Joe is fond of pointing out the one curve in the house when a visitor wants the house tour.
It's a distinctly non-curvy house: angular and more than a little masculine with all of the wood and muted colors. So the one curve does sort of stand out as different…..
Back when the carpentry crew was still working, we couldn't decide what material to use for the deep curved bench that was to go below the coat rack. We knew wanted a contiguous piece but unfortunately finding affordable, thick, deep and long in one piece eluded us.
So since last winter, we've been balancing on one foot to take our muddy boots and shoes off and sitting on the steps outside to put them back on.
This hasn't exactly been a inconvenience. After all we'd never ever had a seat near our back door before and thankfully neither of us has a problem balancing or sitting on the floor. But by golly we're going to get this house done if it kills us…. and honestly it looked like an unfinished hole without the bench so we knew we needed to do something.
My thinking cap stayed on for a few months until at last I had a eureka moment: unfinished oak butcherblock countertop from IKEA.
The perfect thickness at 1 1/2", long and deep enough to be cut in one big piece and easily done by us!
Oh and relatively cheap…. the 6' section was about 85.00.
Luckily we bought our piece last spring while on a trip to the DC area, because IKEA has stopped making it! What a bummer; we liked it so much that we were planning to use it for our pantry counters but now the oak is a thin veneer layer over particleboard AND the price has gone up over 20%!
Since we had to cut a curve in the front, there's no way that a veneer would have worked for us. What are you thinking IKEA?
Enough complaining, back to our bench which luckily is lovely solid oak strips!!
so that the shape of the bench would exactly match the plaster curve above.
during the cutting of the oak curve.
Thank goodness Lowes is a only a short drive away!
After Joe sanded it to perfection, I went to work with the finish and in about 10 days, the block was sporting several coats of Watco Dark Walnut and 5 coats of Waterlox Original.
Joe screwed the cleats into the wall studs on all three sides….
And screwed the bench in from below….
It looks like it floats right out of the wall.
The deep end of the curve is terrific for sitting on and not bumping into the coats above.
A second curve in the house and another project off our still dreadfully long punch list!
Another thing off the "punch" list!
The closet in the mudroom has some awesome double doors that have looked like they'd have an equally neat closet inside of them.
But until recently it's been an empty closet.
Sad, very sad to have such a grand space sitting empty.
from the hall bathroom of the old house along the back wall.
but a wallpaper hanger I am most assuredly NOT!
was as much as I wanted to do!
The long"crawfish" table from Sam's makes a good wallpaper table!
and used Elfa closet systems from the Container Store.
to be just the way I wanted it.
Having the cleaning tools and dog supplies organized again has made me SO happy!
And the wallpaper is a little touch of the old house brought to Virginia!
some that I wasn't sure that we'd ever use again.
and unpacked the ratty black sweat pants and turtleneck.
Then we drove to the edge of our property and set up a worktable on the tailgate.
I sacrificed my old red rubber boots for the cause.
Luckily, I'd packed up the old witches hat and mask!
Time to recreate one of our best Louisiana Halloween decorations!
Just thought we'd add a little to the beautiful scenery out here on the hill!


