci or in any of the runways of Paris and London are the exact opposite of the emotions that McQueen's clothes evoke and unleash: fetishism, despair, mania and death. His shows were not your traditional catwalk, they were performance art pieces. So, it's no accident that the media has dubbed him "the East End boy who ruffled the feathers of Parisian haute couture." He took his place among that era's most important fashion players which included Marc Jacobs and his arch-nemesis John Galliano, a fellow working-class kid from South London turned fashionista. The new documentary seeks to uncover the creative energy, personal life and struggles of the most important fashion designers of our time. Like Whitney Houston, he also had two personas: he was Lee to his family and close friends and McQueen to the public. It's these two people that the documentary seeks to reconcile through five main frames named after titles of his shows. The filmmakers appropriate the skull that McQueen became famous for (which first appeared in his 2003 collection), a symbol of the dark underside of his aesthetic focus and which also foreshadows his untimely death—suicide by hanging at the age of 40.
Marx begins Capital with an analysis of linen which he first introduces to explain use value, exchange value and then the commodity form to describe the entire artifice of capitalism as a system. In fact, he called the poorest of all workers lumpen—cloth or rag. Unlike Marx's time, today in the West with the rise and growing popularity of fast-fashion, the labor process by which clothes are produced is hidden from the consumers. Instead they appear to us as if my magic and also, not to add, very cheap! Unlike the mass-produced white plain t-shirts sold at H&M for under $12, haute couture promises us constant consumption and production at an exorbitant price. In haute couture, fashion, design, aesthetics, labor, raw materials and consumption come together in interesting ways that merit a deeper Marxist analysis that I am perhaps ill-equipped to handle. But what is interesting is that McQueen's craft that is centered by the documentary filmmakers also ironically points to the work it takes to give a commodity what Braudillard called "sign value" which is what distinguishes and differentiates a McQueen from a Gucci. We see Lee drawing, cutting, sewing and totally engrossed in the details of his designs. Like Charles Worth, the 19th century designer and founder of the first haute couture house in Paris, McQueen too was a self-taught impoverished outsider from England.
Lee McQueen grew up in the 1980s with five other siblings in a housing project in Lewinsham, East London. His father was a cab driver and his mom a teacher. In early interviews with him, he expresses his disdain for school which he left at the age of 16, preferring instead to spend his time drawing and sketching. His mother urged him to go look for work on Saville Row and there he found a job as an apprentice for the tailors, "Anderson and Sheppard". His parents were constantly supportive of his dreams and stood by him even when he came out as gay. In the documentary, various former employers talk about his ambition and drive to learn the craft. While he was admitted to the prestigious Central Saint Martins College of Art and Design without an undergraduate degree, he was mostly self-driven and constantly pushed himself to learn and acquire different skills. McQueen's graduate project, "Jack the Ripper", was released at a time when the post-punk scene heavily infiltrated life in London. He didn't have any money and relied on unemployment benefits to buy materials for his shows. It was also the first time he used the name Alexander to not get caught by welfare authorities. The documentary shows that he later adopts the name at the prodding of his mentor and friend, Isabella Blow, who argued the name was "posh" for a fashion designer.
Overall, the documentary does a good job at showcasing McQueen's ambition and drive to improve his technical skills and craft, which have always been an important part of haute couture since its establishment in 1858. As the sewing machine made possible mass production in clothing, haute couture allowed the Parisian bourgeoisie to attach a new meaning to appearance, to distinguish themselves from the working class and thus further cement class distinctions. In his book Fashioning the Bourgeoisie, Philippe Perrot (1994) traces the longue durée [1]of haute couture and locates its birth in the larger socio-political development of 19th century France: the rapid rise of the bourgeoisie made possible by a growing textile industry, the birth of department stores and improved living standards. Luxury or high fashion in this way became a central marker of class status.[2] While initially, coutures or dressmakers were "subordinate, at least in principle to the wishes of their individual consumers," (Lipovetsky 1994: 75)[3] over time they would rise as autonomous artists with control over the labor process. With fashion shows and live models, haute couture established itself as the luxury counterpart to department stores (Lipovetsky, 77) and expressed itself as a movement against the uniformity of fashion that was available to working class women. The technical aspects of dressmaking: drawing, sewing, stitching are not hidden under the veiled process of garment production but revered as handwork. The documentary in many ways brings this labor process to life through McQueen's designs. Yet the technical craft is only part of a longer and darker story that is McQueen's life. In many ways it's a façade for deeper struggles that beset him.
