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John Van Hamersveld, "Endless…
John Van Hamersveld, "Endless Summer" artist, set to open gallery in San Pedro
Artist John Van Hamersveld and wife Alida Post are opening up a gallery in downtown San Pedro, CA. on Thursday March 6, 2014. (Sean Hiller / Staff Photographer)
Artist John Van Hamersveld, famous for his Endless Summer poster creation, is opening up a gallery in downtown San Pedro, CA. on Thursday March 6, 2014. (Sean Hiller / Staff Photographer)
By Donna Littlejohn | dlittlejohn@scng.com | Daily Breeze
PUBLISHED: March 10, 2014 at 10:00 pm | UPDATED: September 6, 2017 at 6:39 am
Like the "Endless Summer" poster and rock album covers he has become famous for, graphic artist John Van Hamersveld never seems to go out of style.
And, at 72 years old, he still sees a blank canvas everywhere.
And that now includes San Pedro, where he and his art-dealer wife, Alida Post, are setting up a gallery and studio in the former Williams' Book Store space at 443 W. Sixth St.
The couple have been working to remodel the storefront for several weeks but are purposely keeping the shop's familiar Williams' signs and some other memorabilia as a way to honor what was the city of Los Angeles' oldest bookstore when it had to close last summer.
Van Hamersveld is a real catch for the historic waterfront's downtown shopping district, which is hoping to capitalize on its growing arts community.
"This is absolutely first-class," said Eric Eisenberg, the gallery's landlord, who also heads up the waterfront business improvement district in downtown San Pedro.
The post-modern artist's reputation is legendary as his work spans from album covers for top rock stars of the 1960s and beyond — such as the Beatles' "Magical Mystery Tour," the Rolling Stones' "Exile on Main Street" and Blondie's "Eat to the Beat" among them — to today's LED extravaganza that is part of the Fremont Street Experience in Las Vegas.
The couple's new business, Post-Future: The Art Co. — which will add "at Williams' Book Store" to its name — should be set to open in a few weeks, with a tentative ribbon-cutting on April 3 at San Pedro's First Thursday celebration. Working with them is artistic partner Lindsey Mysse , who creates technical art installations using computers and robotics.
For Van Hamersveld, who grew up on the west side of the Palos Verdes Peninsula, the new gallery is a homecoming in some ways, although much of the port-side of town is new territory to him.
Van Hamersveld's nickname was "Hammer" after he began surfing at Lunada Bay as an 11-year-old. Among his friends was Phil Becker, who went on to establish Becker Surfboards in Hermosa Beach.
It was those summers spent with his buddies catching waves that provided much of the inspiration for his 1960s pop culture Endless Summer poster created 50 years ago for the Bruce Brown film of the same name.
The poster image has managed to retain its phenomenon status, appearing on everything from T-shirts to a specialty plate in Florida. Marking its 50th anniversary, Vanity Fair magazine this month published a lengthy report titled "One Summer, Forever"about the poster and Van Hamersveld, the grandson of Dutch immigrants.
A graduate of the Art Center College of Design in Pasadena, Van Hamersveld got a big break when he was hired by Capitol Records in the mid-1960s and eventually found himself working personally with Mick Jagger on the design of the Stones' "Exile on Main Street" album cover.
Altogether, he's designed more than 300 album covers, with others including Jefferson Airplane's "Crown of Creation," Grateful Dead's "Skeletons in the Closet," "Hotter Than Hell" from KISS, and "An American Prayer," poetry from Jim Morrison and music by the Doors.
Van Hamersveld also created the artwork for Bob Dylan's soundtrack album to the movie "Pat Garrett & Billy the Kid."
And did we mention the neon Fatburger sign on Pacific Coast Highway in Redondo Beach? Or the official poster and 360-foot-long mural for the 1984 Los Angeles Olympic Games?
Van Hamersveld worked as a concert promotor as well for some of the biggest names in rock. He put on the "The Pinnacle" concerts at the Shrine Auditorium in 1968-69 featuring Jimi Hendrix and Cream and his famous Hendrix poster was used to advertise the shows. Van Hamersveld has chronicled his story so far in his memoirs, "My Art/My Life."
Another book, "50 Years of Graphic Design," showcases his work.
His artistic impression of San Pedro?
"It draws a blank. It's a new canvas," he said. "The vista (of the port) is entirely different."
Post, 62, who grew up in what is now the Koreatown section of Los Angeles, was living in New York when she missed her flight home and was stranded in Los Angeles in the wake of 9/11, leading to a meeting with her future husband through an arts deal she was pursuing.
Was she familiar with "Endless Summer"?
"I'd never heard of it," Post said.
But when she saw his familiar psychedelic-styled portraits of Hendrix and "The Indian," she readily recognized his work. They realized they'd even attended some of the same rock concerts through the years.
Married 10 years ago, they most recently lived in Santa Monica, but, about a year ago, moved to the Harbor Area seeking to get away from the overdevelopment on the Westside.
Late last year, they decided to seek out a separate business space that would give Post an area to display and sell art. Her husband and Mysse will produce and create new art for clients in the back portion of the building.
"We just fell in love with this one," Post said of the former bookstore building, constructed in the 1920s. "The vibe's just so good. … It just feels right."
As a tip of the hat to the storefront's beloved bookstore past, the gallery also will pay homage to poet Charles Bukowski, who died in San Pedro in 1994.
They have been spending the recent weeks remodeling the space and hope to remove the dropped ceiling panels to expose a skylight in future weeks.
The move and opening of the new gallery, Post said, "was all about quality of life," adding that San Pedro appears to be "just on the cusp" of becoming more of a Los Angeles destination.
"We're going to be bringing a lot of people here who have never been here before," she said.
Joe Biden visits Crenshaw-district soul food restaurant, hits Trump on 'go back' rhetoric
Donna Littlejohn
Donna Littlejohn has covered the Harbor Area as a reporter since 1981. Along with development, politics, coyotes, battleships and crime, she writes features that have spotlighted an array of topics, from an alligator on the loose in a city park to the modern-day cowboys who own the trails on the Palos Verdes Peninsula. She loves border collies and Aussie dogs, cats, early California Craftsman architecture and most surviving old stuff. She imagines the 1970s redevelopment sweep that leveled so much of San Pedro's historic waterfront district as very sad.
Follow Donna Littlejohn	@donnalittlejohn


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A Charlotte Russe ou charlota russa é uma sobremesa que faz parte da culinária russa. Não é mais do que a ligação entre palitos à la reine com um creme aromático feito com chocolate e café. Esta sobremesa foi criada em São Petersburgo e, por essa razão, entrou na história da culinária com o nome de Charlotte Russe. O seu criador foi Antoine Carême (1784-1833), gastónomo francês que a criou para os czares.

Ligações externas
Receita de Charlotte Russe

Culinária da Rússia
Sobremesas
Bolos

redpajama_set_name: RedPajamaWikipedia


Heat the oven to 180C/fan160C/gas 4. Cook the onions in a little butter until golden and caramelised, about 10-15 minutes. Fry the leeks in a knob of butter until soft. Season well.
Mix the onions, leeks, cheese, spinach and some seasoning in a bowl. Butter a large baking dish, lay 3 sheets filo on the bottom, buttering each layer (trim if you need to).
Put 1/3 of the leek mix on top of the filo and add a further 3 layers of pastry. Add another 1/3 of the mixture with 3 more layers of filo, and finally add the last of the mixture and finish with the last 3 layers of the pastry and lots of butter. Score a criss-cross pattern on the top, then bake for about 30-40 minutes until crisp and golden. Cut into big pieces and eat with a simple salad.


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06/21/17 Hired Gun: Rudy Sarzo – Bassist with Ozzy, Quiet Riot, Whitesnake
Listen to "06/21/17 HIred Gub: Rudy Sarzo – Bassist with Ozzy, Quiet Riot, Whitesnake" on Spreaker.
Rudy Sarzo is a professional recording and performing artist worldwide with a career spanning over 35 years. As a member of Ozzy Osbourne's band, from March 1981 to September 1982, Rudy toured the world in support of the "Blizzard of Ozz" and "Diary Of a Madman" records. His bass playing can be heard on Ozzy's multimillion selling CD "Tribute" and "Speak of the Devil" CD and DVD.
As a member of Quiet Riot, from September 1982 to January 1985, Rudy recorded the multi-platinum albums "Metal Health", the first Heavy Metal debut to reach #1 on the Billboard charts and "Condition Critical". During this period I headlined worldwide tours, appeared on numerous MTV videos and was voted #1 Bassist in Circus Magazine for 1983.
As a member of Whitesnake, from April 1987 to September 1994 Rudy recorded the multi-platinum album "Slip of the Tongue". During this period I also performed worldwide on headline tours in support of the multiplatinum "1987" and "Slip of the Tongue" albums and appeared on 6 MTV videos.
As a member of the reunited Quiet Riot, from May 1997 to August 2003, Rudy performed worldwide on headlining tours and as special guests in support of the Quiet Riot CDs "Alive and Well" and "Guilty Pleasure.I also appeared on VH1's Quiet Riot, Behind the Music. In November of 2003, "Quiet Riot Live in The 21st Century" DVD was released after the group disbanded. My recordings with all of these artists combined have sold over 30 million copies.
In February of 2004, Rudy joined Yngwie Malmsteen's Rising Force for the U.S. 30 city "Attack Tour".
In April of 2004 Rudy became member of the multi-platinum Heavy Metal group DIO and remained the band's bassist until Ronnie's passing in 2010. During that time Rudy toured the world with DIO and recorded the "Holy Diver 25th Anniversary LIVE" DVD and CD and DIO's last studio track "Elektra". In addition, when Rudy was not busy with DIO, he toured the world with Blue Oyster Cult until 2012.
Today Rudy is a touring and recording member of the Legendary The Guess Who.
www.rudysarzo.com
www.hiredgunthefilm.com