text:
My First Coup d'Etat: And Other True Stories from the Lost Decades of Africa
July 24, 2012 February 10, 2013 NinaG2 Comments
*Update: I wrote this post about a little over a week ago when John Evans Atta Mills, PhD was the sitting president of Ghana and John Dramani Mahama the Vice President. Yesterday afternoon it was announced that Dr. Mills had passed away. As deemed by Ghana's 1992 Constitution, Mahama was sworn in as the President to serve the remaining 5 months of the term. You can watch his swearing-in here. You can read the Al Jazeera obit for Mills here. RIP.
It is a show of my humility Pan-African pride that as a Ghanaian I am admitting that my most recent enthusiasm and interest in African history should be attributed to a Nigerian woman. I'll credit my parents for planting the seed with their stories of life in Ghana before they emigrated to the U.S. (where they met each other). But it was Chimamanda Ngozi Adichie who sparked something in me; who made African history fascinating, real, and something that I could discover on my own.
It was after watching Adichie's popular TEDTalk, The Danger of a Single Story, that I was driven to explore her written work. Of her two published novels, I decided to read Half of a Yellow Sun first. It turned out to be a great decision; through nearly every scene of the novel, I called my sister, exclaiming that she must read the book when I was done. Without revealing too much of the plot, I would share with her the embarrassing moments in which I laughed out loud at humorous scenes in public or was pushed near to tears as the story of the Biafra War enters the lives of the novel's characters. When I was done I knew I wanted to study African history — to learn the who's, the what's, the when's, and the where's. But how and when was a another matter.
When I met Adichie, I was in the midst of a tumultuous, on-again, off-again 2-year relationship with my Master's thesis and at the time we were not on good terms. There was no way I could add on the task of learning history on my own with a thesis in progress, a full-time job, and my other commitments. I put the task off, while sporadically reading novels and short stories from an international perspective for pleasure. When I finally parted ways with my thesis, I dove head first into Ghanaian history. I started in the late 1940s with the Accra Riots, I took note of the major events and people who led us to March 6, 1957. At first forgoing the period under which Dr. Kwame Nkrumah was head of state, I started noting all of the heads of states which led Ghana, the coups through which they achieved power and the policies they enacted (I chuckled a bit at the straightforward naming of the agriculture policy which was supposed to help the nation become more self-reliant in food production — "Operation Feed Yourself"). I did this all through history texts available online and through U.S. American newspapers available at public libraries.
Through a post on Ghanaian author Nana Damoah's blog, I knew that I should be expecting a memoir from Ghana's current Vice President, John Dramani Mahama. As Damoah had noted, Mahama's memoir would be history-making considering the paucity of memoirs from African heads of states. After reading the excerpted introduction and 1st chapter of the book, I pre-ordered the memoir (along with Benjamin Kwakye's The Other Crucifix and Marilyn Heward Mills's The Association of Foreign Spouses). I wanted to view Ghanaian history from a variety of narratives. I wanted to know the mood at the times of the various coups, the mass expulsions of Ghanaians from Nigeria, and other devastating changes to Ghana's economic and political landscape during the '60s and '70s. It was one thing to read reports from American newspapers about the flogging of market women by soldiers under the Rawlings regime, it would be another to read more intimate accounts of brutality and harassment at the hands of these soldiers.
It is this intimacy through which Ghana's history is told that make Mahama's memoir special to me. The book feels like a collection of personal anecdotes with broader stories developed around them. We start with a 7 year old Dramani who is lost and confused when no one picks him up from his boarding school during Easter vacation. His mother who lives in the northern part of Ghana has no way of knowing that he's been left at his boarding school in Accra and his father's absence in the matter is a direct result of the military coup that occurred less than 2 months earlier.
Ghanaian politics remain ever-present through his life starting in childhood with his father serving as a Member of Parliament then as a Minister of State under Nkrumah. But in the 17 chapters of the memoir, Mahama shows us some of the more tragic ways politics was a part of the everyday lives of all Ghanaians during the 1970s and 1980s — there is the military brutality against students protesting General Ignatius Kutu Acheampong's proposal for a new style of government in Ghana; the ineffective "chit" voucher systems for purchasing food at state warehouses and the rising black market ("kalabule"); and the presence of the "Rawlings chain" (referring to the exposed collarbones resulting from hunger during the Rawlings regime) . But it is not all heavy; there are stories of first crushes, indulging in popular music and enjoying discos, humorous tales of boarding school life, and the beginning of Mahama's journey to politics including how he came to study History and Communications and his explorations of Socialism.
My First Coup d'Etat is a fairly quick and informative read for anyone interested in Ghana or John Dramani Mahama and it is a must-read for Ghanaians of the Afropolitan generation (those of us born and raised abroad); take a glimpse into a bit of Ghanaian history that explains why many of us are Afropolitans in the first place.
Read excerpts from the memoir here (click the Google Preview button) and here. Purchase the book at
Notes on Writing: Productivity Tools
July 19, 2012 October 24, 2012 NinaGLeave a comment
My absence from blogging has, in part, been because I've been writing, reading, and researching for a writing project. I'm discovering a lot of exciting history but because I rely heavily on a computer for the research aspect, I do get a bit distracted by THE INTERNETS. As a writer, I know I'm not alone in this; I once saw on Twitter: "Like many writers, I have rituals. Before writing, I pour coffee, open the window by my desk, and attempt to read the entire internet." ha! Anywho here are a few productivity tools that I've been using as of late:
LeechBlock
With LeechBlock, I can create sets of websites and block them for certain periods of time. For instance I block access to my email account from 11pm to 12noon. I block Facebook and Twitter from 11pm to 2pm and block my Google Reader and other blogs I visit from 11pm to 1pm. I have also selected the option that prevents me from modifying the blocked time unless the blocked time period has ended.
I'm not currently employed but that last full-time job I worked had me sitting at a computer for 8+ hours a day. About a year into the job I developed carpal tunnel in my right wrist and months after that I developed back pains. All of this was because I had poor posture and rarely took breaks. Time Out is a program that encourages you to take a break to allow your muscles to relax. You can set how often and for how long you want to take breaks — the default is a 10 minute break after 50 minutes of work. You can also set a micro break -defaulted to occur for 10 seconds after every 10 minutes of work. Time Out may seem like a very simple and unnecessary program for some, but for those who struggle with healthy work habits, this could be really helpful.
WasteNoTime
Similar to LeechBlock, WasteNoTime is a time management program for Safari. However, WasteNoTime works differently from LeechBlock in that you set your working hours then allot a certain amount of time for each blocked site during your working hours (you can also allot a certain amount of time to those sites after your working hours). For instance, I have my working hours set from 8am to 3pm and I have allotted myself access to Facebook and Email for 30 minutes each during those hours.
Do you use any additional software to assist your writing productivity? If so, which ones and how effective has it been?
Open City
July 17, 2012 February 10, 2013 NinaG1 Comment
Back in February I emailed Teju Cole asking if there was any way I could get a hold of his novella, Every Day is for the Thief. I'd read so many positive reviews about the book, I knew it contained Cole's photography, and I knew the basic plot was something of interest to me: after many years abroad, a Nigerian returns to his home country for a visit. I wanted to read the book and I thought my proximity to Cole (my Newark to his Brooklyn) at the time of my email would be an encouraging factor. In the nicest way possible he responded that there would be no way for me to access the novella in the U.S. I then phoned my mother, who was in Accra at the time, and asked her to check the shelves at Silverbird in Accra Mall. The book was not there either.
In an effort to get closer to Cole's literary self, I decided to purchase Open City — his debut novel that was originally published in 2011. Considering the previous reviews I've read about the book which characterized it as boring and my thoughts after finishing the novel, I've come to two conclusions: (1) I appreciate what others may label as mundane and (2) though I've been aware of my high level of self-involvement for awhile, I didn't realize that the outside perceptions of me as an asshole (which I've attributed to my introversion) may actually be true.
A little insight on what happens in the book:
Julius is a thirty-something year old psychiatrist, the son of a Nigerian father and German mother, he was raised in Nigeria but came to the United States for his postsecondary education. When we meet him in Open City, he is a psychiatric fellow at New York Presbyterian Hospital. Through what could very well be extremely detailed (and edited) accounts of Cole's life from his diary, we tag along with Julius as he walks through NYC, recounts pieces of his relationship with his girlfriend and family, and as he travels to Brussels.
Thoughts on the book (from the perspective of someone who didn't consider Julius an asshole until chapter 20):
I'm almost sure the novel originally ended at chapter 20 but they (the publishers? editors? agent?) didn't want readers to walk away too disturbed or angry with the big reveal that occurs in chapter 20. The official last chapter (chapter 21) took me back to the feelings I had for the book in the first 3 chapters.
When I first started the novel, I was upset with it's pace and its focus and I noted the writing as dense. I was not interested in the connections Julius was making between his everyday life and the art of dead white men or the animism of Yoruba culture and I didn't know if I should direct my anger at Cole or at Julius. Then in chapter four, there was one particular line that made me feel like I was getting to know Julius beyond his observations and occupation; while at work he reflects: "…I was oversensitive to the hospital's white lights and felt more irritated than usual with the paperwork and small talk…" It was a simple line but it was the first time Julius had ever said he felt a certain way and it resonated with me. At chapter five, I felt fully engaged, primarily because of Julius's interactions with two men — one a Haitian who worked as Shoeshiner at Penn Station and the other a Liberian detained at an immigration detention facility in Queens.
It was during his trip to Brussels that we met a more open Julius. Perhaps because it is not a place he calls home that we see him making friends, fulfilling sexual needs, and having interesting discussions (including one that surprisingly makes Cosmopolitanism seem like an interesting topic for debate) yet still spending quite a bit of time in his head. It was in these moments that I also began to see his insecurities and his coldness; he became more complex yet still evoked little emotion on my part as a reader. It actually wasn't until chapter 20 that I was really moved to feel something beyond recognition of myself in or annoyance for Julius. It came after a moment of profundity which I will leave you with:
Each person must, on some level, take himself as the calibration point for normalcy, must assume that the room of his own mind is not, cannot be, entirely opaque to him. Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as those stories concern us at all, we are never less than heroic.
And so, what does it mean when, in someone else's version, I am the villain? I am only too familiar with bad stories — badly imagined, or badly told — because I hear them frequently from patients. I know the tells of those who blame others, those who are unable to see that they themselves, and not the others are the common thread in all their bad relationships.
Read an excerpt of Every Day is for the Thief here. Read an excerpt of Open City here.
Purchase a copy of Open City at
July 12, 2012 August 27, 2012 NinaG1 Comment
So I'm supposed to be abstaining from films of the romantic kind but I was over at Colorlines checking out the new reality web-series K-Town. In considering comments from the show's executive producer about the exaggerated stereotypes and the model minority that the media often portrays Asians as, I started to think about Barry Jenkins's short film Tall Enough. As I said in the comments sections on the Colorlines article, Tall Enough was the first time I'd seen the Chinese language portrayed in a romantic way from an American filmmaker. It completely turned the presentation of Asian languages as comical on its head. Check it out below:
June 5, 2012 June 4, 2012 NinaGLeave a comment
For Creatives, a few places to submit your work:
Got a high-quality film with commercially appealing content? Consider submitting it to be screened at the Big Shade Tree Film Salon (a monthly film screening event in NYC).
Are you an African writer in the diaspora with an unpublished manuscript? Consider submitting to Kwani? Manuscript Project
From the Black Film Center/Archive: the African Media Center releases a call for papers on Evolving African Film Cultures
Reading & Writing:
Have you checked out AfricaBookClub.com? It's a great resource for reading about contemporary African books and authors. They also have an online store.
I just finished reading my first Jamaica Kincaid novel, check out this interview she did with Mother Jones back in 1997.
Tayari Jones shares some facts about Artist Residencies
I like these writing prompts Tayari shares with Gotham Writers Workshop
I just finished Chapter 2 of Teju Cole's Open City. His comments on The Last King of Scotland reminded me of this video:
Create Dangerously: The Immigrant Artist at Work
May 31, 2012 February 10, 2013 NinaGLeave a comment
In the first pages of Create Dangerously: The Immigrant Artist at Work, Edwidge Danticat opens with a descriptive recounting of the execution of Marcel Numa and Louis Drouin. Though these two men, members of a guerrilla army fighting against then-president Papa Doc Duvalier, were executed before Danticat's birth, she considers their story one of her "creation myths" – a story that haunts her, that she obsesses over. Since her memory cannot take her back to 11/12/64 – the date of the execution, she has filled in the details of their story with photographs, books, films, etc.
Like her character, Yannick, in Stones in the Sun, Danticat has committed herself to being a witness to Haitian history.
In reading that first essay, from which the book takes its title, and the ten essays that follow, I began to piece together ideas that had been circulating in my mind: Kalamu's essay on the value of being immersed in an era/culture; the sincerity and necessity of art as activism; and the types of commitment and sacrifice that artists are required to make.
In the essay entitled Walk Straight, I see the origins of Night Talkers (a short story from Danticat's The Dew Breaker). The essay starts as Danticat is traveling through the mountains of Léogâne to visit an elderly and fiercely independent aunt (who talks in her sleep). One of the most personal of all the essays, Danticat shares that it was during this visit to her aunt that she wrote the addendum to Breath, Eyes, Memory — a letter to Sophie, the novel's main character:
I have always taken for granted that this story, which is yours and only yours, would always be read as such. But some of the voices that come back to me, to you, to these hills respond with a different kind of understanding than I had hoped. And so I write this to you now, Sophie, as I write it to myself, praying that the singularity of your experience be allowed to exist, along with your own peculiarities, inconsistencies, your own voice.
In my notes, I jotted down that Edwidge is my sister-aunt, because after being a fan of her work for half of a decade, this is the first time I've truly seen her and empathize with her. In discussing some of the backlash she's received from within Haitian communities, I see more than an award-winning writer that I look up to; I see a woman who struggles with the responsibilities of her writing gift and with her Dyaspora1 duality.
The honesty that exists in this more personal essay pervades the entire collection. In a most truthful way, Danticat shows the complexities of herself, her family and her mother country in each essay of the collection. There are no overly romanticized reflections nor are any of the recounted stories littered with bitterness. Through essays on political violence, family, art, and natural disasters, Danticat's eloquence permeates.
Read the first chapter here.
1Dyaspora is a term used to describe Haitians living outside of Haiti; it sometimes has a derogatory connotation like Akata.
Purchase the book here:
From the Soundtrack: Magic System & More
May 29, 2012 May 28, 2012 NinaGLeave a comment
In writing my Akata Witch post, I recalled memories of putting together cultural events with my colleagues in college. No matter the event, music was one of the most critical components of it — our events would not exist without African songs from the past and current hits.
Magic System's Premiere Gaou is one of those songs that takes me back to the days of imitating our parents with fashion shows, potlucks, and parties. Check it out:
And a few more tracks that take me back to college:
Web Finds: Half of a Yellow Sun, Speculative fiction, African activism & More
Principal photography for Half of a Yellow Sun has begun!
The trailer for La Haine looks interesting, but from that alone, I can't see a rip-off of Do the Right Thing… adding it to my to-view list.
Much gratitude to Nnedi Okorafor for sharing my post on Akata Witch, it brought a lot of traffic to my site and introduced me to other bloggers and writers. I've been taking my time checking out P. Djèlí Clark's blog. There's a lot of good stuff for sci-fi/fantasy fans and for writers of all genres.
From a Fall 2007 issue of Bomb Magazine, Edwidge Danticat interviews Juno Diaz
Blown Covers: New Yorker Covers You Were Never Meant to See. I'm not a regular reader of the New Yorker, but I found these covers to be quite provoking, especially this cover inspired by the assault of Abner Louima.
I'm in the midst of reading about recent Ghanaian history (1960s-current) so I was ecstatic to see The African Studies Library post a link to the African Activist Archive!
I enjoyed this video from The Love Project:
A History Lesson from AfroPop
I tagged this post as 'research for the story' because the embedded radio show highlights some of the history that is integral to a story I'm working on. Check it out for yourself:
You can read a transcribed version of The Hip Hop Generation in Africa: Ghana and Ivory Coast over at AfroPop.
Other interesting links I discovered after this podcast:
writer/DJ Juan G's Tumblr Digging 4 Gold
Burger Highlife Explosion!!! – a documentary film about musicians who left after the curfews mentioned in the AfroPop podcast
some Ghanaian political history from Nations Encyclopedia
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Local auditions for the Roxy Regional Theatre's summer productions of the '60s musical HAIR and the baseball musical comedy DAMN YANKEES, as well as the 2019-2020 season, will be held Saturday, April 13, beginning at 1:00pm.
To schedule an appointment, interested auditionees should submit photos and resumes to casting@roxyregionaltheatre.org by noon on Friday, April 12.
Auditionees will need to prepare an approximately two-minute monologue and song (combined time). Piano accompaniment will be provided, but auditionees should bring their music. If non-musical, please come prepared with two monologues. Auditionees may be asked to stay and dance, so please dress appropriately.


Tomoe lives with her single mother after her father, a nature-loving photographer, dies in a tragic accident. She seeks refuge in her father's only apprentice, Kazuya, but he is often away due to a busy schedule. Love, joy, pain and suffering. A young girl's heart is simply bursting with emotions, emotions that she wishes she can share with a special someone.


text:
Eustache-Louis-Joseph Toulotte, né le  à Saint-Omer et mort le  dans le , est un écrivain et un militant révolutionnaire français.

