We're looking for extraordinary machine learning researchers to join us at Rasa. Starting a new job can be scary, and that's especially true for an early stage startup. The flip side is that you get to have a huge impact. The point of this post is to provide enough information to let you decide whether to apply.
We don't draw a hard line between our research and engineering teams, we all work on the same stack and share work, knowledge, and tools. The driver for our research is this: what would help developers build great conversational software? How can we enable them to build things that are currently out of reach? The primary outcome of our research is new features in the open source Rasa Stack. We also write papers but that's secondary to the code output.
Machine learning research at Rasa is not about tweaking architectures until you get state-of-the-art results on an established dataset. You'll have to come up with new questions to ask, new experiments to conduct, and break an ambitious long-term vision down into measurable milestones. Your work will go into libraries used by thousands of developers all over the world.


text:
Q: The rank of the intersection of subgroups of a free group Let $H$ and $K$ be finitely generated subgroups of a free group $F$, and suppose that $H$ has finite index in $F$. Is it true that $rank(H \cap K)-1 \leq (rank(H)-1)(rank(K)-1)$?

A: Yes, this statement is true and for a long time was known as the Hanna Neumann Conjecture. It was proved in 2011 by Igor Mineyev.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Speed up a UPDATE with SELECT query I have two tables:

*

*Table 1 has Episode and Code, with Episode as distinct.

*Table 2 has Episode and Code, but Episode is not distinct (other fields in the table, not relevant to the task, make each row unique).

I want to copy Table 1's Code across to Table 2 for each episode.  The current code to do this is as follows:
UPDATE Table2
SET Table2.Code = (SELECT TOP 1 Code FROM Table1 WHERE Episode = Table2.Episode)

This takes hours and hours.  (I don't know precisely how many hours, because I cancelled it at about the 20 hour mark.)  They are big tables, but surely there's a faster way?

A: I don't have a SQL Server handy and I'm not completely sure, but I seem to recall there was a syntax like the following which should probably speed things up.
 UPDATE Table2 SET Table2.Code = Table1.Code FROM Table1
 WHERE Table1.Episode = Table2.Episode

A: Are there any indices on the "Code" and "Episode" columns on both tables? Those would definitely help speed up things quite a bit!
Marc

A: You can use UPDATE with joins like this. Note that you have to specify FROM.
UPDATE MyTable
SET MyColVal = O.NewVal
FROM MyTable T
INNER JOIN MyOtherTable O ON T.Id=O.Id
WHERE ...

http://doc.ddart.net/mssql/sql70/ua-uz_3.htm


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text:
<?php

namespace CHAOS\Harvester\PSDB\Processors;

use CHAOS\Harvester\Loadable;
use CHAOS\Harvester\Processors\ObjectProcessor;
use CHAOS\Harvester\Shadows\ObjectShadow;

class ItemObjectProcessor extends ObjectProcessor {

  protected function generateQuery($externalObject) {
    $urn = $externalObject->Urn;
    $format = '(FolderID:%u AND ObjectTypeID:%u AND DKA-ExternalIdentifier:"%s")';
		return sprintf($format, $this->_folderId, $this->_objectTypeId, $urn);
	}

  public function process(&$externalObject, &$shadow = null) {
		$shadow = new ObjectShadow();
		$shadow = $this->initializeShadow($externalObject, $shadow);

    $urn = $externalObject->Urn;
    $this->_harvester->info("Processing `$urn`");

    // Process the files
    $this->_harvester->process('item_file_video', $externalObject, $shadow);
    $this->_harvester->process('item_file_audio', $externalObject, $shadow);
    // If no video or audio exists - let's skip this
    if(empty($shadow->fileShadows)) {
      $this->_harvester->debug('Skip object because empty file shadows.');
      $shadow->skipped = true;
    }

		$this->_harvester->process('item_file_thumbnail', $externalObject, $shadow);
		$this->_harvester->process('item_metadata_dka2', $externalObject, $shadow);

    //var_dump($shadow);
    $shadow->commit($this->_harvester);
    return $shadow;
  }
}

redpajama_set_name: RedPajamaGithub


text:
← Arkansas Center for Biodiversity Collections – 1st Annual Bioblitz
Know Your Natives – White Oldfield Aster →
Know Your Natives – Beautyberry
Posted on October 18, 2016 by Webmaster ANPS
Beautyberry (Callicarpa americana) of the Mint (Lamiaceae) family, formerly of the Vervain (Verbenaceae) family, is a large deciduous shrub that occurs throughout the Southeastern U.S. from Texas and Oklahoma to southern Missouri and southwestern Kentucky, to Maryland, thence south and east to the coasts. In Arkansas, it is recorded from across the state but is more sparse in the northernmost Ozark counties. The genus name comes from Greek meaning "beautiful fruit". The specific epithet means "of the Americas". It is also called American beautyberry, beautybush and French-mulberry.
This plant, with multiple stems growing from the root stock, does well in a wide variety of soils in full sun or partial shade. Branches, growing from previous year's stems and older branches, are irregularly spaced and unbranched in current year's growth. Most branch growth occurs from side buds rather than terminal buds. New, rapidly growing basal stems may arise from among older stems of mature plants. In favorable sites, new stems and fruit-producing branches may grow up to three or more feet per year. Plants have a relatively dense habit in sunnier sites, while in shady sites plants have fewer stems with a more open habit. Rapid growth rate of new branches and weight of fruit along ends of branches cause branches to permanently arch downward to the extent that mature shrubs have a cascading appearance. Overall plant height may be 7 feet or more with greater widths. Plants may live for 15 or more years.
New growth of stems and branches appear woolly due to being densely covered with short, branched hairs. Dense hairs extend onto petioles and peduncles, and along the veins of lower sides of leaf blades, along with shorter hairs throughout upper and lower surfaces of leaf blades. Hairs on stems wear away throughout the growing season, the stems becoming smooth and tan with variously-sized, thin, elongate lenticels (pores). On old growth, lenticels become rounded to irregularly shaped and corky.
Photo 1: A first-year seedling exhibits characteristic widely spaced opposite leaves and rapid growth.
Photo 2: Trunk of a 12-year or older plant showing "old growth" stems alongside one- and two-year old stems. Note lenticels on old and young stems.
Large, elliptic-obovate, mostly opposite leaves occur along new stems and current year's branches. Leaves may reach 9 inches long (including the 1½ inch flat-topped petioles) and about half as wide. Leaves, which are generally widely spaced and opposite, tend to be closer together and significantly smaller toward the branch apex. However, at branch apices, leaves may occur singly or as a group of several leaves. Leaves, with a consistent shape throughout the plant, are dark green above and light yellowish green below with yellow veins. Leaf blades are flat, soft and flexible with tips and bases that are similarly tapered. Margins, except at the tip and near the base, are dentate with triangular teeth. Venation is impressed above and raised below, with primary veins that are pinnate but offset across the midrib. Secondary veins connect primary veins to one another (cross-venulate). Leaf blade, on upper side, is up-flexed between veins. In fall, leaves exhibit a nice yellow-green coloration. On new branches, axils of leaves approaching branch apices develop two buds, one above the other. Lower buds may develop into branches the next growing year while upper buds may develop into inflorescences during the current year.
In early summer, clusters of flowers grow from the upper axillary buds. Clusters above paired opposite leaves are of equal size (referred to herein as "double cluster"). Peduncles of clusters are thrice bifurcated so that eight small umbels grow from a single leaf axil with up to ten or more flowers per umbel. All flowers in a double cluster bloom and fade simultaneously. Double clusters bloom sequentially toward branch apices with only one double cluster reaching anthesis at one time.
Flowers bear light pink or white, stubby and funnel shaped corollas, approximately one-eighth-inch in diameter, with four rounded lobes and prominently exserted stamens and styles. Filaments, with knobby divided yellow anthers, and styles, with a flattened split stigma, have a coloration similar to the corolla lobes. Flowers are set in a light green one-piece, cup-like calyx.
Photo 3: In early July, branches and petioles are woolly. Note succession of buds to flowers to fruit.
In late summer, flowers reliably produce fruit (berries) with luminous magenta or white skin. As they grow, the double clusters of fruit form a dense flattened to rounded mass up to about 1½ inches wide with a depth of about ¾ inch. Fruit masses, enveloping leaf bases, are aligned along slender branches in shish-kabob fashion. As leaf spacing decreases near branch tips, fruit clusters may join together to form a longer continuous cluster. Also, when "extra" leaves (typical opposite leaves plus one or two more) are present, each leaf produces its own flower/fruit cluster resulting in larger fruit clusters.
Photo 4: Shrubs in full sun, as shown, have a more dense habit than those in partial sun.
Photo 5: In this mid-September photo, note that the pinnate primary veins are offset across the midrib. Also, note dentate margins.
A fully developed fruit has four cupped, somewhat elongate, thin light tan seeds. Seeds are small in relation to fruit size, with each seed set separately in light-colored mealy fluid, the cupped side with a fruit core of the same fluid. Fruit, unless eaten by wildlife, remains after leaves have fallen.
Photo 6: Double clusters of beautyberry fruit are shown (common magenta [left] and less common white [right]) with a double cluster (fruit removed [center]) in which thrice divided peduncles (see yellow arrows) and pedicels can be seen along with calyces. Stem is removed (see red arrow). Seeds are also shown.
For a larger garden or natural area this plant provides good color and structure as well as an excellent wildlife food source. Its large open arching structure and large leaves attract attention even before fruit develops. When fruit ripens to a magenta color (the complimentary color of green) or pure white* and leaves assume their fall color, this plant is a "show stopper". Fruit can persist into winter, but may be devoured by birds, small mammals and deer well before winter. Although drought tolerant, leaves tend to wilt when soil dries, but rebound with renewed moisture. Cold winters may kill stems, but not the plant. Beautyberry is a prolific seeder and can form colonies from seed.
Photo 7: In mid-October, fall leaf color accents magenta fruit.
A second species in the same genus has been identified as escaped in Arkansas, namely, non-native Chinese beautyberry (Callicarpa dichotoma), which is documented from Saline County. This winter-hardy plant also bears magenta fruit, but on a smaller shrub than American beautyberry. Chinese beautyberry, although not now classified as invasive, is potentially invasive.
White fruited beautyberry is a form of Callicarpa americana. This white form has been referred to as Callicarpa americana var. lactea. The flowers are also white.
Note: Raw fruit should not be eaten. However, fruit has been used for jelly as noted in Florida's Incredible Edibles by Richard Deuerling and Peggy Lantz. This same book also provides a recipe for using beautyberry as insect repellant.
Article and photographs by ANPS member Sid Vogelpohl
This entry was posted in Know Your Natives, Native Plants, Shrubs, Wildflowers and tagged American Beautyberry, Beautyberry, Callicarpa, Callicarpa americana, Know Your Natives, Lamiaceae. Bookmark the permalink.

