text:
Shallow, uninformed, and lacking identity
JFC, are there no editors left at that goddamn rag?
Fuck the extremist election deniers. What's money for if not for keeping them out of office?
Republicans don't want a speaker to lead them; they want a hostage.
But frankly mr. cole, I'll be happier when you get back to telling us to go fuck ourselves.
Nothing worth doing is easy.
When your entire life is steeped in white supremacy, equality feels like discrimination.
Incompetence, fear, or corruption? why not all three?
Being the leader of the world means to be the leader of peace.
You are here: Home / Thumbs Up
by John Cole | August 6, 2003 2:10 pm | 2 Comments
This post is in: Democratic Stupidity
I just got off the phone with a spokesman for the Iraq Foundation, Mr. Sammy Salih. Mr. Salih lived in Iraq until 1997, when he was 16 years old, at which time he came to the United States. At any rate, I am betting that Mr. Salih knows a touch more about Iraqi customs and gestures than Steve Gilliard (although I am also willing to bet Gilliard THINKS he knows more than Salih).
I interviewed Mr. Salih, and according to him, the thumb means things in other cultures, but for the most part, in Iraq, it meant nothing until it was picked up after the Gulf War. Now, he said, he believes it means 'OK' or 'good.'
I know who I believe on the issue. How about you?
BTW- that is pretty much what the Defense Language Institute has stated about the "Thumbs Up" meaning:
THis gesture, expressing connotations of "I am winning," historically is offensive to many Arabs. After the Gulf conflict, however, Middle Easterners of the Arabian Peninsula adopted this hand movement, along with the OK sign, as a symbol of cooperation towards freedom.
One word of caution- Mr. Salih did state that putting the INDEX finger and thumb together meant something akin to "F— your mother," although he was too polite to use those terms himself.
Previous Post: « Steve Gilliard, Partisan hack
Next Post: We Have A Winner!!!! »
So is it the 'tip me' sign that's offensive? Wait, that includes the middle finger…
>One word of caution- Mr. Salih did state that putting the INDEX finger and thumb together meant something akin to "F— your mother," although he was too polite to use those terms himself
Omnes Omnibus on Saturday Morning Open Thread: Human Rights & Human Dignity (Jan 28, 2023 @ 11:46am)
Matt McIrvin on Saturday Morning Open Thread: Human Rights & Human Dignity (Jan 28, 2023 @ 11:46am)
Omnes Omnibus on War for Ukraine Day 337: International Holocaust Remembrance Day Amidst Another Genocidal War in Europe (Jan 28, 2023 @ 11:44am)


text:
Q: Common complex roots
If the equations $ax^2+bx+c=0$ and $x^3+3x^2+3x+2=0$ have two common roots then show that $a=b=c$.

My attempts:
Observing $-2$ is a root of $x^3+3x^2+3x+2=0\implies x^3+3x^2+3x+2=(x+2)(x^2+x+1)=0$
Hence $ax^2+bx+c=0$ can have complex roots in common, comming from $(x^2+x+1)=0$
Both the roots of $(x^2+x+1)=0$ and $ax^2+bx+c=0$ are common should imply $a=b=c$ not only this but $a=b=c=1$.
Is this solution correct?

A: We have that
$$
\eqalign{
  & x^{\,3}  + 3x^{\,2}  + 3x + 2 = 0\quad  \Rightarrow \quad x^{\,3}  + 3x^{\,2}  + 3x + 1 =  - 1\quad  \Rightarrow   \cr
  &  \Rightarrow \quad \left( {x + 1} \right)^{\,3}  =  - 1\quad  \Rightarrow \quad \left( {x + 1} \right) = e^{\,i\;\,\left( {1 + 2k} \right)\pi /3}  = e^{\, \pm \,i\;\,\pi /3} ,e^{\,i\;\pi }  = {1 \over 2} \pm i{{\sqrt 3 } \over 2},\;\; - 1 \cr}
$$
and
$$
\eqalign{
  & 0 = ax^2  + bx + c\quad  \Rightarrow \quad a\left( {x + 1} \right)^2  + \left( {b - 2a} \right)\left( {x + 1} \right) + \left( {a + c - b} \right) = 0\quad  \Rightarrow   \cr
  &  \Rightarrow \quad \left( {x + 1} \right) = {{ - \left( {b - 2a} \right) \pm \sqrt {b^2  - 4ac} } \over {2a}} \cr}
$$
Comparing the two results, the condition to have two identical roots imposes that it shall be
$$
\left\{ \matrix{
  {{2a - b} \over {2a}} = {1 \over 2} \hfill \cr
  {{\sqrt {4ac - b^2 } } \over {2a}} = {{\sqrt 3 } \over 2} \hfill \cr}  \right.\;\quad  \Rightarrow \quad \left\{ \matrix{
  b = a \hfill \cr
  c = a \hfill \cr}  \right.
$$
either in the real and in the complex field.

A: Yes, I just check your calculus and are all correct. Your polynomial of grade $3$ defined as $x^3+3x^2+3x+2=0$ has one real root $x_{1}=-2$ and two complex roots $x_{2,3}=-\frac{1}{2}\pm\frac{\sqrt{3}}{2}i$ so it can be written as $P(x)=(x+2)(x-(\frac{1}{2}-\frac{\sqrt{3}}{2}i))(x-(\frac{1}{2}+\frac{\sqrt{3}}{2}i))$. Then, remember the following: "a property of the second degree equations with real coefficients that have complex roots is that they are conjugated to each other". So, knowing this, there is no way you will have in common with the other polynomial one real root and other complex (is the only other option we have available), then: $a=b=c=1$.

A: If $a$, $b$, and $c$ are not real, then the question as stated is false.  The roots of $x^3 + 3x^2 + 3x + 2$ are $-2$ and $-\frac{1}{2} \pm \frac{\sqrt{3}}{2} i$;  and the polynomial $x^2 + (\frac{5}{2} + \frac{\sqrt{3}}{2} i)x + (1 + \sqrt{3} i) = (x + 2)(x + \frac{1}{2} + \frac{\sqrt{3}}{2} i)$ shares two roots with $x^3 + 3x^2 + 3x + 2$ but does not have $a = b = c$.
I think that the strongest statement that can be made is that if $a, b, c \in \mathbb{C}$ have the same argument, then the statement must be true.  If this is the case, then we have $a = Ae^{i\theta}, b = B e^{i\theta}, c = e^{i \theta}$ for the same $\theta$ in each case and $A, B, C \in \mathbb{R}$.  In such a case, the polynomial $a x^2 + bx + c = e^{i \theta}(A x^2 + Bx + C)$ will have the same roots as $Ax^2 + Bx + C$;  and since this latter polynomial is real, its roots must be complex conjugates of each other.  This implies that $A x^2 + Bx + C$ is a multiple of $(x + \frac{1}{2} + \frac{\sqrt{3}}{2} i)(x +  \frac{1}{2} - \frac{\sqrt{3}}{2} i) = x^2 + x + 1$, and therefore that $A = B = C$.  (Note, however, that they are not necessarily equal to 1.)

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text:
All categories City of Buffalo Press Releases What's Happening Northland Corridor Redevelopment Project Quick Links Comptroller COVID-19 News
City of Buffalo Press Releases
Northland Corridor Redevelopment Project
Mayor Byron W. Brown Launches Covid-19 Resource Website
Buffalo, NY – Mayor Byron W. Brown today announced the launch of covid19.buffalony.gov, a new website that will serve as a COVID-19 resource and information hub for City of Buffalo residents. The new website is a one-stop destination, designed to assist residents in staying informed regarding the latest COVID-19 related news, policies and resources in Buffalo.
Mayor Brown stated, "As we continue to work in neighborhoods across the City to provide essential services for residents and businesses, while also protecting their health and well-being, we know that centralizing critical information is key to our efforts. We can't let misinformation lead people to make poor decisions about their health and this virus."
He continued, "Ensuring our residents have accurate, up to date information about the coronavirus is critical during this challenging time. Covid19.buffalony.gov is another resource residents can access to gather information to help us follow public health guidelines that will help keep ourselves and neighbors safe."
The website includes information for small businesses, where to find free food distribution and meal sites, how to access support for older residents, help for those seeking employment, health and mental health guidance, shareable infographics with information regarding COVID-19, ways people can help others through volunteering and donating, and a special "In Memoriam" section which pays tribute to people who lost have lost their lives during this pandemic, which is so important because we have been unable to gather in celebration of these lives and to mourn their passing, as we normally would.
This resource page also features data and dashboards that show the impact of coronavirus at the city, county, state, national, and global level. These dashboards are updated daily with information from the World Health Organization (WHO), the Centers for Disease Control (CDC), the New York State Department of Health, the Erie County Department of Health, and Johns Hopkins University.
City residents will also be able to suggest information and resources that could be shared with the general public. Those suggestions will be considered so that the best and most helpful information can be accessed quickly from this trusted site.
For more information, please visit, covid19.buffalony.gov.
Download Full Press Release
⇐Previous Mayor Brown Launches "Reopen Buffalo"Next⇒ Join BUFFALERT Today!
Other News in What's Happening
Mayor Brown to Host Virtual Broderick Park Public Art Town Hall
Mayor Brown, The Division of Citizen Services Launch Wintermission 2021
Mayor Brown is calling on Bills Mafia to take safe selfies at Buffalo City Hall's Selfie Station
Mayor Brown Calls for Public Input on a New City-Funded Public Art Project at Broderick Park
Mayor Byron W. Brown, Buffalo Bills Cornerback Josh Norman Announce Buffalo Business Blitz
Mayor Brown Invites Buffalo Residents to Help Shape Future of City Parks
The Future of Mobility: Remaking Buffalo for the 21st Century
Mayor Brown Announces Implementation of Buffalo Reform Agenda
Mayor Brown Launches "Reopen Buffalo"
Join BUFFALERT Today!