redpajama_set_name: RedPajamaCommonCrawl


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Tag Archives: AFI
AFI, Behind the Scenes, Editor, Film
Editor Oliver Harwood turns Good Stories into Great Films
March 25, 2015 Scott Prewitt Leave a comment
Editor Oliver Harwood
Oliver Harwood understands better than most what it takes to turn a good story into a great story. His work spans the Atlantic, he's been trained in one of the most exclusive and prestigious film schools in the world, and his talent has been essential to the success of an ever-growing list of award-winning films. So what does it take to make a good story great? It takes the keen eyes and ears of an editor.
Just this year, Share, a film edited by Harwood and directed by Pippa Bianco, premiered at the massive Austin-based SXSW 2015 festival where it won the Special Jury Recognition Award for Narrative Short. Share tells the story of a young girl's return to school after being in a sex tape that gets shared online.
Harwood fell in love with film-editing inadvertently, when as a teenager he and a friend began filming their own comedy sketches. He became enthralled with cutting, splicing and arranging the clips, and in so doing found that the way stories are told on film come down to decisions made by the editor. Within a few short years, the young Brit was enrolled at the American Film Institute, known the world over for producing some of the biggest names in entertainment and filmmaking.
In 2013, Harwood edited Gala Goliani's (What the Monkey Saw, Worship) film Red Rider, a dystopian thriller set eight years after a disaster turns the world into a wasteland. The intense action follows Adena, played by Abigail Wilson (Cigarette, The Half Man), as she roams the wastes seeking revenge on a vicious biker gang. A marvelous editing job to say the least, Harwood uses the character's voice to narrate her thought process as she plans her mission, which gives viewers entry into her world without the overuse of dialogue to explain her plight.
The film was an Official Selection by several film festivals in 2014 including the San Jose International Short Film Festival, the La Femme International Film Festival and the NewFilmmakers New York Winter Festival. It also won the awards for Best Actor and Best Cinematographer at the Los Angeles New Wave Intl' Film Festival.
After Red Rider, Harwood was tapped by director Leonard LoBiondo (Inheritance) to edit the film Reaver starring Kelly Blatz (Prom Night, 90210, Chicago Fire). A hair-raising chiller, Reaver is the haunting story of two siblings who come face-to-face with the evil specter that spirited-away their father. Reaver won the festival prize for Best Lovecraft Short at the 2014 A Night Of Horror Film Festival.
"Starting Reaver, I was pretty comfortable with myself as an editor, and was ready to experiment with my approach to collaborating with a director," Harwood said.
A huge part of making a great film comes from knowing how to communicated and collaborate best with your fellow filmmakers. Harwood has been editing films long enough to what he needs to achieve the best possible film, and for him, that has to do with having his own space to create without someone looking over his shoulder. So, when it came time to start editing Reaver, Harwood suggested the use of a separate monitor where the director could view the progress without looking over his shoulder.
That decision really paid off. Harwood recalled, "It helped the director keep a better sense of perspective on the movie… he was much more able to astutely observe how much tension we could bring out from each shot, and how the following shot could be used to further enhance and build on that tension."
Hot on the heels of Reaver, Harwood began work on Contrapelo in 2014. Directed by Gareth Dunnet Alcocer (Dig!, Exodo), Contrapelo was a huge change of scenery for Harwood. While the film's dialogue was in Spanish, a language Harwood didn't speak a word of, he managed not only to do the job, but to edit it into an awe-inspiring and gripping film. Contrapelo focuses on a cartel boss, a barber, a straight razor, and one of the most difficult decisions a person can be forced to make.
"Because I was unable to understand what was being said, I was able to decontextualize the line and turn the dialogue into something like music," said Harwood, explaining that in a way the language barrier helped him with editing. "The rhythm and tone of the words being spoken helped me guide each cut based on feeling."
The film's recognitions included countless awards including Best Indie Short Film and the Audience Award at the 2014 Cine Gear Expo, the Best Short Awards from the Las Vegas International Film Festival and the Los Cortos International Film Festival, as well as nominations for Best Overall Short Film at the Calgary International Film Festival, the German Independence Award for Best Short Film at the 2014 Oldenburg Film Festival, and Best Narrative Short at the world-renowned Tribeca Film Festival.
Harwood's mastery of his craft is the result of his incredible training, extensive experience and raw, innate talent. He possesses the rare skill to find the exact crossroads between technical genius and creative visionary. His work is certain to leave viewers not just satisfied with the cinematic experience, but contemplating some of the most serious issues facing the world today. And that, after all, is the difference between a good story, and a great story.
AFIAmerican Film InstituteContrapelo filmEditor Oliver HarwoodReaver filmRed Rider filmShare film
Behind the Scenes, Cinematographer, Film, Hollywood, Television
Acclaimed Cinematographer Kristin Fieldhouse!
December 27, 2014 Lorraine Wilder Leave a comment
Cinematographer Kristin Fieldhouse
Although Kristin Fieldhouse first obtained a Bachelors and Masters in International Development and Politics at the University of Sussex in England, an area of concentration that led her to spend several years working for the United Nations across Africa and Asia, her love of photography and it's integral role in filmmaking was something too powerful to ignore. The now highly sought after cinematographer discovered her passion for photography in her youth.
"I lost my dad and my sister at a young age – so photography helped me through that period. It was my salvation in a way, a chance to connect with people through an artist medium and express what I was feeling and going through," admits Kristin Fieldhouse. "Later on, cinematography offered me a new and exciting challenge. The moving image was fascinating for me and I loved the idea of sequences of images to tell a story."
After spending several years working for the UN, Fieldhouse moved to Canada where she further honed and perfected her skills behind the camera lens. "I worked and studied as a camera technician for many years working my way up through the Cinematographer's Guild I.A.T.S.E before starting to shoot my own work," explains Fieldhouse.
A testament to her unparalleled skill in the field, Kristin Fieldhouse was accepted as one of only 28 cinematographers admitted into the American Film Institute's competitive conservatory program where she received her MFA. With an impressive list of award-winning projects already under her belt, Fieldhouse's work undoubtedly speaks for itself. The cinematographer received the Kodak Student Cinematography Award for her work on the film The Man Who Found DB Cooper, as well as the award for Best Cinematography at the Milledgeville Film Festival and the John Kelly Award for Excellence in Cinematography at the Fresno Film Festival for her work on the film Young Americans, and the award for Best Cinematography at the Real Teal Film Festival for her work on the film TESS.
One of Kristin Fieldhouse's other recent projects, Kepler X-47, has also had an incredibly successful run on the film festival circuit as it was chosen as an Official Selection at The LA Asian Pacific Film Festival, Comikazee Expo, ImagineNative Film & Media Arts Festival, NewFilmmakers Los Angeles Film Festival, The Geekie Awards, Dragon Con Film Festival, and many others. Directed by Erin Li Kepler X-47 is a sci-fi film that follows a woman as she struggles to adjust to her new life as part of a human zoo exhibit on an alien planet 5,000 light years from earth. The film put Fieldhouse's talents to the test as it required extensive period costumes, futuristic locations and dynamic lighting choices.
Fieldhouse explains, "This project was demanding in terms of budget and I had to come up with cheap lighting solutions that gave a large range of looks from candlelight dinner scenes at tables to large soft sources above actors to give them freedom to move, but would also create an eerie look. Panavision came onboard and helped us by providing great lenses, which I netted to give a softer image and raise the black levels. I remember spending many hours testing out different kinds of stockings from stores around LA."
Kristin Fieldhouse's vast knowledge, dedication and substantial creative contributions to Kepler X-47 show through in the film's end product and are proven by the film's incredible success.
"I was inspired by the painters such as Caravaggio and wanted to be able to paint with light the way they would paint with oils," says Fieldhouse. "We used a combination of in-camera effects and glass, with dramatic lighting, and I believe this gave the film an elevated look that took the audience on a beautiful and believable journey."
Some of Kristin Fieldhouse's other work as a cinematographer includes the films My Little Eye, Palm Swings, Brown Bag, He's The Best, Borja, Future Me, Release, The Tent, Life In The Gutter, Hide & Seek and Things Go Wrong, as well as commercials for globally known brands like Nike, Coors Light and Kodak. The cinematographer has also contributed heavily to the camera departments on the films The Echo, Total Recall, The Incredible Hulk, Diary Of The Dead, House At The End of The Street, Resident Evil: Afterlife and A Beginner's Guide To Endings, as well as the hit television shows Flashpoint, Happy Town, Bloodletting & Miraculous Cures Fairfield Road, Abra Ca Debra, Nikita, Covert Affairs, Warehouse 13, Unrivaled, Latest Buzz, Unnatural History, The Night Before The Night Before Christmas, Alphas, Kenny v. Spenny and many more.
To find out more about Kristin Fieldhouse's incredible work as a cinematographer be sure to check out her website http://kristinfieldhouse.com/ and her IMDb page http://www.imdb.com/name/nm2465060/?ref_=fn_al_nm_1
AFICinematographerKepler X-47Kristin FieldhouseTESSYoung Americans