redpajama_set_name: RedPajamaCommonCrawl


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text:
How to Speak Czech
by Laura Maylene Walter
Milenka wrote in shaking pencil on the backs of used notebook paper everything she planned to make during her granddaughter's visit. Lentil soup, spiced with pepper. Cabbage noodles. Dumplings stuffed with prune butter. Pairs of sweating sausages. A vat of creamed spinach, steaming green and dotted with bread torn ragged from the loaf.Most of the ingredients she could pick up from the corner market, but her son, Max, made a trip to the grocery store just outside of town. He brought back yellow boxes of dry cereal and a gallon of skim milk. A package of Tastykakes. Three frozen dinners, a case of cola, the jumbo can of coffee. "I know my daughter," he said. "This is what my little girl eats."
She was not little anymore, Alema. At thirty-three years old she was still without a husband, though lately she hinted of a beau she refused to bring to Milenka's house in Carbon County. Milenka placed the cereal and packaged snacks into cabinets and checked the stove. Pancakes with cinnamon for breakfast, a pile of fresh fruit next to the breadbox. Fruit was not something Milenka had grown up with in the Czech village. She was raised on slaw, canned milk, dried prunes. Alema would get fruit every day during her visit. She'd eat white bread soft enough to squish beneath her teeth, noodles buttered until slippery.
"All I'm saying is, don't kill yourself cooking until she gets here and you see how she eats," Max said. "If she even gives herself time to eat."
Milenka clasped her hands and paced the length of her kitchen, the shining whiteness of it. The kitchen was all she had left, these days. Life was long and what did it give her? A husband dead from coal dust, a balding son divorced from his career-driven wife, and a granddaughter with not one, not even two, but three degrees who was driving alone halfway across the country.
And Lida, of course. She still had Lida. Milenka walked to the kitchen window and peered through curtains at her sister's duplex next door. Lida would be in there right now, cleaning and straightening, waiting for Alema's arrival so she could swoop in and claim what was never hers.
"I wonder if she'll make it before dark," Max said. "You drive across those prairies at night and it's like you're about to drop right off the edge of the world." He went to over to the cabinet and retrieved the box of Tastykakes.
"I'm about to make lunch," Milenka said.
"Just a little snack." Max tore into the box and pulled out a spongy puck, which he put to his mouth again and again until his mustache was plastered with crumbs.
Lida didn't cook. Lida baked. Right now a chocolate layer cake piled high with frosting because that had always been Alema's favorite, as a little girl. Oh, what a girl. Flirty blond hair that flapped around her shoulders and curled even without the puffy pink rollers Lida bought one Christmas. Knees free of scabs, skin so pale she wore long sleeves in the summer and dabs of white on her nose through autumn. Those blue eyes pure like nature: a bunny lost in a field. Bright bathing suit straps crisscrossing her body, nothing like those heavy woolen suits Lida and Milenka wore as youngsters, their hair trapped beneath bathing caps.
Sometimes Lida pretended Alema was hers, that she was a daughter she found curled in a bucket as if by magic instead of being born to Max and that woman he married who couldn't even last as a wife.
Meringue, too. That was another favorite. Lida made the pie light as a dream for Alema, recreating the same pale color of the girl's skin. Mermaid-monster, child of the sea. Alema was raised in Harrisburg but Lida always knew she would leave that place first chance, jump ship. Ship. Chip. Chocolate chips, hot and soft right out of the oven: another memory.
These days, Lida kept the memories stacked and waiting in her oven, as obedient as furled cinnamon rolls. Which Alema only liked without nuts. She was funny that way. Funny also with her friends back then, little girls who spoke a type of language, slang Max called it, that Lida didn't understand. Though she and Milenka were fast learners of English when they came over. It was good, to be young with another language sitting in your throat: get it out easier.
Alema was a smart one. Came home with A's on her report cards and made dioramas filled with tiny people, pets, furniture. She never showed an interest in boys as a child, and even as a teenager she studied books instead of bringing dates into the parlor or going out to restaurants with white tablecloths, as Lida had done when she was a girl. It was better, for Alema to avoid that for now. To be smart, and to get the things women of this world were now allowed.
Lida picked up a dishtowel and stared at it, deep in thought. Still. To have a man, a spiced scent floating next to you in the dark, the feeling that he would be the one to catch you in his hands and take you, and claim you, and make you something real.
On the first day of her drive from Nebraska to Pennsylvania, Alema allotted herself three stops for food, gas, and restroom breaks. She was accustomed to working a long day straight through. She took an early breakfast at a highway donut shop, brunch in a sub shop, and finally stopped at a truck stop for a longer break, where she sat at the counter with a bottomless cup of coffee while truckers gave her sideways looks. They left her alone, as she knew they would, because she wore tailored dress slacks and a sheer patterned tunic, her hair pulled back in a strawberry bun. She imagined they stepped between their rigs after eating to place bets on her occupation. Psychologist, lawyer, accountant. None would guess she was a microbiologist conducting research at the University of Nebraska, currently comparing plant and animal pathogens. Later, she thought, these men would return to their trucks and remember the line of her neck to make the lonely Midwest miles pass a little sweeter.
She stopped over in Chicago to spend the night with her friend Margi before making the last long leg of the trip. Margi served a late dinner of duck with chardonnay on the ninth-floor balcony and asked about her trip. Alema tried to describe her grandmother's town but came up with nothing but run-down stores, a dying coal industry, and towns spliced with train tracks used only to get to bigger places.
Grandma Milenka was a sweet old woman, Alema thought, but she would be better served to leave that creaky duplex and move in with Max in Harrisburg. Lida would have to go too, of course, the sister everyone called crazy but who at least had the sense to never marry. Not that it could have been easy, Alema allowed, considering that Lida and Milenka had to suffer through a generation that placed the worth of a woman on husbands and children.
"My grandmother wants to teach me how to cook," Alema told Margi. "She won't take no for an answer. So this should be interesting."
Margi looked down at their plates. "It might not be so horrible, to know how to cook," she said. "Maybe you should try."
Alema drank more wine, said nothing. She couldn't explain how heartbreaking it was to watch Milenka spend hours bent over that stove, her hands smothered in oven mitts, while everyone else sat there and let her do all the work. Even Alema's own father took advantage of Milenka, soaking up the meals without even a thank you. That was why Alema had ferried fast food back to the house during her last visit. In that small way, maybe she could bring her grandmother some relief.
"My mother doesn't cook," Alema added. "I must have inherited it from her. She never spent a minute in the kitchen."
"That sounds like your mother," Margi agreed. She stood up and began clearing the plates. She dumped all the dishes in the sink and left them to soak in a sprinkling of dish soap, and then she inflated an air mattress in the corner of the small apartment. Alema watched all of this and remembered that Margi once confided that her mother entered bake-offs and published recipes in their local paper. That world of creation and care seemed so far away, especially there in a high-rise apartment building with an attached deli and grab-and-go café case.
When Margi went to bed, Alema lay in the dark living room thinking of her mother. How she visited Carbon County and was confronted with all that cooking and those old-world ideas and responded by running away. At least she saved her identity, Alema thought as she drifted off. At least she remained herself.
In the morning, Alema was up at her normal hour of five a.m. and had a quick cup of coffee on the balcony. She breathed the city air and took in the buildings, the feeling of morning life. When she left Margi's apartment she obeyed the speed limit and watched the miles tick by one by one. The sun came up in front of her as she drove, looping itself over the highway and pulsing toward the sky. When it was time to make the trip home the following week, she'd be driving into the sunset. Alema looked forward to that already, the sun fainting in front of her while Pennsylvania spread thin and thinner into nothing.
Milenka's kitchen seemed smaller now with this young woman in it. Alema stood tall and thinner than Milenka remembered, with a hint of red in her blond hair that had to be the product of chemicals. She was dressed up and polished like a peach pit, even after that long drive. She stood in the kitchen wearing dress slacks, a rich collared shirt, and silver strands of jewelry dangling down her neck.
Milenka had on a blue print housedress and her green apron because she was going to make dinner. Hamburgers with onion and a side of cabbage noodles: something easy, unthreatening for her granddaughter's first day. But Alema, it seemed, was already full.
"I ate on the road," Alema said. When Max handed Alema a can of cola and a Tastykake, she accepted each. Opened the wrapping, pulled back the tab. Sugar, chemicals. Milenka had firm round onions in the drawer, a package of ground beef waiting in the refrigerator.
"Is that Lida?" Alema asked, and Milenka stopped what she was doing to hear the back porch shaking with her sister's footsteps. Lida threw open the kitchen door, rattling the blinds something awful, and made for Alema. She wore her purple cardigan and the gold cross earrings she put on for special occasions, which up until today usually consisted of church and weekly beauty parlor appointments. She hugged Alema, sending tumbleweeds of perfume through the room.
"I made chocolate cake," Lida said. "Meringue pie. You should see what I made for you." She stood holding Alema's hands and Alema gripped back.
"I'm here," she said to Lida. "Let's see what you made me."
They went out through the door, Alema brushing lint off the back of the purple cardigan.
To have this girl back in the house again, even if she had turned stern in clothing worn by women lawyers on television. To have this child back again. To have this child. Lida took Alema into her house and through the living room into the kitchen. A small kitchen, not like Milenka's. Not built for a family. Built for Lida alone.
Alema admired the cake. Alema smiled at the meringue. Alema so grown up, a plant scientist. A woman scientist, yet no white coat. She wore shoes with a little heel, her pants hemmed perfectly. "You have learned to sew after all," Lida said, but Alema laughed and told her, "I have a tailor."
So. It was true what they said, about women not cooking or cleaning for themselves. It would be nice, to go through life as a man like that. Still. The smell of cake, the whip of meringue. The pride Lida took in how not a whisper of dust could be found within her house, no matter how hard anybody looked.
Alema picked up the pie, its meringue tips dipping like waves. "We should go back to Milenka's," she said. "Shouldn't we?"
Lida reached for the cake stand. She was right, that girl. Ever since Max was born, it was Lida going next door to join everyone else in the house with the kitchen table that seated six. Things would not change now. Alema would go back to her father and her grandmother, and Lida would be alone.
On the way out the door, Lida pressed her fingers to the girl's blouse. Silk. Slippery, fine. Alema turned but how could Lida get the words out. How could she say, you were the daughter I waited for. You were the life I waited on, and you never belonged to me at all.
A few days passed and still Milenka hadn't been able to share any of her cooking secrets with her granddaughter. It was even difficult to get the girl to sit down and eat a decent home-cooked meal. Half the time, Alema wanted chicken in buckets and hoagies wrapped in paper. She picked up pizza dripping grease from the chain restaurant two towns over that was built to look like a red hat. She ignored the local market and drove herself to the grocery store, bringing back slender cardboard boxes that she stacked in the freezer. Milenka read these boxes late at night, hovering outside the freezer while everyone else slept. Lean Cuisine, the stiff cardboard read. She peeled back one of the corners and saw that the contents came in narrow plastic dishes and were nothing but mush. It must be so cold, Milenka thought, to be a modern woman.
