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Tag: Sming Sming Books
Photobooks of 2018
Selected by Tim Clark
An annual tribute to the most exceptional photo book releases from 2018 – selected by our Editor in Chief, Tim Clark.
In association with Spectrum.
1. Carmen Winant, My Birth
Self Publish, Be Happy Editions
My Birth by Carmen Winant is perhaps this year's standout title from Bruno Ceschel's famed Self Publish, Be Happy enterprise. Yet it is also utterly unlike any other. Deftly fusing image and text, the book – a facsimile of the artist's own journal – combines photographs of Winant's mother giving birth to her three children alongside found imagery of other, anonymous women undergoing the same experience. This visual strategy aims at "the flattening of cross-generational time and feeling", while the title is a nod to Frida Kahlo's 1932 painting of the same name. Immediate, precarious and utterly vulnerable, Winant's project, which coincided with an on-site installation at MoMA's Being: New Photography 2018, is also bold and fearless. Sensitive to the world, and to the world of images, My Birth asks probing questions that move beyond transgression to open up a space for considering childbirth and its representation as a political act.
2. Zanele Muholi, Somnyama Ngonyama, Hail the Dark Lioness
Aperture Foundation
What really matters now are the needs that art answers, and visual activist Zanele Muholi always delivers with great rigour. Having first emerged as a photographic spokesperson of members of the black queer community in South Africa and beyond, her long-awaited monograph sees Muholi turn the camera on herself to powerful effect. This arresting collection of more than 90 theatrical self-portraits first reclaim and then reimagine the black subject again in ways that resist, confront and challenge complacency to racism – both historic and contemporary. During these times when violence, misogyny and even white supremacy are rife, the photographs' accumulative presence flies in the face of stereotypes and oppressive standards of beauty.
3. Raymond Meeks, Halfstory Halflife
Chose Commune
This is the kind of pleasurable photography that approaches something so eloquent yet understated but which we cannot altogether grasp. Master of the quiet photograph, Raymond Meeks is also a prolific photo book maker. Meeks' current collaboration with Chose Commune bears all the hallmarks of his lyrical explorations; strong narrative and occasional riffs off poetry and short fiction, all the while concentrating on the symbiotic relationship between family, memory and a sense of place. Here, black and white photographs of young men, making their way through openings in hedgerow to access prime spots for river-jumping in the Catskill mountain region of New York, are both visceral and spontaneous. Their pale bodies fling themselves into the dark void, frozen as if mid-flight, pivoting from the point of view of an adult seemingly remembering a moment of fledgling sexuality and uncertain future.
4. Michael Schmelling, Your Blues
Skinnerboox and The Ice Plant
Taken between 2013 and 2014, and shot while on commission for the Museum of Contemporary Photography at Colombia College Chicago, Michael Schmelling's photographs in Your Blues are our guide through the city's vibrant and eclectic music scene, where "the dominant form is hybridity". Musicians and revellers, parties and recording studios, lovers and strangers all collide, depicted through casual views and with feelings of familiarity. This then forms a ripe photographic account of the varying degrees of individualism within this community. Blues, punk, hip hop, psychedelic jazz, emo, hardcore and house music are all part of Chicago's cultural inheritance and encompassed here via Schmelling's vignettes and reflections on niche and local performers in unconventional venues. Akin to a novel of images, Your Blues provides a noteworthy contribution to this year's offerings.
5. Max Pinckers, Margins of Excess
A response to the 'post-truth' era, Max Pinckers' speculative documentary work revolves around the narratives of six protagonists who all momentarily achieved infamy in the US only to be ousted as fakes or frauds by the media. Such highly-idiosyncratic stories range from a self-invented love story set in a Nazi concentration camp to a man compulsively hijacking trains. With fever-dream urgency, Margins of Excess brings together fragments of these lives through staged photography, archival material, interviews and press clippings: the explicit folding of imagination into imaging "in which truths, half-truths, lies, fiction or entertainment are easily interchanged." Pinckers' take on embracing reality in all its complexity via this particular strand of storytelling offers an interesting reminder: that contemporary documentary practice might be more productively considered as small arguments, gestures or even critical methods.
6. Michelle Dizon and Việt Lê, White Gaze
Sming Sming Books
Readers of 1000 Words will recall the recent magazine feature on this gem of a photo book from collaborative duo Michelle Dizon and Việt Lê, which deserves much wider recognition in light of its poetry, playfulness, acuity and, most crucially, decolonising strategies. Intellectually energetic, White Gaze repurposes imagery from National Geographic to confront notions of white privilege and Western-centrism by reworking and negating image and text from the publication's original pages. Countless uncomfortable truths hidden at the bottom of every lie, every act of denial or white complicity, come to bear through the interplay of the two languages, critiquing how meaning is constructed to administer imperialist narratives and racist histories.
7. Mimi Plumb, Landfall
TBW Books
As far as great discoveries go, the case of Mimi Plumb's resurfaced archive has been a fairly recent but major breakthrough. Having taught photography throughout much of her career at San Jose State University and San Francisco Art Institute in the US, it has only been during the past five years that her work has really come to light following the 2014 exhibition of her Pictures from the Valley series. Now, a collection of images taken throughout the 1980s have been published by TBW Books under the title, Landfall, containing black and white photographs full of foreboding and unease, yet always delicate and beautiful in register. They appear to encapsulate a time when the world at large seemed out of kilter – with obvious parallels to our present moment. Stylistically, too, there's a whiff of Robert Frank, Garry Winogrand and Henry Wessel to these images that certainly will not fade quickly.
8. Chloe Dewe Mathews, Caspian: The Elements
Aperture Foundation and Peabody Museum Press
It's heartening to observe this renewed period for Aperture Foundation's photo book publishing arm, albeit still very traditional in format. One of its many great, recent titles comes courtesy of British photographer and filmmaker Chloe Dewe Mathews who spent five years roaming the borderlands of the Caspian Sea, where Asia seamlessly merges into Europe, to come away with a compelling record of the region's complex geopolitical trevails. Much of this of course is largely bound up in the singular importance of gas and oil reserves and the disparate economies of bordering countries – Russia, Iran, Azerbaijan, Kazakhstan and Turkmenistan – but it's Mathews' receptiveness and examination of the ties between people and the landscape, as well as the religious, artistic and therapeutic aspects of daily life, that are so intriguing.
9. Thomas Demand, The Complete Papers
While there is obviously no equivalent experience to viewing a Thomas Demand artwork at its intended size and scale, this new volume on the oeuvre of the acclaimed German artist more than makes up for it in scope, depth and scholarship. Edited by Christy Lange, and with texts from voices as diverse as the novelist Jeff Euginedes to curator Francesco Bonami, The Complete Papers provides a hugely comprehensive view of Demand's past three decades of artistic production. Known for using pre-existing images culled from the media, routinely with political undertones, which he then recreates from cardboard and paper at 1:1 scale before photographing the assembled scene, admirers of the work will no doubt appreciate hitherto unseen pieces from the early 1990s when he first started making paper constructions for this sole purpose of photographing them. With the customary bibliography and full exhibitions listing, this is a researcher's dream. A catalogue raisonné of the highest order.
10. Sunil Gupta, Christopher Street, 1976
Stanley/Barker
Sunil Gupta's Christopher Street, 1976 performs an act of personal remembrance by bringing together photographs shot in in New York when the artist spent a year studying photography with Lisette Model in between cruising the city's streets with his camera; part of a burgeoning, proud and public gay scene prior to ensuing AIDS epidemic that subsequently sent it underground. The photo book is minimally designed, presenting one black and white photograph on each right-hand page in a spiral-bound volume, marking the latest release in Stanley/Barker's small but judicious selection of titles. It celebrates both a key moment in Gupta's identity and the political value embedded in the struggle for LGBT liberation, the consequences of which were far-reaching. ♦
Tim Clark is a curator, writer and since 2008, has been Editor in Chief and Director at 1000 Words.
Michelle Dizon & Việt Lê
White Gaze
Essay by Daniel C. Blight
At the end of Señorita, a music video by rapper Vince Staples, the camera withdraws backwards from a street scene, through a window and into the ground floor of a house to reveal a white, affluent North American family looking out, smiling at what they have witnessed. This scene is effectively an urban prison. As the song unfolds, its socially diverse characters — working class black, latino, 'white trash' men (berating Staples as he walks by), a homeless man and two sex workers — are either celebrated, ridiculed or shot one-by-one by gun surveillance turrets above.
The video's narrative is a metaphor for contemporary America: bourgeois whiteness reigns supreme at the expense of an underclass, comprised largely of people of colour and those Trump-voting white folks left behind by their middle-class counterparts. The window through which the camera withdraws frames the 'disturbing' scene outside for the 'perfect' white family to watch from a position of comfort; allowing them to look out both protected by, and in possession of, a 'white gaze'. This underclass is mere spectacle or entertainment to that gaze. The camera, which tracks the narrative of the video is an extension of this form of 'white sight', eventually reclining to safety within the house. As George Yancy writes, 'It is the social world of white normativity and white meaning making which creates the conditions under which black people are always already marked as different/deviant/dangerous.' It is this precise sense of difference and danger Staples engages in his video.
Whiteness, which in this instance takes the form of monstrously bearing witness to from a position of safety, is reflected in a system of class dominance maintained by a violent, colonial prison state more commonly referred to as the USA. Cameras and guns conflate to form a single technological and militaristic entity that protects the hegemony of white power at all costs. Whiteness – which desires to track violence outside itself – is ignorant to the fact that the real source of violence lies within its own house. Whiteness, it might be said, is the root, the provenance and the source of social barbarity from its invention in the early 17th century to its present-day murrain. As Richard Seymour notes in his essay on Salvage, 'whiteness is a plague.'
In a poem by Viêt Lê with an accompanying image by Michelle Dizon, whiteness gazes on in the form of a gesticulating white woman standing above three crouching black men. The image suggests she has something to explain; that her knowledge – her performance of a certain kind of education – must be articulated both verbally and physically 'above' – thus gazing down upon – the bodies of people of colour. The accompanying poem reads:
Eyes wide
classed—
the British university
was also a technique
of pain
of the deserted
of painting
the raw desert
of humanity
of the humanities
in automatic shackles
Return to the colonies
of the mind.
Here, whiteness takes power as a form of European knowledge, the all-seeing and knowing eye of white sight manifest in the gestures of the white body and the utterances of the white mind. Here the white gaze offers – incognizantly, tediously, repetitively – its intellectual fruits to people of colour on their own land. In a different form of education-as-violence than the colonist Sir Thomas Dale promoted when starting a college along the Powhatan River to 'educate the natives' in early 17th century British America, this anonymous white woman professes her 'unsurpassable' knowledge to those she deems to be below her cultural imperialism. Criticised directly in Lê and Dizon's image/poem intersection, the elite British university system is the network of institutions that socialised and educated elites who paved the way for the formation of the earliest inventors of whiteness – a group of governing individuals named the House of Burgesses (a word which is aptly derived from 'bourgeois') who, in 1619, forced the first group of twenty African slaves into servitude in the British colony of Jamestown, Virginia.
Across multiple images and texts, and spanning various periods of colonial rule by different nations, Lê and Dizon's White Gaze reveals page-by-page the way in which those socialised white often unconsciously experience – and therefore gaze upon – the world around us. Named after both a philosophical theory and the practice of one of the most violent forms of seeing, this book stands as a potent visual and poetic affront to whiteness.
Central to the idea of the gaze is the notion of desire. 'In the beginning… desire is always competitive,' writes Peter Wollen in his essay On Gaze Theory, which traces the genealogy of human desire in the form of looking and wanting from G.W.F. Hegel to Laura Mulvey. The desire of one human portends to the desire of another: I may want what you desire, I may shadow or mimic your desires, and it's in this kind of relationship that human history might be thought as the 'history of desired desires', remarked Alexandre Kojève in a 1947 lecture on Hegel's Phenomenology of Spirit. In this way, you and I are constituted as truly human only when we focus our desire on the desire of an "other", and, that in this instance, according to Wollen in his reading of Kojève, becoming human is somehow about being self-consciously in competition with an "other" via the gaze as a form of shared desire (because I desire what you desire above all else). I want not exactly what you want, but more precisely I yearn to be within the throes of that which you desire.
In Hegel's view, during the early 19th century the gaze as a form of power was a struggle between two different kinds of unequal human: the master and the slave. The slave desires to take the position of the master and the master desires the acknowledgement of their power over the slave. At this point we would do well to remember Hegel's immensely ignorant words on the "Negro" which, as Achille Mbembe reminds us in his On the Postcolony, are 'an example of animal man in all his savagery and lawlessness.'
This interpretation of the gaze puts emphasis on, as Wollen continues, 'the possibility of struggle'. In a simple sense this demonstrates that it is entirely possible to desire an object or thing – to struggle to obtain it – because others around us also desire it, not because we actually want it. When we desire things – for example whiteness, to be white, to act white – what form of power dynamics are at play as we do so? When we unwittingly project our white desires onto others, who are we in "competition" with? Might it also be said that we thus desire at the expense of others supposedly unlike ourselves? These are not the only relevant questions in the case of Lê and Dizon's White Gaze, which begins to ask what the relationship between a certain form of white desire and photographic images might be?
Much like the way in which Vince Staples' video seeks to metaphorise White America as a form of racialised power – the final scene literally framing the world of people of colour as an urban prison apart from the white familial space of comfort – Lê and Dizon's project demonstrates that the history of photographic images and the camera itself equally reflect forms of deeply violent white sight. In my view, the importance of White Gaze is that it uses photography and poetry to ask white people to feel less comfortable in our whiteness (and for an increasing number of us, our new-found 'wokeness') and instead find ways to meaningfully resist our own white subjectivity. As George Yancy quite rightly suggested at a symposium in response to the question what should white people do? – and we white people might think of this book as a catalyst for the same action – "I want them to confront their own whiteness. That's the kind of honesty I'm looking at; the kind of humility I'm looking at. That fearlessness to be torn apart… White people should go home tonight, get naked, look in the mirror and ask themselves, what's so special about me?" ♦
All images courtesy of the artists and Sming Sming Books. © Michelle Dizon & Việt Lê
Daniel C. Blight is a writer based in London. He is Lecturer in Historical & Critical Studies in Photography, School of Media, University of Brighton; Visiting Tutor, Critical & Historical Studies, School of Arts & Humanities, Royal College of Art and Online Editor, Viewpoints at The Photographers' Gallery, London.