redpajama_set_name: RedPajamaCommonCrawl


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text:
14360 Ipatov è un asteroide della fascia principale. Scoperto nel 1988, presenta un'orbita caratterizzata da un semiasse maggiore pari a 3,1790770 UA e da un'eccentricità di 0,1676384, inclinata di 18,21051° rispetto all'eclittica.

L'asteroide è dedicato all'astronomo russo Sergij Ivanovič Ipatov.

Collegamenti esterni

Corpi celesti scoperti nel 1988
Ipatov

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text:
Le terme ligne 66 est utilisé pour désigner un grand nombre de lignes de transports en commun :

Tramway
 Ancienne ligne 66 du tramway de Bruxelles ;
 Ancienne ligne 65/66 du tramway vicinal de Charleroi.

Voies ferrées
 Lignes 66 et 66A des chemins de fer belge ;
 Ligne 66 de Media Distancia Renfe en Espagne.

Voir aussi

66


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I currently reside in the beautiful city that is Miami, Florida. My favorite word is juxtapose and I strongly believe in snail mail and working with your hands. I've worked with international and local businesses to art direct, design, and letter print and digital products for their brands.
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text:
Dodgers gathering 'information' for potential postseason pitching strategy
ByKelley Wheeler
When MLB announced a postseason format Tuesday that includes no off days during the first three rounds (only between rounds), the standard analysis pointed to teams like the Dodgers having an advantage because they could fill out a full five-man rotation with capable starting pitchers.
So a day later, the Dodgers started reliever Brusdar Graterol for the second time in four days, moving starter Dustin May into a 'bulk' relief role.
"There's a lot of different layers and it's a longer conversation," Dodgers manager Dave Roberts said when asked to explain the apparent disconnect. "It's basically just maximizing matchups. So when you have guys that can pitch in different situations and you're trying to get 27 outs, each club is going to try to figure out the best way to get 27 outs. Everyone has different views on it. Media has different views on it, fans have different views and we (do too).
"Most important is that the Dodgers, internally, we're aligned. So I think that's kind of the whole crux of it."
The bullpen game Sunday produced a victory. Graterol and seven relievers – only Victor Gonzalez pitched more than one inning – allowed just one run on four hits to the Houston Astros. With May pitching 5 1/3 efficient innings, the Dodgers won Wednesday as well.
Roberts acknowledged that both games represented practice runs in case the Dodgers decide to take that approach for a postseason game – possibly in the three-game Wild Card Series added this year.
"I think that's fair," he said. "I think that in this kind of situation where we have five starters that we like a lot, but there's certain matchups that you can kind of benefit from, maximize and kind of put together certain things, it just gives you a better chance to win. So to have guys that are open to it – whether it's Tony (Gonsolin), Dustin, Julio (Urias), whatever the situation – to give the Dodgers the best chance to win that night is a good thing. And also just to see Brusdar being able to do this and see how it kind of plays out is certainly added information."
Roberts' comments make it seem as if Clayton Kershaw and Walker Buehler are the only locks in a Dodgers' postseason rotation – and Buehler has thrown a total of only 7 2/3 innings in two starts over the past four weeks.
On the IL for a second time due to a blister on his index finger, Buehler is not in San Diego with the Dodgers and won't be traveling with them to Colorado for a four-game series against the Rockies this weekend. Instead, Roberts said Buehler threw a six-inning simulated game earlier this week – with the blister covered, something that wouldn't be allowed in a regular game – and will do that again at the alternate training site at USC this weekend, throwing 80 to 90 pitches.
That would leave Buehler time for one start with the Dodgers before the regular season ends.
"I am optimistic," Roberts said. "I think that he'll do one more simulated game. It's probably going to be like a six (innings) and 90 (pitches) and then he'll make his last start of the season with us and be ready for the postseason."
MRI shows Dodgers' Caleb Ferguson has UCL injury in elbow, Dave Roberts says
Tony Gonsolin lifts Dodgers past Padres as NL West showdown continues
Dodgers face unfamiliar territory with unique postseason format
Dodger Stadium part of MLB postseason 'bubble' plan
Dodgers, bullpen stumble late as Padres move closer in NL West race
Reliever Caleb Ferguson was placed on the Injured List with an elbow injury and the Dodgers recalled right-hander Josh Sborz.
Additionally, the Dodgers placed outfielder Joc Pederson on the family medical emergency list. Pederson was away from the team for three games last week and was placed on paternity leave.
MLB announced the 2021 spring training schedule Wednesday. The Dodgers are scheduled to open their Cactus League schedule on Feb. 27 in Mesa against the Chicago Cubs.
By Kelley Wheeler
Kelley Wheeler is a Metro reporter covering political issues and general assignments. A second-generation journalist, worked with all major news outlet, she holds a vast expeirience. Kelley is a graduate of USC with degrees in journalism and English literature. She is a recipient of Yale's Poynter Fellowship in Journalism.


text:
Daily COVID-19 update: Hospitalizations increase statewide; new cases reported in area counties
Published 11:47 am Tuesday, July 21, 2020
By Minnesota Public Radio
The state Health Department on Tuesday reported three more deaths from COVID-19 along with a significant rise in the number of people currently hospitalized. Officials also tried to smooth out choppy data reports from the past few days tied to a new reporting system.
Three new COVID-19 deaths were reported in Minnesota on Tuesday. Provided
Tuesday's data showed a change in pattern form the past few weeks as current hospitalizations (266) jumped, although those needing intensive (112) care dipped slightly from Monday.
The number of people in the hospital but not needing intensive care (154) is the highest in about a month. State officials last week said they had expected to see hospitalizations start to climb again given the leap in new confirmed cases the past few weeks.
After posting a spike of more than 900 new cases on Monday, Tuesday came in at 352 cases. Officials urged the public to take the average of the two days — 636 cases — as the figure that best represents the actual case load climb for Minnesota over those two days.
Of Minnesota's 47,457 confirmed cases since the pandemic began, about 87 percent of those infected have recovered to the point they no longer need to be isolated.
Among the 1,548 deaths recorded as of Tuesday, about 77 percent were living in long-term care facilities, nearly all had underlying health problems.
CDC to investigate infant's death
The newest numbers come a day after Minnesota health leaders confirmed a sad milestone — the first death of a child in the state from COVID-19.
The infant, a 9-month-old from Clay County in northwestern Minnesota, is among the youngest deaths in the country from COVID-19 and the first death in Minnesota for anyone under age 20 who tested positive for the virus.
The child did not have an underlying health problem and had not been hospitalized, Kris Ehresmann, the state's infectious disease director, told reporters. State health leaders have asked the federal Centers for Disease Control and Prevention to investigate.
Ehresmann said while current knowledge of the coronavirus puts children at lower risk, the possibility of infection is still there and officials are hoping to understand more about how the virus can affect children.
"In general, we have seen fewer cases in kids, we've seen fewer cases with hospitalizations and fewer cases with the need for intensive care," she said, "but what we don't know — and I think this is true for all ages — we don't really know the underlying long-term impacts of a COVID infection on an individual."
Cases growing in most age brackets
State health officials continue to worry about the recent spike of coronavirus cases in younger Minnesotans, including that those infected will inadvertently spread the virus to more vulnerable populations.
Minnesotans in their 20s now make up the age group with the most confirmed cases with more than 11,000. The median age of Minnesotans infected has been trending down in recent weeks and is now 37 years old.
Health investigators, however, are starting to see more cases in many age brackets, including ages 30 through 59, as more people get together for family gatherings and summer fun without social distancing, Ehresmann said Monday.
It's not like the situation the past few weeks where 20-somethings meeting in bars drove the increases. Now, analysts are seeing an evolution in the "larger, gradual increase in social activities," she added.
While current hospitalization counts in Minnesota remain relatively low, Ehresmann reiterated that officials expect the numbers to go on the march as the new cases climb.
New cases are also rising in northern Minnesota. Cases in Beltrami County have nearly doubled in the past week, from 53 to 101. Ehresmann on Monday said the case increase is tied to spread from athletic events and other public gatherings.
Local cases
The Freeborn County Public Health Department reported two new lab-confirmed COVID-19 cases on Tuesday, increasing the county's cumulative count to 329.
The new cases include one person in their 50s and one person in their 60s.
The department stated two more people are out of isolation, bringing the county's total out of isolation to 318. One person continues to be hospitalized.
The following are the increases in cases in other area counties:
• Faribault County, one new case, 72 total cases
• Mower County, five new cases, 1,019 total cases
• Steele County, four new cases, 290 total cases
• Waseca County, one new case, 95 total cases
More Health Updates
Trying to save at home while egg prices are so high? Consider some alternatives
Minnesota's COVID hospital admissions lowest since May
Growing her career as a nurse at St. John's