Underneath a crafty hand and a rough physical exterior, McQueen was a deeply insecure romantic. The words of Shakespeare's "Midnight Summer Dream" were tattooed on his right arm and throughout his short life he struggled with his body image (particularly his teeth and weight). On his 30th birthday, he emerged to the world much slimmer after undergoing liposuction surgery. In his work, romance, decadence, death and decay were intertwined to produce a unique aesthetic and brand that can be traced to the height of the new romantic movement in Britain in the 1980s. Influenced by the glam fashion of David Bowie (who McQueen was close to), this movement found new expression in Duran Duran and Boy George. While some of his contemporaries like Galliano embraced this aesthetic, McQueen exposed its darker side. This is perhaps because he was less interested in being accepted by the haute couture aristocracy and was instead absorbed completely by the London underground club scene. It was in the dim lit corners where MDMA softened the edges of reality and the touch of a stranger fueled euphoric feelings of intimacy and connection that McQueen found his inspiration and flirtation with seduction and death.
The documentary filmmakers do not offer any insight into how the time spent in the gay clubs of London and New York City influenced McQueen's vision. Instead, the focus is strictly on the technical aspects of his creative process, his industrious nature, the ways in which he was able to pour his subconscious into the patterns that still shock and awe us. In an interview with Dana Thomas, the author of one of the few biographies on McQueen[4], Thomas argues that he was like the sort of artists "who paint beautiful pictures, and those who invest their soul, who use their work to tell their own personal story, like parables — who essentially vomit out these creations." He brought together material that wouldn't necessarily be found in clothing such as bird feathers, twigs from a tree, animal parts, wooden prosthetics. In his collections, McQueen bared the dark side of the union between nature and human: horns emerging from women's shoulders, birds grabbing a model by the collar, butterfly headdresses made of hand painted turkey feathers balanced on a thin frame. His work bridged the gap not only between art and fashion but also engaged with larger societal transformations such as the rise of computer technology in the 1990s. For instance, for his 13th collection in 1998, model Shalom Harlow appeared in the middle of the runway dressed as a ballerina turning on an axil and being spray painted by robots on either side. McQueen would foresee the effect that computerized technology would have on the fashion industry (today many designs are drawn by computers, not hands).
When asked about his creative visions he would respond: "I don't want shows you come out of like you had Sunday lunch, I want you to be repulsed or exhilarated…If you leave without emotion, I'm not doing my job properly."
It's hard to watch McQueen's collections (in 2010 he became the first fashion designer to live stream his shows) without getting sucked into a maelstrom of emotions: shock and awe of the beauty of his creations, rage and pity for his models trapped in the various contraptions of his vivid imagination, and the element of surprise that shrouded each show. His creativity was his greatest love and in the collections you can see the range of emotions that one has when faced such strong feelings: hunger, drive, ecstasy alongside anger, jealousy and despair. Discussing his creative process McQueen would state: "… In one way, one side of me is kind of really somber and the other side of my brain is very erratic and it's always this fight against the other and I choose so many different things." This inner struggle touches on something the documentary doesn't get into: the fact that many of his close friends and co-workers suspected that he was bipolar. The highs and lows of love guided his work and his creative genius which initially brought people close to him and but that also, after some time, alienated them and pushed them away. For example, the documentary interviews people who jumped at the opportunity to work with him but who overtime would drop out because of being over-worked by a tyrannical boss.
Beyond the dresses and the catwalks, McQueen collections incorporated aspects of performative art unlike any other fashion designer. For instance, there were the models adorned in bondage straps, blood and worm filled bustiers for his 1996 collection "Hunger" and those turned into wild animals by sporting animal skins, their hair twisted into animal manes for the 1997 collection "It's a Jungle Out There." Or one of my all-time favorite collections titled "Joan", (1998) named after the historical figure and Catholic saint Joan of Arc, which ends with a masked model dressed in red making her way to the center of the runway only to be trapped by a ring of fire as Diana Ross' "Remember Me" plays in the background.
These outlandish performances relied on the model's capacity to endure the pain and torture that McQueen creations necessitated. His last show before his suicide, "Plato's Atlantis" (Spring/Summer 2010), was predicated on the not too far-fetched idea that the ice caps would melt and thus humanity would be forced to return to the sea and to the lost world of Atlantis. On the runway, models appeared in 12-inch shoes carved out of wood. It's remarkable that they could even walk. It's not clear how many of his models protested his creations or if they threw their shoes at him in the dressing rooms. We do know that he was very close with models Annabelle Nielso and Kate Moss but that he generally shied away from the party life of the fashion world preferring instead the gay club scenes of London and New York City.
Watching his many collections, I couldn't help but think about the complex relationship that McQueen has to female models: he dresses them in powerful gear that would make anyone think twice about approaching them, defends them in the public as symbols of strength and resilience, but yet simultaneously tortures them through clothing that has historically been a symbol of gender confinement for women through the centuries.