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Clean the aerator to adjust water pressure issues due to sediment buildup.


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Recycling of old clothes is still not viable in Europe #91
Around 80% of the used clothes collected are exported, mainly to Africa and Asia and when these outlets close due to Covid, French collection stops due to lack of storage capacity. The challenge is to develop recycling in France but it is expensive.
Old clothes piling up on the pavements at the foot of the still condemned delivery points and furious local authorities: after the deconfinement, the textile recycling industry had all the trouble in the world to restart. The health crisis has put the spotlight on its weaknesses, the first of which is its dependence on large-scale exports. About 80% of the collection is resold far away, many in Africa and Dubai for reuse or in India for recycling. Only 5% of the collection, what professionals call the "cream", is resold in shops in France. When Africa and Asia stopped buying, because of the high cost of storage in France, collection stopped in France. In order to restart it without delay, the reopening of major exports, the eco-organization Refashion (formerly Eco-TLC) paid French operators exceptional financial support for each tonne sorted (and therefore collected). This support and the resumption of exports enabled a return to almost normal volumes this summer. "We manage to export, but prices, especially in India, have collapsed and without Refashion's support, we would be heading for the wall", says Pierre Duponchel, founder of the biggest French player, Le Relais. False label The second wave of Covid is threatening a new blockage. The sector, everywhere in Europe, is not viable in its current functioning: export is not a solution, the quality of new clothes is decreasing and private individuals resell their best pieces themselves online. "In thirty years, the cream that can be resold in France has fallen from 8% to 5% of the collection, while representing 30% of our income", continues Pierre Duponchel. To correct this situation, we need to find local recycling channels, advocates Refashion, pleading for automated sorting with equipment that identifies the true composition of the fibers. For, apart from the fact that manual sorting is complex given the cost of labor in Western Europe, "a study commissioned by the Dutch Ministry of Water Infrastructure showed that 41% of composition labels were false", revealed Hilde van Duijn, from the Dutch company Circle Economy, at the annual world convention of the International Recycling Bureau in early October.
Doubling the eco-contribution
Signs put 600,000 tonnes of textiles on the market every year in France (2.5 billion pieces!) and should pay an eco-contribution (modulated according to the recyclability of the material) to finance recycling, according to the polluter-pays principle. "In France, the average eco-contribution is only 0.9 cents per piece of clothing. Raising it to two cents would be enough to finance the modernization of the sector " with, in particular, material sorting centers for recycling underlines Pierre Duponchel. He will meet Matignon on November 10th to obtain an increase in the financial support of Refashion.
There is an urgent need to take measures. France is a pioneer in the selective collection of textiles, a practice that Europe will generalize in 2025. The volumes collected will then soar. While France collected 249,000 tonnes of textile waste last year, it is estimated that Northern Europe alone generates 4.7 million tonnes per year.

redpajama_set_name: RedPajamaCommonCrawl


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HANNAH BLACKMORE
Southern Light
Island Skies
THIS BUSINESS OF ART
30cm Square Paintings
Open Studio Days
Every so often, I open my artist studio to the public. I love inviting people into the place where I create my art and show my process from start to finish.
Some artists are private about their studios. For creation to happen, they must be alone and keep their place sacred to themselves. I love working alone in my studio, however; I love inviting people in to share it with me.
Artist studios are intriguing caves where magic happens, and it fascinates people to see what they look like inside. Some studios are covered in paint and dust, with materials stored in old jars everywhere. My studio is fairly tidy compared to most, as I have only had my current studio for just over a year and have otherwise been used to working in a tiny space.
My first workplace, when I was living in a tiny flat in the south of England, was literally a board across my bed, where I painted, using a nearby table for my materials. I then upgraded to the kitchen table where I worked for a few more years. I had to clear away my work each night before dinner, so I moved to the living room floor for a while. Getting my first (albeit tiny) studio was pure joy. It was finally a space to call my own, and although it had no window and very little natural light, I loved it. I could leave my work out, invite people to come and look (I could get three people in there comfortably), and decorate the walls with my art.
Moving into the studio where I am now was like moving into my dream house. Three times the size of the last one and a window (with natural light!) transformed the way I work, and it took my painting to the next level. I had space to store canvases, show my work, even add a sofa and a place to relax - important as I spent most of my time there. I was in heaven!
So now I enjoy my open studio days and love inviting people into my space to see my work. It's taken a while to get to this stage, but I have created a calm, quiet sanctuary where I can truly be myself.
You can see more of my work, along with pictures of my studio on Instagram @hannahblackmoreartist
Why Do You Paint The Sea?
Why do you work in acrylics?
Terms © 2023 by Hannah Blackmore. Privacy Policy.


We discuss possible new raid bosses that Rav has researched in her article Who is Tyth? The War for Iokath and the Old Gods (Ravalation).
Going Commando: 5.2 – New Operation Inc.!
The Usual Podcast is Live!
Galactic Alliance Statue (for players that were subbed for the full 5 years) now stacks up to 50 times rather than once.
Results from the straw poll (favourite source of CXP): 50% flashpoints/uprisings, 34% PvP, 16% other.
Win a 30 day sub by e-mailing how many times we said "super" in this episode to corellianrun@gmail.com!
A big thanks to Kid Lee, Jim and Constant Warfare for the hosts on Twitch.
Episode 177: The Balancing Act Episode 179: What's Next?