(1mar08)In this issue we'll tip over a Philsboat and see what happens. The 15 March issue will rerun the important essay on rigging a lugsail.
If you build a Michalak design expect many comments from bewildered observers! Younger people by and large scoff, asking me "what kind of boat is THAT!", while I have found older people to be more understanding. One gentleman asked me what it cost to build. I replied NZD4000 including trailer. He wandered away scratching his head. He had just spent NZD5000 on an outboard motor! Unbelievably, I met somebody who recognised the design. "Isn't that a Michalak?" he said "Pencilbox, Musicbox or Jewelbox?" "Philsboat", I replied, "A newer design." "Does it live up to its claims?" he asked. "As far as I can tell" I replied "although it is early days yet." So how does it go? First from a safety aspect, the Birdwatcher cabin is brilliant. My children are in no danger of falling out, the cabin prevents them getting chilled and because they are removed from the elements they are less likely to get frightened from splashing water in gusty conditions.
I did a capsize test in a calm lake and I believe based on that, that Philsboat is self righting from a knockdown. Without any one inside it went negative from 70 degrees. However with someone inside it stayed positive all the way to 90 degrees and self righted very quickly. Held down at 90 degrees with an occupant inside there was still 14 inches of freeboard to the cabin slot, but as soon as the mast was released up she came.
Today, I went out in 25 knot winds and rough conditions on Lyttelton Harbour with an experienced sailing friend. We broached surfing downwind on a large swell in a gust and had a full capsize on the leeboard side. My lake test had been on the other side. The boat lay stable on its side, but once we both got our backs against the floor it self righted without any water being taken on board. He was impressed with that. Neither of us have been in a full capsize of a sailing boat before. From capsize to upright again probably took 15 seconds. Not an experience I would like to repeat in the near future! We felt that to prevent this again both occupants should sit near the rear and on the opposite side to the winged out sail, which when going downwind should be winged out over the leeboard, rather than opposing it. The rest of the trip felt much safer once we did that and reefed down a bit more.
The offset mast vs starboard leeboard and rudder geometry works fine in all conditions. The boat is well balanced. Beating into 25 knot winds at 50 degrees and rough water, the tiller was very light to the touch. Periodically some water would splash through the forward slot opening, but we stayed relatively dry and took on the couple of keelers that were out reefed down. Of course they beat us hollow, but the point was that we were out in conditions that most open boats would not be comfortable in.
It's important to remember to keep the leeboard down when motoring. I was concerned that the rudder's turning angle was too small and on it's maiden voyage (no sail for that, just 2HP Yamaha outboard) my fears seemed to be justified. Then I tried lowering the leeboard and suddenly we could turn on a six pence! Actually, Philsboat isn't super manoeuvrable, but with the leeboard down its turning circle is good enough.
Windage is a problem when under motor. If I got the boat broadside to the wind, it was impossible to bring it into the wind under motor. The only solution was to go downwind, build up some speed and then turn. My friend commented that Philsboat seemed to be happier under sail than motoring and I agree, particularly in the strong conditions we were in.
However, the 2HP outboard is just fine for moving about once you have some speed on. The motor well is too narrow and deep to steer with the outboard. Instead keep the outboard locked straight ahead and steer with the tiller. This seems to work well especially if travelling a long distance. Cabin gets pretty echoey though. I wonder whether foam glued to the cabin side of the motor well would deaden the noise? The motor well is just the right size to tilt the motor up when sailing. I found there was enough room to carry a 1 ¼ (5 litre) gallon can of fuel in the motor well without interfering with the motor in any way. It's even possible to refuel mid trip although I wouldn't like to try that in rough conditions. Even in calm conditions it was a bit of a balancing act over the transom!
Windage under sail doesn't figure. As long as you have speed on Philsboat goes over from tack to tack smoothly. The hull design means that nearly all the lateral resistance comes from the leeboard, a little from the rudder and virtually none from the hull, so that leeboard is critical for Philsboat's performance. If it isn't vertical all lateral resistance disappears. On the other hand, since it's shape is highly efficient like a daggerboard, I have found that Philsboat's pointing ability is pretty good. Somewhere between 45 to 50 degrees depending on wind velocity.
With the enclosed Birdwatcher cabin it is easy to get over-confident about Philsboat's capabilities. While it does a brilliant job of preventing you getting wet in a capsize, the windage it generates can seriously compromise your handling ability when you have no speed on, just the time when you need it most at launch and docking. The offset geometry has no effect on Philsboat's performance and the ease of use advantages are a major plus for the design.
Philsboat's flat hull and deep high aspect leeboard result in a fast boat with good pointing ability and as a protected waters enclosed dinghy, Jim's Philsboat is a clever, serendipitous design, but I would not consider it as an open water cruiser. You are much too reliant on that leeboard. If it should fail, you're a high windage sitting duck!
... Actually no. I can see how you thought that after re-reading my report, but I had already worked out previously that the sail should be over the leeboard going downwind. That was just general information I included for others contemplating these offset geometry designs. There was no death roll and Philsboat never felt like it was going into one of those. What actually happened was that we were on port tack running downwind when my friend got up to do something forward. At the same time a big wave came through, the boat began to surf, dug in and spun around in a classic broach. It all happened in slow motion and I knew there was absolutely nothing I could do about it! Apparently the look on my face was a study - of complete terror no doubt mixed in with despair that all my hard work was about to get destroyed on the rocks to leeward! The sail was in the water and my friend started to get out through the front slot to stand on the leeboard as you would in a traditional dinghy capsize, but I had retained enough of my senses to call him back and say "if we both put our backs against the floor it should right itself". Blessed relief when I saw the sail lifting itself out of the water and I knew we were going to come up OK. Once we were upright (as the boat righted itself it pointed into the wind) we checked to see if we had taken on any water and there was none to be seen.
I don't plan to capsize again, but if I did, there is no need to panic. The boat lies quietly on its side with it's hollow mast, spar and battens preventing a capsize beyond 90 degrees and there is 14 inches of freeboard to the slot, so there is no immediate danger.
Ever since I've built my Philsboat, I've been testing out what it can and can't do. In my original report I said that it is not designed for open sea work, but the thought kept nagging away at me, "how can you say that when YOU haven't personally experienced a Philsboat in the ocean?"
Yesterday, I took my family and their grandfather out for a beautiful sail in our local estuary in benign 10 knot conditions. Everybody enjoyed themselves although a 2 hour outing was probably overdoing it for my young daughters. With three adults and two children aboard, my Philsboat was well ballasted and went through its stays majestically with its 4 inch lowered rudder. It also hardly heeled with its reduced 104 sq. ft. sail. Reaching back home after tacking to the top mark (as I've noticed before in light conditions my junk rig points poorly - 65 degrees perhaps) we hit a sandbar. I lifted the leeboard right up and the weighted rudder took care of itself sticking out at a 45 degree angle. We continued to scoot along in about a foot of water with no detectable leeway. Great stuff! We even had so much momentum I was able to round up to a mark we were going to undershoot.
On the way home I noticed a dinghy sailing offshore in our local bay. "Hmmm", I thought," if he can sail a dinghy out there, why can't I? Anyway, its time to conquer my fear about going solo in rougher water. " Turns out, I discovered this afternoon, he dismasted not long after I saw him fully rigged, 300 metres from the beach, triggering a full scale rescue effort involving our lifeboat rescue service and the police!
This morning, the forecast said 10 knots going 20 knots in the afternoon with swell ½ metre or less. That sounded good to me. Down to the slipway where some fishermen gave me plenty of encouragement to get out there. Somebody else hanging about, I suspect now, was a lifeboat crew member waiting to see if another rescue would be needed!
Immediately after launch the swell seemed more like 1 metre to me! The 2hp outboard handled it all fine, but the pounding was something else. Some swells were really waves on the verge of breaking and my Philsboat felt more like a bucking bronco than a sailing boat. After I had cleared the breakwater by 200 metres things calmed down a bit and I thought I better get this thing sailing. That's when I found that the sheetlets on my junk sail were tangled. By the time I had untangled them and reattached the mainsheet, I was beginning to feel sea sick. Finally, I got the sail ¾ reefed just to be on the safe side and began sailing. Most of the pitching stopped and Philsboat punched its way along into the wind happily enough although the pounding continued unabated. Surprisingly, I found that I didn't need to constantly monitor the mainsheet to prevent a capsize. Philsboat was quite stable with only my weight as ballast and we made good progress to about 2 kms offshore. However, when I came to tack across from starboard to port Philsboat just couldn't do it. I don't blame Philsboat though. I just wasn't heavy enough in 10 knot winds and a lumpy ¾ metre swell to provide enough momentum to get through the wind. I reefed down for security and gybed across. By now I was feeling decidedly sea sick and turned for home. Philsboat behaved beautifully on the port reach home. A couple of times I ended up broadside to a larger swell, but just turned and slid down it.
200 metres away from shore the fishermen waved to me cheerily as they charged past in their 150hp aluminium fishing boat. I waved back even though I had had enough of being pummelled into submission for the last hour. I reefed down and started up the 2hp outboard. The rest of the trip was uneventful. I have found that as long as I make my recovery approaches from upwind, I can drift in very quietly with the motor on idle for the last 20 metres.
Would I take Philsboat out into the open sea again? No! It's too light. I haven't attempted a motion comfort calculation, but I already know the answer will be a shocker. Unlike Phil Bolger's Micro or Matt Layden's Paradox, Jim Michalak's Philsboat is a light non-ballasted dinghy in disguise with its ¾ length cabin. While my choice of a junk rig makes a big difference to my confidence in adverse conditions, in the end Philsboat is just too light for rough water and being sea sick really takes the shine off the experience too!
Prototype plans for Blobster are $30.
This is Ted Arkey's Jukebox2 down in Sydney. Has a temporary rig and he is working on the blueprint rig.
And the Vole in New York is Garth Batista's of www.breakawaybooks.com, printer of my book and Max's book and many other fine sports books. Boat is done, shown here off Cape Cod with mothership Cormorant in background, Garth's girls are one year older. Beautiful job! I think Garth is using a small lug rig for sail, not the sharpie sprit sail shown on the plans, so I will continue to carry the design as a prototype boat.
And the Leinweber's make another prototype! This one by Sandra, an Imresboat shown here on its first outing. They are taking it on a "cruise" so more about it later.