"We can make lentil soup," Milenka said, "with a nice chicken broth and a fresh loaf of bread. Hot and filling. It's easy to make, Alema. You'll see."
Alema was on her cell phone, speaking that complex plant code and sighing as if the stress of the world was too much for her to bear. "I have to work," she said. "And you shouldn't go through all that trouble. I can just eat some cereal."
Milenka turned away and stared at her clean stove. She'd noticed that Alema had eaten one of Lida's scones that morning with her coffee. Milenka had watched them, noticing Lida's eager hands, and remembered the years she spent raising Max. Lida held him and coddled him, but in the end he always came back to Milenka. In the end, Lida returned home to no husband, no children. Always.
During the day Alema consulted with colleagues, standing on the front porch where the calls came through most clearly. She had the view of a sad scrub of front lawn, the tumbling chain link fences, the cracked concrete of a town long gone. At night, she slept in a powder-soft bed in the green guestroom, photographs of her dead grandfather dusting the bureaus. Not a wedding picture of her parents anywhere, she noticed. Grandma Milenka had always resented Alema's mother, who spoke three languages and was a journalist turned politician. She was still in Harrisburg, busy this week with a campaign, so maybe it was better Alema had come to Carbon County after all.
In the morning, Alema squeaked her way down the staircase and entered the kitchen to find Milenka making pancakes. She set a stack in front of Lida and cranked a snowfall of confectioner's sugar across the top.
"Pancakes," Milenka said. "Hot breakfast will be good for you. Good for your work."
"I don't know," Alema said doubtfully. "That seems like kind of a heavy breakfast." The pancakes smelled like her childhood, of womahood. Lida was already at the table cutting a fork through her stack, the utensil buried in softness. She took a bite and smiled.
"You'll have pancakes," Milenka said. "At least come watch me make them. What will happen when your husband wants breakfast? I know you think this is impossible, Alema, but it's not. Your father tells me you have a beau. Come sit down and tell us about him."
Alema poured herself a cup of coffee before crossing the kitchen to sit next to Lida. Lida was always alone. Alema wondered if she had a trail of men in her past, maybe even someone like Alema had in Kalim: a man for the nighttime, for the dark. Milenka and Lida didn't need to know about Kalim. It was best not to speak of him at all, or mention that he viewed marriage just as she did. Provincial, sad. Full of dead dreams.
Alema ran her finger across the oilcloth on the table. "He's nobody," she said. "Nobody important." She decided that Lida must sit over there in her duplex and remember past lovers – their hands on her skin, their breath, their smells. It was the least Alema could do for Lida now, to eat her desserts and to remind her of what she might have had.
Milenka slammed a plate of pancakes down at Alema's place. "Tonight," she said, "I cook. You help."
Alema opened her mouth but her grandmother was already at the kitchen sink, scrubbing dishes. The tie of her apron sat in a bow at the small of her back, her shoulders shaking from her movements. Wash, rinse, dry. In her motions were decades of practice, of cleaning and creating and giving. Alema sat, silenced. Her grandmother clattered dishes in the sink, as strong-willed and stubborn as Kalim or any number of the men Alema had kept company with.
Milenka stood back and surveyed the ingredients she'd piled across her kitchen counters. She had the cabbage chopped and salted, egg noodles ready to boil, prune butter and bread and spinach lined up in a row. She had the clean wooden cutting board, the knives, the gingham dishtowels and the spoons. Bowls. Plates. Pots and pans and butter.
Max sat at the table like a spectator who had bought a ticket. He told Alema, "My money's on Grandma," and laughed. Lida was there, too, this time with no dessert. She sat next to Max with her hands folded, as if waiting for the church organ to pound its song into the air.
Alema, who stood cross-armed in the corner, had put on a skirt and heels. She did that on purpose, Milenka thought. She was just the same as a child: wild and fierce-headed, strong. "I don't cook," Alema was saying. "I order out. I go to restaurants." She paused, sly. "People cook for me."
"Like your boyfriend, I bet," Max said. "Maybe you're on to something. Have the man cook." He stayed at the table, waiting to be served. Her lovely, lovely son. Milenka watched as Lida reached over to pat his arm. She wanted to fly across the table to hold Lida back, to remind her that this was not hers, that she was barren and single. But she did not. She went to the counter instead, picked up a knife and began cutting carrots.
"Alema, come," she said. "Start putting spinach in the pot. You can brown flour, no?"
Alema walked to the stove, picked up a wooden spoon. A pile of flour sat in a frying pan, waiting. She looked at it.
"Turn it on," Milenka said, pressing her granddaughter to light a burner under the flour. "Now keep moving it with the spoon. Like this. See?"
Alema moved the pan to stare at the flame as if she did not trust fire in the house. Milenka dabbed prune butter onto dough and dropped cabbage into noodles. Condensed milk for the spinach, celery for the lentils.
Alema fumbled with the pepper and sneezed into her arm. She wiped her hands on the back of her skirt and held them up, empty. Milenka sighed and moved around her granddaughter as if she were no longer there. Lentil soup simmering, dumplings bubbling with prune filling. Spinach hugging the pot with green eagerness, the egg noodles quivering with butter and that homely cabbage scent. Hours of it, this cooking. Through it all Alema stumbled around the stove, dodging dumplings and crying out when steam struck her skin. Her own granddaughter could not follow a recipe, Milenka realized, and certainly could not cook from memory. These meals came to Milenka through her very body, just as they did to her mother, and her mother before that. Alema was more like a bird, hollow-boned and flighty, startled by butter and salt.
When it was over and Max and Lida had full plates before them at the table, Alema busied herself at the sink, fighting a stain on her blouse. Milenka rounded up a spoon. "You try," she said, and dipped into the lentil soup. She held out the spoon for her granddaughter. At first Alema stood apart from Milenka with reluctance, but then she leaned forward and accepted a bite.
"It's good," Alema said, as if surprised. She looked at the spoon, clean now from her own hunger.
"It always was," Milenka told her.
It all started with that one bite. The food was soft on Alema's tongue, substantial and sticky with home – her grandmother's home, not her mother's untouched stainless steel kitchen with the dishwasher camouflaged as a cabinet. Alema took a second, tentative bite, and felt something inside her bloom.
"Go on," Milenka urged. "Eat."
So she did. Alema took the spoon from Milenka and moved from dish to dish, eating directly from the pots and pans. It was like the food was undressing her. The lentils peeled off her shirt, the sausages tugged her skirt down to her knees. Prune butter removed her shoes and stockings and spinach pulled her hair down from its bun. She couldn't stop. She gathered speed and began eating so fast that spittle and bits of food collected at her mouth.
"Honey," Max said, standing up. "Slow down. You'd think we've been starving you this whole time."
Alema shook her head. This food was a comfort, a memory, a weapon. She finished her spoonful of spinach and turned to the prune dumplings. She grabbed a fork and pierced three in succession. They tasted buttery, warm.
"Alema," Max said. He was standing at her shoulder and she wondered how he'd gotten there so quickly. Her father was weighty and unwieldy, not a sneak. She looked at his thinning hair, the shiny patches on his skin. And the mustache – no one had mustaches anymore. He put his hand on her shoulder and she felt the heat of him, the pulse beneath his palm.
"Let her eat," Milenka said. She stood at the table, next to Lida's chair, with her arms crossed. Alema wiped her eyes. She still felt naked, pulled apart by the food, but Milenka stood at attention, prepared to start cooking again if Alema ate every morsel. And if Alema ate the second batch, Milenka would just make more.
It was an unending stream of nourishment, and Alema had allowed herself to go hungry for too long.
Milenka turned off the stove. She was sore, wiped out from all the cooking and had cleaning ahead of her yet. She covered the pot of still-simmering spinach and rolled the dumplings into a covered container. Alema had finally eaten her full. At least Milenka had done that much for her.
Milenka sighed, not unhappily, at her messy kitchen. "Such a day," she said. She spoke in Czech, surprising herself. She and Lida never spoke in Czech anymore. There was no place for it in this world. But once the words came out of Milenka's mouth, she was glad.
Alema looked up from her place at the table, where she sat in a daze after her binge. "What did you say?"
Milenka knew Alema didn't understand Czech. It was too bad, she always thought, that her granddaughter had never learned how to speak to them. But now Alema was leaning toward the language as if it could save her.
"I said it's about time you stopped acting like a little child."
Lida flinched when she heard Milenka's words, and even Max, who had in his childhood refused to respond to Czech, made out the meaning and sat up a little straighter. Alema tilted her head and listened to the foreign words with interest.
"You are spiteful," Lida said to Milenka in Czech. The language sounded natural even after all those years. "This is your only granddaughter," Lida added. "You should be happy she came all the way to see you."
"You know nothing about this," Milenka told her. The Czech flowed from her effortlessly, as if she'd never stopped speaking it.
"So ungrateful. You don't deserve such a granddaughter."
"You don't know what it means to have a grandchild," Milenka said. "All your life, you've tried to take over my family. You put yourself right in with everyone else, as if you belong. But you don't."
Alema was watching them closely. "Tell me what you're saying," she said.
"Not now," Milenka told her.
"You never let me have anything," Lida said. Her voice was quiet. She looked down at the table and didn't direct her words to anyone in particular, but she spoke in Czech, so she meant them for Milenka. "I had nothing, my whole life, and still you are prepared to take more away from me. And now," Lida continued, "what you have is a granddaughter whose biggest fear is becoming you."
"That's not true," Max said. "Alema just lives in a different world, that's all. She's independent, strong. I'm proud of her."
Alema closed her eyes. "It's a strange language. Kind of coarse and frightening, but beautiful. I wish I understood it." She looked up at Milenka. "I don't understand one word."
"No matter," Lida assured her in English. "You are a good girl."
"I want to learn," Alema said.
"Not now," Milenka said again. She turned back to the sink and picked up a sponge.
"I'll teach you," Lida told Alema. "What do you want to say?"
Alema murmured something that Milenka couldn't make out.
"All right," Lida said. "That's easy."
Milenka glanced back to see Alema lean in toward Lida. She tensed at the sight of them so close together, their heads almost touching across the table.
Finally, Alema pulled away. "Grandmother," she said in Czech. Milenka froze. Alema rarely called her "Grandmother" even in English. Usually she called her nothing at all.
"Thank you," Alema went on haltingly. Her attempt was garbled but recognizable, and Lida nodded her on in encouragement. "Thank you."
Milenka looked down at her hands. "Děkuji," she said in return. She directed her thanks to no one, the word drifting off somewhere in the middle distance.
Alema smiled. Then she pushed back her chair and walked over to the breadbox, where she produced a pile of spice muffins.
"Lida made these this morning," Alema said, passing the muffins around the table. When Milenka hesitated, Alema waved one in front of her. "How do you say, 'this is for you?'"
Milenka took the muffin even though she'd baked a white cake that was sitting on the adjacent counter. No one noticed it, but maybe that didn't matter.
"This is for you," Milenka said in Czech. She looked at Lida, who was between Max and Alema but alone nonetheless.
"Say it again," Alema said. "Slower."
"This is for you." Milenka met Lida's eyes as she brought the soft spice muffin to her lips. She sank into it deep, its powdery texture filling her throat, creating inside her space for all that was generous, and giving, and good.
Laura Maylene Walter is the 2003 recipient of Washington College's Sophie Kerr Prize. More >