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Dawkins fills in nicely as top-ranked Duke…
Dawkins fills in nicely as top-ranked Duke defeats Bradley
PUBLISHED: December 9, 2010 at 12:00 am | UPDATED: August 29, 2017 at 9:06 am
DURHAM, N.C. – Andre Dawkins scored a career-high 28 points in his first start to help top-ranked Duke beat Bradley 83-48 on Wednesday and move coach Mike Krzyzewski into sole possession of third place on the all-time wins list.
The sophomore hit eight 3-pointers for the Blue Devils (9-0) in place of star freshman point guard Kyrie Irving, who is out indefinitely with a toe injury on his right foot. Kyle Singler added 17 points as Duke shook off a cold-shooting first half and blew the game open with a flurry of threes after halftime.
No. 3 Pittsburgh 70, Delaware State 42: Reserve Dante Taylor scored a career-high 14 points and grabbed 10 rebounds for his first career double-double and led the Panthers (10-0) to a victory over visiting Delaware (4-4).
No. 6 Connecticut 78, Fairleigh Dickinson 54: Kemba Walker scored 21 points to lead four Huskies in double figures in Connecticut's (8-0) victory over the visiting Knights (3-4).
No. 12 Villanova 65, Penn 53: Senior guard Corey Stokes scored a career-high 34 points, including seven in a key second-half stretch, and the visiting Wildcats (8-1) held off the Quakers (4-4).
No. 14 San Diego State 77, California 57: Kawhi Leonard scored 22 points and D.J. Gay scored all 14 of his points in the second half to give the visiting Aztecs (9-0) their best start in their 90-year history with a win over the Golden Bears (5-3).
No. 15 Missouri 85, Vanderbilt 82 (OT): Marcus Denmon made a clinching three-point play off his steal with 5.8 seconds to go to allow the Tigers (7-1) to hold off the visiting Commodores (7-2).
No. 16 Illinois 74, Oakland 63: Demetri McCamey scored 29 points, including 11 straight in a key second-half stretch, to lead the Illini (9-1) to a comeback victory over the visiting Golden Grizzlies (5-4).
No. 17 Kentucky 72, No. 23 Notre Dame 58: Terrence Jones scored 27 points and the Wildcats (6-2) avoided their first losing streak under coach John Calipari with a victory over the Fighting Irish (8-1) in the SEC/Big East Invitational in Louisville.
No. 18 BYU 86, Vermont 58: Hometown hero Jimmer Fredette scored 26 points to lift the Cougars (9-0) past the Catamounts (6-2) at the Glens Falls Civic Center in Glens Falls, N.Y.
No. 20 UNLV 75, Boise State 72: Chace Stanback had 16 points and six rebounds to lead the Rebels (9-0) to a victory over the Broncos (6-2) at Orleans Arena in Las Vegas.
No. 22 Minnesota 83, Saint Joseph's 73: Devoe Joseph scored 19 points, including a 3-pointer to start a key second-half stretch, to lead the visiting Gophers (8-1) over Saint Joseph's (3-6).
No. 24 Louisville 61, San Francisco 35: Peyton Siva and Terrence Jennings both scored 14 points to lead the Cardinals' (7-0) balanced offense in a win over the Dons (3-5) at the KFC Yum! Center.
No. 12 North Carolina 87, East Tennessee State 47: Italee Lucas scored 13 points to lead four players in double figures and the Tar Heels (9-0) used a big second half to surge past the visiting Bucs (2-5).
No. 13 Oklahoma 84, Stephen F. Austin 57: Morgan Hook hit seven 3-pointers en route to a career-high 26 points and the Sooners (8-1) rebounded from their only loss of the season with a victory over the visiting LadyJacks (1-7).
No. 15 Michigan State 55, Wisconsin-Milwaukee 48: Brittney Thomas and Porsche Poole each scored 11 points as the Spartans (8-1) held on to beat the Panthers (3-5).
No. 18 Notre Dame 79, Providence 43: Natalie Achonwa scored 13 points off the bench and Erica Solomon added 11 as the Fighting Irish (7-3) defeated the host Friars (5-6).
St. John's 71, Seton Hall 52: Eugenia McPherson scored a career-high 20 points to lead the host Red Storm (9-1, 1-0) past Seton Hall (5-5, 0-1) in the Big East opener for both teams.
No. 21 Texas 112, Texas-Pan American 59: Chelsea Bass scored a career-high 29 points as the Longhorns (5-2) beat the visiting Broncs (4-6).


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Amanda West, 38, a stay at home mother, poses for a photograph following an interview with the Associate Press, Wednesday, Jan. 15, 2020, in Iowa City, Iowa. (AP Photo/Andrew Harnik)
IOWA CITY, Iowa (AP) — Ann Stromquist watched this week's Democratic presidential debate like the research scientist she is. She studied the candidates' answers carefully, looking for something to help her make a final decision between supporting Sen. Bernie Sanders or Sen. Elizabeth Warren when...
FILE - In this Jan. 8, 2020, file photo, protesters of President Donald Trump's military action in Iraq gather across the Chicago River from the Trump Tower in Chicago. Three years after Trump took office and millions of people swarmed to the Women's March in Washington and companion marches across the country, these typically modest protests are often the most visible sign of today's Trump resistance. (AP Photo/Charles Rex Arbogast, File)
Anti-Trump protests have shrunk. What's it mean for 2020?
CHICAGO (AP) — Days after President Donald Trump killed an Iranian general and said he was sending more soldiers to the Middle East, about 100 protesters stood on a pedestrian bridge over Chicago's Lake Shore Drive with an illuminated sign that read "No War in Iran." Some 200 people marched in the...
FILE - In this Nov. 11, 2019 file photo, a view of the Supreme Court in Washington. The Supreme Court will decide whether Electoral College voters are required to support presidential candidate who wins state. (AP Photo/Susan Walsh)
Justices to consider faithless electors, ahead of 2020 vote
WASHINGTON (AP) — The Supreme Court said Friday it will decide ahead of the 2020 election whether presidential electors are bound to support the popular vote winner in their states or can opt for someone else. Advocates for the court's intervention say the issue needs urgent resolution in an era of...
Hillary Clinton participates in the Hulu "Hillary" panel during the Winter 2020 Television Critics Association Press Tour, on Friday, Jan. 17, 2020, in Pasadena, Calif. (Photo by Richard Shotwell/Invision/AP)
Hillary Clinton to 2020 Democratic voters: pick a winner
PASADENA, Calif. (AP) — Hillary Rodham Clinton has advice for Democratic voters faced with an unsettled field of presidential contenders: pick a winner. "This is an election that will have such profound impact, so take your vote seriously," Clinton said. "And for Democratic voters, try to vote for...
Democratic presidential candidate, Sen. Bernie Sanders, I-Vt., talks to reporters just after the start of the impeachment trial of President Donald Trump on charges of abuse of power and obstruction of Congress, at the Capitol in Washington, Thursday, Jan. 16, 2020. (AP Photo/J. Scott Applewhite)
Why the Warren-Sanders clash was inevitable and may escalate
WASHINGTON (AP) — As long as they are rivals, Elizabeth Warren and Bernie Sanders couldn't stay friends forever. The White House hopefuls and longtime allies have spent the past year throwing red meat to the party's progressive base with calls for massive structural reforms to the nation's...
Democratic National Committee Chairman Tom Perez speaks to student organizers receiving training to work on the presidential campaign on Thursday, Jan. 16, 2019, in Madison, Wis. Perez told the students they will be the key to defeating President Donald Trump this year. (AP Photo by Scott Bauer)
Wisconsin college students part of Democrats' campus push
MADISON, Wis. (AP) — Democrats know that to defeat President Donald Trump they need to do a better job motivating young voters like University of Wisconsin junior David Pelikan, one of about 40 students being trained this week to become organizers for the eventual presidential nominee. The training...
FILE - In this Jan. 9, 2020, file photo, a question in a training booklet is seen during a caucus training meeting at the local headquarters for Democratic presidential candidate former South Bend, Ind., Mayor Pete Buttigieg in Ottumwa, Iowa. (AP Photo/Charlie Neibergall)
New Iowa caucus rules could spark clashing claims of victory
DES MOINES, Iowa (AP) — The Iowa caucuses are never simple. Voters spend hours in high school gymnasiums or public libraries, starting their night by declaring support for their preferred presidential candidate. That's followed by a feverish round of lobbying in which supporters of eliminated...
Democratic presidential candidate Sen. Elizabeth Warren, D-Mass., left and Sen. Bernie Sanders, I-Vt. talk Tuesday, Jan. 14, 2020, after a Democratic presidential primary debate hosted by CNN and the Des Moines Register in Des Moines, Iowa. (AP Photo/Patrick Semansky)
Warren-Sanders rift has progressives nervous about fallout
DES MOINES, Iowa (AP) — For nearly a year, Elizabeth Warren and Bernie Sanders pushed strongly progressive ideas into the Democratic primary spotlight, feeding off each other to build support for proposals long dismissed as radically leftist: "Medicare for All," tuition-free college and a "Green...
Democratic presidential candidate Sen. Bernie Sanders, I-Vt., speaks Tuesday, Jan. 14, 2020, during a Democratic presidential primary debate hosted by CNN and the Des Moines Register in Des Moines, Iowa. (AP Photo/Patrick Semansky)
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text:
Q: Prove that the sum $a_1+a_2+....+a_n+b_1+b_2+...+b_n$ cannot equal to $0$
We are given an $n \times n$ board, where $n$ is an odd number. In each cell
  of the board either $+1$ or $-1$ is written. Let $a_k$ and $b_k$
  denote the products of the numbers in the $k$-th row and the $k$-th
  column, respectively. Prove that the sum
  $a_1+a_2+\cdots+a_n+b_1+b_2+\cdots+b_n$ cannot equal to $0$

I started off with some examples:

If its a $3 \times 3$ board, then:
you can either have:

*

*five $-1$'s and four $1$'s

*five $1$'s and four $-1$'s

*three $1$'s and six $-1$'s

*three $-1$'s and six $1$'s

*two $-1$'s and seven $1$'s

*two $1$'s and seven $-1$'s

*one $1$'s and eight $-1$'s

*one $-1$'s and eight $1$'s

regardless, the sum will never be $0$.
but how would i prove that?