text:
Posted inAfro Briefs
Three Presidents to Commemorate March on Washington at 'Let Freedom Ring' Ceremony
by Hazel Trice Edney August 21, 2013 January 25, 2022
President Barack Obama will be joined by former presidents Bill Clinton and Jimmy Carter in a commemoration of the 50th anniversary of the March on Washington on August 28, the actual anniversary of the historic event.
The three will appear and deliver remarks at the "Let Freedom Ring Commemoration and Call to Action" at the Lincoln Memorial where Dr. Martin Luther King, Jr., delivered his iconic "I Have a Dream" speech on Aug. 28, 1963.
The Let Freedom Ring Commemoration and Call to Action event will take place from 11:30 a.m. – 4:00 p.m. at the Lincoln Memorial. King family members, along with a coalition of civil rights organizations, will honor Dr. King's call to "Let freedom ring!" by ringing bells at 3:00 p.m. EST, "a half-century to the very minute after Dr. King delivered his historic address," according to a news release announcing the event.
"Martin Luther King's unforgettable speech inspired millions of Americans to make a deeply personal commitment to racial equality and economic justice," Clinton said in the statement. "Its wisdom and power continues to inspire us today. I'm honored to lend my voice to this important celebration of one of our greatest leaders and most historic days."
The event, four days after thousands are expected to gather for a march scheduled for August 24, is one of a host of activities in conjunction with the Aug. 28 anniversary commemoration, organizers said.
Those activities include an Interfaith Prayer Service at the Martin Luther King, Jr. Memorial prior to the Let Freedom Ring Commemoration.
"I'm honored to meet my father's call to 'Let freedom ring' with President Obama, President Clinton and President Carter," said the Rev. Bernice A. King, chief executive officer of the King Center in Atlanta. "Together with people across America and the world, we will pause to mark the 50th anniversary of my father's 'I Have a Dream' speech, affirming the unity of people of all races, religions and nations."
Coalition members for the August 28 event include the A. Philip Randolph Institute, the King Center, the NAACP, the National Action Network, the National Coalition of Black Civic Participation, the National Council of Negro Women, the National Urban League, the Southern Leadership Conference and the National Park Service. For more information, go to www.mlkdream50.com.
Details on the August 24 activities can be found at www.nationalactionnetwork.net
Hazel Trice Edney
TriceEdneyWire.com More by Hazel Trice Edney