Before there was Borat, there was Ivan Hrvatska. Ivan makes love to the world!
Information on neil diamonds jazz singer.
Ivan Hrvatska Makes Love To The World!
Croatian Lover and Rocker! Ivan makes love to the world.
Scarlet Words is the website of Elizabeth, an Australian singer, pianist and photographer.
Five actors and songwriters in search of fortune... On stage, on the streets singin'&acting in Italy...Totally weird...a lot of colours and lounge music..


text:
Baked With Love: 1 Woman's Lasagna Sparks A Global Movement Of Giving.
TaLeiza Calloway-Appleton
It can't be denied that a home-cooked meal brings people together. When Rhiannon Menn put a call out to see if anyone needed help in a San Diego moms' group, she didn't expect her act of kindness to create a movement of giving — but it did.
She made her initial deliveries of homemade lasagnas in March 2020 but it did not stop there. Her first lasagnas were for "mamas who are struggling right now either because of lost income, lost childcare, or another reason having to do with #coronavirus," she wrote on Facebook.
Rhiannon's helping hand grew into the grassroots nonprofit organization Lasagna Love. While it started with a few lasagnas to share, it now serves more than 1,000 U.S. cities and has over 18,000 volunteers nationwide. On average, about 3,500 meals are delivered weekly. We only have one word: Wow!
It was hard and often emotional for her to see families struggle during the pandemic, and she simply wanted to provide some level of help. After her first delivery, she recalls sitting in her car crying about these families' need. But the response she got was moving. Even the silent responses spoke to her.
"I realized how hard it could be to ask for help and how many people felt embarrassed," Rhiannon said.
A post shared by Lasagna Love (@wearelasagnalove)
Word of her efforts spread and more people wanted to join her cause. Within a month there were 10 volunteers, who she calls Lasagna Moms and Papas. And by November 2020, the organization had served more than 4,000 lasagnas to families.
"People who saw my initial posts reached out, asking if there were enough families and could they help make lasagna," Rhiannon recalled. "I thought, sure. Why not? Then their friends saw, and their friends' friends saw, and all of sudden we had this incredible group of people across the country all doing the same thing."
And the rest is history. She also believes that the response was so positive because people wanted to connect with others due to the isolation of the pandemic. They wanted to give back but just needed a way to do so.
Lasagna Love is all about family bonding. Cooking in the kitchen is a great bonding experience, and Rihannon often cooks with her 3-year-old daughter, Cimorene. The importance of family time was always the foundation for the initiative.
"…Family bonding was built into the very fabric of Lasagna Love from day one," she said.
That family bonding continues to grow as she said she wanted her daughter's memories of the pandemic to be more about what they did to help than what they lost or their struggles. She added that the Lasagna Love initiative is about so much more than delivering food. It's really become a movement of kindness. Lasagna just happens to be the vessel.
And what a warm and homey vessel it has become for many to bring light to others.
Rihannon is not new to recognizing a need and then doing something about it. She is also the founder of Good to Mama, an effort to change the narrative around what it means to be a mom. She is truly a change-maker who is changing the world one meal at a time.
Share this story with a friend to remind them of the power of paying it forward.