A: The product of the $a_i$ is equal to the product of the $b_i$. This is because each of these products is the product of all the elements in the $n\times n$ array.
So the numbers of $-1$'s among the $a_i$, and among the  $b_i$, have the same parity (both numbers are even or both are odd).
It follows that the combined number of $-1$'s among the $a_i$ and $b_i$ is even.
This ensures that the sum of all the $a_i$ and all the $b_i$ cannot be $0$. For if the sum is $0$, the total number of $-1$'s among the $a_i$ and $b_i$ must be $n$.  And $n$ is odd.

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In the Summer I assisted Sarah May on a shoot for Jack Wills AW/10. The photographer was Elaine Constantine. I had SO much fun doing this shoot as we were at an amazing house in a quaint village and Elaine worked in a very natural way, filming the models to really capture the mood of the collection.
The finale was an amazing party scene, which so really fun to set up. There was music in the form of a band and a dj, apple juice in beer bottles and quite a few extras, making it a really great atmosphere.
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Home›Catholic facility›The 12 Christmas Dave
The 12 Christmas Dave
GODFREY – One of retired educator David Elson's many Christmas memories dates back to another time.
"I can't find a single one, but the most fun I ever had at Christmas, when I became manager at North, in 1979, until I retired, was that I always had a costume. Father Christmas and visiting classrooms and different schools, "said Elson, 74, of Godfrey, who also served as the superintendent of the Alton School District.
"I was going to Vickie Oberlink, a teacher at West, and a really good one, and I started my 'Ho, ho, ho' routine," he said. "I sat on her lap, which I couldn't do now, and said, 'Oh Mrs. Vickie, I remember when you wanted that Chatty Kathy doll. "
"And I always went to my own children's classrooms, so I could embarrass them," he said. "I have a lot of fond memories of Christmas. I drove my car from school to school. I really took a hit. I had dressy looks with the suit and the beard and I was waving people. It's a great time of year.
He and his wife, Nancy, a retired nurse, live in a condo at Adrian Pines across from a nursing home.
"I tell Nancy we're just going to cross the street one day," he said.
Elson said his name is a last name.
"My father is David Charles Elson," he says. "He went through Charlie; My name is David, the second, not a junior, and now I have a nephew who is a third.
Elson began his teaching career in 1969. He joined the Alton School District in 1970, first at East Elementary School, then high school, then as an administrator at Central, deputy principal at West and finally director in North. He then worked for the Litchfield School District for 11 years. When the district built a new school, he became principal and retired in 2003 for the first time.
"Every time I retired I was really not ready, so I found another job," he said.
From there he went to Thurgood Marshall Academy in St. Louis, as director of finance, programs and construction for the K-8 school of 1,100 students for two years.
He retired from the Alton District as Superintendent in 2011, but has done superintendent research, including for Wood River and Hartford Districts, and has worked with Districts on asbestos issues and with Contegra Construction throughout southern Illinois.
Then he worked in the regional education office in Edwardsville, as director of school improvement and staff development, including a 6 month stint as regional superintendent when Bob Daiber was in a position. of change. He retired on June 30 from the RE.
"Now I do whatever my wife tells me to do, but not always in the same amount of time," he said cheerfully. "I spent 52 years in teaching. I have always enjoyed that, every moment, no matter what state of education at any given time.
He gives his wife credit for all of his support, especially early in his teaching career at St. Mary's Catholic School in Mount Carmel.
"I was making $ 6,000 a year and I was the only man," he recalls. "After I had lunch at the table with the kids I started softball, kickball and taught everything except religion, my dad was a Methodist pastor.
"Every success that I have had professionally, I have to give it credit. We had three children over 22 months: a boy and twins, "said Elson, who also later welcomed a girl and is currently expecting an eleventh grandchild. "She has always been my greatest cheerleader. It is very important for me.
Elson received the Illinois State Board of Education's Those Who Excel award as superintendent at Litchfield and recognition from the Illinois Principals Association.
"I wasn't looking for rewards; I was too busy to do this, "he said. "I am honored to be one of the Christmas Daves."
As Alton's superintendent, when high school on Humbert Road was completed, he worked to ensure all schools were in good physical shape.
"We had a great team, with the ability to think outside the box, and rescued teachers, who are so important to teaching," he said. "Class size is very, very important. At Alton we teach everyone and they did a great job.
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Why Crawl Is One Of The Best Creature Features In The Last Several Years
Jeffrey Bowie Jr. 1 year ago
Whether it's the unforgettable blockbuster Jaws that scared the entire world in 1975, to the laughably bad Sharknado, creature features have a special place in the hearts of audiences who want to see some special animal action. While the likes of Godzilla and A Quiet Place are dominating the landscape, a special little film went under the radar in 2019 called Crawl, which stars Kaya Scodelario (The Maze Runner, Extremely Wicked, Shockingly Evil and Vile) and Barry Pepper (True Grit, Saving Private Ryan); The film centers around Haley and her father Dave, who are trapped within their family home due to a huge hurricane; however, both soon realize that they have an even greater threat than the rising water level, which is a murderous pack of gigantic alligators. Surprisingly, Crawl is a low-budget horror feature. It features less than ten characters, mainly stays in a single location, and doesn't have a name cast. This is actually a big advantage that Crawl has over a film like Godzilla.
One of the main issues of the Godzilla reboots is the huge cast that takes center stage. In turn, we're following a bunch of nothing characters and the plot becomes muddled due to the abundance of names occupying the screen. Since Haley and Dave are the main focus here, the film doesn't waste any screen time with bland characters and the simple plot allows for audiences to get what they came for, which is alligator action. Of course, the downside is that anyone not named Haley and Dave ends up on the alligator lunch menu; however, given the lack of screen time that Godzilla gets in his own movie, it's okay that a couple of humans are disposable. However, Crawl wisely uses the hurricane as another antagonist, with Haley and Dave being forced to swift gears due to the rising waters. Even when the two aren't battling bloodthirsty CGI gators, the tension remains high because they're fighting something that they simply can't stop, mother nature.
Crawl isn't some deep and character-driven film. It's a simple story that gets you from point A to point B. Luckily, that simplicity is what benefits 2019 horror film. Crawl knows that it's a creature feature first, and the film wisely sticks to its core premise with two likable leads. The beginning opens up with Haley as a competitive swimmer and the overall dynamic between her and her family. It's a simple opening sequence, but it packs so much necessary information that's vital to the overall story. It's not the smoothest or flashiest opening you'll ever see, but it gets the job done. Too often, horror films tend to jump into the action within the first few minutes and kill off some unnamed victim that the audience could care less about. Granted, this is effective to open a film. It gets the people right into the movie and tells them the ride that they're in for. However, if done poorly, it can easily take audiences out of the film. Had Crawl opened up with alligators chewing on some innocent soul at a river or lake, it would get you into the action, but then the clunkiness of Haley's backstory would've stuck out like a sore thumb.
As previously stated, Haley and Dave are likable protagonists and it helps that the talents of Kaya Scodelario and Barry Pepper elevate the role. They feel like real human beings because their reaction to the situation is realistic, and director Alexandre Aja makes the smart choice of not making these two appear immortal. Crawl could've easily been a difficult slog based on the family issues that the father and daughter clearly have; however, that drama isn't focused on once the hurricane starts. In terms of the alligator, they look good for CGI monsters. Can you tell that they're CGI? Yes, but it's not in a way that's distracting. The alligators actually look great when they're outside of the water, whereas under the deep blue sea the CGI is more exposed. The kills are solid. Like I said before, Crawl knows what it is so it delivers some sweet gator action. You'll instantly know who lives and who dies but it does satisfy the blood lust. Despite remaining in one location for a good portion of the second act, the film never feels repetitive because Aja finds a way to rack up the tension without repeating the same beats. Crawl is a great popcorn film that doesn't necessarily challenge its viewers mentally, but it doesn't insult anyone's intelligence. It's easily one of the best creature films of the last several years, alongside A Quiet Place.
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Jeffrey Bowie Jr.
I love movies and television. Whether it's timeless classics such as Psycho or The Wire, to modern greats such as Parasite or Brooklyn Nine-Nine, I've spent countless of hours watching (and writing) any movie or television show that I could find. Writing and entertainment is in my blood and I'm happy that I get a chance to share discuss these topics on a daily basis.
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Elderly woman tied up during robbery
Melody Brown-Peyton Staff writer @MelodyBrownPey1
The Robeson County Sheriff's Office is investigating after an elderly woman was tied up and robbed inside her home, according to a news release.
Deputies responded to the 300 block of Hedgpeth Road in Fairmont, just after noon on Tuesday, according to the release.
An elderly woman reported that she was assaulted and robbed, while at the front door of her home.
The victim stated that she was forced into her residence and tied up, and money was demanded from her by the suspects, according to a statement from the Sheriff's Office.
After the suspects left, the victim was able to free herself. The suspects made off with money, firearms and jewelry during the robbery, the release states.
The suspects were wearing all black had on gloves and had their faces covered up.
Anyone with information about the case is asked to call the Robeson County Sheriff's Office at 910-671-3170 or 910-671-3100.
Staff writer Melody Brown-Peyton can be reached at mbrownpeyton@fayobserver.com or 910-486-3568.