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Essay on Human Resurces
Submitted By MoniqueLazette1
The Human Family's Earliest Ancestors
Studies of hominid fossils, like 4.4-million-year-old "Ardi," are changing ideas about human origins
  By Ann Gibbons Smithsonian magazine, March 2010,
Tim White is standing with a group of restless men atop a ridge in the Afar desert of Ethiopia. A few of them are pacing back and forth, straining to see if they can spot fragments of beige bone in the reddish-brown rubble below, as eager to start their search as children at an Easter egg hunt. At the bottom of the hill is a 25-foot-long cairn of black rocks erected in the style of an Afar grave, so large it looks like a monument to a fallen hero. And in a way it is. White and his colleagues assembled it to mark the place where they first found traces, in 1994, of "Ardi," a female who lived 4.4 million years ago. Her skeleton has been described as one of the most important discoveries of the past century, and she is changing basic ideas about how our earliest ancestors looked and moved.
More than 14 years later, White, a wiry 59-year-old paleoanthropologist from the University of California at Berkeley, is here again, on an annual pilgrimage to see if seasonal rains have exposed any new bits of Ardi's bones or teeth. He often fires up the fossil hunters who work with him by chanting, "Hominid, hominid, hominid! Go! Go! Go!" But he can't let them go yet. Only a week earlier, an Alisera tribesman had threatened to kill White and two of his Ethiopian colleagues if they returned to these fossil beds near the remote village of Aramis, home of a clan of Alisera nomads. The threat is probably just a bluff, but White doesn't mess with the Alisera, who are renowned for being territorial and settling disputes with AK-47s. As a precaution, the scientists travel with six Afar regional police officers armed with their own AK-47s.
Arranging this meeting with tribal leaders to negotiate access to the fossil beds has already cost the researchers two precious days out of their five-week field season. "The best- laid plans change every day," says White, who has also had to deal with poisonous snakes, scorpions, malarial mosquitoes, lions, hyenas, flash floods, dust tornadoes, warring tribesmen and contaminated food and water. "Nothing in the field comes easy."
As we wait for the Alisera to arrive, White explains that the team returns to this hostile spot year after year because
it's the only place in the world to yield fossils that span such a long stretch of human evolution, some six million years. In addition to Ardi, a possible direct ancestor, it is possible here to find hominid fossils from as recently as 160,000 years ago—an early Homo sapiens like us—all the way back to Ardipithecus kadabba, one of the earliest known hominids, who lived almost six million years ago. At last count, the Middle Awash project, which takes its name from this patch of the Afar desert and includes 70 scientists from 18 nations, has found 300 specimens from seven different hominid species that lived here one after the other.
Ardi, short for Ardipithecus ramidus, is now the region's best-known fossil, having made news worldwide this past fall when White and others published a series of papers detailing her skeleton and ancient environment. She is not the oldest member of the extended human family, but she is by far the most complete of the early hominids; most of her skull and teeth as well as extremely rare bones of her pelvis, hands, arms, legs and feet have so far been found.
With sunlight beginning to bleach out the gray-and-beige terrain, we see a cloud of dust on the horizon. Soon two new Toyota Land Cruisers pull up on the promontory, and a half-dozen Alisera men jump out wearing Kufi caps and cotton sarongs, a few cinched up with belts that also hold long, curved daggers. Most of these clan "elders" appear to be younger than 40—few Alisera men seem to survive to old age.
After customary greetings and handshaking, White gets down on his
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Homage to Siskind
Imaginary Ancestors
Black-and-Whites
The Pencil of Nature
"With water he defends himself from water.
Danger he leans on, rests in. The drowning sea
Is all he has between himself and drowning."
"Millimeters and Not Miles":
The Excellence of Robert Francis
When George Gershwin went to Paris in 1928, he applied to study music under Maurice Ravel, presumably in hopes of modifying some of the lingering Tin Pan Alley touches from his classical compositions. To his credit, Ravel turned Gershwin down, saying "Why should you be a second-rate Ravel when you can be a first-rate Gershwin?"
A good question, and one that resonates when applied to other artists as well. Considering the poetry of Robert Francis, I find it as hard to classify and as original as the music of Gershwin. Early in his career Robert Francis went to the work of Robert Frost for aid and comfort, and accordingly there are many echoes of Frost in Francis's first two books. For example, compare the end of Francis's "The Plodder"--
A plodder. There was little to show
How rich I was to be a poor fool.
Little to let the pitying know
How little I felt I was pitiful.
to Frost's early poem, "In Neglect":
They leave us so to the way we took,
As two in whom they were proved mistaken,
That we sit sometimes in the wayside nook,
With mischievous, vagrant, seraphic look,
And try if we cannot feel forsaken.
Pitiful, forsaken: each poet is engaged, in his mischievous, subtly assertive way, in denying onlookers the luxury of pity. Though Frost speaks for two while Francis is, as usual, solitary, each poet also wants to be "left to the way [he] took," and both display gentle amusement at how little any observer can know of the pleasures of their lives. Beyond the sentiment expressed, the poets are also linked verbally. As Donald Hall has pointed out, Francis learned from Frost how to "[break] the idiomatic American sentence across the English iambic line . . . ." Here, in "The Plodder," the simplicity of diction, the repeated play on "little" and "pitiful," the reliance on highly colloquial, enjambed linebreaks--all remind us of Frost. Whatever their differences, both poets relish getting plain speech to echo and dance.
An even greater parallel occurs in Francis's "The Wood Pewee," which derives directly from Frost. Here is Francis:
In the shade of a tree in the heat of an afternoon
The wood pewee sings his portamento tune
That summer is over-ripe and autumn is soon.
He sings from a twig after flitting to catch a fly.
And whether he sings September or July
He sings of the end of summer and sings goodby.
The same conceit appears in Frost's famous "Oven Bird," published fifteen years before "The Wood Pewee" was printed in Francis's second book in 1938. Again we see a bird, personified rather whimsically, yet telling humans of the Fall and the eventual end of all things:
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
Both poems are so charming and light on their feet that it may seem ungracious to point out how Frost really begins where Francis leaves off, and with his final four lines rises to a level of bitter eloquence that Francis rarely attains:
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.
Here is one way, perhaps unfairly, to express the difference between the two poets: Frost, unlike his protege, knows how in singing not to sing, while Francis seems unable ever to sacrifice a certain deft lyricism for Frost's sort of muscular bleakness. It is not that Francis lacks an awareness of evil, of diminished things generally; indeed, his work, for all its verbal lilt, displays what he calls a "happy pessimism," which allies it not just with Frost but with that other bleakly playful New Englander, E.A. Robinson. In fact, Francis's autobiography, The Trouble With Francis, revolves about just this paradox; as he says, "I have been growing healthier and happier over the years; yet when I look around me I am more impressed with the ills of life. . . than with anything else." Though Francis is concerned with and aware of evil, however, in comparison to Frost he engages it in his poetry far less. Rather, he dances about it, he comments and diagnoses, without really entering the shade. (I am speaking here of the poetry, not of Francis's life, which, according to his autobiography and published journals, was admirably unblinkered in this respect.)
It is thus no surprise to find that in his memoir, Frost: A Time To Talk, Francis declares that to him, the greatest Frost lies in the brief lyrics, not in the long blank verse narratives and monologues, where, to Francis's ear, the verse often goes slack. So it may; but significantly, the poems that Francis disapproves of contain Frost's most complex, tortured, humanly rounded characters and psychological relationships. In poems such as "Home Burial" and "A Servant to Servants," we find a world of messy, heart-wrenching vitality utterly different from the controlled, wry, understated world of Francis at his best. And, to the extent that Keats's Negative Capability is a mark of genius, we must admit that Francis lacks such genius. His poems, to exaggerate only slightly, do not contain characters other than their author. Everyone and everything is seen from a cautious distance, from Francis's own outpost of strangeness.
Here we begin to define the real genius of Francis. If he had continued in the mode of his first books, he might well have become a second-rate Frost, one without Frost's complexity and hardness of mind. Instead, Francis gradually and wonderfully becomes something else, a first-rate Robert Francis, a poet so odd and delightful that, as Donald Hall has noted in his essay "Two Poets Named Robert," he "must be read in bulk" for a reader to appreciate his essential "solitude, [his] strangeness. . . .:
There's. . . a harshness in Francis which is available when you read for what a poem leaves out, as much as what it leaves in. . . . He's invisible--one would not consider him confessional--yet the imprint of an idiosyncratic vision gives these poems their textured particularity. . . . the most continual effect is an alienation, sometimes amused, sometimes lonely, sometimes amused and lonely at the same time.
What Francis leaves out: consider how little he fits our common image of a "major" poet. He has scant dramatic flair, little ability to inhabit characters other than himself; he does not write ambitious poems, if ambition be defined by bulk; he's never obscure, difficult, mythic, or confessional; he offers no overarching religious or social consolations to his consistent pessimism; he prefers suggestion to statement, and seems constitutionally unable to pontificate sagely on truth, beauty, or the ways of God and mankind in general.
Yet in his best poems Francis captures better than almost anyone a certain mood. It can't really be named, but is some undefinable blend of lonely integrity, philosophical pessimism, and temperamental gaiety. I am thinking of poems like "That Other Dark Mountain":
My father could go down a mountain faster than I
Though I was first one up.
Legs braced or with quick steps he slid the gravel slopes
Where I picked cautious footholds.
Black, Iron, Eagle, Doublehead, Chocorua,
Wildcat and Carter Dome--
He beat me down them all. And that last other mountain.
And that dark other mountain.
Here is a poem that a sixth-grader could easily and fully grasp. Yet how many poets could achieve that tact, that grace, that ironclad simplicity? How many have written a poem about a dead father without a trace of self-pity or self-approval? Even though the poem concerns the poet's father, however, note how little texture of the man's life is given here. The poem is, like most effective lyrics, universalized; what particularity it offers (the father's skill at skittering down mountains, vividly though briefly suggested) is really only a means to achieving such universality. The speaker's feelings, likewise, are barely presented, emphasized mainly by understatement. Finally, the balance of sadness and verbal savor here is characteristic of Francis: the way he relishes the list of mountain names as names is, for him, a natural prelude to thinking of his father's nameless and unnamed death.
Plainly, we need a new way to talk about poetry, one that will do justice to a writer like Francis without denying the greatness of a poet such as Frost. No one is more aware of his own limitations than Francis, of course. Yet as he writes in his prose Pot Shots at Poetry, it is a comically complicated business, defining the difference between a "major" and a "minor" poet. In "Either Or," we find Francis taking satirical pleasure in observing those who "[put] all the poets into their respective hemispheres separated by a line as inexorable and as imaginary as the equator." No doubt he protests a bit too roguishly, for surely Francis would gladly grant the fact that Frost was a major poet in ways never achieved by Francis, and that his greatness has something to do with his emotional and technical range. But Francis has his own virtues, even if they are often defined negatively, as in his poem "Waxwings":