There are millions of ideas and DIY outdoor projects that you can do without spending a lot of money. They will make your outdoor living spaces gorgeous as well as attractive at the same time. Summer is a time to have fun in your outdoors and we probably spend the most of our time out of our homes in these days. So, we want our backyard, front yard, patio or porch should be beautiful as well as the peaceful place for us. A place that can provide us comfort as well as a pleasant environment. So, if you are you going to make your outdoor summer ready and do not want it hard or expensive.
From planting to outdoor furniture, you can make everything outstanding at a low cost if you have few basic supplies on hand. You can create outdoor projects on your own by using all of that stuff which you have lying at your home and considered useless. Yes, by recycling old things can be converted into new and beautiful. Such as old or broken clay pots can be used to display the flowers for your garden as plant holders. If you have fabric lying at your home then you can convert it into patio or summer porch curtains. And a wine barrel is the perfect pot for making an awesome waterfall for your garden. Infect, I would like to say that the possibilities are endless to make DIY outdoor projects by recycling and upcycling.
So, if you want to beautify your outdoors at a low cost or even without spending a little money then this post will be very beneficial for you. In this post, you will find very interesting DIY outdoor projects from patio table to easy DIY bird feeder and from DIY hammock to the beautiful planter. So let's scroll down and get ideas on these DIY outdoor projects and draw some inspiration. I hope you will find all of the lovely and amazing and would love to try them out at your own home.