text:
Jost Fischbach1
M, b. 1658
Jost Fischbach was born in 1658 at Seelbach, Nassau-Siegen. He was the son of Johannes Fischbach and Catherina Heimbach.
[S21] B. C. Holzclaw, Ancestry and Descendants of the Nassau-Siegen Immigrants to Virginia 1714 - 1750, 159.
M, b. August 1637
Jost Fischbach was born in August 1637. He was the son of Johannes Fischbach and Elsbeth Becker.
Ludovica Fischbach1
F, b. April 1640
Ludovica Fischbach was born in April 1640. She was the daughter of Johannes Fischbach and Elsbeth Becker.
Margarethe Fischbach1
F, b. March 1643/44
Margarethe Fischbach was born in March 1643/44. She was the daughter of Johannes Fischbach and Elsbeth Becker.
Margreth Fischbach1
F, b. 1651
Margreth Fischbach was born in 1651. She was the daughter of Johannes Fischbach and Elsbeth Becker.
Maria Catherina Fischbach1
F, b. October 1640
Maria Catherina Fischbach was born in October 1640. She was the daughter of Johann Fischbach and Gela (?)
Maria Elisabetha Fischbach1
F, b. April 1687, d. before 1746
Ancestors of Olive Rodgers Wendell
Maria Elisabetha Fischbach was born in April 1687 at Trupbach, Nassau-Siegen (now Nordrhein-Westfalen). She was christened in April 1687; on Quasimodogeniti Sunday. Godmother was Elisabeth, wife of Hermann Otterbach (a 1714 Germanna colonist). She was the daughter of Philipp Fischbach and Elisabeth Heimbach. Maria Elisabetha Fischbach married Melchior Brombach, son of Johannes Brombach and Anna Margaretha Kemper, circa 1714 at Germanna Colony, Orange Co. (now), VA, The marriage may have occurred in Trupbach, Nassau-Siegen immediately prior to the emigration. Melchior and Elizabeth first lived in the common compound at Germanna in what is present-day Orange County, Virginia, but about 1721, along with many others from the settlement, relocated several miles northeast of Germanna. There on Licking Run, in what was then old Stafford County, later Prince William and since 1759, Fauquier County, the settlers took up individual tracts and named their new community "Germantown." Melchior and Elizabeth took up 100 acres (lot #7). Those seeking a deed to their land appeared in Spotsylvania County Court, 2 June 1724 to certify that they were legal residents of Virginia.
"Melcherd Brumback in order to take up land according to Royal Charter made oath that he came into this Colony to dwell in 1714 and brought with him his wife Elizabeth and that this is the first time of proving said importation, whereupon certificate is ordered to be granted them the right to take up land." Spotsylvania Co. VA Will Book "A", pp. 3-4.(Bly.)2 Maria Elisabetha Fischbach died before 1746 at Fauquier Co. (now), VA.
Children of Maria Elisabetha Fischbach and Melchior Brombach
Elizabetha Brumbach+ b. c 1715, d. 1767
Agnes Brumbach+ b. c 1716, d. a 1790
Catherine Brumbach+ b. c 1718, d. 1799
Maria Gertraut Brombach+ b. c 1721
[S21] B. C. Holzclaw, Ancestry and Descendants of the Nassau-Siegen Immigrants to Virginia 1714 - 1750, 50.
[S210] Daniel W. Bly, From the Rhine to the Shenandoah, Vol. III, p. 11.
Matthias Fischbach1
M, b. circa 1515, d. after June 1564
Matthias Fischbach was born circa 1515 at Oberfischbach, Nassau-Siegen. He was the son of Johann Fischbach and Agnes (?) Matthias Fischbach married Catharina (?) circa 1540 at Oberfischbach, Nassau-Siegen. Matthias Fischbach died after June 1564 at Oberfischbach, Nassau-Siegen.
Children of Matthias Fischbach and Catharina (?)
Theiss Fischbach+ b. c 1542, d. b 1619
Peter Fischenbach b. c 1544
Magdalena Fischenbach b. 1551
(?) Fischenbach b. c 1554
Johannes Fischbach b. 1557
Johann Fischbach+ b. c 1565, d. a 1641
Peter Fischbach1
Peter Fischbach married Gertrud (?). Peter Fischbach was born circa 1620 at Niederschelden, Nassau-Siegen. He was the son of Johann Fischbach and Margreth Lueck.
Children of Peter Fischbach and Gertrud (?)
Anna Fischbach b. 1648
Anna Maria Fischbach b. 1649
Anna Catharina Fischbach b. 1654
Johann Fischbach b. 1657
Catharina Fischbach b. 1660
Philipp Fischbach1
M, b. 3 April 1661, d. circa 1715
Philipp Fischbach was born on 3 April 1661 at Seelbach, Nassau-Siegen. He was the son of Johannes Fischbach and Catherina Heimbach. Philipp Fischbach married Elisabeth Heimbach, daughter of Johannes Heimbach and Clara (?), on 20 May 1683 at Trupbach, Nassau-Siegen. Philipp Fischbach immigrated in 1714 to To Germanna Colony, Orange Co. (now), VA.2 He died circa 1715 at Germanna Colony, Orange Co. (now), VA.
Children of Philipp Fischbach and Elisabeth Heimbach
Clara Fishbach b. 1684
Anna Elisabeth Fishbach b. 15 Apr 1685, d. 1711
Maria Elisabetha Fischbach+ b. Apr 1687, d. b 1746
Agnes Fishbach b. 28 Jul 1689
Johannes Fishbach+ b. 12 Jul 1691, d. 1735
Hermann Fishbach b. 12 May 1693
Mary Elizabeth Fishbach b. 7 Aug 1696
Theiss Fischbach1
M, b. circa 1542, d. before 1619
Theiss Fischbach was born circa 1542 at Oberfischbach, Germany. He was the son of Matthias Fischbach and Catharina (?) Theiss Fischbach married Elsa (?) circa 1570 at Germany. Theiss Fischbach died before 1619 at Freudenberg, Nassau-Siegen (now in Nordrhein-Westfalen), Germany.
Children of Theiss Fischbach and Elsa (?)
Johann Fischbach
Wilhelm Fischbach+ b. c 1575
[S21] B. C. Holzclaw, Ancestry and Descendants of the Nassau-Siegen Immigrants to Virginia 1714 - 1750, 150-151.
Theiss Fischbach married Gela (?). Theiss Fischbach was born circa 1600 at Niederschelden, Nassau-Siegen. He was the son of Johann Fischbach and Margreth Lueck. Theiss Fischbach began military service in 1624 Member of Niederschelden militia, 1624 - 1629.
Children of Theiss Fischbach and Gela (?)
Henrich Fischbach b. 1631
Wilhelm Fischbach1
Wilhelm Fischbach died at Germany. He was born circa 1575 at Siegen, Nassau-Siegen (now in Nordrhein-Westfalen), Germany. He was the son of Theiss Fischbach and Elsa (?)
Child of Wilhelm Fischbach
Johannes Fischbach+ b. 1600, d. 1671
(?) Fischenbach1
(?) Fischenbach was born circa 1554. She was the daughter of Matthias Fischbach and Catharina (?) (?) Fischenbach married Christopher Weber circa 1576 at Nassau-Siegen (now in Nordrhein-Westfalen), Germany.
Magdalena Fischenbach1
Magdalena Fischenbach was born in 1551. She was the daughter of Matthias Fischbach and Catharina (?)
Peter Fischenbach1
Peter Fischenbach was born circa 1544. He was the son of Matthias Fischbach and Catharina (?)
Anna Maria Fischer1
Anna Maria Fischer married Johann Kaspar Fruttiger.1
Child of Anna Maria Fischer and Johann Kaspar Fruttiger
Johann Kaspar Fruttiger1
[S1936] Familysearch "German Marriages", online https://familysearch.org/, source film #1189338.
Annie Elizabeth Fischer
F, b. November 1846, d. 24 February 1918
Annie Elizabeth Fischer was born in November 1846 at Strasburg, Shenandoah Co., VA.1 She was the daughter of Isaac Fischer and Susan Pittman. Annie Elizabeth Fischer married Hugh Stickley, son of Levi Stickley and Elizabeth Dosh, on 2 April 1876 at Shenandoah Co., VA, Ceremony by G. W. Stratton. Annie Elizabeth Fischer died on 24 February 1918 at age 71.
Children of Annie Elizabeth Fischer and Hugh Stickley
Walter H. Stickley1 b. Sep 1879
Irving L. Stickley1 b. Oct 1880
Bessie M. Stickley1 b. Nov 1882
Russell R. Stickley1 b. Mar 1887
Mary S. C. Stickley1 b. Oct 1891
[S291] 1900 Federal Census, Shenandoah County, Virginia. Microfilm Image, NARA Series T623, Film 1728; FHL #1241728.
Bonnie Lynn Fischer
F, b. 29 March 1951
Bonnie Lynn Fischer was born on 29 March 1951. She was the daughter of Harold Raymond Fischer and Alice Rosette Olmstead. Bonnie Lynn Fischer lived between 1972 and 2020 at Des Moines, Polk Co., IA.
Caroline Fischer
Caroline Fischer married Charles Beecher Conley, son of William H. Conley and Henrietta Bertha Beecher.
Caroline Fischer1
F, b. circa 1849, d. 14 September 1933
Caroline Fischer was born circa 1849 at Canada.1 She married George Kuhn. Caroline Fischer died on 14 September 1933 at Montgomery Co., OH. She was buried in September 1933 at Calvary Cemetery, Kettering, Montgomery Co., OH, Findagrave #62608830.
Child of Caroline Fischer and George Kuhn
Catherine Kuhn1 b. 5 Jan 1874, d. 1 Jan 1945
[S129] 1880 Federal Census, Montgomery County, Ohio. Microfilm Image, NARA Series T9, Roll 1051/1052; FHL #1255051/1255052.
David Fischer
David Fischer was born circa 1793 at Shenandoah Co. (probably), VA.
Child of David Fischer
Isaac Fischer+ b. c 1815
Dorothy Fischer
F, b. 1832, d. 18 February 1895
Dorothy Fischer was born in 1832 at Wuerttemberg, Germany. She married William Windemute, son of Abraham Windemute and Mary (?). Dorothy Fischer died on 18 February 1895.
Children of Dorothy Fischer and William Windemute
Annie M. Windemute+
(?) Windemute+ d. 1 Oct 1892
Eleanor M. Fischer
F, b. 4 March 1921, d. 9 November 2013
Eleanor M. Fischer was born on 4 March 1921 at St. Leo, Kingman Co., KS. She was the daughter of William Fischer and Rose Steffans.1 Eleanor M. Fischer married John Raymond Brady, son of John Walter Brady and Rosa May Shankle, on 1 October 1944 at Martha's Vinyard, Dukes Co., MA. Eleanor M. Fischer died on 9 November 2013 at Kingman Co., KS, at age 92 Obituary (findagrave.com):
Dateline/Kingman
Eleanor M. Brady, 92, died Nov. 9, 2013.
She was born March 4, 1921, at St. Leo, Kansas the daughter of William and Rose Steffans Fischer.
A lifetime resident of Kingman County, she was a homemaker.
She was a member of the St. Patrick Catholic Church, the D of I and Altar Society, the Kingman County Council on Aging, the Penalosa EHU, Kingman Community Hospital Auxiliary and volunteered at the Nu-2- U Store.
On Oct. 4, 1943, she married John Raymond Brady at Martha's Vineyard, Mass; he died March 27, 1995. Survivors include 3 sons and their wives, Randy and Charlotte, Bob and Jana, Scott and Michelle; 2 daughters and their husbands, Pat and Lee Oaks and Karen and Roger Harvey; sister Marcella Steinhauser; 9 grandchildren; and 6 great-grandchildren. She was also preceded in death by brothers Cornelius and Nobert; and sisters Dora Hageman and Theresa Posch.
Parish rosary will be 7:30 p.m., Tuesday, Nov. 12, at the Livingston Funeral Home, Kingman. Mass of Christian Burial will be 10:00 a.m., Wednesday, at St. Patrick Catholic Church, Kingman. Friends may call after 1:00 p.m., Tuesday at the funeral home. Burial will be in the Walnut Hill Cemetery.
Memorials may be made with the St. Patrick Grade School and Wheatlands Healthcare Center, both in care of the funeral home.
She was buried in November 2013 at Walnut Hill Cemetery, Kingman, Kingman Co., KS, Find A Grave Memorial# 120201327.
[S4032] 1930 Federal Census, Nuckolls County, Kansas. Microfilm Image, NARA Series T626, Roll 1289; FHL #2341024.
Elizabeth Fischer1
F, b. 28 April 1885, d. 29 January 1916
Elizabeth Fischer was born on 28 April 1885 at Switzerland.1 She married Lawrence Colton circa 1906.1 Elizabeth Fischer died on 29 January 1916 at age 30. She was buried in February 1916 at Columbus City Cemetery, Columbus City, Louisa Co., IA, Find A Grave Memorial# 6964760.
Child of Elizabeth Fischer and Lawrence Colton
Donald Thomas Colton+1 b. 29 Mar 1908, d. 25 Jul 1971
[S3233] 1910 Federal Census, Louisa County, Iowa. Microfilm Image, NARA Series T624, Roll 411; FHL #1374424.
George H. Fischer Sr.
M, b. 4 January 1896, d. 5 February 1993
George H. Fischer Sr. was born on 4 January 1896. He married Lois Mildred Case. George H. Fischer Sr. died on 5 February 1993 at age 97. He was buried in February 1993 at Arrow Rock Cemetery, Arrow Rock, Saline Co., MO, Findagrave #32162893.
Child of George H. Fischer Sr. and Lois Mildred Case
Mary Ann Fischer+ b. 30 Aug 1937, d. 21 Feb 2020
Hans Philipp Fischer
Hans Philipp Fischer married Anna Maria Thiehl, daughter of Hans Thiehl and Ann Utilia (?), on 26 June 1654.
Harold Raymond Fischer
M, b. 14 August 1927, d. 8 August 2002
Harold Raymond Fischer was born on 14 August 1927 at Des Moines, Pok Co., IA. He married Alice Rosette Olmstead, daughter of Edmund Walter Olmstead and Loretta Elmira Miller. Harold Raymond Fischer died on 8 August 2002 at Des Moines, Pok Co., IA, at age 74. He was buried in August 2002 at Masonic Cemetery, Des Moines, Polk Co., IA, Findagrave #66791071.
Children of Harold Raymond Fischer and Alice Rosette Olmstead
Bonnie Lynn Fischer b. 29 Mar 1951
Lauretta Marguerite Fischer b. 8 Apr 1952
Virginia Kay Fischer
Perry Andrew Fischer b. 24 Jun 1958
Ida Henrietta Fischer1
F, b. 26 June 1878, d. 7 March 1934
Ida Henrietta Fischer was born on 26 June 1878 at Missouri.1 She was the daughter of William Fischer and Henrietta Manne. Ida Henrietta Fischer married Roy K. Windle, son of John S. Windle and Anna Townsend, after January 1920, no children.1 Ida Henrietta Fischer died on 7 March 1934 at St. Louis Co., MO, at age 55 Missouri death certificate No. 11489.
[S2798] 1930 Federal Census, St. Louis County, Missouri. Microfilm Image, NARA Series T626, Roll 1225; FHL #2340960.
Isaac Fischer
Isaac Fischer was born circa 1815 at Shenandoah Co. (probably), VA. He was the son of David Fischer. Isaac Fischer married Susan Pittman circa 1843.
Child of Isaac Fischer and Susan Pittman
Annie Elizabeth Fischer+ b. Nov 1846, d. 24 Feb 1918