Four Tao philosophers as cedar waxwings
chat on a February berrybush
in sun, and I am one.
Such merriment and such sobriety--
the small wild fruit on the tall stalk--
was this not always my true style?
Above an elegance of snow, beneath
a silk-blue sky a brotherhood of four
birds. Can you mistake us?
To sun, to feast, and to converse
and all together--for this I have abandoned
all my other lives.
In characteristically direct fashion, Francis finds virtue in giving things up. Abandoning all his other lives is not a diminishment but is in fact the source of his spiritual strength. Perhaps most crucially, merriment and sobriety are two sides to a single coin: Francis's "true style" is this paradox exactly. Though this notion of a withdrawal from ordinary social life leading to spiritual joy is one that he probably derived as much from Thoreau as from Taoism, Francis's tone is utterly different from Thoreau's. Francis would never speak of driving life into a corner, for example, or tell his readers "what mean and sneaking lives many of you live," as Thoreau did. In Francis there is seldom any trace of superiority or scorn in his descriptions of other people, other ways of life, even if there is also little of Frost's ability to make characters come alive from inside.
The critical consensus on Francis has often seemed to be that he is a fine but minor lyricist perpetually standing in Frost's broad shadow. (And for that matter, given the shade of Emily Dickinson, we cannot even call Robert Francis the second-best poet to write in Amherst, Massachusetts!) Despite the admitted absurdity of the terms "major" and "minor," there remains no easy way around such questions: Francis himself introduces the problem not only by confining himself (except for his early, heavily Frostian narrative, "Valhalla,") to poems of such modesty, brevity, and understatement, but also by professing so doggedly the joys of retirement, contemplation, and a fundamentally solitary life. It is finally the same problem that faces an admirer of Thoreau: whatever truths he offers, he lacks a vision of normal social life.
Not that Francis is antisocial; often, as in "Waxwings," he proclaims the satisfactions of companionship. But other people seem essentially recreational outlets for him, while the core of his life is solitude. Even though there are scattered and excellent exceptions among his poems, in general there is no workaday world in Francis. Labor, when present, is likely to be either solitary or described purely in abstract terms. Nor do we find much attention paid to particular conflicts of parent and child, lover and lover, individual and community. Francis is always more apt to write of other people in terms of their physical actions, as in his many poems on athletes, than to write in terms of their inner passions, their conflicts and psychological complexities. From first book to last, he has a lyric universality rather than particularity, and a poetic voice that is curiously muted, for all its personality.
What can we say, then, to assess fairly the peculiar attractiveness of his work without damning him with faint praise or unduly ignoring his limitations? Here is the crux of the critical problem. Although he is, as Hall noted, a very personal writer, he is unlike many poets in that he did not make a public drama of his life, a strident mythology of self such as we find in poets as varied as Whitman, Yeats, Rilke, Rich, and Lowell. Thus we cannot praise him as we tend to praise Yeats, for boldly repudiating his various selves, for putting his own development in the spotlight of his art. Nor can we admire Francis for taking "risks," in the sense of dramatic stylistic or personal changes--his temperament is consistently conservative, nonflamboyant, skeptical, bemused, courtly, and graceful rather than strident. His work did in fact develop some; as he says in the preface to his Collected Poems, his poems do grow progressively "bolder and livelier" book by book. (And after Valhalla in 1938, he mostly succeeds in shaking off the oppressive echoes of Frost.) Yet the changes are hardly earth-shaking. No one would mistake Francis, even at his boldest, for Ginsberg or Plath. From first to last, Francis remains a poet with a remarkably consistent, tempered voice.
It is often a voice at once whimsical and serious, as in "Waxwings," or the fourth and final section of "History":
The great Eliot has come the great Eliot
has gone and where precisely are we now?
He moved from the Mississippi to the Thames
and we moved with him a few miles or inches.
He taught us what to read what not to read
and when he changed his mind he let us know.
He coughed discreetly and we likewise coughed;
we waited and we heard him clear his throat.
How to be perfect prisoners of the past
this was the thing but now he too is past.
Shall we go sit beside the Mississippi
and watch the riffraft driftwood floating by?
Here as elsewhere Francis gives us a subtle mixture of satire, lyric melancholy, and exuberant word-love. Although it is clear he has no patience for the cult of the "great" man, especially one who believes it his civic duty to announce each change of mind, nonetheless Francis is hardly disputing Eliot's poetic greatness here. His point seems elusive, but includes the idea that "to be perfect prisoners of the past" is not much of an ambition, since it is inevitable, anyway: if nothing else, we will all be perfect prisoners of our own graves. Francis seems close here to the simple truths of Heraclitus and Ecclesiastes: everything changes, and there is nothing new under the sun. Ambition, whether poetic or otherwise, is absurd, mere throat clearing compared to the great river of time and its mysteries.
Yet he suggests all these things with a light touch, with nothing ponderous or grandiose to distract from his first and last love, which is wordplay. In his final couplet we find the essential tone of Francis. "Shall we go sit beside the Mississippi / and watch the riffraft driftwood floating by?" is a question both airy and profound, encompassing the river of the great Eliot's childhood in St. Louis, the river in Huckleberry Finn which the young Eliot was prevented by his puritanical parents from reading about, and the Heraclitean river of time which we can do nothing but "watch" as we drift down it on our own "riffraft" lives--as hopeful, shrewd, and innocent as Huck and Jim. The phrase "riffraft driftwood," in its boyish unparaphraseability and verve, is an example of what David Young means when he writes that Francis likes to "search out the properties of the natural world and of language that can act to offset or qualify [his] pessimism." Language is for Francis the main solace, the natural fact that can ease, somewhat, his pessimistic outlook.
Thus the many Francis poems which praise language itself for enlivening our existence. In "Hogwash," he toasts the "tongue that mothered such a metaphor," while deploring the bruising "foreign policy" which the hogwash of political rhetoric is produced to defend and conceal. In "Yes, What," he pays tribute to all the earth's "blessed boobs," her "oafs her louts her yodeling yokels" and all the other "Brueghel characters" who, unlike our political leaders, never make war or cause trouble on a large scale. In responding to "a certain reviewer" who found "Yes, What" insulting to these "blessed boobs," Francis once wrote: " 'Yes, What' is a celebration of words . . . . They refer to certain types of men, but it is not the men but words about them that I am celebrating." From first to last, we find Francis less apt to extol any particular ideas than simply to revel in the lingo. If this tendency reveals his limitation as a poet, it also points to his strength.
Likewise, he is always pulling apart words to discover new metaphors, as in "The Bulldozer," which begins: "Bulls by day / And dozes by night." Or, as in "Boy Riding Forward Backward," in describing some innocent horseplay, he gives us a joyous riot of descriptive language:
Presto, pronto! Two boys, two horses.
But the boy on backward riding forward
Is the boy to watch.
He rides the forward horse and laughs
In the face of the forward boy on the backward
horse, and he laughs
Back and the horses laugh. They gallop.
The trick is the cool barefaced pretense
There is no trick.
They might be flying, face to face,
On a fast train. They might be whitecaps
Hot-cool-headed,
One curling backward, one curving forward,
Racing a rivalry of waves.
They might, they might--
Across a blue of lake, through trees,
And half a mile away I caught them:
Two boys, two horses.
Through trees and through binoculars
Sweeping for birds. Oh, they were birds
All right, all right.
Swallows that weave and wave and sweep
And skim and swoop and skitter until
The last trees take them.
About the conclusion of this poem, David Young has rightly noted, "this is a celebration both of the way swallows behave and of the language's capacity for verbs." I would add that the poem is more interesting than that: it is also a simultaneous celebration of and lament for a solitary life, one in which the ordinary hijinks of society are viewed "through trees and through binoculars." The boy who rides backwards is indeed "the boy to watch," for he is one of the many oblique self- portraits that Francis paints. The horse-laughter here disguises an ars poetica uniting detachment with engagement.
The essential Francis, I think, resides in his quietest, most melancholy lyrics, not in the satirical pieces and poems of more aggressive wordplay (of which he wrote more and more in his later books, and of whose boldness and friskiness he seemed rather unduly proud). As far back as 1934, Francis records in Frost: A Time To Talk, the older poet had warned him that his "greatest danger" as a poet was "preciousness." Unfortunately, there is a certain precious quality present in each of his books, a coy kicking up of the heels that is more clever than humorous or moving. Ultimately, Francis is not at his best in harmless poems like "The Bulldozer" or "The Pope" (which begins "The Pope in Rome / Under St. Peter's dome / Is the Pope at home," and gets no more profound or witty as it continues). Rather, Francis shines when his precise and buoyant sense of language can enliven his fundamentally melancholy solitude, his "harshness," as Donald Hall puts it.
This harshness often takes the form of simple description revealing, upon reflection, a profound loneliness or oddness in the describer. In "The Spy," for example, Francis notes an unnamed man who is obviously a type for the poet, if not Robert Francis himself:
To leave his empty house yet not to leave it
But make himself a shadow at a window--
Who is this prowler private in the moonlight?
Then at another window and another,
His face against the glass and peering in--
What does he think he sees or wants to see?
Soft as milkweed floss the September night.
White as the milkweed the untroubled moon
Whose face, though far, is also at the window.
Two faces, but the prowler peers in deeper
Spying upon the empty chair, spying
Upon the man who is and is not there.
It is hard to know what to say about such a poem. The man who "is and is not" present is, of course, the poet, as he discusses and analyzes his own life poetically. Is this then a sort of homily on the difficulties of biographical criticism? Or is it self-admonition, suggesting that the more closely one examines one's own life, the less one sees? Or could it be primarily about the difference between what the man sees and what the face of "the untroubled moon" observes? (The moon sees nothing, of course; it is untroubled because it is utterly inhuman, we being the only self-conscious spies in the universe, so far as we can ever know.) The poem probably means to encompass all of these matters, with the added feeling that this unnamed man must be a very anxious man indeed, a troubled soul, to conduct such moonlight investigations. And finally, there is the poem's typically oblique consolation: we realize that "the prowler," though he may be troubled, nevertheless "peers in deeper" than the moon can, creating and embracing the paradox of "the man who is and is not there." It is not much of a consolation, as these things go, but it is unmistakable: we find no self pity here, finally, but an understated hymn to the fact of consciousness itself.
An even bleaker poem is "If We Had Known," which reflects on a suicide, I take it, without mentioning death explicitly. Note how unflinchingly the poem avoids both praise and blame for either victim or friends:
If we had known all that we know
We never would have let him go.
He never would have reached the river
If we had guessed his going. Never.
We had the stronger argument