text:
Category Archives: Community
Comics Activism, Community
An Interview with Cape and Cowl owner Jay Roy
August 12, 2016 hughgoldring	Leave a comment
As part of our crowdfunder for 'Drawing the Line: Indian Women Fight Back', Ad Astra Comix agreed to do a workshop in Halifax, Nova Scotia. One of the attendees was Jay Aaron Roy, who runs Cape and Cowl, a comics shop in Lower Sackville, Nova Scotia. We visited C&C on our way back to Ontario and were so impressed that we decided we wanted to do an interview featuring Jay's work there. The results are below.
Q: First off, let's have the basics: How long has Cape and Cowl been open? Where is it located? What's the neighbourhood like?
A: Cape & Cowl has been open since September 28th, 2014, and we are located at 536 Sackville Drive, in beautiful Lower Sackville, Nova Scotia, Canada! The neighborhood here is warm and welcoming. I am from this town (well, Fall River, which is about ten minutes away), so many community members here have known me, or who I am, for a long time.
Q: So when we visited, you told us about the role the shop plays as a community space. Could you tell us a little more about that?
A: When I was searching for a location to open, my goal was to specifically open in this rural area to offer the local youth something new to see and do. I have much youth work in my background, and there is hardly anything around here for youth do, so I knew a drop-in center would fit perfectly. I have big ambitions (which I will get to in question #9!), so having a space where I could host game days, movie nights, youth drop-in times, birthday parties, and the like was always an integral part of my business plan.
Q: So you've got signs up making it clear that Cape and Cowl is a safe community space. What does that mean in practice? What moved you to do it?
A: Safe spaces are so important, especially for the lgbtqi community. Youth desperately need spaces where they feel comfortable and respected. Making my shop a "safe space", and then advertising that out there to the world, lets all local youth know, and really everyone else too, that this space is protected. Protected by me. Locally, people tend to know that I am an activist who is quite outspoken about the things that I believe in. So, in practice, I offer volunteering opportunities for youth to help me run parties and events, and in return they know that whatever their gender identity or sexual orientation, they will be respected here. And, not only that, but I will make sure that everyone else in the shop respects them as well, and act as a moderator when a person needs to be gently corrected. I basically like to take the stress off the youth and help validate their identity and worth. I have a no-nonsense, zero tolerance rule about bullying.
I think it is just a part of who I am, to make a space like this, because I was bullied a lot when I was young, and as I have come out in my adulthood as a transgender man, that bullying hadn't totally stopped. I don't know if safe spaces will always be needed, and in some part, I hope we don't need them forever, but I do know we need them right now.
Q: This is an interesting time for nerd culture, with the ugly underbelly of toxic masculinity being dragged out into the light for all to see. Comic book shops are probably the primary physical gathering spaces for people interested in comics, gaming and this kind of stuff – Cape and Cowl is definitely set up like that. But there's a tension for store owners who have to be careful not to alienate any part of their clientele, while also being pressed to pick sides in an increasingly polarized battle. How do you negotiate that tension at C&C?
A: That's a great question, and certainly something I pay very careful attention to. Every single move I make with the shop is super-meticulously thought out. Where I am the 100% sole proprietor, I feel more free to "do what I want" when it comes to political stances. My shop would never have the chance to be any sort of "boys club", that's just not how I operate. I get Sailor Moon toys that have "for girls" printed right on the box…I take a black marker and cover that up right away before they go on the shelf. MY Sailor Moon toys are for EVERYONE. I also reflect my feelings for particular creative teams, in my orders. If I don't like what a writer/comic is saying to my shoppers, I don't order it, (unless someone orders it by special request). I really like to showcase representation though, so I'll still order Superman and Iron Man, but I have way healthier stock of Jem and the Holograms, Ms. Marvel and Moon Girl and Devil Dinosaur. In regards to gathering the local nerds, (and I use that term in a loving way), it is all about timing. I have many community events like craft fairs and bbqs, where the larger community comes out to an event, but also gaming days, where my local Magic: The Gathering players can gather and play tournaments in the drop-in, so I can run my business at the same time. I just make it known to the players that I have a business to run, and for the most part they respect that. I've only had to tell a few guys to watch their language, haha.
Q: So you used to work at Strange Adventures in Halifax, right? What kind of lessons did you learn there about running a comic shop? Has Callum (the owner of Strange Adventures) been supportive of Cape and Cowl?
A: I did used to work at Strange Adventures, and even a few other comic shops as well before that! I learned so much from my time at Strange Adventures, though, for sure. Calum Johnston runs an amazing business, at all three of his shops. I learned a lot about the comic industry from him and Dave Howlett, the manager of his Halifax location. Cal was an awesome boss, and has been super supportive of Cape & Cowl. I am always lead to quote him when he said many years ago to me, "a rising tide floats all boats". In other words, more people reading comics is a good thing. Also, I'm way out in the rural area, so I don't hurt his business too much, I imagine. 😉 I still talk to him all the time about lots of different aspects of the business, he has given me some great advice, and brought me gifts of shelving to the shop.
Q: What's your favourite part of running a comic shop?
A: What a tough one! First of all, I love being the boss! Haha! I am a pretty creative fellow, so being able to concoct my own sales, events, ideas, etc. has pretty much been a dream come true. I love having the freedom to run my own business the exact way I want to. The most rewarding part of my work is seeing people enjoy the shop, and the space. I also just plain LOVE comics! So, it's always fun being in the comic industry and seeing what is coming out, the day it comes out!
Q: (You can skip this one if you don't wanna make trouble with your landlord) You mentioned something about the landlord jacking up the rent massively. I think the price you mentioned was comparable to commercial rents in Toronto, and you live in rural Nova Scotia! What the hell are they thinking?
A: I will answer anything! Haha! I have NO IDEA what they are thinking, other than probably "This lake-of-fire front property is too hot, let's invest in new A/C and charge it to the small business owners in our rural buildings"?, because they are, collectively, Satan. Seriously though, with companies like the one that jacked up my rent, (through loopholes, two months after I moved in, with an increase of $600 a MONTH!), I'm sure all they care about is the bottom line. They are so disconnected from the communities they own in, and they could care less. The community at large, along with myself, emailed, sent letters, called, did everything we could, and the owners still did not care. They stood their ground on the increase, and as a result I have almost gone out of business four times. In fact, they only sent me back one email saying "I'm not sure why we got these emails…". I offered them some reading lessons. They didn't answer back, haha. My building has since been bought by another company, who have their heads in the sand just as deep. We need locally owned, reasonably priced business buildings desperately in rural Nova Scotia. Or at least ones not owned by the four horseman of the apocalypse.
For anyone who wants to get in touch with Jay's landlord about his outrageous rent, he pays $3345.70 a month for 1610 sq. ft. You can reach them at
BANC Group
1 Craigmore Drive, Suite 201
Halifax, NS B3N 0C6
Q: What's the hardest part of running Cape and Cowl?
A: The hardest part of running Cape & Cowl, is doing it all by myself. Although, it makes me quite proud to see all I have done. I certainly couldn't have done it at all without the incredible amount of help I get from local community members, and volunteers for parties and events, but the daily grind can certainly wear on me from time to time. I am good at practicing self care, though, so I make sure to get the rest I need. When the shop closes up at 6:00, I go home. I don't let anyone make me feel guilty for not being open past that. If they want to shop comics in the evening, they can do that in the city, or wait a few years until I have a staff to allow me to do so. The only other part that was difficult, was dealing with ALL the companies that call you to set up debit/credit payments with them. Boy, those companies are all headache-inducing, but only were so in my first year of business. I can tell them where to go pretty fast, these days, haha.
Q:Do you have any big plans for the future?
A: I have SO MANY big plans for the future, but I can't tell anyone about them yet! Isn't that awful?! haha All I can say is, stay tuned to the website, and you'll see every big idea as I implement them!
Q: What advice do you have for folks around North America interested in starting their own comic shops?
A: Oh my gosh, I could write an hour's worth of material here, but what I'll say is this: do it. If you want to own a comic shop, go do it. Save as much money as you can, do your research about the comic industry, and how to order from your distributors. Go nuts on social media. Listen to everyone's "advice", but only use the advice you want. Comic shops work much better if you involve the community, so create events where the geek community can gather and cross promote with other local small businesses. Find small business meet-ups in your area, and get connected! And most importantly, remember that COMICS ARE FOR EVERYONE.
canadian comic shopscape and cowlcomicscomics communitylower sackvillesackville
Activism, Ad Astra Exclusives, Community, Graphic Histories, Underground Comix
Ad Astra Re-releases War In the Neighborhood by Seth Tobocman
July 27, 2016 adastracomix	Leave a comment
Ad Astra Comix is thrilled to announce the forthcoming release of 'War in the Neighborhood' by Seth Tobocman. Pre-ordering for the graphic novel began August 23 and will continue for one month on the crowdfunding website, Indiegogo.
'War in the Neighborhood', first published in 1999, tells the story of New York City's Lower East Side during the late 80s and early 90s, a period of rapid change.
Although gentrification is now unraveling communities from Atlanta to Seattle, what happened in the Lower East Side was one of the earliest modern examples. Artists, people of colour, migrants, radicals, squatters, the homeless and regular working class people all called this crowded area full of abandoned buildings home.
Though no one book could ever hope to tell the entire story, 'War in the Neighborhood' contains a full cast of artists, anarchists, dog-walkers and ex-prisoners as they fight to build a future for themselves before greedy developers literally burn it out from under them.
Modern readers familiar with the history of internet-age social movements like Occupy Wall Street will be surprised how much they recognize in these stories. Gendered violence, police brutality, factional fights and hostile news media all come together to paint a very familiar picture.
Instructive as it is for activists, 'War in the Neighborhood' is above all a feeling, human portrait of life in a troubled time. As neighborhood residents fight the police, the cold and each other to make space for themselves, our own hopes for affordable housing, community, and safe space are reflected on the page. In an era of market crashes and rigged elections, we recognize our own struggle to build something that lasts in a world intent on tearing us down.
activismanarchismcommunitygentrificationgentrifiedhousinghousing rightslower east sideNew York Citypunksquattingwar in the neighborhood
Ad Astra Exclusives, Community, Crowd-funding, environmentalism
Catching up – An Interview with 'Extraction' contributor Dawn Paley.
June 8, 2016 hughgoldring	Leave a comment
As we've mentioned before, a number of the folks involved with
'Extraction! Comix Reportage' have gone on to do other important work. One of the most interesting and accomplished of the Extraction contributors (not that they aren't all just fascinating) is journalist and activist Dawn Paley. We caught up with Dawn via phone call, since she's currently living and working long term in Puebla, to find out what she's been up to since the comic came out. Here's how that went:
Ad Astra: Could you tell us a little bit about your history as an activist?
Dawn :I grew up in the lower mainland of British Columbia, on Coast Salish territory. I grew up in a pretty isolated area, this is pre-internet, so my first entry into activism was through environmentalism, eventually I started working as a journalist, doing media activism and grassroots journalism. Over the years, I've written about environmental and land issues ranging from the Canadian Boreal Forest Agreement to the impacts of US foreign policy and the expansion of capitalism on communities in Mexico, Central and South America.
Worth fighting for.
I've been working as a journalist now for a little over 12 years, largely focused on Mexico, Central and South America, but especially Mexico. The piece I did for 'EXTRACTION!' [Gold: Taking the Heart of the Land] was the result of one of my first trips to Central America, and over the last decades I've continued to cover the ongoing dispossession, violence and colonialism taking place in Mexico, Central and South America. In my work I strive to explore the nature of the violences of capital and states, part of the work is to expose the connections between the global north and the violence that so deeply impacts so many folks in the global south.
Ad Astra: How did you first get involved in 'EXTRACTION!'? How did you settle on the Goldcorp mine in Guatemala as the subject of the comic?
Dawn: I became involved with Extraction! because I had previously collaborated with [editor] Frederic Dubois, and later became friends with [editor] David Widgington of Cumulus Press as well. They asked me to do a chapter. They initially asked me to write about Barrick's Pascua Lama mine in the high Andes in Chile and Argentina. I countered with a proposal to write about Guatemala/Goldcorp, suggesting that it would be a stronger piece because I'd already done interviews and research in the area. Plus, comics being a more visual thing it made sense to be working on a project about a place I'd seen first hand.
The Marlin Mine
I knew the comic was going to be good as soon as I found out Joe Ollmann was working on the project. I immediately liked Joe's style and his approach. We didn't get to see a whole lot with each other – it was a long distance working relationship, but it was a nice experience. Joe has a fabulous sense of humor, and the final experience of seeing my words through Joe's illustrations was incredible. It's just totally different than print reporting.
Ad Astra: What was your collaborative process with Joe Ollmann like?
Dawn: It might be a bit passé for someone my age, but I confess, I'm a dyed in the wool print journalist. Obviously all journalism is teamwork, and sometimes I'll work with a collaborator, like a photographer. Sometimes with print, you'll write the piece and the photographer will send a cutline or two to go with their images, or your editor will suggest some changes to a piece. But with comics, the artist does so much work. Drawing, inking, and lettering takes so much time and skill. I don't want to diminish what editors or photographers do…there's a lot to it. But with this comic, it felt really different. It was an even longer process. It was interesting to have the surprise of seeing how he drew the things I saw and talked about, how he represented them. Workflow wise, we went back and forth long-distance, I compiled a script that included all kinds of visual clues I would leave out of a regular, reported piece, and went from there.
Extraction!' artist Joe Ollmann meeting with Dawn, along with publisher and co-editor David Widgington and co-editor Frédéric Dubois. Photo by co-editor Marc Tessier."
Ad Astra: Have you stayed in touch with Héctor and other people you met on the trip? What's going on around the mine more recently?
Hmm. They're pseudonyms in the story, so I needed to think about which person "Héctor" was. Yes, I'm still in touch with him. We G-chat sometimes. I saw him a couple of years ago when a serious earthquake hit the department of San Marcos; he took me around and brought me up to speed about what was happening in the region at that time. Goldcorp's Marlin mine is in the process of closing, and they are doing a lot of public relations to make it look like they did a great job. I was in Guatemala in April and I saw a full page ad in the national newspaper, showing employees planting a bunch of trees in the area, you know, showing us that everything's hunky-dory! But there's a lot of ongoing health and environmental issues with contamination from the mine, and people are still facing charges for their role in resistance from years ago. I remember maybe five years ago, folks who survived the internal conflict pointed out to me how there were no basically no political prisoners in Guatemala until after the peace accords were signed in 1996. That was because the state didn't take prisoners, rather it killed dissidents, activists, organizers, and entire Indigenous communities.
But today in Guatemala there is a HUGE amount of criminalization of community organizers. This criminalization specifically targets Indigenous communities and land defenders. People are thrown in jail, accused of huge list of charges, serving months and sometimes years for resisting dams, mines, highways, cement plants, palm oil, and so on. There are a lot of incredibly brave lawyers and activists fighting against the criminalization of land defenders and political prisoners in Guatemala, fighting for their release. I think this is really crucial context today that we need to keep in mind in looking at this comic from almost 10 years ago.
Ad Astra: Would you work on another comics journalism project, given the appropriate resources and journalistic freedom?
Dawn: I'd love to do another comics journalism project, connected to the research I'm doing with families of people who have been disappeared in Mexico. I'm doing a multi-year investigation into this issue as part of a dissertation, and what I hope will be my next book. When I can, I have been walking with family members on weekends, when they convene to look for bodies. It is a very intense experience–people using little more than sticks and shovels to search for missing daughters, sons, brothers, sisters… This is an entrenched reality in Mexico today and yet I think for many it is something that is still difficult to imagine. I think comics could be an important avenue to communicate this experience.
Ad Astra: How have things changed for mining activists since 'EXTRACTION!' was first released?
Dawn: Well, Indigenous land defenders across so called Canada have come out strong using a whole range of strategies to fight against destructive extractive industry projects throughout the entire last century and into this one. I think it is important to start by acknowledging the importance and the continuity of those struggles.
Specifically, EXTRACTION! first came out almost 10 years ago, and I think it's still really relevant. As for differences between 2006 and 2016? There's a lot more solidarity and visibility for these struggles, actually, including some really amazing organizing in Toronto and Vancouver. And urban activists are not just connecting the actions of Canadian companies in Guatemala or elsewhere with their headquarters in Toronto or Vancouver, but also looking at the activities of mining companies, sometimes even the same mining companies, on stolen Indigenous land in Canada. In my opinion, activism against destructive mining has gotten smarter, more intersectional.
We've seen huge amounts of community organization against mining happening, from the community level to the international level. In 2006-2007, I was reporting on a fairly nascent struggle in Guatemala… Now Goldcorp and gold mining has become a landmark issue in Guatemala. Folks all over the country know about it, they are prepared to fight against it and are pre-emptively declaring their communities free of mining… In general more and more folks and communities in Mexico, Central and South America are weary of Canadian or other mega-mining projects. People are mobilized against the damage that these companies are doing/can do to their water supply, their communities, and increasingly that organization is taking the form of international coalitions, groups that can represent hundreds of struggles. Over the past 10 years, many people resisting mining have been threatened, murdered, and displaced, but there have been huge strides around these issues in terms of awareness and preventative action, and it's important we take note of the gains.
Ad Astra: What have you been up to since 'EXTRACTION!'? What are you working on now?
Dawn: Well, I've continued to work as a journalist, in 2009 I helped found the Vancouer Media Co-op and was involved in various media projects in Canada for a few years. 2010 was a big year, we helped cover resistance to the Olympics in Vancouver and later to the G8-G20 in Toronto. At the year's end I left Vancouver and started researching for my first book, Drug War Capitalism, which came out with AK Press in late 2014. Since the book came out I've been doing lots of speaking events in the US mostly, and we're working to try and get a Spanish version of the book out soon. I also started a doctorate at the Autonomous University of Puebla in Central Mexico, where I am based.
At this very moment, I'm working on an investigative piece about families of the disappeared in Mexico, about the folks I mentioned who have started searching every every weekend for clandestine graves that may contain their family members. I'm writing about what it is like to walk alongside them as they search for their loved ones. I think that the movement of searchers is one of the most significant social movements in Mexico today, and one that urgently merits our attention.
Copyright Dawn Paley, 2016
Ad Astra Exclusives, American Politics, City Biographies, Comics Activism, Comics Journalism, Community, Race in Comics
#2: The Poor People's Campaign (Savannah, GA)
January 17, 2016 adastracomix	Leave a comment
The events depicted in this comic are as recent as last Friday (January 15, 2016). We wrote, drew, inked, and did layout within 48 hours, in time for Savannah's Martin Luther King parade, in which the Poor People's Campaign participated.
This comic and others are viewable on our Patreon Page, where we are collecting pledges to continue doing this work.
Contributors Style Guide
March 25, 2014 adastracomix	2 Comments
Dear Prospective Contributors: Welcome!
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Another thing I need is more pictures, and way smaller ones than what I was uploading at the beginning. I haven't posted a picture since my brother took pity on me and gave me an extra laptop he had lying around. I haven't transfered over any of my files, including all the digital photos. My old laptop was from the summer before sophomore year of college. It's a pre-9/11 computer in a post-9/11 world. Ha ha ha how many times have I used that line? 8? 10? 19? My point is that any photos taken in the past several months are still on the camera and haven't been transferred to the the new computer yet.
Finally, I should fill in the About section with something real, maybe an explanation of where the name comes from. I could even include images of the first Rabbit Style News publications from two decades ago.