Un militant jacobin
Toulotte appartient à une famille marchande de Saint-Omer. Sa mère est une Nicolle.

Jacobin employé de l'administration du Pas-de-Calais, il s'oppose avec Vallé, un autre patriote de la commune, à la levée de troupes prévue dans le district de Saint-Omer, conformément au décret du  sur la levée en masse de  hommes. Aussi le représentant en mission Carnot ordonne-t-il leur arrestation, lors d'une séance du directoire du district de Saint-Omer, le . À la suite de l'intervention des administrateurs du département du Pas-de-Calais, ils sont élargis le 4 juin, après la fin de la levée. En bons termes avec Joseph Le Bon, c'est l'un des fondateurs, en , et l'un des membres les plus influents de la Société montagnarde de Saint-Omer, dont l'objet est d'« éclairer l'opinion publique, de surveiller les autorités constituées, de poursuivre les prévaricateurs, de désourdir les trames scélérates des fauteurs de l'aristocratie ». C'est ainsi qu'il prononce le 12 ventôse an II () un discours dans le temple de la Raison de Saint-Omer ; imprimé par la Société montagnarde, il est adressé au Comité d'instruction publique de la Convention nationale.

Officier de santé de  dans l'armée, il est pharmacien à l'hôpital de l'Humanité, ancien collège des jésuites anglais de Saint-Omer. Pendant la réaction thermidorienne, la Société montagnarde est épurée par le représentant en mission Florent-Guiot, avant de disparaître en . Dénoncé par le conseil municipal à la commission de santé de Paris comme un être indigne d'occuper un emploi à la solde de la République, Toulotte est destitué de ses fonctions en l'an III par un arrêté du Comité de salut public. Toutefois, grâce à l'appui de ses amis jacobins, le Comité finit par donner l'ordre au ministre de la Guerre de le nommer à l'hôpital militaire du Gros-Caillou.

La conspiration des Égaux
En l'an IV, il est employé à Paris en qualité de pharmacien à l'hôpital militaire du Gros-Caillou. La décision du Comité de salut public ayant suscité des protestations de la part du Conseil de Santé, qui affirme que l'hôpital du Gros-Caillou regorge de personnel et qu'il ne sait que faire de ce nouveau venu, les autorités militaires lui proposent un poste à l'armée d'Italie ou des côtes de Brest. Toulotte se rend chez le ministre de la Guerre, Claude-Louis Petiet, pour lui demander le motif de cet ordre, puis, celui-ci lui ayant répondu qu'il s'agissait d'un ordre du Directoire exécutif, chez Carnot. Ce dernier lui apprend que c'est à la suite d'une note de police, l'accusant de conspirer contre le gouvernement, que la décision de l'éloigner a été prise. Toulotte refuse de se rendre « dans des contrées où l'on [tolère] l'assassinat des patriotes » et demande qu'on le laisse demeurer à Paris, rentrer chez lui ou rejoindre l'armée du Nord, ce qui lui est refusé. Le 16 floréal (), on lui propose également l'armée de Rhin-et-Moselle, qu'il rejette également. Destitué de ses fonctions par un arrêté du Directoire exécutif en date du 4 prairial an IV (), il refuse de quitter le logement qu'il y occupe avec son ami et compatriote Cochet, fonctionnaire également destitué. Lors de la promulgation de la loi du 21 floréal an IV (), qui enjoint à tous les fonctionnaires destitués de s'éloigner de la capitale, ils changent de quartier et transportent leurs affaires dans un hôtel garni de la place Maubert. C'est là qu'ils sont arrêtés le 12 prairial (), comme réfractaires à la loi du 21 floréal, en possession de faux passeports. Lecteur assidu du Tribun du peuple de Gracchus Babeuf, qui est « dans ses idées », Cochet croit comprendre que l'intervention de la police est liée à la conspiration des Égaux. Les deux hommes brûlent divers papiers, et la perquisition ne donne rien, sauf des lettres « affectueuses » de Carnot.

Inculpé pour avoir écrit à Gracchus Babeuf deux lettres annonçant « des principes un peu forts » et avoir eu des liaisons avec Charles Germain et Augustin Darthé, Toulotte comparaît devant la Haute-cour de Vendôme, devant laquelle il refuse de répondre aux questions qui lui sont posées et proteste de son innocence. Il est finalement acquitté, aucune charge n'ayant pu être reconnue contre lui. Son dossier « peut faire présumer qu'il est dévoué aux anarchistes, mais non qu'il ait concouru positivement à l'exécution du complot ».

De la proscription à la notabilité
Après l'attentat de la rue Saint-Nicaise, Vannechout, juge au tribunal de première instance de Saint-Omer, écrit le 18 nivôse an IX () au ministre de la Police pour l'informer que Toulotte se trouvait à la date des événements à Saint-Omer, où il fréquentait la maison d'un dénommé Crachet, où les principaux républicains exclusifs de la ville étaient réunis autour d'un dîner, et que plusieurs d'entre eux se rendirent au bureau de poste parce qu'ils attendaient de grandes nouvelles. Inscrit sur la liste des Jacobins proscrits, il embarque à bord de la frégate La Cybèle à destination de Cayenne (sur la liste des détenus à déporter en Guyane, son nom est accompagné de la mention suivante : « d'un caractère tranquille, instruit et aimant l'étude, il pourra être utile dans les colonies »), avant d'être ramené à terre avec un autre prisonnier, François Perrault. Placé en surveillance à Oléron, il s'en évade le 22 pluviôse an IX (), mais il est repris le 29 floréal () et conduit à Sainte-Pélagie. Son épouse, une certaine D. Deschaînées, écrit le 27 fructidor an IX () au ministre de la Police pour se plaindre de ce qu'elle n'a pu le voir depuis son arrestation le 29 floréal (19 mai), puis, le 16 messidor an X (), à Pierre Marie Desmarest, pour demander son transfert au Temple, qui est plus près de son logement (elle doit lui porter sa nourriture tous les jours, alors qu'elle allaite un enfant et que l'aîné est encore au berceau), où « il respirerait un air plus salubre, jouirait de la promenade et s'occuperait de littérature pour charmer son ennui » pour demander la permission de le voir. Le 6 thermidor an X (), au bout de quatorze mois de détention, il demande un passeport pour Amsterdam, où il doit se fixer. Après son élargissement, son épouse demande à son tour un passeport pour le suivre. En brumaire an XIII, Toulotte se trouve à Lille, en liberté, mais sous surveillance ; sa mère adresse une supplique en sa faveur à l'Empereur lors de son passage à Saint-Omer.  Le , en surveillance à Lille, Toulotte sollicite la levée de cette mesure, avec l'appui du préfet du Nord, François René Jean de Pommereul, qui transmet sa demande ; celle-ci est acceptée. Abonné, la même année, aux Lettres philosophiques de Jacques-Rigomer Bazin, comme d'anciens jacobins ou babouvistes et plusieurs libéraux (de Pierre-Antoine Antonelle et Philippe Buonarroti à Germaine de Staël, en passant par Claude Henri de Rouvroy de Saint-Simon), il devient ensuite rédacteur, puis chef de division de divers ministères, dont celui de l'instruction publique. En 1811, il est nommé chef du bureau central de la police, à Lille, « fonction qu'il [remplit] avec autant de zèle et d'intelligence que  d'intégrité », jusqu'à l'arrivée des Bourbons. Ainsi, en , il dénonce des habitants de Lille répandant des bruits alarmants pour donner plus de prix aux remplaçants de conscrits dont ils se sont emparés.

Sous la Première Restauration, et jusqu'au , il est inspecteur de la Librairie à Paris.

Pendant les Cent-jours, Toulotte s'adresse en avril au ministre de l'Intérieur Carnot pour lui demander une place. Celui-ci le fait nommer, le , sous-préfet de l'arrondissement de Saverne, dans le Bas-Rhin. Jean-Jacques Guizot, frère de François Guizot lui succède le .

En 1816, lors de l'affaire dite « des Patriotes », la police s'appuie sur la liste des proscrits de l'an IX, imprimée en l'an X, pour l'arrêter, avec d'autres babouvistes (comme Jean-Baptiste-Antoine Lefranc ou René-François Bescher, un autre acquitté du procès de Vendôme en 1797) et le fils de Gracchus Babeuf, Émile. Toutefois, il ne fait pas partie des 28 prévenus jugés par la cour d'assise de Paris en juillet.

Par la suite, Toulotte occupe les fonctions de juge.

Un littérateur libéral
Sous la Restauration, il se consacre à la littérature. Dans La Cour et la ville, Paris et Coblentz, ou l'Ancien régime et le nouveau considérés sous l'influence des hommes illustres et des femmes célèbres depuis Charles IX jusqu'à Charles X, il attaque les opinions littéraires de Madame de Genlis. Quant à son Histoire philosophique des empereurs, depuis César jusqu'à Constantin, elle est dédiée à des figures de l'opposition libérale : Benjamin Constant, défenseur de la liberté d'opinion, à Voyer d'Argenson, défenseur des Protestants, et au général de Pommereul, « revenu de l'exil dans la soixante-quinzième année de son âge ». En 1829, il publie L'Homme blanc des rochers, un roman indien adapté de l'anglais Thomas Ashe et inspiré de Walter Scott, considéré par Jules Janin comme « le plus insipide bavardage qui se soit écrit sous le soleil ». Selon Antoine-Alexandre Barbier, il a également publié divers ouvrages sous le pseudonyme de Civique de Gastine.

Il prononce un discours lors des funérailles de plusieurs personnalités : celles de François-Joseph Talma, en 1826, et de son ami Eugène Constant Joseph César Gossuin, le , toutes deux au cimetière du Père-Lachaise ; celles de l'ancien conventionnel Joseph François Laignelot, en 1829, au cimetière du Montparnasse, avec l'avocat Pierre Grand.

En , il publie un périodique, Le Réformateur ou l'Écho de la Religion et du Siècle, journal religieux, politique et littéraire de 56 pages édité par « une société d'ecclésiastiques et de gens de lettres », dont il est l'unique rédacteur, bien que plusieurs articles soient signés : « Un prête exerçant le ministère ». Le second numéro, de juillet, n'est pas paru, bien qu'il ait pu être imprimé chez Poussin, au 2, rue de la Tabletterie<ref>Folliculus, « Supplément à la Bibliographie de la presse périodique française », L'Intermédiaire des chercheurs et curieux, Paris, Librairie de la Suisse romande, Maison Cherbuliez, 1868, vol. 4, p. 396.</ref>.