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Q: jQuery not defined using mocha for testing wordpress javascript I've set up mocha to run tests in the terminal.  It works for basic test like expect(1).to.equal(1).  The problem I run into is that my script is wrapped in the jQuery like so jQuery( function( $ ) { // my code here }); and I get an error when running the tests.
evalmachine.<anonymous>:15
jQuery( function ( $ ) {
^

ReferenceError: jQuery is not defined
at evalmachine.<anonymous>:15:1
at Object.exports.runInThisContext (vm.js:54:17)
at Suite.<anonymous> (/Users/grahamlutz/Documents/BBC/poolproof/test/test.js:21:8)
at context.describe.context.context (/usr/local/lib/node_modules/mocha/lib/interfaces/bdd.js:47:10)
at Object.<anonymous> (/Users/grahamlutz/Documents/BBC/poolproof/test/test.js:8:1)
at Module._compile (module.js:413:34)
at Object.Module._extensions..js (module.js:422:10)
at Module.load (module.js:357:32)
at Function.Module._load (module.js:314:12)
at Module.require (module.js:367:17)
at require (internal/module.js:16:19)
at /usr/local/lib/node_modules/mocha/lib/mocha.js:220:27
at Array.forEach (native)
at Mocha.loadFiles (/usr/local/lib/node_modules/mocha/lib/mocha.js:217:14)
at Mocha.run (/usr/local/lib/node_modules/mocha/lib/mocha.js:469:10)
at Object.<anonymous> (/usr/local/lib/node_modules/mocha/bin/_mocha:404:18)
at Module._compile (module.js:413:34)
at Object.Module._extensions..js (module.js:422:10)
at Module.load (module.js:357:32)
at Function.Module._load (module.js:314:12)
at Function.Module.runMain (module.js:447:10)
at startup (node.js:141:18)
at node.js:933:3

my test.js looks like this:
var assert = require('assert');
var chai = require('chai');
var expect = chai.expect;
var fs = require('fs');
var vm = require('vm');
var jsdom = require('mocha-jsdom');

describe('mocha tests', function () {

jsdom();

before(function () {
    $ = require('jquery');
});

var path = __dirname + '/../wp-content/themes/bb-theme-child/myscript.js';
var code = fs.readFileSync(path);
vm.runInThisContext(code);

describe('getSession', function() {
    it('should return the empty string because it fails', function () {
        applyCoupon();
    });
});
});

My question is either why is jQuery undefined or what incorrect assumptions am I making?  Do I need to change the way I think about testing javascript within a wordpress set up?

A: The following two lines worked for me. For convenience I just put these at the top of my mocha test file. I used 'jsdom-global' package instead of 'mocha-jsdom' per the recommendation on the mocha-jsdom github readme. https://github.com/rstacruz/jsdom-global
this.jsdom = require('jsdom-global')()
global.$ = global.jQuery = require('jquery');

A: You have to export $ and jQuery to the global space yourself:
before(function () {
    global.$ = global.jQuery = require('jquery');
});

If you read mocha-jsdom's documentation you'll see that it puts in the global space symbols like window and document. When you load jquery, it finds window and adds itself as window.$. In a browser, this also makes $ visible in the global space because window is the global space. In Node, however, the global space is global, and so you have to put $ in it yourself.