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Larnaca Private Jet Charter
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Paramount Business Jets can arrange flights into Larnaca, Cyprus, a city on the southern coast of the picturesque island located in the eastern Mediterranean Sea. Fly from one of the country's other airport, Paphos International (PFO) in Paphos, or those in surrounding countries. Since joining the European Union in 2003, there is no border between the Greek south and the Turkish north parts of Cyprus. Visitors arriving on Paramount-arranged flights are free to visit the entire 3,600-sq. mi. island. Paramount carriers have large planes, like the Gulfstream G-450, which can carry up to 12 passengers; and others like the Citation Sovereign Challenger 64 and Falcon 2000LX that carry up to 10; as well as smaller planes like the Socato Tampico which carries three. For your convenience, readily available aircraft are based at five airports in Lebanon, Greece and Turkey - Beirut-Rafic Hariri International Airport (BEY), Rhodes International Airport (RHO), Esenboga International Airport (ESB) and Etimesgut Airport (ANK) in Ankara, Turkey.
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The sun shines 340 days a year on the island known as the jewel of the Mediterranean. The tiny island, less than half the size of New Jersey, has everything from seemingly endless white sand beaches with hidden coves to mountains that provide respite from the summer heat and snow for winter skiers. Located at the crossroads of three continents, Cyprus is:
186 miles north of Egypt
65 miles west of Syria
46 miles south of Turkey
500 miles southeast of Greece
While it remains separated into a Greek south and a Turkish, travel is no longer restricted. Greek and Turkish are the main languages on Cyprus although English is widely spoken.
Larnaca, with a population of 72,000, is the third largest city on the island nation. Its capital, Nicosia, located on the border between the Greek and Turkish areas, has a population of 200,000. While 154,000 live in the port city of Limassol.
Among the things to see on Cyprus are:
The Sanctuary of Aphrodite. The ancient site contains ruins of a hilltop temple that was built to the goddess of love in the coastal city of Pathos, her legendary birthplace, in 1500 AD. Idols of the fertility goddess that date to 3800 BC have been found there.
The wreck of the Zenobia. Scuba divers delight in exploring the clear waters with colorful fish around the remains of the ferry that sunk on her maiden voyage in 1980, 25 miles outside Larnaca Harbor.
Stavrovouni Monastery. Located 25 miles from Larnaca, it is a sacred site where you can see a piece of the Holy Cross left by Saint Helena.
The ancient Kition ruins: Giant stones from five temples dating back to the 13th century BC can be found just northwest of Larnaca.
The Troodos Mountains: Located in the center of the island, the mountain range is known for its highest peak, Mount Olympus.
The wine regions. Located in the foothills of the Toodos Mountains, it's where the sweet amber-colored dessert wine, Commandaria, one of the oldest wines in the world, is still being made the same way it was in 800 BC.
Ayia Napa. The resort town 35 miles east of Larnaca is the place to go if you want to party. It has some 80 bars and 12 nightclubs. Ayia Napa is most hopping between midnight and 4 a.m., when the bars close and people spill out into one big street party.
Cape Greco. If you want to cliff-dive or watch cliff divers, this national park, located between Ayia Napa and Protaras, is where to do it. It has caves and deep passages in the cliffs that are only accessible from the sea.
Famagusta area/Karpasia Peninsula. Take a step back in time in a visit windmills, old churches and villages on the sparsely populated peninsula located in northeast Cyprus. Local customs remain in the area where loggerhead and green sea turtles nest on its 46 beaches. Several villages are collectively known Kokkinochoria, red soil villages, due to the color of the iron-rich earth.


As a B2B marketing discipline designed to create interest in products and services, Demand generation is indeed a complex strategy. Obviously, great sales pipeline opportunities and revenue are its positive outcome. Most demand marketers consider the lead quality an ideal key metric as a player in this realm, whereas many do it for the sake of building brand authority and increasing brand recognition. These individuals are expected to know what will attract qualified leads, nurture opportunities, and delight customers, all at the same time. But, is it really that simple?
It would be fair to say that the principles for B2B Demand generation are differently approached by several sets of demand generation marketers from around the world. A lot of inexperienced marketers are weaving their B2B demand generation strategies around myths that have taken shape in recent times. In order to really implement effective, full-funnel B2B demand generation strategies, these myths need to be busted.
This blog post is here to guide you with the right approach to your B2B Demand generation strategy by addressing some widely implemented B2B Demand Generation Myths. Let's check them out.
If you are new to the term, Demand generation simply comes down to all the marketing efforts made in engaging and exciting customers about your products and services. This might sound like a very easy thing to do, given the availability of sales and marketing campaign strategies. Demand generation is about engaging them at various points on multiple channels.
However, Demand generation is easier said than done. It's a fully integrated approach that aligns your company efforts with what your prospects and customers really need. Having this measurable strategy in its holistic, fully integrated form is quite a task where heaps of marketing and sales activity data needs to be analyzed and personas need to be targeted. This is why there is a need for a dedicated Demand Generation department and continuous testing and optimization.
What one must understand is that demand generation is more than lead generation. On one hand, Demand generation is about focusing on opportunities in the form of targeted marketing programs to drive interest around products/services, accomplish customer acquisition, and create space for further footing.
On the other hand, Lead generation is as simple as getting contact information from people who might be interested. People use the term interchangeably, but the fact is that Demand generation generates interest for further Lead calling.
Probably the biggest myth of all is that an incoming inquiry is considered as a Lead. However, in order to be a quantifiable lead, an inquiry needs to be positioned in the middle of the flow. Only when this inquiry is closed successfully, can it be regarded as a true lead.
A report says that over 80% of generated leads are never followed up on, or just go missing in action. It is obviously true that lead volume is important, but if they are not high quality, your business is not going to thrive. It is very important to deliver accurate and interested leads that are high-quality in order to fill the pipeline with promising opportunities. If an inquiry is able to help you contact the prospect and convert them into potential leads, it is going to be worth the value.
The buyer's journey is a very vital step in the overall progression of the buyer. It comprises of the stages where the buyer begins with the realization of a particular problem/need. The second step becomes about the buyer's consideration where they define their problems and start looking for options that fit the bill. These steps are all research-oriented and they eventually culminate into a specific buying decision. The last stage of the buyer's journey ends with the final purchase decision.
As per a report by Forrester and Gartner, 80 percent of the buying process will occur without any human contact, by 2020. The myth revolving around Buyer's journey is that marketers think that they can craft a buyer's journey for their audience. The truth is that the audience is the one who drives this phenomenon. They can move about just the way they like even after going through an impressive sales pitch by your salesperson.
The B2B marketplace being a fishpond filled with opportunities, more and more Demand generation marketers are finding a way into the market. Racking up a high volume of everything that needs to be done, the ideal Demand generation marketer will help fill the pipeline with promising opportunities for the sales team.
It is a common notion that being a Demand generation marketer is an easy task, given all the readily available information. However, having this data at hand doesn't make it easy to intercept. In fact, classifying, clarifying, cleansing, and organizing heaps of information can be a real task for industry performers. A competent Demand generation marketer has to create content around the product/concept, probably start blogging about it, come up with webinars/seminars, press releases, etc.
The aim of demand generation is simple, to churn the interest of the audience. However, it's just not limited to that. It is about building awareness around the company or its peculiar product and services. It is not just an initial step, it is present in the steps that follow as well.
Though not a very popular myth, this one holds a special mention because, in spite of all the credibility of the platform, some contemporary businesses fail to identify social media as an effective means of demand generation.
In fact, according to Research, 64% of B2B marketers generate leads via LinkedIn, 49% through Facebook, and 36% through Twitter. This holds true for demand generation as well. For people who still believe in the opposite or have had futile experiences, we recommend using and investing in the right media networks tools in order to accomplish lead generation.
In all terms, marketing for either of the two (i.e. Demand Generation and Lead generation) is filled with myths and misconceptions, which people are trying to work with. However, only the right approach can attract strangers who become visitors, and successfully generate a huge amount of traffic to your website. With our listicle of the most common Demand Generation Myths above, we hope that we will be able to help you create a better B2B Demand Generation strategy.


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text:
El Manisa Büyükşehir Belediyespor es un equipo de baloncesto turco con sede en la ciudad de Manisa, que compite en la BSL, la primera división de su país. Disputa sus partidos en el Muradiye Spor Salonu, con capacidad para 3,500 espectadores.

Historia
El club polideportivo fue fundado en 1994 bajo el nombre de Manisa Belediyespor, ha continuado sus actividades bajo el nombre de Manisa Büyükşehir Belediye Spor desde que Manisa se convirtió en ciudad metropolitana en 2014. En su nacimiento, se abrieron las secciones de tiro y caza, baloncesto, lucha libre, balonmano, judo, tenis de mesa y voleibol. Desde 2021 son quince las especialidades deportivas las que configuran el club.

Posiciones en liga

Plantilla actual
{| class="toccolours" style="font-size: 95%; width: 85%; "
! colspan="2" style="background-color: #A4C739; color: white; text-align: center;" | Manisa BB 2022-23
|- style="background-color: white;color: #A4C739; text-align: center;"
! Jugadores !! Entrenadores
|-
| valign="top" |
{| class="sortable" style="background:transparent; margin:0px; width:100%;"
! Pos. !! # !! Nac. !! Nombre !! Altura !! Peso !! Procedencia
|-

Palmarés
TBL
Campeón (1): 2021–22.

Referencias

Enlaces externos
 Página oficial del equipo
 Página del equipo en Eurobasket.com

Manisa
Deporte en Manisa
Baloncesto en 1994
Deporte en Turquía en 1994
Organizaciones fundadas en 1994


text:
Microsoft Announces Windows Support for CMake
Sandy McKenzie
In a Windows Blog post by Adam Denning, Microsoft recently announced Windows support for CMake. Microsoft's fork of CMake, CMakeMS, provides developers with the ability to target Windows Store and Windows Phone apps. It is available on CodePlex. According the blog, working with Kitware and the CMake community, Microsoft plans to "incorporate feedback and integrate it soon in the public CMake repository."
CMake is the cross-platform, open-source build system designed to build, test, and package software. In June, it reached a milestone with the release of version 3.0. Recently, Kitware announced the availability of CMake 3.0.1 for download. The new release includes several bug fixes, which are described in a previous post on Kitware's blog. To download the latest version of CMake, please visit CMake's download page.
CMakeSoftware Process
CMake 3.22.1 available for download
December 7, 2021 • By Tom Osika
November 18, 2021 • By Tom Osika


text:
Q: Swift File Download Issue I am trying to download a plist file from a remote location and use it in the iOS app I am creating.  The file is going to be used for calendar details within the app's calendar.  The goal is obviously that I can update the remote file instead of having to push updates to the app itself every time we need to make changes to calendar details.
I started with the code used in this example: Download File From A Remote URL
Here is my modified version:
// Create destination URL
    let documentsUrl:URL =  FileManager.default.urls(for: .documentDirectory, in: .userDomainMask).first as URL!
    let destinationFileUrl = documentsUrl.appendingPathComponent("2017.plist")
    //let destinationFileUrl = URL(string: Bundle.main.path(forResource: String(currentYear), ofType: "plist")!)