Le , il témoigne au procès Fieschi devant la Cour des pairs en faveur de Bescher, l'un des coaccusés.

De 1831 à 1860, il bénéficie d'une indemnité du Ministère de l'Instruction publique.

 Œuvres
 Discours prononcé dans le Temple de la Raison, par Toulotte, organe de la Société Montagnarde de Saint-Omer. 12 ventôse an II, pièce in-4°
 Toulotte à ses concitoyens, Saint-Omer, Fertel, an II, pièce in-8° de 12 p.
 Le Dominicain, ou Les crimes de l'intolérance et les effets du célibat religieux, par T......E, Paris, Pigoreau, an XI (1803), 4 vol. in-12
 Eugénie, ou La sainte par amour, nouvelle historique précédée d'une Notice sur l'amour, par T......E, Paris, Vve Lepetit, 1809, in-12, 246 pages
 Grammaire française, utile et nécessaire à toutes les maisons d'éducation, particulièrement à celles des jeunes demoiselles et aux personnes qui n'ont point fait d'études, mais qui veulent apprendre avec succès la langue française et l'orthographe, par M. Roy, ancien maître de pension et instituteur, deuxième édition, revue, corrigée et augmentée, suivie de notes de M. Toulotte, chef de la division de l'Instruction publique à la préfecture du Nord, à Lille, Paris, Libraire Béchet, 1810, 1 vol. in-12
 Histoire de l'Arabie, 1812, 1 vol. in-8°
 De la liberté des peuples et des droits des monarques appelés a les gouverner ; dédié à Eugène Vail, citoyen des États-Unis d'Amérique, et ex-secrétaire d'ambassade près le gouvernement français, par Civique de Gastine, Paris, chez les marchands de nouveautés, 1818, 123 pages, in-8°
 Histoire de la république d'Haïti ou Saint-Domingue: l'esclavage et les colons, par Civique de Gastine, Paris, Plancher, 1819, 264 pages, in-8°
 Pétition à MM. les députés des départements, sur la nécessité où se trouve la France de faire un traité de commerce avec la république d'Haïti et sur les avantages qu'en retireraient les deux nations, Paris, 1821, in-8°
 Lettre au pape, sur les prétentions du sacerdoce et les dangers de revoir le diadème soumis à la tiare, par Civique de Gastine, citoyen français, auteur de la Liberté des peuples, etc., etc., etc., Londres (Paris), chez les marchands de nouveautés, 1821, In-8 °
 Lettre au Roi sur l'indépendance de la république d'Haïti et l'abolition de l'esclavage dans les colonies françaises, par Civique de Gastine, Paris, chez les marchands de nouveautés, 1821, In-8°, 84 pages
 Exposé d'une décision extraordinaire, rendue par la régie des Droits-réunis, qui exile un citoyen français pour un écrit prétendu séditieux, par Civique de Gastine, Paris, Imprimerie de F.-P. Hardy, 1822, In-8°, 59 pages
 Histoire philosophique des empereurs, depuis César jusqu'à Constantin, ou Comparaison de leurs institutions, des événemens de leurs siècles et de l'état du genre humain sous le paganisme, avec la civilisation des temps modernes, par M. Toulotte, ancien sous-préfet, Paris, Thomine et Fortic, 1822, 3 vol. in-8°  ( en 1829)
 Histoire abrégée des empereurs, depuis César jusqu'à Constantin, par M. Toulotte, ancien sous-préfet, Paris, Guillaume, 1824, 2 vol. in-12
 Discours prononcés sur la tombe de M. Gossuin, ancien député, ex-administrateur général des forêts, Paris, Imprimerie de Cosson, 1827, In-8°, 18 pages
 La Cour et la ville, Paris et Coblentz, ou l'Ancien régime et le nouveau considérés sous l'influence des hommes illustres et des femmes célèbres par leur conduite, leurs doctrines et leurs écrits, depuis Charles IX, Henri IV et Louis XIV, jusqu'à Napoléon, Louis XVIII et Charles X, par M. Toulotte, auteur de lHistoire philosophique des empereurs romains, etc., etc., Paris, A. Costes, 1828, 2 vol. in-8°
 Le Parti-prêtre, considéré comme ennemi de la religion, des rois et de toute publicité, par M. Toulotte, ancien magistrat, Paris, Amable Coste, 1828, in-8°, 82 pages
 Histoire de la barbarie et des lois au Moyen Âge, de la civilisation et des mœurs des anciens, comparées à celles des modernes ; de l'Église et des gouvernements ; des conciles et des assemblées nationales chez différents peuples, et particulièrement en France et en Angleterre, par Toulotte, ancien magistrat, auteur de lHistoire philosophique des empereurs romains, de la Cour et la Ville, etc., et Ch. Théodore Riva, Avocat à la Cour royale de Paris (en collaboration avec Charles-Théodore Riva), Paris, L. Dureuil, 1829, 3 vol. in-8°
 L'Homme blanc des rochers, ou Loganie et Délia, par M. Toulotte, auteur de la Cour et la Ville, etc. (traduction du roman de Thomas Ashe), Paris, Eugène Renduel, 1829, 4 vol. in-12

 Sources partielles
 Jean Lambert Derheims, Histoire civile, politique, militaire, religieuse, morale et physique de la ville de Saint-Omer, chef-lieu judiciaire du département du Pas-de- Calais: ou, Annales historiques, statistiques et biographiques de cette ville, depuis son origine jusqu'à nos jours, Imprimerie d'A. Lemaire, 1843, 767 pages, p. 752
 Jean Destrem, Les Déportations du Consulat et de l'Empire (d'après des documents inédits) : index biographique des déportés, Paris, Jeanmaire, 1885, 1 vol. (VI-526 p.), in-18, p. 495-496
 Robert Legrand, Babeuf et ses compagnons de route, Société des études robespierristes, 1981, 454 pages, p. 345
 Henri Piers, Hector Beaurepaire Piers, Biographie de la ville de Saint-Omer, J.B. Lemaire, 1835, 283 pages, p. 278
 Joseph-Marie Quérard, La France littéraire, ou dictionnaire biographique, Paris, Firmin Didot frères, 1838, tome 9, p. 513-514
 « Les sociétés populaires à Saint-Omer pendant la Révolution 1789-1795 », Mémoires de la Société des antiquaires de la Morinie'', Société des antiquaires de la Morinie, Saint-Omer, Imprimerie de Chanvin fils, tome 28, 1906-1907, p. 351-517 (p. 388-446 pour la Société populaire dite des Montagnards)

Notes et références

Liens externes

Naissance en juin 1773
Naissance à Saint-Omer (Pas-de-Calais)
Pharmacien français
Pharmacien militaire
Personnalité militaire de la Révolution française
Personnalité politique de la Révolution française
Policier français
Artiste de la Révolution ou de l'Empire
Personnalité de la Restauration
Magistrat français du XIXe siècle
Écrivain français du XIXe siècle
Historien français du XIXe siècle
Romancier français du XIXe siècle
Traducteur français du XVIIIe siècle
Traducteur français du XIXe siècle
Traducteur depuis l'anglais vers le français
Personnalité utilisant un pseudonyme
Décès en mai 1860
Décès dans le 5e arrondissement de Paris
Décès à 86 ans

redpajama_set_name: RedPajamaWikipedia


What would you take, if you had to flee?
Tom Kiefer photographed what he found in the trash while working as a janitor and groundskeeper at a Border Patrol facility in Arizona.
Simple Fare: Spring and Summer. Karen Mordechai of the acclaimed Brooklyn-based food community Sunday Suppers shares her meals for cooking at home and her studio. The recipes are designed to excite and inspire, each offering 3 to 5 alternate ingredients that can be used in the same preparation.
on board wargames, community building and just being a Luddite at heart off-line/off-grid.
This one article (a review of 3 games really) deals with affect. Starting off with the game Twister by Milton Bradley as metaphor to what affect is in game play the intertwining of both physical and abstract.
1) Settlers of CATAN: which is now ubiquitous found in Target and Walmart, some might even be found at half price now in Toys R Us. Essentially the tug and pull of community building as game.
2) COIN series games: that's COIN for counter-insurgency , basically about keeping a community/nation together as it tugs and pulls itself apart.
"The Quiet Year is a map game. You define the struggles of a post-apocalyptic community, and attempt to build something good within their quiet year. Every decision and every action is set against a backdrop of dwindling time and rising concern.
but unlike CATAN and COIN games, you're now actually having to get into the nitty-gritty of affecting each other, for common good, and i guess the point of the game is how that common good is usually misinterpreted, re-interpreted, etc. etc.
For Elon Musk , the Jackals are the folks who've bullied him, are working against him, opposite his worldview, etc. He's making something that will replace or undermine them the Jackals. If he succeeds, he will drive the Jackals off , the question is … are the Frost Shepherds good or bad, threat or salvation?
Who knows, the Frost Shepherds are never defined in the Quiet Year, but it's what we do in the absence of the Jackals that's more important, what is community and all those other important questions— this i'm sure is a Luddite moonshot.
Erik – in these Saturday tweets articles you consistently turn up content that takes me in new directions, I love the Culture and Musk pieces. Thanks!
Thank you–miss seeing you here in LA. Hope you are well. David Banks' other writing and Twitter musings are well worth following. He's an interesting writer.


Well I would really like to say that this book is fantastic but unfortunately I can't. After the first chapter I was really blown away with the humor and the story line. I really liked where it was heading but the farther I read, my interest slowly dwindled. By the end I was forcing myself through just so I could get the end.
The whole story around Kinlsey and her forbidden relationship with Liam Wilder should have been a hit but it just lacked I found. I personally just didn't connect with Kinsley at all. I really wanted to like her more but I just didn't. The worst thing is, is that I can't pin point specific things that I didn't like. I just didn't connect with her. I didn't believe her. Lets just say the book didn't pull me in emotionally. Urrgg!! I really wanted to like it! I tried hard, Scoring Wilder just didn't do anything for me.
The saving grace in this novel is the relationship between Kinsley and her best friend Becca. They were so freaking hilarious!!! I did enjoy whenever they were together. They became fast friends and really were a delight. Some of the things they said and did together had me laughing out loud. Literally. It was the one thing that got me to the end of the novel cause I wanted to make sure they they were going to be okay.