Had we but dreamed his dark intent.
Or if our words failed to dissuade him
Unarguing love might still have stayed him.
We would have lured him from his course.
And if love failed, there still was force.
We would have locked the door and barred it.
We would have stood all night to guard it.
But what we know, we did not know.
We said good-bye and saw him go.
Again following Donald Hall's suggestion, I am drawn here to notice what Francis leaves out of such a poem. He omits the normally expected anger at the dead person, the anguish of the survivors, the puzzlement over why someone might want to destroy his life, and so on. The entire poem, up until its final couplet, consists of a rather somber summary of all the things that a generic "we" might have done to prevent the death "if we had known" it was coming. But of course, not knowing is of the essence; we never can know the full truth of someone else's feelings, especially concerning such intractably solitary experiences as suicide, and so all our rationalizations reduce to so much wind. "Knowledge increaseth sorrow," as Ecclesiastes says, expressing the ultimate conflict of human existence, and a major theme in Francis. The poet does not say any of these things, naturally, but leaves the reader to do so, because we must say something, mustn't we? And that, I take it, is the point: "we said good-bye and saw him go" is what we inevitably do, faced with the mysteries of otherness. It is all we can do. The poem does not make the mistake of engaging in my sort of ungainly interpretation; it merely presents, and gains strength and spookiness by its reticence.
This concern with the ultimate solitude of human life shows up again and again in Francis's poems, underpinning even his frequent gestures toward fellowship. In "His Running My Running," for instance, the poet's appreciation of the lone runner serves to reinforce rather than mitigate the essential melancholy of the scene:
Mid-autumn late autumn
At dayfall in leaf-fall
A runner comes running.
How easy his striding
How light his footfall
His bare legs gleaming.
Alone he emerges
Emerges and passes
Alone, sufficient.
When autumn was early
Two runners came running
Striding together
Pacing each other
A perfect pairing.
Out of leaves falling
Over leaves fallen
A runner comes running
Aware of no watcher
His loneness my loneness
His running my running.
The setting, of course, has to be autumn; the season of loss almost seems to conjure up this vision of the runner, who appropriately arrives "out of leaves falling / Over leaves fallen." The impression is of an active progress through and against the passage of time, with its inevitable diminishment of vigor and erosion of companionship. Having evidently suffered the loss of his running partner "when autumn was early," the runner is "alone," yet is also quite "sufficient" in his solitude, sturdy and unflappable. With a Whitmanesque gesture at solidarity, the poet claims the runner's "loneness" as his own, perhaps because it is so doggedly self-contained, sufficient unto itself. Perhaps (and this is the true Francis touch) this runner is beautiful precisely because he is alone. The poem is profoundly, tenderly voyeuristic, and recalls nothing so much as Section 11 of Whitman's "Song of Myself":
Twenty-eight young men bathe by the shore,
Twenty-eight young men, and all so friendly,
Twenty-eight years of womanly life, and all so lonesome.
She owns the fine house by the rise of the bank,
She hides handsome and richly dressed aft the blinds of the window . . .
In both poets, an observer savors the gleaming bodies of athletic young men, seamlessly identifying with them. Both poets emphasize the same qualities of discreetly erotic yearning, furtive charm, and lonely integrity. In each poem, the erotic charge is bound up in secrecy and distance, and in an isolation which is not lamented, just noted with accurate compassion.
Francis often writes in praise of athletic prowess, the natural world, and the quiet pleasures of a contemplative life. I would argue, however, that even in his happier poems, there is often a definite undercurrent of harshness. Consider the lyric "Swimmer," which develops as beautifully universalized an extended metaphor as any in Shakespeare's sonnets:
Observe how he negotiates his way
With trust and the least violence, making
The stranger friend, the enemy ally.
The depth that could destroy gently supports him.
With water he defends himself from water.
Is all he has between himself and drowning.
What lover ever lay more mutually
With his beloved, his always-reaching arms
Stroking in smooth and powerful caresses?
Some drown in love as in dark water, and some
By love are strongly held as the green sea
Now holds the swimmer. Indolently he turns
To float.--The swimmer floats, the lover sleeps.
Here is a characteristic Francis performance. If it is a poem about swimming, it is equally concerned with love's motions in the face of death and betrayal. And typically, it is also about the artistic process, which is to say, the poem neatly describes itself and defines its own embodied excellence. The poem is so subtle and multifaceted that its clarity might lead us to call it "deceptively simple"--but even this critical option has been foreclosed by the poet in "Deception," one of his prose "Pot Shots":
Wherein lies the deception?
Being simple to read, do they [his poems] seem to have been simple to write? Is this where the deceiving lies?
Or do they only seem simple to read? Are they really not simple at all?
Or are they both truly simple and truly poetry, and is it the possibility of this combination that deceives, or rather undeceives, the reader?
Francis is right: the deception in a poem like "Swimmer" is not the poet's, for he could scarcely have made his poem more lucid. The deception, or undeception, consists of our surprise that such a poem can contain so many interlocking meanings without being difficult in the way Eliot or Pound are difficult.
In any event, observe how the poet in "Swimmer" negotiates his way as if effortlessly amid his meanings. What is the poem's chief theme, for example? Is it about swimming, employing love as explanatory metaphor? Or is it the reverse, comparing languid lovemaking to swimming? Or is it perhaps most deeply about poem-making, with both lovemaking and swimming serving as illustrative metaphors? Merely to ask such questions is to see something of the seamlessness of Francis's art. In fact, the poem balances alertly among its themes, preferring none, as a parent might refuse to designate a favorite child. The pleasure achieved is one measure of Francis's lyric power: in place of obscurity, allusiveness, or complexity of idea, he characteristically offers us simultaneity of meaning, an entanglement of metaphors which fosters richness without complication. The poem resists interpretation, not because it is hermetic, but because its meanings are overlayered one on another, like a double-exposure photograph. To separate the thematic elements is to reduce them accordingly.
Nonetheless, for discussion purposes we need to look at the poem's various strands in order to see something of Francis's undeceptive richness. This swimmer we are called to observe "negotiates his way / With trust and the least violence," and both abstract nouns here contain ambiguities. What must the swimmer trust? As the poem develops, the idea clarifies: the swimmer should trust "the depth that could destroy," must, that is, have faith that the destructive element, properly negotiated, will not destroy. It is not the depth itself that is to be trusted, however, but one's ability to negotiate it; so in a real sense, one does not trust the depth at all, but learns how to remain safely atop it. Likewise with the "least violence." One swims most efficiently by minimizing or economizing one's motions--using the "least violence" in order to swim powerfully yet effectively. Power alone would be merely violent, an aimless and dangerous thrashing. Yet without some violence, the poem suggests, there could be no progress, no accomplishment. So, one must negotiate with both trust and violence.
In the center of such paradoxes lie the poem's multifoliate meanings, for these not-so-simple motions of trust and violence are linked at several thematic levels or perspectives. As a simple parable about swimming, the poem suggests something of the way in which the beauty of the sport is bound up with its danger. More deeply, however, as a description or prescription for love, the poem implies that the lover must offer up him- or herself entirely to the dangerous waters of otherness; the beloved becomes thus the "depth that could destroy" the lover, and yet does not. In this sense the violence is both the risky gesturing of self-revelation, of spiritual undraping, and also the necessary friction or opposition by which love must be defined, as happiness is meaningless without comparison to sadness.
The poem's second stanza asks "What lover ever lay more mutually / With his beloved . . . ?"--a question not so purely rhetorical as it might at first seem. If the obvious answer is that no lover could hope to merge so fully with a mate as a swimmer can immerse in "the green sea," the less obvious reflection is equally pertinent: for the lover, as for the swimmer, all contact is in a real sense only skin deep. Lovers do not merge into each other any more than swimmers dissolve like sugar cubes in the water. The poem remains keenly aware that, in love, transcendent union is as impossible as it is inevitably tempting. We may achieve a momentary illusion of such union, just as we may swim as if without effort, or float as though permanently at ease on the water's surface--but the water remains an alien element, and we can drown in it. Thus it is apt that the poem ends by comparing the swimmer "indolently" floating to the lover sleeping. Sleep is a necessarily solitary endeavor. With this final image, Francis seems at first to describe an unambiguously sensual, affirmative vision of lovemaking, but the metaphor's implications emphasize solitude.
Finally, the poem is of course about swimming as an imaginative act in opposition to drowning or death. In this sense the poem enacts its own assertion that one may make "the stranger friend, the enemy ally," at least momentarily, in the imaginative boldness of language. Consciousness is what supports and sustains us in our attempt to float above the depths of destruction--we oppose death not by ignoring it, in other words, but by swimming in it. By way of "the least violence," we convert our fear of unconsciousness or oblivion (old metaphorical equivalents for the sea) to imaginative activity. We keep the "drowning sea" between ourselves and drowning, a paradox which makes, like all paradoxes, an emotive rather than logical sense. By imaginative immersion in death, we may not be able to destroy or defeat death, but we can "float" upon it for a while and enjoy a respite from fear, an indolence that is not mere paralysis. In such a way the poem describes its own graceful, subtle prowess at reconciling opposites, floating as if without strain upon the surface of dangerous incoherence.
It is a rich poem but not an obscure one, for its "deeper" meanings are not really concealed below the surface, but lie hidden in plain view, like Poe's Purloined Letter, sly in their very obviousness. As a love poem, "Swimmer" is curiously without hyperbole, celebrating its subject (not any particular lover) with a precise, abstract relish. And as a poem about performance, both athletic and poetic, it seems equally balanced and truthful without being fussy or coy. Francis pulls off such precarious balancing acts of tone and meaning frequently in his best lyrics.
The best of Francis thus occurs in poems such as "Swimmer" and in others like "Apple Peeler," "Summons," "Bluejay," "The Laughers," "Weathervane," "Answer," "The Hawk," and "Remind Me of Apples," poems in which, as David Young writes of "Bluejay," there exists beyond the felicities of wordplay and technique a "mysterious something" released by the poem's radical economy and understatement. In describing how "Bluejay" engineers in him "a release of feeling and a summoning of diverse emotions and experiences," Young is talking, really, about that indefinable something which makes all lyric poetry memorable, from the anonymous "Western Wind" through Herrick, Dickinson, Frost, and all the others. As Francis notes in "Excellence," another of the many ars poeticas he wrote in the guise of appreciation for sports: "Excellence is millimeters and not miles. / From poor to good is great. From good to best is small. / From almost best to best sometimes not measurable." Though in no measurable way, the poems of Francis at his best seem to me to achieve the millimeter of difference between good and great, and, whether "major" or "minor," we can ask no more of any poet.
--Painted Bride Quarterly. 35 (1985) : 79-93. Robert Francis Issue.