    //Create URL to the source file you want to download
    let fileURL = URL(string: "https://drive.google.com/open?id=0BwHDQFwaL9DuLThNYWwtQ1VXblk")

    let sessionConfig = URLSessionConfiguration.default
    let session = URLSession(configuration: sessionConfig)

    let request = URLRequest(url:fileURL!)

    let task = session.downloadTask(with: request) { (tempLocalUrl, response, error) in
        if let tempLocalUrl = tempLocalUrl, error == nil {
            // Success
            if let statusCode = (response as? HTTPURLResponse)?.statusCode {
                print("Successfully downloaded. Status code: \(statusCode)")

            }

            do {

                try FileManager.default.removeItem(at: destinationFileUrl)
                try FileManager.default.moveItem(at: tempLocalUrl, to: destinationFileUrl)
                print("File was replaced")
                print(NSArray(contentsOf: tempLocalUrl))
                //print(tempLocalUrl)
            } catch (let writeError) {
                print("Error creating a file \(String(describing: destinationFileUrl)) : \(writeError)")
            }

        } else {
            print("Error took place while downloading a file. Error description: %@", error?.localizedDescription as Any);
        }
    }
    task.resume()

I originally tried to overwrite the file that is bundled with the app to being with, that resulted in errors.  So I instead tried to just save it in the app's documents folder and that removed that error.  I had to make sure and remove any previous version of the file because it was giving me a file already exists error after the first run.
While it says everything is working (The outputs for both successful download and replaced file happen) when I print the contents of the array from the downloaded URL it just gives me nil.
This is my first attempt to use any kind of external resources in an app.  Before I have always kept everything internal, so I am sure there is something glaringly obvious I am missing.
Update 1:
I realized I didn't have the correct URL to use to download a file from a Google drive.  That line of code has been changed to:
let fileURL = URL(string: "https://drive.google.com/uc?export=download&id=0BwHDQFwaL9DuLThNYWwtQ1VXblk")

So now I actually am downloading the plist like I originally thought I was. Even removing the deletion issue mentioned in the first comment, I still can't get the downloaded file to actually replace the existing one.
Update 2:
I have reduced the actual file manipulation down to the following:
do {

                    try FileManager.default.replaceItemAt(destinationFileUrl, withItemAt: tempLocalUrl)
                    print("File was replaced")
                    print(NSArray(contentsOf: destinationFileUrl))

                } catch (let writeError) {
                    print("Error creating a file \(String(describing: destinationFileUrl)) : \(writeError)")
                }

            } else {
                print("Error took place while downloading a file. Error description: %@", error?.localizedDescription as Any);
            }

After the replacement is performed the output of the file shows the correct new contents that were downloaded from the internet.
Later in the code when I try and access the file it seems to be nil in content again.

A: Look at your download completion code. You:

*

*Delete the file at the destination URL (in case there was one
leftover)

*MOVE the temp file to the destination URL (removing it from the temp
URL)

*Try to load the file from the temp URL.

What's wrong with this picture?

A: You are trying to get the contents of the moved file. You already moved the file to destination url and then you are trying to get the contents of the file from temporary location.
For getting file data, Please try the following :
let fileData = try! String(contentsOf: destinationFileUrl, encoding: String.Encoding.utf8)
print(fileData)

redpajama_set_name: RedPajamaStackExchange


text:
Tulipan (Tulipa) er én af de mange slægter i Liljefamilien. De ca. 150 arter er udbredt i Nordafrika, Europa og Centralasien. De mange hybrider bruges som prydplanter i haver og parker, men også som afskårne blomster i hjemmene.

Det er flerårige, urteagtige planter (geofytter) med løg som overvintringsorgan. Den nederste del af stænglen findes ligeledes under jordoverfladen. Tulipanløget dør væk efter blomstringen, men samtidig udvikles der mellem to løgskæl et nyt, blomstringsdygtigt løg og mellem de andre kommer der små, svagere løg. De 2-6 (eller op til 12) blade er oftest grundstillede og op til 30 cm lange og ustilkede. De er ægformede eller bredt linjeformede, hele og med hel rand. Randen kan være mere eller mindre bølget. Blomsterne er oprette, regelmæssige og klokke- eller krukkeformede. Hos de dyrkede sorter findes blomsterfarverne lysegrøn, hvid, gul, orange, rosa, rød, violet og endda sort. Blomsterne bæres endestillet på særlige stilke og som regel enkeltvis eller i fåblomstrede stande. Frugterne er trerummede, læderagtige kapsler med flade frø.

 Tulipa acuminata
 Clusiustulipan (Tulipa clusiana)
 Tulipa dasystemon
 Tulipa fosteriana
 Havetulipan (Tulipa gesneriana)
 Lav tulipan (Tulipa humilis)
 Tulipa kaufmanniana
 Tulipa praestans
 Vild Tulipan (Tulipa sylvestris) - skovtulipan
 Tulipa taihangshanica
 Skærmtulipan (Tulipa tarda)
 Kirgisisk tulipan (Tulipa turkestanica)
 Tulipa urumiensis

Hertil kommer en lang række krydsninger og sortsudvælgelser. Se Havetulipan.

Med hensyn til blomsterbetydning, symboliserer en gul tulipan håbløs kærlighed, og en rød tulipan er en kærlighedserklæring.

Note

Litteratur
 Richard Wilford: Tulips. Species and hybrids for the Gardener, 2006
 Anna Pavord, Tulipanen, Gyldendal, 2000. .

Lilje-familien


This is the last project in my four part series featuring the Clover Standing Oval Knitting Loom that will keep you warm from head to toe. So far I've shown you how to make an earwarmer headband, a striped cowl and fingerless gloves. You're all cozy and covered except for your feet.
As a long time knitter (with pointy sticks), I have to say that these socks are faster to make than any other socks I have ever knit. I was easily able to make one sock in just an evening. The socks may be a little too chunky to wear in shoes, but they are absolutely perfect for wearing around the house as slippers. Or, if you feel cold all the time, like me, you could wear these socks inside your slippers.
Again, familiarize yourself with the basic instructions included with the loom.
Begin by casting on with the Bubble Gum yarn following the directions included with the loom.
Row 2-9: With Bubble Gum, knit around all of the pegs.
Repeat Row 10 - 11 six more times.
Now for the heel. The heel section is worked entirely with a single strand of the Bubble Gum Yarn on the first 12 pegs only. Follow the directions included with the loom to make the heel.
After the heel is complete, work the foot rows in full rounds as before.
Row 12: With White yarn, [skip one peg by bringing the working yarn behind the peg, knit on next three pegs] repeat bracketed section around.
Row 13: With Bubble Gum, knit around all of the pegs.
Repeat Row 12 - 13 four more times.
Now it's time for a quick and easy calculation to make sure your sock fits nicely.
First, measure the length of your foot. Mine is 9 1/2 inches long.
Next, use measure the length of the pink heel section. For my sock it is 2 1/2 inches.
Then you need to measure the Gauge, or how many rows are in one inch. If you have already made the earwarmer, and are making your sock with the same yarn, you can use your previous gauge calculation. My gauge was 6 1/2 rows per inch.
Otherwise, you will need to measure the ankle of your sock and figure out how many rows are in one inch.
Of course you can't make 1/2 of a round, so round your answer to the nearest even number. In my example that's 48.
Continue repeating Row 12 - 13 until your sock has the right number of foot rows. Trim the white yarn to about 12 inches.
Work the toe section, with one strand of Bubble Gum yarn, exactly the same way as the heel.
I chose to finish my sock differently than the loom instructions because I have a difficult time staying untangled when I do the Kitchener stitch. Instead, I grafted the same way as for the headband and cowl patterns.
Cut the Bubble Gum yarn about 120 inches or 10 feet long and use the strand to do a "Sewn Bind Off" as shown in the loom instructions.
Don't freak out when the sock comes off the loom because the toe looks crazy.
Follow the loom instructions for "Tightening and Finishing Edges" on both the cast on and bound off edges of the sock.
The toe is looking better already.
To graft the toe, you will need to look at the "V" shaped stitched that point toward the seam.
Using the same strand of yarn that was used for the bind off, slip the needle under both strands of the first "V" stitch that points up towards the opening on the toe side and gently pull the yarn through.
Next, slip the needle under the first pink"V" stitch that points towards the opening on the foot side and pull the yarn through.
and then the next stitch on the foot side.
Continue grafting across the toe until it is completely joined. Trim the yarn to about 12 inches and pull the yarn through to the inside of the sock.
Weave in and conceal all of the yarn tails on the inside of the sock.
After you are done with the first sock, make a second exactly the same way.
I hope you have enjoyed all four of my Clover Standing Oval Knitting Loom Patterns - the earwarmer headband, a cowl, fingerless gloves and socks. Again many thanks to Clover Needlecraft for sponsoring these posts.
Loom Knit Sock Pattern: The last of four Clover Oval Standing Knitting Loom projects that will keep you cozy from head to toe.