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Whether you like (or detest) the way Jaguar cars look these days, there's one man who's responsible for those – Ian Callum, Jaguar's Design Chief since 1999. He's the one who broke the mold of Jaguar cars from the retro-ism era of the late Geoff Lawson. Basically, the jump from the old school-ish styling was Callum's work, and he'll continue to do so for the next-generation models of the British marque.
Road & Track was able to get a hold of Callum during the 2018 Paris Motor Show. The Jaguar team drove a fleet of XJs from Coventry to the auto show in celebration of the sedan's 50th anniversary. Of course, he's the person to ask regarding the future of the XJ sedan, and thankfully, we've got answers.
⠀ 2018 Jaguar XJR575 | Why Buy?
Callum mentioned that the future Jaguar XJ will be a huge step forward, even comparing it to the changes in the new BMW 3 Series. He said that the changes in the future XJ will be a lot bigger than that. And literally, the XJ will remain huge no matter how he resents doing so. Apparently, the design chief prefers the XJ to be smaller, but demand dictates the market, so there's that.
In addition, Callum said that the next XJ will be beautiful, sporty, and sleek. He specifically mentioned that the XJ should still be a driver's car.
"The design has to signify the message of a sports car. It's not just a three-box sedan. It's something people wanna get into and drive. And that has to be a message of its shape," he added.
Callum was also asked about the F-Type replacement, but he playfully mentioned that there aren't any plans for it yet. However, he said that he personally prefers the upcoming F-Type to be a mid-engine-style electric car, like the C-X75 Concept. That's how he envisioned it. He even shared the challenges that they will need to hurdle along the way, which includes faster charging times and weight. As for the F-Types interior, Callum was quite ecstatic about it and mentioned that it's going to be a whole new level.
"We have a guy called Alister Whelan who's taking over the interior design, and is really focused on us moving forward. It's very exciting, so the next cars in the next few years will be quite a bit different," he added.


Rosiglitazone, often referred to by its trade name Avandia, is a PPAR (peroxisome proliferator activated) receptor agonist of the thiazolidinedione (TZD) class. It is commonly used in the treatment of diabetes.
Avandia, like other thiazolidinediones, acts as an agonist at PPARs. Activation of this receptor increases insulin action at target tissues, meaning more glucose is utilized and taken up into the tissues. This counters insulin insensitivity in tissues that may cause symptoms in diabetes.
The FDA reports other side effects have not been reported in large scale clinical trials. They are hormonal imbalances, increases in waist circumference, hepatitis (inflammation of the liver), dyspnea (difficulty breathing), fractures, pulmonary edema (swelling of the peripheries), and decreases in white blood cell concentration.
Identifying these polymorphisms can aid clinical decision-making. Physicians may alter the dose of Avandia prescribed given a known allele. Unfortunately, routine genomic screening is not carried out by most health care providers. At MD Labs, we provide a genetic testing service that does just this. Rxight® sequences 18 genes (including CYP genes like CYP2C9) to establish how a patient is likely to react to hundreds of medications (including Avandia).
For instance, polymorphisms in the PPAR gene have been associated with variable blood glucose concentrations in patients taking Avandia. This could cause symptoms such as hyperglycaemia. Concurrently, polymorphisms in the enzymes that metabolize Avandia may cause poor metabolism of the drug, raising blood concentrations and potentially increase the likelihood of developing adverse effects. These enzymes are part of the cytochrome P450 superfamily of enzymes, namely isoenzymes CYP2C8 and CYP2C9.
Many patients do not suffer side effects when taking Avandia. However, some may experience multiple, severe adverse reactions. This interpatient variability can be explained by differences in patient's genetics. Pharmacogenetics, or the study of how an individual's genome interacts with the drugs they are prescribed, shows that polymorphisms in the genes that code for receptors and enzymes that rosiglitazone interacts with, will have an effect on its therapeutic efficacy and the likelihood of a patient developing a side effect.
To know more about the Rxight® genetic test, call us at 1-888-888-1932 or send us an email at support@Rxight.com.
Read more about Rxight® : What is PGx Testing?


While I have enjoyed my experiences in the world of Jesse Tree Swaps, there is just something to be said for a set that looks like it was put together by the same artist. The colors are complimentary. The style of the art is similar on each piece. Also… I love the bare wood on the backside. Wood is so beautiful, it should never be painted unless is absolutely has to be.
Cupcake loved looking at all of the pretty pictures.
Each piece is the same size. Some of the swaps I've participated in had dimension limits on the pieces being made but you still ended up with a variety of sizes. Some teeny tiny things, some 4x4 numbers. I think everyone has their own idea of where they are going to hang their Jesse Tree symbols and that influences the proportions of the pieces they make. But to me, uniform pieces mean a nicely balanced, even look to wherever you decide to hang them. In our case, it's a skinny little 6 foot fake Christmas tree.
This is probably my most favorite thing. There are so many options with this set. We have a felt Jesse Tree that a sweet SIL made us that is starting to show it's age… it's been well loved. That Jesse Tree only has enough symbols to go from December 1st through the 25th. But some years… Advent starts in November! With this set from Jesse Tree Treasures, you can decide when you'd like to start your Jesse Tree. And some of the symbols can be used for different stories. If you have a Bible storybook that your family loves, I'm sure you could find symbols for the stories that you want to include. If you decide you want to focus on the female characters in Christ's genealogy, you can do that too.
Let's say you want a strict story telling focus, not a people of the Bible focus, you can do that with this set. You can tell the story of Moses' trip in the basket, the burning bush and the Ten Commandments all with different ornaments!
Right now, we are following my SIL's reflections (see her right side bar). Hers are based on the old felt version that we both have (same SIL made one for each of us) and we have been able to find symbols in this set to work for each of the original symbols. Next year, we might try a different line-up. It's the options that this complete set provides that I love.
But in case options make you break out in hives because…ahhhhhhhh... too many choices... this set comes with blank cards that you can fill in with the name of the symbol, the verse or story and create your own order to be used year after year without thinking about it. Jesse Trees should not cause you to sweat.
Now, I told you this was an honest review… so, here is what I don't like.
The set comes with thin little pieces of thread to string each ornament up with. Little wisps of thread that are way too hard for a toddler's uncoordinated hands to figure out. That's just not going to cut it for Miss Cupcake who wants to do everything by herself these days. (Pray for us, please!) I'm planning to get some thicker thread or string or ribbon to use instead so that it's easier for her to hang them on our tiny little tree. The holes that are in each ornament aren't very big so as not to obscure the lovely artwork, of course, but that means it's going to be tricky to find something that will work. I think I can do it. Maybe I'll try some wire twisted into an S shape. I'll let you know what ends up working.
Some of the ornaments that I've received in Jesse Tree Swaps didn't hold up against the heat of a Texas garage in the summer time and I just don't have enough closet space to store everything inside. These little ornaments seem like they will survive better but since I just received them a few weeks ago, I can't really be sure until we've lived through another summer. I'll get back to you on that.


text:
987 415 773 administracion@ronergy.com
At Ronergy we have been specialists in wind maintenance services since 2011.
¿What we do?
Our provision is based on all kinds of services related to the maintenance and conservation of wind turbine blades and other wind components, so that they are kept in continuous movement.
These works prolong the useful life of the wind turbine blades and improve the performance of their profiles, effectively contributing to increased production and thus amortizing their costs, in the shortest possible time.
Part of the Soluciones Reunidas group
Founded in 1969, the group Soluciones Reunidas is a specialist in anticorrosive treatments and industrial maintenance in the Oil & Gas, Wind Power, Petrochemical, Power Generation and Distribution, Mining, Naval, Offshore and Industry sectors in general.
Soluciones Reunidas has a staff of more than 500 highly qualified specialists and state-of-the-art machinery.
With a presence throughout the national territory, it accompanies its clients internationally and provides technical capacity and financial solvency.
Done projects
Wind farms and installations at Spain
Wind farms and installations around the world
Countries where we operated
Our human team is made up of professionals with extensive experience in the wind sector and more specifically in the production and repair of wind blades from most of the world's manufacturers: LM Wind Power, Gamesa, Vestas, etc.
Our team is made up of highly qualified technicians who combine the following characteristics:
Experts in both polyester and epoxy blades.
With more than 10 years of experience in the manufacture and maintenance of blades.
The highest knowledge and experience in LM Wind Power and Gamesa blades.
With constantly updated technical and security training.
The mission of RONERGY Services SLU is to ensure that a clean energy source such as wind power has professionals behind it willing to solve any possible problems that may arise in the operation of the generators. The sector would not have a future without trained professionals willing to undertake all kinds of repairs, so that wind energy never stops. We work so that the wind turbines remain in continuous movement. And we constantly innovate to offer a better service day after day.
The vision we have at Ronergy Services SLU is that the sector considers us a serious and reliable company. For this we have a management team with great technical preparation, as well as professional operators whose main premise is a job well done.
The main values of Ronergy Services SLU are:
Integrity and ethical commitment – It means being honest and honorable in our work and in our relationships with others.
Professional excellence – Seeking the highest quality in our work and carrying out our activity with rigor and technical competence, but also with deep human quality.
Respect for the environment – We are aware of what renewable energies represent for the future of the environment and this is our motivation.
We are a company in continuous growth in search of new horizons. We are dedicated to innovate and at the same time to know the needs of the client. We have performed services all over the world.
We have references in more than 280 parks and locations in Spain. Outside of Spain, we have worked in more than 21 countries and we have a presence in more than 150 parks.
Quality – Standards
Ronergy Services has its own standards, defect codes, acceptance criteria, repair instructions and reporting formats but we can adapt our work to the client's standard.
Environment System
Risk Prevention System
Ronergy is actively involved in industry activities such as the Wind Business Association, is a member of the National Association of Rope Access Companies and is registered with Achilles.
Ronergy is a signatory to the Global Compact and is committed to aligning its operations with Ten Universally Accepted Principles in the areas of human rights, labor standards, the environment, and the fight against corruption, and to adopt measures in support of the United Nations goals currently embodied in , in the Sustainable Development Goals (SDG).
We work for big brands
During the last years of activity, we have provided our services to different types of clients: technologists, blade manufacturers, park managers and owners.
MANTENIMIENTO EÓLICO
Tfno. 987 415 773 · Email: administracion@ronergy.com
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text:
Марина Кар () е ирландска писателка и драматург.

Биография и творчество
Марина Кар е родена на 17 ноември 1964 г. в Дъблин, Ирландия. През 1987 г. завършва литература и философия в Юнивърсити Колидж, Дъблин.

Сред най-известните ѝ пиеси са "Мей" (1994 г.) и "Порша Кохлан" (1996 г.), които са отличени с награди на Дъблинския театрален фестивал, което от друга страна им донася и международно признание. Най-големият успех на Марина Кар се обвързва с двата големи женски образа в пиесите "Мей" и "Порша Кохлан".