So, what drew an East London working class kid like McQueen to the romantic, the dramatic, and the painful? How did this high school drop-out come to be embraced by the world of haute-couture and bourgeois fashion elitism that he despised so much? These were some of the questions I had as I watched filmmakers trace McQueen's his genius ability to transform material, clothing and human bodies into works of art.
Relying on interviews with his family and friends, the documentary feels like an investigation into the trauma and struggles of Lee's childhood that could possibly explain how this creative genius was pushed to take his own life. His family plays an important role in his life; he is very close to his mother who, besides pushing him to pursue his dreams. also inspires in him an interest in the family's Scottish ancestry. Through his first show, McQueen befriends Isabella Blow, who becomes his mentor and close friend. She was an established magazine editor (formerly at Vogue) when she met McQueen and purchased his entire graduate collection. Her quirky and flamboyant style had an influence in the fashion world and the two became fast friends. But perhaps the fact that Isabel "discovered" him would haunt McQueen and he eventually tried to break free of the dynamic of their friendship. When he sold his brand to Gucci, he left Isabella out (she was the one who allegedly brokered the deal).
What struck me most about in the documentary was McQueen's insistence on making female models appear tough and fierce. In the documentary, filmmakers highlight his controversial show "Highland Rape" (1995), inspired by the English invasion of Scotland (14th century) which would catapult him into fame. The collection featured women in tattered clothing looking like they had been battered; others walked on the runway in a drunken-like stupor and some, like this image below, in full body armor. The documentary plays old clips of McQueen replying to his critics that accused him of being a misogynist: "I want to empower women. I want people to be afraid of the women I dress," he says in the documentary. The filmmakers reveal why this particular collection was so important and special for him (he even bought the models homemade sausage rolls).
Highland Rape 1995 Collection
When he was just 9 years old, Lee was sexually abused by his sister Janet's former husband, Terence Hulyer. Lee also watched him beat Janet mercilessly–leading her to suffer two miscarriages as a direct result of the physical and emotional violence. Like Whitney Houston, Lee also kept the abuse a secret from his family. He chose to tell his sister only just before his death in 2010. This abuse marked him deeply and, in his shows, female models wear material that would make them unapproachable or at least instill fear: crocodile heads coming out of shoulders, their heads engaged in metal and sharp objects emanating from their body parts.
McQueen was only 27 years old when he took over the creative design at Givenchy. It was his first entrance into Parisian couture. In the 1990s, McQueen and Galliano were the only working-class kids breaking into high-fashion. The documentary unfortunately does not delve into their bitter rivalry which is one of the subjects of Shane's biography. After all, the job at Givenchy was first given to Galliano who instead took a job at Dior. Unlike McQueen's elaborate creative attempts at Givenchy, his show was not considered a success. Galliano on the other hand was praised for his Dior collection. Working at Givenchy gave McQueen his taste for the rich snobs he would spend his life around. In the documentary, his friends and co-workers share their amazement of the new glamour of the new working spaces they have. Lee, they argued, was being treated like a King. Yet, "he wanted to be like a regular person" and in one scene in the documentary his co-workers recount how he went to eat in the workers' cafeteria which was unheard of at that time. His co-workers laugh recalling how awestruck the Givenchy workers were.
McQueen had a complicated relationship to the fashion world. While he was working for Givenchy in Paris, he never bothered learning French and throughout his life he was apprehensive towards celebrity culture. He famously derided it even as every collection made him more famous and very much part of the popular circles he viewed with disdain. His clothes never achieved the commercial fame of a brand like Gucci and he would perhaps be happy that today he is more known for his contribution to bridging the worlds of art and fashion. He often found affinity with historic and contemporary figures that challenged authority and social norms. His mom interviewed him in 2004 for the Guardian, UK. When she asked him what person would he choose to dine with, he answered Elizabeth I. In that interview he also stated his preference for "politically correct police" on the streets of London who "weren't racist or homophobic." He was close to David Bowie which the documentary does not get into. Bowie wore the fashion designer's union jacket coat for his Earthling album cover. In a 1996 joint interview appearing in Dazzed and Confused, David Bowie asked McQueen "Are you gay and do you take drugs?" to which he answered in the affirmative. The documentary unfortunately does not get into McQueen's sexual identity or how the gay club scene of the 1990s shaped his creative designs. In the film, it is revealed that he was HIV positive at the time of his death.