I'm not a citizen of Vermont, so I can't vote or do any of the other things you've asked, but I will most certainly pray that the Lord unstop their ears, and give them hearts of flesh. May He life the veil from their eyes, and show them the horror that they are visiting upon the most helpless of our society, and remember that they are morally obligated to protect them. I also pray for justice for the millions of pre-born babies everywhere who have been murdered on the altar of convenience. May their killers find mercy, forgiveness, and justice in the Lord. In Jesus Name, Amen.
Thanks so much, and Amen.
I have many relatives in Vt. and New York. I pray they all stand with me against abortion!
Previous PostPrevious Do You Love the Word "Propitiation"? Why we should use, study, and explain the big words the Bible uses in our preaching and Bible study.


text:
A better future for homeless kids
Cavignac & Associates
Homelessness is a growing problem in San Diego—as well as in many other parts of the country. Yet while there are thousands of excellent nonprofits that support this population, education resources for homeless students are not nearly as prevalent.
That gap often furthers the cycle of homelessness: Students who face these barriers to education are less likely to graduate from high school or earn a GED. And without a diploma or equivalent, they are 4.5 times more likely to experience homelessness as adults.
Jeff Cavignac, managing principal, Kelly Potter (right), principal and risk advisor and the Cavignac volunteer team set up for the 2019 Monarch School Prom.
From one room to 350 students
Since 1987, when it was launched as a one-room learning center, the Monarch School in San Diego has been serving these students—today, it is a comprehensive K-12 school that educates about 350 kids each year. And for nearly a decade now, Cavignac & Associates has supported the mission with a mix of financial support, professional guidance, and volunteer work.
Fifteen of the Cavignac elves wrapping presents for the Monarch School "adopted" families for the holidays.
"I met the Monarch School's former CEO when we served together on another nonprofit committee," said Kelly Potter, a principal and risk advisor for the San Diego agency. "As soon as I learned about the mission, I knew I wanted to get involved—and get our agency involved, too."
The school provides quality academic education for students, along with the skills training and emotional support to help them improve their lives. It's an innovative approach to learning that includes developing awareness of their emotions and healthy coping skills, exploring their passions, and planning for self-sufficient living.
A deeper involvement
"What we do extends beyond supporting the homeless population," said Marisol Alvarado, the school's interim CEO.
"It's really about building a better future for these kids—and for San Diego."
Cavignac & Associates currently advises the school on risk management and insurance—but the involvement goes much deeper than the professional level. Employees have volunteered in the classroom and for fundraising events, and the agency sponsors the annual Monarch Prom for students.
The Cavignac team helps a student get ready for their prom.
One of the agency's core values is "We are givers: We contribute our time and money to the betterment of the community," according to Potter, and several internal programs are dedicated to giving. Among them are the Charitable Giving Committee, which identifies organizations to support; the company also offers paid time off for employees to volunteer.
Staff from Cavignac run the soda bar at the Monarch prom.
This commitment to community has earned the agency a 2020 Make More Happen Award—which comes with a donation of up to $10,000 from Liberty Mutual and Safeco to the Monarch School on behalf of Cavignac & Associates.
Going beyond the classroom
That support is even more vital now, as the school has scaled up services to meet the essential needs of students and their families during the COVID-19 crisis. Monarch School funds have been used to distribute meals and hygiene kits, provide hotel rooms for emergency shelter, and more.
Kelly Potter (center) receives an award for her service with The Monarch School.
"We are so grateful for this award and for Cavignac & Associates, who have been such advocates for us and our students over the years," Alvarado said.
"From the annual prom to holiday parties, from tutoring to helping at our clothing boutique, their generosity has made them true partners in our mission."
Learn more about these Make More Happen winners:
Cavignac & Associates, San Diego, CA
The Monarch School, San Diego, CA
Thank you for commenting! Please come back tomorrow to comment and vote for this agency!
Dane Frasure
Great work! Keep up the great work in helping so many.
Krystina Feucht
Great work guys
Julio A. Galindo
That is beautiful, truly! Kudos to all your efforts.
Edward Rivera
Awesome! Keep it up!
Joan Plemmons
Amazing organization!
Suzanne Hartenstine
Congratulations Cavignac & Associates on winning the "Make More Happen" donation for The Monarch School!
Reuven Rubinson
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text:
Research Ramblings: Kenneth Peacock and the Newfoundland Folk Music Revival, Part 2
presentingpast	in Research Ramblings	 May 9, 2017 May 21, 2017 2,503 Words
Jane's Walk on May 5, 2018 at 1:30 by Christopher Ryan from historynerd.ca
Exploring Exhibits: "Notman, Visionary Photographer" at the Canadian Museum of History April 8, 2019
Exploring Exhibits: "Medieval Europe: Power and Splendour" at the Canadian Museum of History February 6, 2019
Exploring Exhibits: Canadian Museum of Nature Research and Collections Facility Open House October 15, 2018
Exploring Exhibits
Internal Insight
To understand the contributions made by Kenneth Peacock, we have to first appreciate the institutional context in which he did so much of his work. His fieldwork in Newfoundland would not have been possible were it not for the earlier interests and initiatives of Marius Barbeau. When he met Peacock, Barbeau was the head of the Folklore and Anthropology Department at the National Museum of Canada. Barbeau formally retired from the Museum in 1949, before Peacock began his fieldwork, however Barbeau continued his work and relationship with both Peacock and the Museum throughout his official retirement until his death in 1969 (1).
Before he worked at the Museum, however, Barbeau had already made a name for himself in the collection of French-Canadian, and Indigenous songs, and for his numerous contributions to the museum's professionalization and visibility. In fact, shortly after Barbeau began working for the Museum in 1911, he became distinguished for his efforts to collect and preserve folk music as well as to reach a wide public audience with his recordings and research. For the latter, Barbeau drew heavily on personal and professional relationships with figures such as Emily Carr, Medard Bourgault, the artists of the Group of Seven, J. Murray Gibbon, and Ernest Macmillan. Starting in the 1920s, Barbeau collaborated with these musicians and artists to host public folk music concerts, art exhibitions, and historical reconstructions (2). He also did countless public lectures showcasing the work of himself and other museum staff to diverse and large audiences.
Public Lecture to Ottawa Schoolchildren, 1939 Source: CMH/MHC, "lantern slide collection," photo: W.S. Hutton, Ottawa, 2 October 1939, image no. 85903 LS. Image accessed at http://www.historymuseum.ca/cmc/exhibitions/tresors/barbeau/mb0597be.shtml
Barbeau's folk culture work used an approach referred to as salvage ethnography. This approach held that the "essence" of historically "old" or even "vanishing" cultures could be and needed to be saved (3). To do so, however, the ethnographer had to explore the margins of contemporary, modern life. For Barbeau, this meant the older generations of Indigenous peoples, and the descendants of early European settlers who lived in rural, isolated communities (4). The central logic was that the most rural communities were still largely untouched by technology, modernity, and historical change, and would thus be the best spaces for locating the sources and essence of "Canadian" identity.
In a 1961 article, Barbeau explained the theories that motivated his styles of researching folk cultures and traditions: "Folk songs form part of the Canadian cultural heritage. They have come down to us in two separate strands, which have never merged: the first, native or Indian, unknown to the white people except to a few ethnologist; the second, French and English, not to mention other elements introduced from Continental Europe by recent emigrants." (5) Barbeau attributed the oldest European songs in Canada to the French, and argued that, "[t]hey have remained uncontaminated since, and are better conserved orally than with the original French provinces. This poetic legacy until recently was embodied in the people themselves, who adapted to their new-world surroundings, even adding fresh compositions in the traditional style to their vast hoard from abroad." (6) This bio-cultural understanding of the oral culture of rural settlements motivated Barbeau's insistence on fieldwork as fundamental for both his work and for that of the museum.
As Andrew Nurse argues, the more deeply Barbeau immersed himself in the discipline of anthropology in the early twentieth century, the more he came to see fieldwork as the basis of authority for its practices of cultural selection (7). The goal of fieldwork for Barbeau was not to establish a representative record of a traditional culture, as his colleagues had sought to do, but rather to collect as comprehensive a cultural archive as possible. The difference became important as Barbeau grew more influential within the Museum.
By the 1940s, Barbeau's focus on salvaging traditional cultures from extinction featured a sense of urgency and importance in his work: "Indian songs and dances once were countless, as they were at the core of the rich ceremonial life of every tribe on the North American continent. But they have of late passed into oblivion, in a modern world wholly foreign to them. The present generation has failed to learn and practice them, and the elders are passing out of existence. It is fortunate that a few musicologists should have collected a substantial number, both in the United States and Canada." (8) For Barbeau, collecting a sample of music that was representative of the culture was not enough; everything that could be recorded must be, in order to document and preserve it before the culture disappeared into oblivion.
Barbeau and the fieldwork he commissioned were fundamental to the wide-ranging folklore collection projects he initiated. Indeed, folklore research was not actually a part of the original focus of the Anthropology division of the Museum (9). While the Museum was a national institution at this point, the Canadian Government did not have an official policy governing national museums until 1967 (10). The collection policy of the museum was therefore determined by the heads of the different departments, including Barbeau himself. He advocated for the inclusion of folklore during the interwar years, and saw it emerge as the principal focus of the Museum after the Second World War (11).
Barbeau's secure employment at the National Museum included financial stability in research funding that was not enjoyed by his predecessors nor by his contemporaries working outside the Museum. In one sense, this freed Barbeau's work from the pressure of collecting material that was marketable. As Nurse highlights, early twentieth-century amateur folklore research was marked by the need or desire to turn the folklore that was collected into a product that could be sold back to the public (12). Barbeau did not have to do this to sustain himself or his research. Instead, Barbeau could "salvage" Canadian folk culture widely before it vanished under the threat of industrial, urban modernity, something reflected in the museum collection and in the countless public talks he gave to large, rapt audiences (see Figure 3).
Even with the support of the Museum, Barbeau's work was still caught up in a wider politics of folk culture when it came to "ownership," Since so many folk culture researchers in the first half of the twentieth century needed to generate profits from their collecting work, asserting proprietary control was paramount. But what was owned? Was it the content of the culture? Was it the form? Was it both? These questions were even more complicated by the very nature of folk music. While objects which were collected were owned by the institution that purchased them, ownership over oral transmission was much more difficult to establish: "[a]t least one of Barbeau's informants did assert a proprietary right to the songs he knew, but generally, there were few barriers to one song being used or sung by another person. Moreover, the songs themselves had no commercial value. Their value lay in their use: in the singing of them." (13)
The songs collected by Barbeau and his fellow folklorists at the Museum, including Kenneth Peacock, did not belong to them as individuals. Because they were government employees, the recordings of these songs became the property of the state and available for the public to access and consume (14). While this will be discussed in more detail later, the notion of "public" was complicated in the case of Kenneth Peacock's fieldwork: the songs which he collected in the early 1950s now "belonged" to the Government of Canada despite the fact that, until 1949, Newfoundland was not even a province of Canada.
While Peacock was knowledgeable about traditional music and culture in his own right, his work in Newfoundland was made possible by a social network that eventually connected him to Marius Barbeau. While still attending school at the University of Toronto's music program, Peacock became acquainted with Margaret Sargent. The two shared an interest in what was considered at the time to be unconventional music; essentially anything which was not English and of a classical tradition (15). A 1940s music degree in Canada taught students about "folk music" primarily as a basis to learn composition, and not as something to be further studied. Instead, formal music education focused on European and British classical traditions. Both Peacock and Sargent fell outside of this disciplinary norm, with Peacock writing his final research paper on the influence of West African music on Black music in the United States, titled 'Negro Folk Music.' (16)
While this seemed to be an unusual choice for someone who intended to make a career as a composer, Peacock's student research reflected his later interests in folk music, as well as his approach to his later fieldwork. As a student, he demonstrated an interest in exploring how early African music had changed over the course of its transmission in America. Essential to this research was two concepts: first, the oral transmission of the music; second, the longevity of it and its origins in history. Peacock relied on a scholarly model of ethnomusicology which found that the value of a folk song came primarily from its age and the researcher's ability to trace the song over time to its historical roots, and then to be able to map the transmission of that song through an oral culture. His biographer argues that this early academic work was a watershed in Peacock's intellectual formation because it marked his interest in folk music as beginning in 1943, well before his fieldwork in Newfoundland (17). This early work is also significant, however, because it demonstrates the approach to folk music that Peacock adhered to when he began his own recording work.
These interests and ways of working accompanied Peacock when he found himself, through circumstance, meeting Marius Barbeau in August of 1949. Here the key figure was his university friend and scholarly ally, Margaret Sargent. While in university with Peacock, Sargent became interested in the music of Indigenous peoples in Canada. To research this, she wrote to Marius Barbeau at the National Museum of Canada. In her studies, Sargent was using material Barbeau had collected, and when she had completed her degree, she sent him a copy of her finished essay. Her letter arrived on Barbeau's desk at an opportune moment. Much of Barbeau's collection of recordings still remained untranscribed owing largely to the sheer volume which he had collected, and he wanted to get this work done. After reading Sargent's letter, he replied back to her with a job offer at the museum doing this work.
Shortly after starting work at the museum, Sargent ran into Kenneth Peacock on Metcalfe Street in downtown Ottawa, and told him about her job transcribing Barbeau's wax cylinder recordings. She invited him to the Museum to listen to the Huron recordings that she was working on at the time, and Peacock immediately took her up on the offer. Fascinated by the music he heard, Peacock asked Barbeau for permission to use the recordings as a basis for some new compositions he was working on. This was no passing interest. Peacock began to make regular trips to the Museum to listen to the recordings and use them as inspiration in his own compositional work. While he worked, Sargent kept Barbeau informed of his progress, and Barbeau was excited by Peacock's work, and encouraged him to continue using the museum's holdings (18).
Sargent's combined skills in music composition, in addition to her knowledge of traditional music, provided her with a unique and useful skill set for ethnomusicology. She also understood well Barbeau's desire to create as fulsome a national cultural archive of folkmusic as possible. So when she found a copy of Greenleaf and Mandfield's Ballads and Seasongs of Newfoundland (1933) while working in the museum's library, she recognized that there was both a need and opportunity for research. Sargent proposed to Barbeau that she go to Newfoundland to conduct fieldwork there, in light of the former British colony's recent entry into Confederation as Canada's newest province. The two knew that no such material on Newfoundland existed in the Museum, and Barbeau agreed with Sargent's proposal, leaving her responsible for coordinating the details of the trip. Sargent spent just over eight weeks in Newfoundland conducting her research in 1950 (19).
Despite intending to return to Newfoundland for more fieldwork, and enjoying her time on the island immensely, Sargent returned to Ottawa and soon became engaged; this event led her, as it did so many other middle-class women in this era, to resign from the Museum. Sargent encouraged Barbeau to hire Peacock as her replacement. Up to this point, Peacock had returned to the Museum many times to use Barbeau's recordings, and had written several piano pieces inspired by what he heard. A growing relationship between Barbeau and Peacock emerged, and Barbeau was particularly encouraging of Peacock's work because it did what he had always hoped for his recordings: re-present them in a formal and accessible way to Canadians. Barbeau asked Peacock if he would be interested in carrying on Sargent's work in Newfoundland in the spring of 1951, and Peacock agreed, seeing the job as a summer employment opportunity which would bring him a bit of money in between composition and performance work. At the end of June of that year, Peacock left for Newfoundland to begin the first of what would be many trips to the island (20).
In the next post, we'll dive a little deeper into what exactly Peacock's fieldwork entailed, and the nature of his work in Newfoundland.
Christy Vodden and Ian Dyck, A World Inside: A 150-History of the Canadian Museum of Civilization, (Gatineau: Canadian Museum of Civilization Corporation, 2006), 39.
Andrew Nurse, "Tradition and Modernity: The Cultural Work of Marius Barbeau," (PhD Thesis: Queen's University, 1997): 15-16.
Jacob W. Gruber, "Ethnographic Salvage and the Shaping of Anthropology," American Anthropologist 72 (1970): 1289-1299. The theory of salvage ethnography itself originates with Franz Boas, however it was first named 'Salvage Ethnography' by Gruber. Work by Boas which discusses his salvage ethnographic approach includes: Franz Boas, Anthropology and Modern Life (New York: W. W. Norton & Company Inc., 1928).
Nurse, "Cultural Work of Marius Barbeau," 25. Two examples of literature based in salvage ethnography published by Barbeau include: Marius Barbeau, "Canadian Folk Songs," Journal of the International Folk Music Council 13 (1961): 28-31; Marius Barbeau, "How Folk-Songs Travelled," Music & Letters 15 (1934): 306-323.
Marius Barbeau, "Canadian Folk Songs," Journal of the International Folk Music Council 13 (1961): 28.
Nurse, "Cultural Work of Marius Barbeau," 150.
Barbeau, "Canadian Folk Songs," 28.
David W. Bartlett, "Museum Policy," The Canadian Encylopedia, published July 2, 2006, last edited August 4, 2015. Accessed online at http://www.thecanadianencylcopedia.ca/en/article/museum-policy/
Ibid., 321.
Guigné, Folksongs and Folk Revival, 69. Unless otherwise cited, the biographical information on Peacock relies heavily on Guigné's work, being the only major publication on him to date. As such, citations will be placed, where possible, at the very end of the paragraph.
Kenneth Peacock, "Negro Folk Music," Honours Thesis: University of Toronto, 1943.
Guigné, Folksongs and Folk Revival, 70.
Ibid., 78.
Ibid., 91, 94.
canadianhistory
folkmusic
Kenneth Peacock
publichistory
Research Ramblings: Kenneth Peacock and the Newfoundland Folk Music Revival, Part 1.
Presenting Past