Други известни пиеси на Марина Кар са: "Ниско в мрака" (1989 г.), "Капитулацията на сърната" (1990 г.), "Това нещо, наречено любов" (1991 г.), "Улалу" (1991 г.), "На хълма на Рафърти" (1996 г.).

Марина Кар е носител на наградата на името на Е. М. Форстър на Американската академия за изкуство и литература.

Живее в Дъблин.

Произведения
 Plays One (1999)
 On Raftery's Hill (2000)
 Ariel (2002)
 Woman and Scarecrow (2006)
 Marble (2009)
 16 Possible Glimpses (2011)

Външни препратки
 Биография в "The Literary Encyclopedia"
 Биография и библиография в "Playography Ireland"

Ирландски писатели
Родени в Дъблин

redpajama_set_name: RedPajamaWikipedia


I have made my decision for my 20Time project, along with some assistance from nature. Those who commented on my original posting thought that I should make wine as a cultural and family historically driven inquiry. I did some research and visited the local wine making store here in Simi Valley. The store proprietor told me that Summer is the wrong time to start a batch of wine in Southern California. He asked me if I wanted to make beer instead. I don't have any connection to beer so I respectfully declined. I still want to make wine now, especially with the connection I have to the process. The wine expert told me to come back in late September or Early October because that is when the wineries sell their extra grape juice from the pressing process.
So I am going to go with my second option, learning to paint. I am going to try to see if I can just pick up the craft. If I can't, there are free classes through the Parks and Rec department available that I can attend to get some pointers. However, I do want to see if I can improve my own talents through successful failures and self anaylasis.
I told my son that we are going to be learning to paint together he was excited. Then he looked confused and let me know that he already knows how to paint, "Daddy, you put paint onto the paintbrush, then you put the paint onto the paper." I am going to have him accompany me on this journey. Who knows? We might discover that he has some artistic talent.
5. Can you blend various types of paint in one painting, or will that look riddiculous?
What a wonderful choice! I love that you are doing it with your son. I look forward to seeing your progress.
That's awesome. At first, I thought you were going to paint a room in your home or some type of DIY but definitely painting as an art will be a lot more difficult. I youtube everything so maybe you can get some pointers there and maybe one of your paintings could be the bottle of wine and flavor you intend to make at some point. Good luck! and I think your son is going to love going on this journey with his dad.
I understand completely about the wine idea and the dilemma with the season. However, because I am terrible at art, too, it would be fun to see you along your journey of learning to become the next Leonardo da Vinci. Good look!
As much as I like the wine making. . .someone in cohort one made jelly from wine grapes. . .so close. The painting idea is the pefrect medium for this project. In one of Dan Pink's awesome books (the first one, I think), he tried to teach himself to draw by taking a class based on the book, Drawing with the Left Side of the Brain (or something like that). He made substantial progress in a very short time. . .Good luck!
Yay for painting with your son! Can't wait to see both of your journeys, thoughts and progress.
Michael I love the picture of your art piece and how you explained your process. I am a YouTube addict on watching how others accomplish the task I want to do so I agree with Jaime on looking up videos. Wondering if you ever have watched Bob Ross. My husband is a self made artist (metal, wood, all paint mediums) and he learned by watching Ross on PBS as a child. He kinda does the pony show where he paints then you paint the same thing. My friend who is an art teacher says that isn't really art it is mimicking. But something to explore. Hoping you do a Star Wars theme.


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Q: How to change my exe icon dynamically while taking setup in vb6 I have a single exe file. I have to take multiple setup with same exe by changing with different icon. Is it possible how to change my exe icon dynamically while taking setup?.Please help.

A: Your question is a bit unclear, and I don't have enough karma to comment and ask for clarification.
If you're looking to change the application icon that appears in the titlebar at top left of your app window(s), see this article from Microsoft:
http://support.microsoft.com/kb/259673
If you're trying to change the desktop icon of a shortcut at runtime, there's a library you can use called iShellLink that really simplifies this process. You can find it here:
http://www.vbaccelerator.com/home/VB/Type_Libraries/ShellLink/article.asp


The Richardson Building Intern Housing program provides an enriching experience for young professional conservative interns at a reasonable cost. Conveniently located adjacent to The Heritage Foundation on the Senate side of Capitol Hill, our Intern Housing location is an easy walk to House and Senate office buildings. It is also nearby to Union Station for easy Metro access, making it an ideal location for interns on the Hill and throughout the Washington, D.C. area.
The Richardson Building Intern Housing program is more than a place to live, it is a place to grow and build community. We strive to create an engaging community, to mentor our residents, and build a network of like-minded conservative leaders. Our hope is that each resident leaves encouraged and more equipped than when they arrived in Washington, D.C. Each of our residential floors is staffed by Resident Advisors (RAs) who have a passion for working with young adults eager to begin their career in Washington, D.C. The experience, wisdom, and mentorship by the RAs is unparalleled across other intern housing options in the city. Choosing to live and participate in our program is an internship amplifier. It offers you a network of peers on a similar journey with lasting opportunity for impact.
"The quality young men and women who stay here truly make it shine season after season. It attracts genuine, spirited, and intelligent residents who together transform a brick building near Capitol Hill into a bastion of intellectual conversation about the ideas and principles which define our country. Many of the individuals I connected with during my several stays in the building remain among my closest friends today. These devoted friendships are beautiful phenomena unique to this Intern Housing program.
Unlike anything else in Washington, D.C.
The Richardson Building Intern Housing program is not only a unique experience to live, grow, and build community, we are conveniently located at a prime location on Capitol Hill. Our location is within a short walk to the U.S. Capitol, U.S. House and U.S. Senate office buildings, as well as the Supreme Court, Library of Congress, and Union Station, a major public transportation center. The Program's former home at The Johnson Building, and its new home, the recently developed E. W. Richardson Building (opened May 2018), are located adjacent to The Heritage Foundation.
In May 2018, The E. W. Richardson Building opened its doors. This Building was specifically designed to house our Intern Housing Program with a goal of building a first-rate experience for intern-residents to live, grow, and build community. The Building primarily consists of 2-bedroom, 2-bath units and some 1-bedroom, 1-bath units. There are study rooms, a large multi-purpose lounge, fitness center, and laundry facilities on-site. The E.W. Richardson Building is a training ground for the future; that next job, opportunity, and professional network begins here.
Formerly housed in the Johnson Building, we took a thriving program and better positioned it to maximize the investment into America's next generation of leaders.
Just bring your bedding, and your suitcases. We provide the furnishings and kitchenware you need.
24 hour on site patrol officer, access controled entry ways, elevators and stairwell doors. Plus a team of Resident Advisors on each intern floor.
Per person rates are pro-rated weekly and cover all utilities and amenities including gym, hi speed internet, taxes and fees.
Stay connected throughout the building with dedicated hi speed internet.
Located on Massachusetts Avenue, in the North East quadrant, Richardson Building Intern Housing is at the heart of Washington, D.C. with the U.S. Capitol Building, the National Mall, Union Station, and Eastern Market just a few blocks away. Capitol Hill features a unique mix of retail stores, welcoming restaurants, modern amenities, and professional services along with must see spots like Capitol Hill Books and Folger Shakespeare Library. The nearby Navy Yard neighborhood, home to the Washington Nationals, is a hub of activity and team spirit. With its tree-lined streets and walkable community, Capitol Hill boasts a small-town feel with the rich amenities of urban life.
Giant, Harris Teeter, and Whole Foods grocery stores are within walking distance. There are over five distinct coffee shops in a two block radius, including Starbucks, Ebenezers, and Union Kitchen Market. Union Station provides multiple dining options including Shake Shack, Chipotle, and Uno Pizzaria. There are also several pharmacy and dry cleaning options nearby.
In addition to its prime location, our building includes several amenities to assist in the development of community. The Richardson Building features a large multi-purpose lounge with an 80'' TV, conference table area and seating areas host social activities. In addition, there are two study rooms for quiet study or group projects. These common areas host policy expert Q&As, intern bible studies, movie and game nights and pot luck celebrations. We also have laundry facilities and a gym on site. For a full list of building amenities see the FAQs.
Just two blocks east of Union Station, our housing is at the crossroads of transportation options. These include Red Line Metro Access, nearby Metro and Circulator bus stops, and a Capitol Bikeshare hub across the street from our building. Travel outside of Washington, D.C. by bus or regional train is also based out of Union Station.
$890 per month, prorated weekly.
30% less than other intern housing providers.


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Plaque: Clarion House
Clarion House stands on an historic site in St Anne's Court which passed from the crown to the Duke of Portland in the 17th century. For two centuries the court was a haven for political refugees from France and Switzerland and, in modern times, from Eastern Europe. The historic houses were demolished in 1967 but in the 1980's the site was brought back into housing use for local people by the Soho Housing Association. Clarion House was opened on 24th June 1987 by the Hon. Peter Brooke MP.
Architects: Peter Mishcon and Associates
Builders: Tellings Ltd
Site: Clarion House (1 memorial)
W1, St Anne's Court, 4, Clarion House
Clarion House
St Anne's Court
Haven for political refugees from France and Switzerland and, in modern times...
Soho Housing Association
Group, Property, Social Welfare
Peter Brooke MP
Person, Politics & Administration
Haberdashers' Hall
Site of the Haberdashers' Hall, 1458 - 1996.City of London
Pepys and Harrison
Londonist gives a deliciously grim description of the process of being hung, ...
Alexander Herzen
Alexander Herzen, 1812 - 1870, operated the Free Russian Press from this buil...
Aneurin Bevan and Jennie Lee
Plaque unveiled by Lord Kinnock.
Bobby Moore Bridge
The Bobby Moore bridge opened by Mrs Stephanie Moore on 8th September 1993 in...