text:
Home Environment Climate
Satellites Confirm Half-Century of West Antarctic Warming
in Climate, Studies
Temperature variation in Antarctica; red means hotter
Despite whatever you may hear, it's obvious that we still don't have a clear understanding of the impact we're having on the planet we call home; there are studies that show we're totally destroying it, and there are studies that we're an ant on a mountain, so it's really hard to say for sure how much damage we cause. We do cause damage, it's just about the significance of the damage we are causing.
The Antarctic Peninsula provides very valuable clues regarding those aspects, as it's a pretty good meter of what's going on with worldwide climate, and despite the fact that a portion of it has been somewhat instable, most of it didn't suffer from significate temperature changes. But recent studies confirmed what numerous scientists suspected to be true:
"Everyone knows it has been warming on the Antarctic Peninsula, where there are lots of weather stations collecting data," said Eric Steig, a climate researcher at the University of Washington in Seattle, and lead author of the study. "Our analysis told us that it is also warming in West Antarctica."
Scientists came to this conclusion after analyzing results from historical temperature data from ground-based weather stations and also results from more recent times. They tried to gather as much data as possible to fill in the gaps, and they pretty much managed to do that; they used a statistical technique to fill in whatever gaps still remained.
The conclusions were pretty dire. The Antarctic temperature has increased by about 0.12 Celsius degrees per decade. The whole area is very vulnerable to climate shifts, especially the west side, and if the West Antarctic sheet temperature goes below freezing, the sea levels will rise with about 6 meters.
Tags: antarcticaglobal warmingStudiestemperatures


text:
Q: Error:Error: This class should provide a default constructor (a public constructor with no arguments) I keep getting this error whenever I try and generate a signed APK in Android Studio.

Error:Error: This class should provide a default constructor (a public
  constructor with no arguments)
  (com.examlemenu.acer.sigsekolahku.Database) [Instantiatable]

Can anyone tell me why this is happening?
package com.examlemenu.acer.sigsekolahku;

import android.content.ContentValues;
import android.content.Context;
import android.database.Cursor;
import android.database.sqlite.SQLiteDatabase;
import android.database.sqlite.SQLiteOpenHelper;

import java.util.ArrayList;

public class Database extends SQLiteOpenHelper {
    private static final int DATABASE_VERSION = 1;
    private static final String DATABASE_NAME = "sigsekolah";
    private SQLiteDatabase DB;
    public Database (Context context){
        super(context, DATABASE_NAME, null, DATABASE_VERSION);
    }

    @Override
    public void onCreate(SQLiteDatabase db) {creaTabel (db);}

    @Override
    public void onUpgrade(SQLiteDatabase db, int oldVersion, int newVersion) {}
    public void openWriteble(){this.DB = getWritableDatabase();}
    public void openReadtable(){this.DB = getReadableDatabase();}
    public void close(){this.DB.close();}

    public void creaTabel(SQLiteDatabase db){
        String sekolahsma = "CREATE TABLE IF NOT EXISTS sma (id INTEGER PRIMARY KEY, nisn TEXT, nama TEXT, akreditasi TEXT, alamat TEXT, keterangan TEXT)";
        db.execSQL(sekolahsma);
    }

    public long insertsma(int id, String nisn, String nama, String akreditasi, String alamat, String keterangan){
        ContentValues values = new ContentValues();
        values.put("id", id);
        values.put("nisn", nisn);
        values.put("nama", nama);
        values.put("akreditasi", akreditasi);
        values.put("alamat", alamat);
        values.put("keterangan", keterangan);
        return DB.insert("sma", null, values);
    }

    public int updatesma(int id, String nisn, String nama, String akreditasi, String alamat, String keterangan) {
        ContentValues values = new ContentValues();
        values.put("id", id);
        values.put("nisn", nisn);
        values.put("nama", nama);
        values.put("akreditasi", akreditasi);
        values.put("alamat", alamat);
        values.put("keterangan", keterangan);
        return DB.update("sma", values, "id = " + id, null);
    }

    public int deletesma(int id){return DB.delete("sma", "id = " + id, null);}

    public ArrayList<String> getsmalist(){
        SQLiteDatabase db = this.getWritableDatabase();
        Cursor cursor = db.rawQuery("SELECT * from sma", null);
        ArrayList<String> List = new ArrayList<>();
        cursor.moveToFirst();
        for (int i = 0; i < cursor.getCount(); i++){
            List.add(cursor.getString(cursor.getColumnIndex("nama")));
            cursor.moveToNext();
        }
        return List;
    }
}