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By Travis Buchanan Articles, Poetry, Reviews
Review: Waiting on the Word, with the Word (and Malcolm Guite)
Malcolm Guite, Waiting on the Word: A Poem a Day for Advent, Christmas and Epiphany. London: Canterbury Press, 2015, 978-184-825-8006, 158 pp, £10.99.
In keeping with the spirit of the Advent season, Malcolm Guite has given another gift to the church. "One virtue of keeping the seasons of the sacral year is that they can help us to redress an imbalance, either in our own spiritual life or in the culture of our church or denomination," Guite notes in the introduction (x). And so as he had previously done for the holy season of Lent and Easter—see his Word in the Wilderness (2014)—Guite has now done for Advent, Christmas, and Epiphany, by contributing to that vitally important restorative work Seamus Heaney called "the redress of poetry." Part of the much needed redress is to be found in what is, perhaps surprisingly, "a profoundly countercultural and indeed subversive act"—the meditative reading aloud of poetry—toward a restoration of "that quietness, that inner peace, that willingness to wait unfulfilled in the dark, in the midst of a season that conspires to do nothing but fling bling and tinsel at us right through December" (xi).
The book collects 38 poems in all, each assigned to a day beginning with Advent Sunday and concluding on Epiphany (January 6). Many great names one would expect and hope to find are present: Spenser, Milton, Donne, Tennyson, Herbert, Keats, Coleridge, Blake. Chesterton and Belloc are also notable additions, along with other "unjustly neglected poets of the twentieth century, particularly Ruth Pitter and Anne Ridler" (x). However, Guite has not only turned his well-tuned poetic sensibility to the more distant past in selecting poems, but has gathered verse from his contemporaries as well. Thus, the reader will also encounter more recent poems by Scott Cairns and Luci Shaw, for example. And notably, a poem by ITIA's own David Baird is found among these contemporary poets. Its title is "Autumn," and Guite considers it a "playful poem" with "fine wordplays" from one "trying to hold the worlds of scholarship and poetry, of history and mythology, of reason and imagination, together in fruitful conversation" (57). If you want to know what a poem about autumn contributes to the theme of Advent, I encourage you to buy the book!
Guite does not restrict himself to only Christian poets either, hearing resonances in certain voices from outside the Christian tradition, such as the faithful anticipation which drove those ancient Eastern pagans on the long journey to lay their gifts in worship before the manger. "Pagan wise men following the star of their own best and highest learning were brought even by that to the stable," though as Guite notes, "of course at the stable there was something new to learn" (x). And there is something new for us to learn too, from both the astrologer's strange charts and quasi-magical learning as well as the "deep magic" of the Incarnation in which all restorative dreams and visions were ultimately and finally fulfilled.
To this interesting and careful thematic collection of poems Guite's sensitive exposition is generously added, which is where the tremendous value of the book lies. Our wise and experienced guide knows personally what it is to wait on the Word through the cold and darker seasons of the heart, and is therefore trained to perceive the first in-breaking of its light into the darkness of the world which has yet to understand or "overcome it" (John 1:5). After reading Guite's devotionally-rich and insightful commentary on each poem one will be further rewarded in all subsequent re-readings.
It is important to note, however, that though the book certainly rewards devotional use, it is not merely one of those take-it-or-leave-it seasonal gifts predestined for the literary purgatory of coffee tables or nightstands. It is itself a work of theology, "intended to be a contribution to that great enquiry through which faith seeks understanding" (xi), and may be seriously read alongside (and with the same spirit) as your Anselm. "It is my conviction that to do theology well we must bring the poets to the table along with the theologians, and listen carefully to what they say" (xi). In that sense this work and its predecessor may be seen as the continued flourishing of what the author began in his more academically-oriented (though no less sensitive or moving for that purpose) Faith, Hope and Poetry: Theology and the Poetic Imagination (Aldershot: Ashgate, 2010). In this work, Guite pursues, in his own fashion, the hope expressed by C. S. Lewis in a pre-conversion poem that Christian faith might one day "reconcile in me" and "make in me a concord of the depth and height" that are "imagination's dim exploring touch" and clear reason's "intellectual sight."[1] Guite's words and particularly his own verse (judiciously added to this small anthology) are the poetically-sensitive insights of a generous sacramental and incarnational vision of reality, which perceives Christ as the "hidden Wisdom" which comes to us again and again "disguised as everything," as Guite proclaims in his poem "O Sapientia" (66).
In his introduction Guite speaks of the sense in which the season of Advent may have for us "a triple focus"—between the inclusio of Christ's comings in the Incarnation and the Parousia reflected in "the Prayer Book's beautiful and familiar Advent Collect"[2] as "the in-between time in which we live" (ix). We indeed are those "on whom the end of the ages has come" (1 Cor 10:11), but even as we sit waiting in the gathering darkness of the waning year, both remembering and anticipating that "great light" who was ever the hope of the prophets and the faithful remnant of God's people (Is 9:2), we are repeatedly gifted with "many other advents" of Christ coming to us, as Guite says (ix). The addition of "the in-between" which forms the triple Advent focus of this book may be glimpsed in his poem "I Am the Resurrection and the Life," where these six lines comprise Jesus's response to the poet questioning him concerning the truth of this saying by Christ from John's Gospel (John 11:25) in light of the great pain and brokenness characteristic of the world at present:
Begin in me and I will read your riddle
And teach you truths my Spirit will defend
I am the End who meets you in the middle,
The new Beginning hidden in the End.
I am the victory, the end of strife
I am the resurrection and the life.[3]
It is Christ who faithfully, lovingly, relentlessly "meets" us "in the middle" as the "Light within the light by which I see" and the "Word beneath the words with which I speak" ("O Sapientia," 66) to which this anthology is meant to bear wider witness. Jesus not only came to his people once, long ago, to suffer as "a man of sorrows" (Is 53:3). Jesus is not only coming back to his people once again, to reign as "a son of man" (Dn 7:13; Mk 14:62). Jesus is God with us now—he is Immanuel (Is 7:14; Mt 1:23). The Word who was with God in the beginning, who was made flesh and dwelt among us, who ascended to heaven following his resurrection, promised to not leave us as orphans but to send his Spirit to be with us, making good on his promise to his disciples, "Behold, I am with you always, to the end of the age" (Mt 28:20). So it is that "In our encounters with the poor and the stranger, in the mystery of the sacraments, in those unexpected moments of transfiguration surely there is also an advent and Christ comes to us" (ix). Picking up this slim volume of well-chosen and timely words and annually adventuring with Guite and these poets through Advent will provide a beautiful and needed reminder that even while we who sit in darkness are waiting on the Word, we are—even until the very end of the age—waiting with the Word, presently enjoying his light and warmth. It is a book filled with words and images which stoke the dialectical fire of memory, hope, and desire that characterizes Christian faith in our pilgrimage through the Shadowlands.]]
It is one of my Advent hopes that Guite's work will be seen and received as a much needed and valuable contribution to advancing the poetic and sacramental vision which, as Lewis said so well, reckons that, "We may ignore, but we can nowhere evade, the presence of God. The world is crowded with Him. He walks everywhere incognito"—an incognito that "is not always hard to penetrate," Lewis adds, for "The real labour is to remember, to attend. In fact, to come awake. Still more, to remain awake."[4] In light of Guite's most recent and continued work, how entirely fitting that this reflection offered by Lewis is one of his Letters to Malcolm.
[1] C. S. Lewis, "Reason," in The Collected Poems of C. S. Lewis: A Critical Edition, Don W. King, ed. (Kent, OH: The Kent State University Press, 2015), 238. Guite has referred to this redress as "the redemptive reintegration of reason and imagination" which the gift of poetry may help effect ("Poet," Chap. 21 in The Cambridge Companion to C. S. Lewis, Robert MacSwain and Michael Ward, eds. [Cambridge: Cambridge University Press], 308).
[2] This collect is to be repeated every day, with the other Collects in Advent, until Christmas-Eve: "Almighty God, give us grace that we may cast away the works of darkness, and put upon us the armour of light, now in the time of this mortal life, in which thy Son Jesus Christ came to visit us in great humility: that in the last day, when he shall come again in his glorious Majesty to judge both the quick and the dead, we may rise to the life immortal, through him who liveth and reigneth with thee and the Holy Ghost, one God, now and for ever. Amen."
[3] The poem will be published in Guite's next book of verse, Parable and Paradox (London: Canterbury Press, 2016). It may be read on Guite's personal web site.
[4] C. S. Lewis, Letters to Malcolm: Chiefly on Prayer (New York: Harcourt, Inc., 1964/92), 75.
Travis Buchanan
Travis Buchanan completed his MLitt and PhD from the Institute for Theology, Imagination and the Arts (ITIA) at the University of St Andrews. Currently, he is Assistant Professor for Theological Studies, Colorado Christian University, Lakewood, CO, USA
Latest Posts By Travis Buchanan
Review: Theology, Aesthetics & Culture (Part 3)
Previous articleReview: Roger Scruton's 'Soul of the World'
Next articleReview: Reading in the Wilderness
The Art of Advent: O Wisdom
Learning How to Transpose: How the Arts Inform Christianity
One of the reasons for naming this blog Transpositions is that all of us are interested in creative transpositions between the arts and Christianity,…