text:
The Schools & Academies Show 2020
Tuesday November 17, 2020 - Friday November 20, 2020
Taking place online from 17th to 20th November, this is an opportunity to hear from leading education experts and practitioners on the biggest topics in UK education, from the comfort of your own environment.
Due to the Covid-19 pandemic, this year's event will provide attendees with invaluable updates on the effects of school closures and the ongoing measures being taken to ensure the effective running of schools. There will be a range of high-level policy updates, best-practice case studies and panel discussions.
Joining the panel, discussing 'The Permanent Funding Crisis' on day 2 of the virtual event, will be NFER's Senior Economist, Jenna Julius. Jenna was recently involved in NFER's research on the impact of Covid-19 on primary and secondary schools in England, with a particular focus on understanding the funding and resourcing pressures that schools are currently facing.
The Permanent Funding Crisis takes place on 18 November at 15:20 - 16:05
Assessing the unexpected costs caused by the pandemic – were the extra funding released by the government enough?
How have schools adapted to the National Funding Formula? Will there ever be enough funding for schools? Are we asking too much of the school system?
On day 3, our Research Director, Caroline Sharp, joins the event for 'The Long-term Effects of Coronavirus on Social Mobility'. Caroline's research focuses on social mobility in education and she recently directed NFER's research on the impact of Covid-19 on primary and secondary schools in England, with a particular focus on disadvantaged and vulnerable pupils.
The Long-term Effects of Coronavirus on Social Mobility takes place on 19 November at 12:15 - 13:00
Have social and digital divides created a wider opportunity gap?
Is the system equipped to assist these pupils?
Access to private and online tuition to minimise the impact on the attainment gap.
Has the admissions process to Higher Education not impacted negatively on the prospects of young people from less well-off backgrounds?
Has the apprenticeship system been resilient enough to jump back once restrictions were lifted?
NFER's research on the impact of Covid-19 on primary and secondary schools in England


text:
Home | » | News | » | Updated On January 28, 2021 | » | DoJ lawyers oppose iMEGA attempt to supplement its legal argument
It appears from the latest development in the case that iMEGA is pursuing against the US government and its Unlawful Internet Gambling Enforcement Act that the Department of Justice is reluctant to expose the practical shortcomings of the Act.
True to the prior warnings of financial, political and legal experts, the financial institutions charged with enforcing the notoriously imprecise law have started blocking financial transactions for gambling that are actually exempt from the legalization, leading to problems with at least two state lotteries.
This week iMEGA disclosed on its website that it wished to bring these shortcomings to the attention of the court as relevant to its case against the UIGEA, and accordingly filed a motion to do this. Instead of supporting the addition to the court record of clearly relevant material, the Department of Justice has sought to suppress the information by opposing iMEGA's motion.
Nicholas Bagley, lead attorney for the US DoJ, wrote: "This material was not before the district court…and is not germane to iMEGA's facial constitutional challenge to the Unlawful Internet Gambling Enforcement Act of 2006. Because this is not an "exceptional cas[e]" that would warrant supplementing the district court record…the government opposes the motion to supplement."
Joe Brennan Jr., iMEGA's chairman retorts: "The [UIGEA] regulations didn't exist two years ago when this was brought to the district court. The regulations did not go into effect until January 19, 2009, more than two years after they were due, and two years after we filed in district court. Should the government get credit for dragging its feet on this?"
"Now you see the negative effect this law was destined to have," Brennan said. "It has led to over-blocking, even of transactions, like state lotteries and horse racing, that have been given specific exemptions by this law. I know that the DoJ doesn't like to lose, but to suggest that this is not 'germane' to the case – how the law actually works in the real world – is simply ridiculous."
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In a major setback to investigation agencies, Italy refused to extradite Carlo Gerosa, an alleged middleman in AgustaWestland bribery scandal, saying it did not have. Defending champions India lose to. joined Italian champions Juventus from. deal for the five-times world player of the year who joined Real from.Over 100,000 Italian translations of English words and phrases. Francesca Piccinini is an Italian volleyball player who represented her country four times at the Summer Olympics.
Visit NDTV.com Online Videos News special and Watch Videos,.Established in the 16th century, Hyderabad has been traditionally known for its pearl and diamond.Every Italian soccer player on the list started playing professionally while still a.


text:
Q: what is wrong with my standard deviation calculation? my code to find standard deviation is wrong. my code is supposed to find standard deviation from user input. i typed in the numbers 1 2 3 and the standard deviation of this set of numbers is 1 but it printed 10 where did i go wrong. also i know i have a bunch of unused variables dont mind them.
import java.util.Scanner;

public class readFromKeyboard {

    public static void main(String[] args) {

        Scanner input = new Scanner(System.in);

        String inStr = input.next();
        int n;
        int i;
        int count=0;
        int min = Integer.MAX_VALUE;
        int max = Integer.MIN_VALUE;
        double average=0;
        int sum;
        double deviation = 0;
        int total;
        int temp = 0;

        while (!inStr.equals("EOL")) {
          count++;
          n = Integer.parseInt(inStr);
          min = Math.min(min, n);
          max = Math.max(max, n);
          System.out.printf("%d ", n);
          inStr = input.next();
          average += n;
          temp += Math.pow(n - average, 2);

        }

        deviation = temp
        average = average/count;

        System.out.println("\n The average of these numbers is " + average);
        System.out.printf("The list has %d numbers\n", count);
        System.out.printf("The minimum of the list is %d\n", min);
        System.out.printf("The maximum of the list is %d\n", max);
        System.out.printf("The standard deviation of the list is %d\n", temp);

        input.close();

    }
}

A: import java.util.ArrayList;
import java.util.Scanner;

public class ReadFromKeyboard {

    public static void main(String[] args) {

        Scanner input = new Scanner(System.in);

        String inStr = input.next();
        int n = 0;
        int i;
        int count = 0;
        int min = Integer.MAX_VALUE;
        int max = Integer.MIN_VALUE;
        double average = 0;
        int sum;
        double deviation = 0;
        int total;
        double temp = 0;// correction here because it must store double or float value

        ArrayList<Integer> n1 = new ArrayList<Integer>();// i used this to store all entered values

        while (!inStr.equals("EOL")) {
            count++;
            n = Integer.parseInt(inStr);
            min = Math.min(min, n);
            max = Math.max(max, n);
            System.out.printf("%d ", n);
            n1.add(n);
            inStr = input.next();
            average += n;

        }

        average = average / count; // this will give you final average

        for (int j = 0; j < count; j++) {
            temp += Math.pow(n1.get(j) - average, 2);
        }
        //System.out.println("\n" + temp + " " + count);
        deviation = Math.sqrt(temp / count); // this is your standard deviation

        //System.out.println(deviation);

        System.out.println("\n The average of these numbers is " + average);
        System.out.printf("The list has %d numbers\n", count);
        System.out.printf("The minimum of the list is %d\n", min);
        System.out.printf("The maximum of the list is %d\n", max);
        System.out.println("The standard deviation of the list is " + deviation);

        input.close();

    }
}

A: Standard deviation for one variable is defined here. You have to take the square root of the mean of the sum of the squared differences between observations and the mean of the set.
//in the loop
temp += Math.pow(n - average, 2)
//outside the loop
deviation = Math.pow(temp/count,0.5) //or alternatively Math.sqrt()

This should give you what you need.


text:
Diploma in Business
Approved Abbreviation: DipBus
Western Sydney University Course Code: 7098.1
AQF Level: 5
CRICOS Code: 089388F
Students should follow the course structure for the course version relevant to the year they commenced. This version applies to students whose commencement year for this course is 2016 or later.
This course is delivered by Western Sydney University, The College as an agent of Western Sydney University.
To succeed in business, individuals must possess both the knowledge and know-how to create opportunities for professional advancement and the development of original and exciting initiatives. This course aims to harness students' energy and passion for success by focussing on career and the future of enterprises in a range of contexts. Whether students wish to start their own business or pursue a corporate role in a global enterprise, this course provides the necessary skills.
This course consists of five core units providing business basics; Enterprise Law, Enterprise Leadership, Enterprise Innovation and Markets, Financing Enterprises and Statistics for Business and is designed to provide students with an understanding of the key areas of Business, before choosing a major area of study.
Students who successfully complete the Diploma in Business will articulate into the Bachelor of Business degree at Western Sydney University with up to one year (80 credit points) equivalent of advanced standing.
One year full-time (three sessions)
Please note this course is available at Parramatta campus for International students only.
The aim of these courses is to prepare students for tertiary study in Business. These courses are accredited by the University, as principal, to enable its agent, Western Sydney University, The College, to produce students who are fully prepared for study beyond the first year of a tertiary award.
Local students are required to have
Completed an English unit in the NSW Higher School Certificate, Or
Competency in English at IELTS 6.0 equivalent (unless a native speaker), Or
Passed the English test administered by Western Sydney University, The College at IELTS 6.0 equivalent, Or
Passed the Foundation Studies Academic English unit, offered by Western Sydney University, The College at C grade level or higher for which advanced standing can be applied for.
Assumed knowledge in Mathematics, equivalent to a two unit subject, in the NSW Higher School Certificate.
Met other entry requirements such as:
An ATAR identified prior to the offer of a place (the ATAR will be set each year at a level below that for admission for the Bachelor of Business, Or
Completed the Foundation Studies course offered by Western Sydney University, The College, with a Grade Point Average of 5.5 or higher.
International students must satisfy one of the following language requirements
IELTS 6.0 with a minimum 5.5 in each sub band, Or
Completed the EAP 4 course offered by Western Sydney University, The College with a 50% pass, Or
Students are also assumed to have completed a unit in Mathematics, equivalent to a two unit subject in the NSW Higher School Certificate.
Academic Entry Requirements vary according to country of origin. However, in general:
Completion of Year 12 or its equivalent is the minimum entry requirement, Or
Students must pass the following preparatory units for which no advanced standing will be granted in the Western Sydney University degree program
First Term of Study
700248 Academic Skills for Business (WSTC Prep)
700046 Accounting Fundamentals (WSTC Prep)
700261 Corporate Social Responsibility, Sustainability and Ethics (WSTC Prep)
700216 Introduction to the Australian Legal System (WSTC Prep)
700045 Statistics for Academic Purposes (WSTC Prep)
Second Term of Study
700251 Enterprise Innovation and Markets (WSTC)
700252 Enterprise Leadership (WSTC)
700253 Financing Enterprises (WSTC)
Choose one of
700274 Accounting in Context (WSTC)
700001 Marketing Principles (WSTC)
700031 Organisational Behaviour (WSTC)
700249 Consumers, Firms and Markets (WSTC)
Third Term of Study
700254 Enterprise Law (WSTC)
700007 Statistics for Business (WSTC)
Choose two of
700027 Consumer Behaviour (WSTC)
700029 Financial Accounting Applications (WSTC)
700250 Financial Institutions and Markets (WSTC)
700030 Managing People at Work (WSTC)
Note: From Term 3 2017, students are advised to take the equivalent unit 700274 Accounting in Context in place of 700005 Accounting Information for Managers.