The documentary however does show that at the end he started to break under the stress and pressure of being a creative genius. He began to turn heavily into drugs (cocaine) and anonymous sex to deal with the tide of emotions and deeply buried childhood trauma as well as the constant pressure to produce. One of his friends revealed on camera that McQueen shared with him that he had planned to blow his own brains out at the end of one of his shows. In February 2010, McQueen was found hanged at his home by his housekeeper. At his service, Bjork sang "Gloomy Sunday" and Anna Wintour said of him "He cared what people thought of his clothes but not of him. He never appeared at ease with himself and hated to travel from his beloved London."
"In times of recession, fashion is an escapism"
McQueen's and Whitney Houston's life remind us that underneath the brands that the world made of them, they were complicated people with buried childhood trauma who were often moody, erratic, depressed and a bit manic. These documentaries allow us to take a moment and look deeper into the lives each led, how they grew up, the music and fashion they created, with whom and how they made love and when they broke down–all of which form part and parcel of the everyday in the Braudelian sense of connecting to the material life as opposed to deeds of great men and women. These two documentaries allow us a glimpse into these daily details that make up the trying times and despair of all of our lives, not only those of the rich and famous.
[1] The term comes from Fernand Braudel, a historian who used the concept to understand long-term historical change. He first came up with the concept while writing his book The Mediterranean while locked up in a German prison camp.
[2] The most comprehensive exploration of class aspects of luxury is Thorstein Veblen's (1899) Theory of the Leisure Class, where he describes how late 19th century upper middle class Americans flaunted their wealth. Luxury for Veblen was a symbol of the status of this so-called leisure class.
[3] Gilles, Lipovetsky 1994. The Empire of Fashion: Dressing Modern Democracy,translated by Catherine Proter and Introduction by Richard Sennett Princeton University Press.
[4] See Dana Thomas 2015 Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano Penguin Books
Help us print the next issue of Hard Crackers and continue to be able to offer the journal for free and reduced rates.
ISSUE SEVEN FALL 2019, NOW AVAILABLE
Atlantic City and the American Imaginary, Jenny Morgan
How the Show Might Stop, John Garvey
The Fireman, James Livingston
The Lyceum Was Empty,Kelley Howell
Eulogy for William Boyd, Mitch Runnels
Notes of a Hanging Judge, Ron Chism
But Sometimes They Do, Dexter Cruthaim
The Vroom Vroom Club, The Left Hook
About Hard Crackers
ORDER NOW FOR $6.00
Enter your email address to receive updates and notifications of new posts by email.
© 2019 HARD CRACKERS · CHRONICLES OF EVERYDAY LIFE · SITE BY EMERGE


text:
Political Analysis South Africa
More COVID-19 recoveries reported in Rwanda
On Monday, 14 September 2020, Rwanda reported more than 180 new COVID-19 recoveries, raising the total number of recovered cases to 2 736.
Reports by the ministry of health indicate that the country confirmed 11 new positive cases of the pandemic, bringing the total number of confirmed cases to 4 602. According to the ministry, the new cases were identified in Kigali's high-risk groups in the capital city, Kigali, Nyamagabe, Rusizi, Bugesera and Rulindo.
The latest COVID-19 update was obtained from 1 687 sample tests conducted in the last 24 hours. In total, the country carried out 464 583 tests of the pandemic.
In a related development, municipal authorities in Kigali announced on Monday that one of the busy markets in Nyabugogo, a suburb of Kigali, will reopen on Tuesday, 15 September 2020, after almost three weeks of being closed following the latest surge in COVID-19 cases. The move, according to the city, was based on a health assessment and the level of COVID-19 prevention preparedness of people who work in the market.
In a bid to avoid overcrowding that may lead to the spread of the virus, vendors without stands or those with stands that were not in the housing master plan are not allowed to reopen. In addition to this, like all other markets countrywide, only 50 percent of all workers of Nyabugogo Market will be allowed to work and do shifts with remaining vendors.
-APA
Related Topics:Rwanda
Mashaba against proposal of a United States of Africa
DA to pursue legal action over government's vaccine procurement and rollout strategy
CCMA encourages use of whistleblower hotline
Government10 hours ago
SASSA stipulates February payment dates
Copyright © 2020 Political Analysis South Africa
error: Copyrighted Content


Rugby World Cup 2015 "The Pack"
Saturday the 16th of May was the coming together of "The Pack" at the MK arena in Milton Keynes.
"The Pack" are the team of volunteers chosen to work at the 13 different game venues or fanzones or in transport for the Rugby World Cup 2015.
Our journey began on the 14th February 2014 there were 20,000 applicants, then came the interview stage, 10,000 applicants were interviewd last summer, then in Febrary this year 6,000 of the applicants found out if they had been successful.
I am one of the successful applicants and I feel quite honoured to have been chosen out of the 20,000 people who applied.
"Bring me my bow of burning gold!
In England's green and pleasant land"