In 2007, AQLIM claimed responsibility for the bombing of the United Nations headquarters in Algiers. AQLIM conducted numerous kidnappings for ransom and a series of bombings targeting police, citizens, and the military in Algeria and surrounding regions. In 2012, an intensified counterterrorism campaign by the Algerian government forced the group to reduce its bombing attacks and focus primarily on obtaining funding through smuggling and kidnappings. At this time, AQLIM also moved to surrounding regions, specifically Niger and Mali. AQLIM has been tied to other Islamist groups: Boko Haram, al-Shabaab, Ansar Dine, and the Movement for Unity and Jihad in West Africa (MUJAO). These groups took advantage of secular unrest in Mali to seize major parts of northern and central Mali during 2012 and 2013, though they were largely pushed from populated areas by French intervention in February 2013.


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Q: TTNavigationController not working I have downloaded the latest build of the three20 library but it doesn't include the TTNavigationController. I looked through the files on github and found the classes there though. So I downloaded them but now I can't find it's parent class TTBaseNavigationController anywhere. Does anybody know what's going on with the three20 build I got?

A: You need to import following
#import <Three20/Three20.h>

The Three20.h file includes Three20UI.h, which contains the TTNavigationController.
If you are using xcode 4, see the following instruction on importing the Three20 project into your project and setting up appropriate dependency, HEADER SEARCH PATHS and static lib linking.
http://three20.info/article/2011-03-10-Xcode4-Support

redpajama_set_name: RedPajamaStackExchange


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Home / News / Nowhere To Be Found release latest track 'Traverse' featuring Matty Mullins of Memphis May Fire
Nowhere To Be Found release latest track 'Traverse' featuring Matty Mullins of Memphis May Fire
RJ Frometa February 28, 2019	News Leave a comment 52 Views
Forming in 2014, Alternative Metal group Nowhere To Be Found's success has seen them go from strength to strength. 2016 saw the launch of their debut album, Safe Haven, entirely recorded and produced by the band themselves which hit top 10 national digital sales in its first week.
After a lineup change in 2017, the band became reborn, now as a quartet with João Quintais (lead guitar) and with a new, heavier sound. The same year saw them collaborate with Emily Lazar of September Mourning while 2018 saw the commencement of their latest album, set to be released early 2019.
Nowhere To Be Found's second studio album is currently in the production stage, with the 2017 Producer of the year, Henrik Udd (Bring Me The Horizon, Architects) at WRecords Studios and is set for release early 2019.
Their latest track Traverse, taken from the album, released February 7th, mastered by New York based Grammy award winner Ted Jensen (Metallica, Green Day, Deftones, Sipknot) features vocals from renowned Metalcore band Memphis May Fire. Watch here
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Q: One way of eliminating C4251 warning when using stl-classes in the dll-interface It is not a good practice using stl-classes in the dll-interface as Common practice in dealing with warning c4251: class … needs to have dll-interface explains. An example is given:
#include <iostream>
#include <string>
#include <vector>

class __declspec(dllexport) HelloWorld
{
public:
    HelloWorld()
    {
        abc.resize(5);
        for(int i=0; i<5; i++)
            abc[i] = i*10;

        str="hello the world";
    }
    ~HelloWorld()
    {

    }

    std::vector<int> abc;
    std::string str;

};

When compiling this file, the following warnings can be observed:
 warning C4251: 'HelloWorld::str' : class 'std::basic_string<_Elem,_Traits,_Ax>' needs to have dll-interface to be used by clients of class 'HelloWorld'
 warning C4251: 'HelloWorld::abc' : class 'std::vector<_Ty>' needs to have dll-interface to be used by clients of class 'HelloWorld'

Then the question is how we can implement the same functionality without using STL class vector and string. One implementation I could think of is as follows:
class __declspec(dllexport) HelloWorld2
{
public:
    HelloWorld2()
    {
         abc_len = 5;
         p_abc = new int [abc_len];
         for(int i=0; i<abc_len; i++)
             p_abc[i] = i*10;

         std::string temp_str("hello_the_world");
         str_len = temp_str.size();
         p_str = new char[str_len+1];
         strcpy(p_str,temp_str.c_str());
    }
    ~HelloWorld2()
    {
        delete []p_abc;
        delete []p_str;
    }

    int *p_abc;
    int abc_len;
    char *p_str;
    int str_len;

};

As you can see, in the new implementation we use int *p_abc to substitute vector abc and char *p_str to replace string str. The question I have is whether there are other elegant implementation approaches that can do the same. Thanks!