A: The only constructor you have for your class is this one
public Database (Context context){
    ...
}

which takes a Context as a parameter. The error that you are getting is telling you that it wants a constructor without any parameters. Something like this.
public Database(){
    ...
}

A: APK signing try to create object of this class to verify rules but it's not being able to create object. Because it uses default constructor to create object.
You need to define a constructor without any parameter(just like default constructor the one java implicitly provides you when you haven't write one). As you have a parameterized constructor that's why compiler don't generated implicit constructor.
Define a constructor like below, it will solve issue.
public Database() {
}


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Diane CraigAudit, tax and consulting firm RSM's capital markets team topped the fundraising league for newly-listed AIM companies in 2018, new figures show.
RSM, which has a regional base in Swindon, acted as reporting accountants on seven AIM initial public offerings in 2018, the joint highest number among advisory firms.
RSM's deals topped the table both in terms of total funds raised on IPO and new company funds raised.
These deals collectively raised £244m in new company money, 23 per cent of the annual total of just over £1bn.
RSM's total includes new monies of £151m raised by Yellow Cake, £30m for legal and professional services firm Knights and £10m for vehicle hire and legal services firm Anexo Group.
Diane Craig, RSM's head of capital markets said: "Despite the economic uncertainty resulting from Brexit, the number of IPOs on AIM held up relatively well during the year, in particular in the first half of 2018, and we are delighted to have reached the top spot, in each of AIM IPO volume, total funds raised and new money raised.
"The outlook for AIM IPOs in 2019 remains uncertain, but we are hopeful that once we have found a way out of the political impasse, the appetite among quality middle market companies to go public will continue."


text:
Cortinarius badioferrugineus är en svampart som beskrevs av E. Horak, Peintner, M.M. Moser & Vilgalys 2002. Cortinarius badioferrugineus ingår i släktet Cortinarius och familjen spindlingar.   Inga underarter finns listade i Catalogue of Life.

Källor

Spindlingar
badioferrugineus

redpajama_set_name: RedPajamaWikipedia


There was movement on the top .com registrars rankings in the most recent ICANN report.
ICANN has published the latest official .com transactions report from Verisign, which includes data by registrar for September 2017.
Here are the top registrars in terms of new .com registrations for September. Namecheap lept to #3 on the chart. It registered its typical number of .com domains but PublicDomainRegistry's registrations plummeted, pushing Namecheap up the list.
When it comes to net inbound transfers (transfer gains minus transfer losses) for registrars open to the public, here are the top five gainers. This list excludes registrars that aren't open to the public.


The group has been successful in bringing in yet more money to purchase a substantial amount of equipment for our growing OPV test laboratory. We gratefully acknowledge this support from EPSRC and the Durham Energy Institute.
This entry was posted in funding, OPVs. Bookmark the permalink.


text: Q: Retrieve lost/damaged Excel file I have an important excel file with a lot of data that cannot be opened because it was lost/corrupted. I have already tried most online tips as well as a few programs (stellar excel as well) but it appears as severely damaged. Previous version recovery and autorecover didn't work.


text:
Kimberly Farr
Kimberly Farr has appeared on Broadway, at the New York Shakespeare Festival, the Roundabout Theatre Company, Playwrights Horizons, and The American Place Theatre. She created the role of Eve in Arthur Miller's first and only musical, Up from Paradise, which was directed by the playwright. She appeared with Vanessa Redgrave in the Broadway production of The Lady from the Sea. She has also acted in regional theaters from Los Angeles to New Haven, Connecticut, including the original production of The 1940's Radio Hour at Washington, DC's Arena Stage.
82 Results Download This List For Excel
Show 12 24 48 96 per page Page 1 2 3 4 5 6 7 of 7
Olive, Again
Author: Elizabeth Strout | Narrator: Kimberly Farr
#1 New York Times bestselling author and Pulitzer Prize winner Elizabeth Strout continues the life of her beloved Olive Kitteridge, a character who has captured the imaginations of millions of readers. Prickly, wry, resistant to change...
By Elizabeth Strout
Narrated by Kimberly Farr
Salvation Day
Author: Kali Wallace | Narrator: Kimberly Farr, Kyla Garcia and Vikas Adam
A lethal virus is awoken on an abandoned spaceship in this incredibly fast-paced, claustrophobic thriller.They thought the ship would be their salvation. Zahra knew every detail of the plan. House of Wisdom, a massive exploration vessel, had b...
By Kali Wallace
Narrated by Kimberly Farr, Kyla Garcia & Vikas Adam
WINNER OF THE PULITZER PRIZE • THE EMMY AWARD–WINNING HBO MINISERIES STARRING FRANCES MCDORMAND, RICHARD JENKINS, AND BILL MURRAYIn a voice more powerful and compassionate than ever before, New York Times bestselling author Elizabeth Stro...
Dementia Reimagined
Author: Tia Powell | Narrator: Kimberly Farr and Tia Powell
The cultural and medical history of dementia and Alzheimer's disease by a leading psychiatrist and bioethicist who urges us to turn our focus from cure to care.Despite being a physician and a bioethicist, Tia Powell wasn't prepared to address the cha...
By Tia Powell
Narrated by Kimberly Farr & Tia Powell
The Last Year of the War
Author: Susan Meissner | Narrator: Kimberly Farr
From the acclaimed author of Secrets of a Charmed Life and As Bright as Heaven comes a novel about a German American teenager whose life changes forever when her immigrant family is sent to an internment camp during World War II. Elise Sontag ...
By Susan Meissner
Madame Fourcade's Secret War
Author: Lynne Olson | Narrator: Kimberly Farr
NEW YORK TIMES BESTSELLER • The little-known true story of Marie-Madeleine Fourcade, the woman who headed the largest spy network in occupied France during World War II, from the bestselling author of Citizens of London and Last Hope Island&ldqu...
By Lynne Olson
Clock Dance
Author: Anne Tyler | Narrator: Kimberly Farr
NATIONAL BEST SELLER • TOP TEN BOOK OF THE YEAR FOR USA TODAY • ONE OF THE BEST BOOKS OF THE YEAR: O Magazine, Christian Science Monitor, Minneapolis Star-Tribune, The Times (London)A charming new novel of self-discovery and secon...
By Anne Tyler
Beneath a Ruthless Sun
Author: Gilbert King | Narrator: Kimberly Farr
NAMED A BEST BOOK OF THE YEAR BY NPR and THE WASHINGTON POST"Compelling, insightful and important, Beneath a Ruthless Sun exposes the corruption of racial bigotry and animus that shadows a community, a state and a nation. A fascinating examination o...
By Gilbert King
Women in Sunlight
Author: Frances Mayes | Narrator: Kimberly Farr
By the bestselling author of Under the Tuscan Sun, and written with Frances Mayes's trademark warmth, heart, and delicious descriptions of place, food, and friendship, Women in Sunlight is the story of four American strangers who bond...
By Frances Mayes
Author: Sheila Tate | Narrator: Kimberly Farr
Lady in Red is the long-awaited collection of behind-the-scenes stories of one of the most influential First Ladies in modern history -- Nancy Reagan. Lovingly compiled by long-time close confidante and aide, Sheila Tate, the audiobook provides ...
By Sheila Tate
A Prairie Girl's Faith
Author: Stephen W. Hines | Narrator: Kimberly Farr and Stephen Mendel
The first in-depth look at the spiritual path of legendary storyteller Laura Ingalls Wilder.With her extraordinary God-given pluck, the creator of the epic Little House series survived the harshness of frontier life—from the heartbrea...
By Stephen W. Hines
Narrated by Kimberly Farr & Stephen Mendel
The Girls in the Picture
Author: Melanie Benjamin | Narrator: Kimberly Farr
From the New York Times bestselling author of The Swans of Fifth Avenue and The Aviator's Wife, a "rich exploration of two Hollywood friends who shaped the movies" (USA Today)—screenwriter Frances Marion and supersta...
By Melanie Benjamin
Page 1 2 3 4 5 6 7 of 7


After months of campaigning, Donald Trump won the Presidential Election on Tuesday night. However, the majority of Americans voted for Hillary Clinton, and that's why some people think there's still reason to turn the official results around.
A Change.org petition is making the rounds on the Internet, with Lady Gaga as its most famous supporter. "Electoral College: Make Hillary Clinton President on December 19," it reads.
The basis of the petition is that members of the Electoral College can vote any way they want, even though they are supposed to reflect the way their states have voted. And since the Electoral College chooses the President, not civilians, petition signees are hopeful that Electors will go against precedent and elect Clinton.
"The Electoral College can actually give the White House to either candidate," the petition says. "So why not use this most undemocratic of our institutions to ensure a democratic result?"
The petition also says that Clinton supporters would gladly pay the fine the Electors will be hit with if they go against their states' votes.
As of this writing, the petition has nearly 800,000 signatures.
On Wednesday, Gaga mounted a garbage truck in front of Trump Tower to protest the election results.