"Clothing & footwear Retailing in Norway, Market Shares, Summary and Forecasts to 2022", provides data for historic and forecast retail sales, and also includes information on the business environment and country risk related to Norway retail environment. In addition, it analyzes the key consumer trends influencing Norway clothing and footwear industry.
Clothing & footwear is the third largest sector in the Norwegian retail industry, accounting for 11.9% of total retail sales in 2017. An increasing employment rate and improving household income strengthened sector sales.
- Growing online sales and popularity of sports footwear boosting overall footwear sales.


I often like using watercress to make Chinese long-boiled soup (老火湯). Watercress and monk fruit soup is one of my favourites. It's both comforting and nourishing.
To make watercress soup, if not doing it right, it tastes bitter. Some of my readers asked me if I have any tips on removing the bitterness of watercress soup. Yes, I have.
My mother-in-law, an expert of making watercress soup, once taught me her trick of how to make watercress soup without bitterness.
It's so simple. You need to add the watercress in vigorously boiling water in batches, not in warm water or anywhere not up to the boil. Then your soup won't give you bitterness.
Another unique ingredient used in this watercress soup is monk fruit (aka luo han guo, Buddha fruit, or longevity fruit, 羅漢果). It can help to boost our immune system and facilitate blood vessel health. You don't need to add the whole fruit. Half of it is enough for this recipe. Reserve the other half for cooking soups next time.
Top middle: Monk fruit. Top right: Monk fruit cut in halves.
This soup tastes savoury with a mild sweetness, giving you a refreshing feel. It's suitable for consuming on any days throughout the year.
Rinse the watercress. For the last rinse, add 1 heaped teaspoon of salt into the water and soak the watercress for about 15 minutes. Drain well. Set aside.
Put the pork bones in room temperature water. Cook over high-medium heat to remove the blood and impurities, about 5 to 8 minutes. (Note: the soup will be clear by doing this step.) Drain up the pork bones. Rinse under tap water. Drain well again.
In a large deep pot, add 2 ½ litres of water, pork bones, watercress and all other ingredients. Bring to boil over high heat. Reduce heat to medium-low, and simmer for 2 to 2 ½ hours, until the flavours are imparted in soup. Season with salt. Serve hot.
I used to soak watercress in salted water in the last rinse. It helps remove residual pesticides or buds if there's any.
Chinese watercress is available at Asian grocers.
You need to add the watercress in vigorously boiling water. Then your soup won't be bitter.
thank you for your wonderful recipes! would you consider making 霸王花 soup too? i'd love to see your methods.
Thanks for your suggestion. Will do it when I get some 霸王花.
YUMMY! Thanks for the tip too, Christine.
Glad that you like the tip.
monk fruit--is it fresh or dried?
I used dried ones, from Asian grocers.
Christine, can this be done in a pressure cooker as well?
Sure, pressure cooker can make soup.


Like Storage Rooms, it would be nice to disallow certain resources from being traded from specific Trading Rooms. If I have multiple rooms as it is right now, trades are distributed across all rooms so if you have a design as I'm working on now, trades are not as efficient as they could be.
This is a good idea, and just as the storage room the menu could look about the same, just with trades instead of items.
Yeah it starts gettin mucky when you have multiple trades and multiple rooms. It seems the Imps get confused where to go.


Attention Contest Lovers! It's Valentine's Day and that means it's time to vote for the winner in our Imperfect Valentine Contest. Our Imperfect Judges (Patty, Gina, and their dogs) have selected their finalists. We just need you to help us choose the winner. Just post a comment with your selection, and we'll tally up the votes and announce the winner tomorrow morning on the Shut Up Blog. The winner will receive an imperfect Shut Up basket with all kinds of goodies. Thanks to all who entered.
Awww, Christopher will be devistated that 'fart means love' didn't make it LOL Just kiddin.
Love my aspie grandson so much!!!
If I must, I'll go for "Imperfectly Mine".
OMG…if I see that 821 prefix again….
Wow, it's hard to pick one, but I like "Kiss My Aspie" or "PTW".
but these are all awesome!
I love "the school called" – unexpected. LOL Accept Me is great too!
wow,maybe you are right,but i still have my own idea!


text:
Anna of Cleves Breaks the News to Wilhelm
by Heather R. Darsie
On 21 July 1540, Anna of Cleves was no longer allowed to hide the truth from her brother Wilhelm about her marriage's end. Henry had grown impatient waiting for Anna to write her family. Anna waited as long as she could, hoping that Henry would either directly send a letter to Duke Wilhelm in Cleves, or that one of Henry's ambassadors would break the news to Wilhelm. Henry sent his representatives to compel Anna to write a diplomatic letter, assuring her brother that all was well. Most importantly, Anna asked Wilhelm and her family to continue in a friendly manner due to the 'knot of amity' between England and Cleves. If you would like to hear the letter Anna wrote to Wilhelm, head on over to my podcast, Tudor Speeches, and listen to Episode 3.
Love learning about the Queens of England? Are you interested in Tudor history or Women's history? Then check out my book, Anna, Duchess of Cleves: The King's 'Beloved Sister', a new biography about Anne of Cleves told from the German perspective!
UK Hardcover
UK Kindle
US Hardcover
US Kindle
Anna of Cleves Learns her Marriage is Annulled
Wilhelm V, Anna of Cleves' Brother
Anna of Cleves' Maternal Grandparents: Wilhelm IV and III of Jülich-Berg and Sibylle of Brandenburg
How to Train Your Hawk: A 15th Century English Prioress' Guide
Sources & Suggested Reading
Darsie, Heather R. Anna, Duchess of Cleves: The King's 'Beloved Sister'. Stroud: Amberley (2019).
Heather R Darsie July 21, 2019 Anna, Anna of Cleves, Anna, Duchess of Cleves: The King's Beloved Sister, Anne of Cleves, Early Modern, Henry VIII, Holy Roman Empire, Medieval, Reformation, Renaissance, Tudor History, Tudors
4 thoughts on "Anna of Cleves Breaks the News to Wilhelm"
Kahmanta1 @KAHMANTA Unbearable. (@Kahmanta1) says:
Imagine having to tell your brother, a Prince and Duke, that the marriage made with one of the powers in Europe, Henry Viii and England, made just six months earlier, was now over and he had rejected you, the Princess of Ckeves, the key to the alliance, as his bride. How humiliating! Regardless of the personal or political reasons Henry Viii had or invented, this was a disaster for Anna as the woman, because she had been put aside and rejected as a wife. How does a woman of the sixteenth century of such high status cope with that on an emotional basis and really how did William feel? Of course we don't really know, but this must have been very insulting. Yes Anna agreed to the annulment, not that she had much choice, yes, she received a reasonable settlement, yes, she was smart enough to do that, but she also remained in her heart and her own mind, Henry's true wife. She has to break the news diplomatically to her brother and say how wonderful Henry has been and she is doing it to please him. Oh boy, I wish the poor woman had a rolling pin to hit Henry with! She returned the wedding band and told him to destroy it as a thing of little worth, meaning he saw the marriage as no longer having worth. This shows how high born women were just convenient or inconvenient in the marriage market depending on the whims of men and the fortunes of war and peace and political pressure in Europe. Anna was highly prized when it was politically convenient for England and yet no longer wanted when Henry backed the wrong side in the ambitious expansion policy of Emperor Charles V. It was off course her fault according to Cromwell and Henry because he disliked her. Wow! Men really don't know what they wanted then or now.
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(New York Times) – Before they see a doctor, most patients turn to websites and smartphone apps. Caution is advised. Research shows they aren't very good. A few years ago, doctors from the Mayo Clinic tested the wisdom of online health advice. Their conclusion: It's risky. According to their study, going online for health advice is more likely to result in getting no advice or incomplete advice than the right advice.