A: I'm not sure which problem you want to solve here. There are two different issues: Cross compiler binary compatibility and avoiding "undefined symbol" linker errors. The C4251 warning you quoted talks about the second issue. Which is really mostly a non-issue, especially with SCL classes like std::string and std::vector. Since they're implemented in the CRT, as long as both sides of your application use the same CRT, everything will "just work". The solution in that case is to just disable the warning.
Cross compiler binary compatibility OTOH, which is what is discussed in the other stackoverflow question you linked, is a whole different beast. For that to work out, you basically have to keep all your public header files free of any mention of any SCL class. Which means you either have to PIMPL everything or use abstract classes everywhere (or a mix thereof).

A: OR do the easiest thing to do, move the __declspec to the ONLY members you care to export:
class HelloWorld
{
public:
    __declspec(dllexport) HelloWorld()
    {
        abc.resize(5);
        for(int i=0; i<5; i++)
            abc[i] = i*10;

        str="hello the world";
    }
    __declspec(dllexport) ~HelloWorld()
    {
    }
    std::vector<int> abc;
    std::string str;
};

A: I think you've got at least 5 possible options to solve this problem:

*

*You could still keep STL/template classes for your fields and also use them as parameter types, as long as you keep all the fields private (which is a good practice anyway). Here is a discussion about this. To remove the warnings you could simply use according #pragma statements.

*You could create small wrapper classes with private STL fields and expose fields of your wrapper class types to the public instead, but this would most probably only move the warnings to another places.

*You could use the PIMPL idiom to hide your STL fields in a private implementation class, which will not even be exported from your library nor be visible outside of it.

*Or you could actually export all the required template class specializations, as suggested in the C4251 warning, in a way that is described here. In short you would have to insert following lines of code before your HelloWorld class:
...
#include <vector>

template class __declspec(dllexport) std::allocator<int>;
template class __declspec(dllexport) std::vector<int>;
template class __declspec(dllexport) std::string;

class __declspec(dllexport) HelloWorld
...

By the way, the order of those exports seems to be important: the vector class template uses the allocator class template internally, so the allocator instantiation has to be exported before the vector instantiation.

*The direct use of intrinsics is probably your worst option, but if you encapsulate your fields
int *p_abc;
int abc_len;

in something like class MyFancyDataArray and the fields
char *p_str;
int str_len;

in something like class MyFancyString, then this would be a more decent solution (similar to the one described at the second point). But it is probably not the best habit to reinvent the wheel too often.

A: Just use Pointer To Implementation (pImpl) idiom.


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NWERC 2019 Open Contest
Contest is starting in -64 days 17:55:11
Problem H
Height Profile
The cycling classic Amstel Gold Race is held annually in the nearby Dutch province of Limburg. It features frequent short climbs giving contestants little time to recover in between. For instance the last $42$ kilometres of the race has $8$ steep climbs of average length roughly $1$ kilometre each.
The incline grade for each climb is given in percent. An incline grade of $100\% $ means that for every $1$ horizontal metre travelled, you also travel $1$ vertical metre upwards. An incline grade of $0\% $ is perfectly flat. In general, an incline grade of $p\% $ has $p / 100$ vertical metres for each horizontal metre. Note that the incline grade can also be negative.
You know the height of the road at integer horizontal kilometres from the start of the race, and for simplicity we model the heights as being piecewise-linear in between these points. In other words, the incline grade is assumed to be constant between $0$ and $1$ km, and between $1$ and $2$ km, and so on. For example, in Figure 1, the height at the horizontal distance $2.5$ kilometres is exactly $20$ metres.
Figure 1: Illustration of Sample Input 1. The incline grades of the first $3$ horizontal kilometres are in order $0\% $, $1\% $ and $2\% $. The last kilometer has an incline grade of $-3.5\% $.
The Amstel Gold Race cannot be compared with some hilly stages of the Tour de France or the Giro d'Italia, but you are still interested in a comparison. For each one-day race, whether it is the Amstel Gold Race or one of the stages of the Tour de France, you would like to know the length of the longest horizontal interval with at least a given incline grade. Actually, you would like to know the answer for multiple incline grades.
The incline grade of a horizontal interval is measured between the two endpoints. For example, the incline grade between kilometers $1$ and $4$ of the race in Figure 1 is $2\% $, as $60$ vertical metres are gained in $2$ kilometres. This horizontal interval is also the longest one with an incline grade of at least $2\% $.
The input consists of:
One line with two integers $n$ and $k$ ($2\leq n\leq 10^5, 1\leq k\leq 50$), the horizontal length of the race in kilometres and the number of incline grades you have chosen.
One line with $n + 1$ integers $h_0, h_1, \ldots , h_ n$ ($0\leq h_ i\leq 10^9$), where $h_ i$ is the height of the route in metres $i$ horizontal kilometres from the start.
$k$ lines each containing a real number $g$ ($-100 \le g \le 100$ and $g$ has exactly one digit after the decimal point), an incline grade you care about.
For each of the $k$ given incline grades, in the same order as in the input, output the length in kilometres of the longest horizontal interval with at least this incline grade. If no suitable interval exists, output "impossible".
Your answers should have an absolute or relative error of at most $10^{-6}$.
0 0 10 30 60 45 75 65 30
Problem ID: heightprofile
Author: Ragnar Groot Koerkamp
Source: Northwestern Europe Regional Contest (NWERC) 2019


It has been another record year for the Rotary Club of Sittingbourne Invicta's Annual 10K Race which attracted 397 registrations for the main event and a further 210 children took part in the 2K Fun Run.
There appears to be no stopping Ben Tyler from Gillingham (Medway and Maidstone AC) who came first for a third successive year, completing the course in 33:55 minutes just shy of his record winning time of 33:21 in 2014 and 33.:27 minutes in 2015.
In second place was Rhys Goddard (Nene Valley Harriers) with a time of 34:27 and in third place Ed Bovingdon (Istead and Ifield Harriers) with a time of 34:38.
Best Female was Maria Heslop from Paddock Wood who came 9th overall with a time of 37:33 minutes.
Event organiser Beverley Willis was keen to emphasize that this community event was not about raising money, although any residual funds after expenses are distributed between the principal charities and The Rotary Club of Sittingbourne Invicta's Community Chest which has benefited dozens of smaller local clubs and groups over the years.
This year the principal charity is the Swale arm of Kent Young Carers and money generated will be used to fund a respite weekend on a sailing barge named 'Camberia'.
To date The Rotary Club of Sittingbourne Invicta has managed to raise around £40,000.
Sadly, after 6 years, event organiser Beverley Willis who came up with the original idea and has taken this event from inception through to its current dizzy heights of success is stepping down to allow for a fresh face to continue his good work.


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Maskless pope blames 'this lady called COVID' for distance
Posted: Oct 28, 2020 / 06:00 AM CDT / Updated: Oct 28, 2020 / 06:00 AM CDT
Pope Francis shares a word with Monsignor Luis Maria Rodrigo Ewart as he arrives in the Paul VI Hall at the Vatican for his weekly general audience, Wednesday, Oct. 28, 2020. A Vatican official who is a key member of Francis' COVID-19 response commission, the Rev. Augusto Zampini, acknowledged Tuesday that at age 83 and with part of his lung removed after an illness in his youth, Francis would be at high risk for complications if he were to become infected. Zampini said he hoped Francis would don a mask at least when he greeted people during the general audience. "We are working on that," he said. (AP Photo/Alessandra Tarantino)
VATICAN CITY (AP) — Pope Francis has blamed "this lady called COVID" for forcing him to keep his distance again from the faithful during his general audience, which was far smaller than usual amid soaring coronavirus infections in Italy.
Francis again eschewed a protective mask Wednesday even when he greeted a few maskless clergymen at the end of his audience. While the prelates wore masks throughout the hour-long audience, they took them off when they lined up to shake Francis' hand and speak briefly with him one-on-one.
A Vatican official who is a key member of Francis' COVID-19 response commission, the Rev. Augusto Zampini, acknowledged Tuesday that at age 83 and with part of his lung removed after an illness in his youth, Francis would be at high risk for complications if he were to become infected.
Zampini said he hoped Francis would don a mask at least when he greeted people during the general audience. "We are working on that," he said.
Francis has only been seen wearing a mask in public twice: On Sept. 9 as he entered and exited his general audience, and last week during a two-hour interfaith prayer service in downtown Rome.
While Francis' lung condition could explain his reluctance to wear a mask, there has been no comment from the Vatican about why protocol officials allow other people to get close to him without donning face protection. People who have had private meetings with him recently said no masks were worn and no proof of recent negative virus tests required. Vatican regulations require masks indoors and out when social distancing cannot be guaranteed.
At the start of the audience, Francis again apologized that he wouldn't descend into the crowd to greet well-wishers because he said doing so would create a crowd around him.
"And this goes against the precautions we need before this lady called COVID, who does us so much harm," Francis said from the stage of the Vatican auditorium. "For this reason, please forgive me that I don't go down to greet you. I greet you from here and I keep you in my heart, and please keep me in your heart and pray for me."
Italy, the first country in the West to be slammed by the pandemic, has seen a sharp rebound in infections in recent weeks that prompted the government to close restaurants and bars at night and shutter theaters, gyms and pools. Public health officials are urging people to stay home as much as possible.
Francis' audience — which in pre-pandemic times would draw thousands of people each week to St. Peter's Square or the auditorium — featured only a few hundred people Wednesday.