text:
Two For Tuesday: Should Books Be Snackable, Serialized, and Delicious?
by Mark Krotov & Alex Shephard
The Master of the Serialized Novel, the Poet Laureate of Charming British Orphans, the Godfather of Two For Tuesday, the Original Chuck D himself, Charles Dickens.
Topics discussed: Tim Parks, length, reader feedback (write to us!), Michael Schaub, Ben Carson, thinkpieces, Hillary Kelly, The Way We Publish Now, serialization, cookie cutting (metaphorically), Jonathan Franzen, Harper Lee, George R. R. Martin, Adam Scott, Scott Aukerman, U2, The Americans, Serial, Paul Boogards, Time, The New Yorker, The Paris Review, Roberto Bolaño, Rachel Cusk, Alexander Chee, Harry Potter, Karl Ove, Knausgaard, Elena Ferrante, Jeff Vandermeer, Hilary Mantel, Cormac McCarthy, John Updike, Philip Roth, wow we've got too many proper nouns in this column, Stephen King, Gone Girl, economics, revenue streams, Sammy Hagar, The Minutemen
Mark: Hi Alex! What should we talk about this week? Should we subject our readers to a play-by-play analysis of our interview with Tim Parks? Should we record an audio commentary that they can listen to while reading the interview? Because that interview was really not long enough, and we should probably compel our readers to relive the experience.
Alex: Those are all terrible ideas! Though the Tim Parks interview was (I think) the longest piece ever published on this blog, which has been around for a very long time, so maybe we should find a way to commemorate it. Or better yet, we should send care packages to the 13 people who actually read the whole thing and, I hear, are now all in hospice care.
Mark: That seems like a fine idea. The only reason I don't feel totally bad about subjecting our readers to an interview that long is that Tim Parks made fun of us a lot and compared us to Martin Amis, who is great, but Parks somehow made that comparison insulting, which is only something a literary critic of Parks's caliber can pull off.
Alex: Speaking of length, the experience with Tim Parks was a galvanizing one and it's something we'd like to do again in the future, with some regularity. So before we kick off this week's column, we'd like to solicit reader feedback in two areas. First, if there are any publishing industry veterans, participants, partisans, or commentators, you'd like us to interview, drop us a line—shoot me an email at alex [at] mhpbooks.com or tweet at us @melvillehouse.
Second, we'd like to do a semi-regular "mailbag"-style column, where we respond to questions from readers. If you have a question about any aspect of this column (including why it is so long and terrible) or the publishing industry at large, drop me a line at alex [at[ mhpbooks.com.
I would also like to mention a third, unrelated thing: we did not mention Michael Schaub in last week's column. This was a grave oversight that we regret. Michael, please call off your attack dogs. Mark and I haven't slept in a week.
OK, housekeeping is done! What are we talking about this week, Mark? Taking over the world?
Mark: Yes! I'm proud to announce that we here at Two for Tuesday are going to be the only publishing-related bloggers to also be full-time employees of Ben Carson's presidential campaign. It's a huge thrill. As far as I know, no major (or minor) presidential candidate has ever hired one–much less two–commentators on the publishing industry to be part of his inner circle. What an exciting moment for both of us! I believe that Carson must have heard about us through the irony-free post I wrote about his plagiarism in January.
In the meantime, though, let's talk about novels! Everyone says that the novel is dead, but everyone who says that is also boring and dumb, and I have no interest in discussing whether the novel is alive or not. It is alive.
What I do want to discuss, though, is this very interesting piece by Hillary Kelly, in the Washington Post. The title of Kelly's piece, "Bring Back the Serialized Novel," is somewhat self-explanatory, but what she's written isn't just a pie-in-the-sky cultural wishlist. (If she had written that kind of column, it would've been titled "Bring Back the Literary Feud." People write those columns periodically, and they're always silly.)
Kelly is arguing that the history of serialization in the nineteenth century is a precedent for the kind of landscape she'd like to see–namely, one in which novels aren't just published in one fell swoop, but in which some of them are released to readers in chapters or parts over a period of weeks and months. The goal is to transform novels, which are long, into "snackable content," a gross phrase for which I cannot blame Kelly.
There's a lot of very smart stuff in Kelly's piece. Alex, what did you think of it?
Alex: I thought it was a great piece, and a somewhat deceptive one. I'm not entirely sold on serialization after reading it (more on this in a moment), but I thought it was really exceptional in a diagnostic way about The Way We Publish Now. Two related things stood out the most to me. First, was this paragraph:
Today, when a novel is released, it relies on a series of tried (but not always true) advertising methods. The book is accompanied by a simplified synopsis targeting a specific audience, inflated with blurbs from "influencers" and dropped onto reviewers' desks with the hope that enough serious critics will praise it that it will wriggle onto a prize list. Even greatness doesn't always guarantee success. As the Telegraph noted in its look at "Why great novels don't get noticed now ," Samantha Harvey's Dear Thief received universally glowing reviews — and sold only 1,000 copies in six months. Publishing houses have a brief window to push a work into the public's consciousness. If the pilot doesn't light, the novel doesn't move. But with a constant stream of exposure over a period of six or 12 or 18 months, a novel would stand a far better chance of piquing the public's interest.
This is a very perceptive indictment of the cookie-cutter approach most publishers apply to books, a kind of rinse and repeat model of sending out galleys, taking out ads that look like other ads, and then crossing your fingers that you get "The Big Review" or "The Big Prize." There are obviously a lot of exceptions there—and we've written about those before—but I think that that paragraph perfectly encapsulates the status quo.
On a related note, Kelly's clearly thought this through; she knows that, for serialization to work, it would require a Big Fish—a bold move by an author and a publisher or an author and a magazine or, perhaps, an author and an app. Here is Kelly on what's happening now, and why those steps are too tentative for the practice to catch on:
Some sites are already trying this. Mousehold Words lets readers ingest Dickens and others in their original serialized form. Amazon introduced a Kindle Serial program about three years ago and stocks a variety of titles, mostly sci-fi and thrillers. St. Martin's Press has also released a short list of books in serial form in the past few years. And DailyLit, which e-mails portions of books to readers on a daily or weekly schedule, was bought in 2013 by the serialized-fiction outlet Plympton.
But these enterprises all revolve around breaking up and digitally delivering old content or providing an outlet for niche writers. To reinvigorate readers and ignite conversations, beloved authors and notable magazines would need to set themselves to the task: Imagine a Stephen King novella terrifying the readers of Time, a new Jeffrey Eugenides epic unfurling through the pages of the New Yorker or Jennifer Weiner's curious, energized female protagonists occupying a prominent section in Elle. Imagine if HarperCollins had slowly unveiled Harper Lee's much-anticipated second novel over a period of six months. Novels wouldn't be bulks to trudge through or badges of honor to pin to pedants' chests. They'd be conversation notes, watercooler chatter, Twitter fodder. A part of the zeitgeist, perhaps, instead of a slowly fading pastime.
Those are enticing ideas! Most of all, I like the striving to find a way to turn literature into (sorry) something Serial—a show that everyone is talking about, even if everyone isn't necessarily listening. Those books happen occasionally on their own—Go Set A Watchman will be such a book this spring, Jonathan Franzen's Purity will be that book in the fall, and George R.R. Martin's The Winds of Winter will also occupy that space when it's published in 2037. But publishers need to work harder to find a way for books that don't have built-in interest to enter "the conversation," so to speak, and serialization is an interesting possibility.
Perhaps most importantly, the form of the book hasn't changed at all, even though the way we consume media has changed dramatically over the past two decades. This is where serialization makes the most sense to me—it seems to fit the 21st century a little better than the "traditional" novel does. But I've gone on for too long already—I'll get into some of my misgivings later. Do you think the novel needs to be more "snackable"?
Mark: Personally, no, but I'm also not an especially representative sample of the Snackable Generation (you heard it here first!), because I'm still on season two of The Americans, never listened to Serial, and am listening to my favorite podcast, U Talkin' U2 to Me, with Adam Scott and Scott Aukerman, about a year after its original release. (Maybe I should write a think piece about the virtues of Delayed Snackability.)
I agree that Kelly's piece is strongest as an indictment of a particular kind of publishing, and as a provocation: here, she says, is what literary publishing could be. And I agree with her that novels can and should play a much more central role in the culture, and I implicitly support any way for that to happen. But infrastructures develop for a reason, and while that doesn't mean they shouldn't be, ahem, disrupted (wow, this column is so buzzword-heavy that it may be the first Two for Tuesday to be entirely comprehensible to a venture capitalist), we have to take seriously what they tell us. In the case of the traditional book publication model, the reason for the long lead time, the push around publication, etc. isn't just laziness or conservatism or an absence of good ideas (though there is plenty of that!)–it's also a realistic, if not always imaginative, reflection on what can and can't happen for a book in 2015.
This is why I think it's very telling that Kelly's examples of possible serializers fall into two categories. The first is publishers and new platforms, who would basically come up with a new distribution model for novels. These are the Big Fish of a higher order, and, to my mind, the likeliest candidates to actually take this on. The second is traditional magazines like Time and the New Yorker. But could you imagine even a powerful person in publishing–like Knopf's Paul Boogards–pitching the editor of Time on the full serialization of a big fall novel? The editor of Time would then tell a long, sad story about advertising statistics and shrinking page counts and the increasing inability to do as much arts coverage as in the past, and that would be the end of that meeting.
The publications doing the potential serialization would have to be willing partners, and I doubt that that could happen on anything other than a singular, symbolic occasion. The Paris Review has serialized two novels, I believe, but they have the pages and they lack the financial pressure of some of the other publications on Kelly's list. Plus, they would have published Rachel Cusk and Roberto Bolaño anyway. But for all other traditional media, this sounds more like the Franzen Time cover–a galvanizing, but ultimately anomalous one-off. In other words, what Kelly's piece reveals, paradoxically, is just how hard it is to get publicity in the first place. Which is no excuse for a lack of ambition, of course, but much as I wish we could simply create a new reality, it's not that simple. Maybe our new patron Dr. Ben Carson can help!
Alex: I just lost ten minutes of my day googling "ben carson favorite book." I have never felt more dissatisfied with my life.
The multi-volume novel is having a moment right now, as Alexander Chee wrote in an excellent essay on LitHub that is something of a cousin to Kelly's piece. (Kelly, in her piece, argues that the multi-volume novel is the heir to the serialized novel.) Over the last 18 months or so, the four authors I've probably spent the most time discussing with people inside and outside the industry are: Karl Knausgaard, Elena Ferrante, Jeff Vandermeer, and Hilary Mantel. I've talked about other books as much, perhaps—I've been trying to block out that time everybody was talking about The Goldfinch without much luck—but I think that list is fairly accurate.
All four of these authors, of course, are working in something that approaches the serial format, though that's not quite accurate—these are series, and each work put out by each writer is a distinct novel. Of the four, Vandermeer's Southern Reach Trilogy probably comes the closest to what Kelly is talking about here. Its publication was risky and ingenious—three paperback originals each published three months apart, before being collected in a (gorgeous) hardcover edition. As soon as you started the first one, you knew you needed to read the other two as soon as possible.
It's difficult to pinpoint exactly why the multi-volume novel is so successful right now. It's always been viable in genre—particularly fantasy and science fiction—and it's possible that the slowly eroding lines between "genre" and "literary" are one explanation. Both Kelly and Chee see the Harry Potter phenomenon as an important influence.
An argument could be made that the kind of immersive experience of reading a succession of literary novels is an antidote to the rise of "snackable content"—that despite distractions, people, as Chee argues, want to spend time inhabiting immersive fictional worlds. It's also wholly possible that this phenomenon isn't quite a phenomenon, after all. Fictional series have existed for a while. Many of the Great White Male Novelists of the Post-War Generation—Updike, Roth, McCarthy—all wrote what could be considered "multi-volume novels," after all. And it's also possible that it's not such a phenomenon after all. Knausgaard's sales, despite the hype, have been rather modest, so this all may be somewhat inflated.
The internet may exaggerate the hype, but the success of these novels shows that Kelly has a point—audiences may not be demanding the return of the serial novel, but there's plenty of evidence to suggest that they would welcome the right serialized novel from the right writer. But there are a number of barriers.
One reason why the serial novel hasn't caught on again, as Kelly writes, is that the current offerings aren't particularly appealing to most consumers—they're either from unknown authors or are simply "repackaged" from books that have already hit the market (and, in most cases, not done particularly well, hence their second life as serial content). But books from well-known writers—books that are that rarest of commodities, a commercial sure thing—are expensive.
Serial, for instance, had one thing going for it that it's fair to assume a serialized novel wouldn't: it was free. It's unlikely that a serialized novel would have that going for it. Charging a fee—especially from the first installment—would effectively kill it as a water cooler conversation starter. Even serializing a novel in a magazine with a large circulation, like The New Yorker, would likely have the same effect, especially when one considers the fact that these magazines are often only on newsstands for a short period. I first heard about Serial in the middle of its run; if it was serialized in a print publication with a paywall, I would probably be shit out of luck. (I didn't care much for Serial though, so I'd probably have been better off.)
That brings me to another issue: economics. Not only would serializing a novel be expensive, it would also be a risky economic decision, and it would undoubtedly be one that most agents would balk at. The economics of publishing have changed drastically since when Dickens made his name as a serialized novelist. Now, royalties are incredibly important; for a serialized novel to work, it would have to offer a radically different payment structure. Kelly has a novel solution to this: subscribers would receive a copy of the book (which would presumably reach sales minimums/pay out royalties). I like this, but I doubt that most agents would—I fear, instead, that this fact would just make serialized novels even *more* expensive to produce, perhaps prohibitively so.
The biggest question I have, though, is what kind of fiction is suited for this? Kelly offers Gone Girl as an example, and I think that would work perfectly; she also mentions Stephen King, who I think would probably be game (The Plant may have been a failed experiment, but King's restlessness and willingness to experiment and embrace the new have always been his best qualities). I agree, but I fear that there are too few works of fiction a year that would actually work here—works that are either suspenseful (like Gone Girl), or from known quantities with nothing to lose. It's, of course, possible that fiction would emerge that fit this model perfectly—the way that Serial controversially fit the serial podcasting model—but I'm not necessarily sure that's a great thing, though it would probably be a great thing for the thriller genre.
But weirdly, none of this lessens my enthusiasm for this idea, which probably says something about how taken I was with the essay itself. I want serialized fiction! My best bet, looking ahead, would be for a young start-up with deep pockets to make a splash with this model, and I hope it happens. But I don't think it's particularly likely—it's most likely a major (i.e. Big 5) publisher would have to be involved, and, as we discuss regularly, those publishers are particularly risk-averse. But I want to take risks! Let's take some fucking risks, Mark! I feel like a teenager! Let's see how fast this car can go!
Mark: Well, you've basically said everything there is to be said about this, which makes sense, because I was on a plane for part of the writing of this post, and though I love you, our readers, and Two for Tuesday, I was unwilling to pay $19.95 for the privilege of co-writing this column at 30,000 feet.
I'll just quickly reiterate what you said about economics. There's so much about Kelly's column that's persuasive and appealing, and she makes a strong case that a return to serialization would be in the reader's interests, though ultimately I agree that a) not many books would qualify and b) even more importantly, what examples like Serial actually tell us is that even if this were to work exactly as Kelly has suggested, we'd be talking about a handful of books every year. Those books and authors might benefit, but the industry wouldn't be upended.
But even so! This really would represent a different model for a number of different reasons, and many of the stakeholders who make publishing the big and weird ecosystem that it is would it is would have very valid grievances! As you say, agents and publishers would have to negotiate entirely new kinds of contracts, and especially with magazines in the mix, there'd be a tussle over rights. But what about bookstores? Can you imagine if you're a bookseller and you've been told that the next Gone Girl will be released online, piecemeal, and that word-of-mouth will be strongest in the months before publication, rather than after?
I worry that this edition of Two for Tuesday has made me sound like the Defender of the Status Quo, which I don't think I am. But I do think that, though Kelly's piece was a marvelous provocation, I'm not quite sure of its programmatic value. And on that note, with me feeling at my most square, I turn it over to you to bring us some hip, happening tunes.
Alex: Before I do, I'd like to say that the thing I find most attractive about this idea is that it hints at where I think the status quo is already heading: towards more diverse revenue streams. I'd like to see a publishing economy where serialization of the right books was accounting for some revenue, alongside subscription and bundling and whatever other demon technologies the 21st century gives us.
Speaking of demons, I want to hear some motherfucking Sammy Hagar. But since we've already used Hagar once (shoutout to Montrose, his best band), I'm going to mix things up a bit this week. In this week's twofer, we're gonna get one track from Hagar and one from The Minutemen.
Two for Tuesday: Awesome Show, Great Job
Two for Tuesday: Let's write a novel about publishing together!
Two for Tuesday: President Obama should invite Thomas Pynchon to the White House
Two For Tuesday: What time is it? BEA time!
Orwell's 1984 was published seventy years ago, a Harvard academic asks if he got it right
Single billboard heralds arrival of new Hilary Mantel novel
What happened to Harper Lee's long lost crime novel?
Adam Scottalexander cheeben carsoncookie cutting (metaphorically)cormac mccarthyeconomicsElena FerranteGeorge R. R. MartinGone GirlHarper Leeharry potterHilary MantelHillary KellyJeff VanderMeerJohn UpdikeJonathan FranzenKarl OveKnausgaardlengthMichael SchaubPaul Boogardsphilip rothRachel Cuskreader feedback (write to us!)revenue streamsRoberto BolañoScott AukermanSerialserializationStephen KingThe AmericansThe New YorkerThe Paris ReviewThe Way We Publish NowthinkpiecesTim ParksTimeU2wow we've got too many proper nouns in this column
Faithful Ruslan Georgi Vladimov


text:
15th New York National Guard Enlistment Records
New York State Military Museum and Veterans Research Center
Military & War, People
New York (State). National Guard;
Publisher of Digital:
Abarca, Franciso
New York (State). National Guard. Regiment, 15Th
New York (State). National Guard. Regiment, 369Th
Recruiting & Enlistment
Recruiting And Enlistment--History--20Th Century
The 15th New York National Guard, also known as the 369th Regiment, was the first African-American regiment of World War I and were part of both World Wars. The Regiment was also nicknamed the "Harlem Hellfighters" and aided in changing the American view on future African-American military members.
This collection contains images of identification cards during World War I and World War II eras. These cards were made when men enlisted into the 15th New York National Guard, the African-American Regiment raised out of New York City.
These approximately 11,000 cards range in date from just after World War One (where the unit served under the French as the 369th Infantry Regiment) to 1949 when the military was integrated under President Truman. Each card captures information such as name, address, rank, occupation, age, height, and place of birth.


A truly magical place. This 17th Century Tuscan estate, set amongst the hills and olive groves of Northern Tuscany.
an hour from Florence. Also near to the many beaches on the Versiglia coast.
and spend precious time with friends and family. Also offering a great space to meet and study. It is already much used for cooking courses, Leadership and life skills, yoga and small weddings. Ideal for guided visits to the local gardens and Renaissance treasures of Tuscany.
Many families and groups have become great friends returning year after year.
eating pizza and safely playing in the gardens. If you just want to relax or meditate in the beautiful and peaceful setting of Boccella grounds, there will be a special place waiting for you. Maybe a chair under a pergola covered with roses or sweet smelling jasmine.
The other five properties on the estate offer top quality accommodation, three with private pools, all located in their own private grounds.
All share the same peaceful feeling.
Each property has been decorated carefully in the classic Tuscan style with the addition of very comfortable armchairs and sofas.
are all around. Early May is the month to visit to see the wonderful rose display.
The estate's olive grove produces its own fine quality cold pressed oil, seasonal fruit and vegetables, fresh eggs when the hens are laying.
The grounds and houses are managed and cared for by our English speaking Estate Manager, David, and his Italian wife, Silvia.
Together they enjoy ensuring our guests have the best Tuscan experience possible.
The estate is only 10 minutes by car to the beautiful city of Lucca or a little longer by bicycle along the river path.
In Lucca you can explore the winding streets full of interesting shops, cafes and restaurants.
for a glass of wine or cappuccino in one of the many delightful small bars and just enjoy the atmosphere.
From Lucca there is a very good train service which goes directly to Florence.
Photo of the owner and some of her family taken in May last year.
It is still possible in these stressful times to take a holiday and truly relax.
it as much as we do.


is located in Houthalen (Belgium) and is a manufacturer and distributor of self adhesive sign making films, digital print media, laminates and automotive & deco films. Grafityp can boast more than 65 years of outstanding service to the sign industry.
40,000 m² of modern production facilities (including 3 coating lines, a casting line and a cast-extruder) on 65,000 m² of premises allow us to strive for perfection.
Grafityp's roots are to be found in Amsterdam (Netherlands), where "Stanserij Holland" was founded back in 1945. As premises soon became too small in Amsterdam, the company moved to Houthalen (Belgium) in 1969, and its name was changed into GRAFITYP LEADERS IN LETTERSYSTEMS NV. In 1984 Grafityp Leaders in Lettersystems was the first company to launch a cutting system completely steered by PC (named CSR - Computerized Signmaking Robot).