text:
Q: How to use fragment shader to draw sphere ilusion in OpenGL ES? I am using this simple function to draw quad in 3D space that is facing camera. Now, I want to use fragment shader to draw illusion of a sphere inside. But, the problem is I'm new to OpenGL ES, so I don't know how?
void draw_sphere(view_t view) {

    set_gl_options(COURSE);

    glPushMatrix();
    {
        glTranslatef(view.plyr_pos.x, view.plyr_pos.y, view.plyr_pos.z - 1.9);
#ifdef __APPLE__
#undef  glEnableClientState
#undef  glDisableClientState
#undef  glVertexPointer
#undef  glTexCoordPointer
#undef  glDrawArrays

        static const GLfloat vertices []=
        {
            0, 0, 0,
            1, 0, 0,
            1, 1, 0,
            0, 1, 0,
            0, 0, 0,
            1, 1, 0
        };

        glEnableClientState(GL_VERTEX_ARRAY);
        glVertexPointer(3, GL_FLOAT, 0, vertices);
        glDrawArrays(GL_TRIANGLE_STRIP, 0, 6);
        glDisableClientState(GL_VERTEX_ARRAY);
#else
#endif
    }
    glPopMatrix();
}

More exactly, I want to achieve this:

A: There might be quite a few thing you need to to achieve this... The sphere that is drawn on the last image you posted is a result in using lighting and shine and color. In general you need a shader that can process all that and can normally work for any shape.
This specific case (also some others that can be mathematically presented) can be drawn with a single quad without even needing to push normal coordinates to the program. What you need to do is create a normal in a fragment shader: If you receive vectors sphereCenter, fragmentPosition and float sphereRadius, then sphereNormal is a vector such as
sphereNormal = (fragmentPosition-sphereCenter)/radius; //taking into account all have .z = .0
sphereNormal.z = -sqrt(1.0 - length(sphereNormal)); //only if(length(spherePosition) < sphereRadius)

and real sphere position:
spherePosition = sphereCenter + sphereNormal*sphereRadius;

Now all you need to do is add your lighting.. Static or not it is most common to use some ambient factor, linear and square distance factors, shine factor:
color = ambient*materialColor; //apply ambient

vector fragmentToLight = lightPosition-spherePosition;
float lightDistance = length(fragmentToLight);
fragmentToLight = normalize(fragmentToLight); //can also just divide with light distance
float dotFactor = dot(sphereNormal, fragmentToLight); //dot factor is used to take int account the angle between light and surface normal
if(dotFactor > .0) {
   color += (materialColor*dotFactor)/(1.0 + lightDistance*linearFactor + lightDistance*lightDistance*squareFactor); //apply dot factor and distance factors (in many cases the distance factors are 0)
}

vector shineVector = (sphereNormal*(2.0*dotFactor)) - fragmentToLight; //this is a vector that is mirrored through the normal, it is a reflection vector
float shineFactor = dot(shineVector, normalize(cameraPosition-spherePosition)); //factor represents how strong is the light reflection towards the viewer
if(shineFactor > .0) {
   color += materialColor*(shineFactor*shineFactor * shine); //or some other power then 2 (shineFactor*shineFactor)
}

This pattern to create lights in fragment shader is one of very many. If you don't like it or you cant make it work I suggest you find another one on the web, otherwise I hope you will understand it and be able to play around with it.


text:
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text:
circa 1910-1920 (5)
circa 1956 (2)
1 photograph: black and white (20)
1 sheet 56 x 39 cm (20)
1 pamphlet (4)
1 postcard : color ; 9 x 14 cm. (4)
1 page (4)
1 black-and-white photograph 5.5 x 3.5 in (3)
1 photograph: color (2)
1 black-and-white photograph 3 x 5.5 in (1)
photonetics (6)
los angeles airport photography (3)
black, j. d. (john david), 1893-1960; (2)
dockweiler, isidore b. (isidore bernard), 1867-1947 (1)
nordskog, andrae b. (1)
westchester (los angeles, calif.) (13)
dockweiler, henry isidore, 1893-1970; portraits (4)
loyola university of los angeles (4)
academic library directors jesuits books academic libraries -- california -- los angeles (3)
loyola university of los angeles marymount college (los angeles, calif.) (3)
marshall, theodore loyola university of los angeles (3)
big pine (calif.); (2)
college campuses -- california -- los angeles (2)
commencement ceremonies college presidents -- california -- los angeles cardinals nuns religious of the sacred heart of mary (2)
hollywood park (inglewood, calif.); (2)
All fields: 1967
Homecoming queen candidates, 1967
College students; Student activities; Statues; Homecomings--California--Los Angeles
1967 Loyola University Homecoming Queen candidates in front of the Lion statue. Left to right standing: Carolyn Matson, Kathy Aller, Mary Nocerine, Brett Brittingham, Carla Mabey, Bunny Smith. Left to right seated: Erin Duffy, Michele Maddox, Pat...
Homecoming queen Michele Maddox
Football--Social aspects; Dance parties--California--Los Angeles; Homecomings--California--Los Angeles
A black-and-white photographic portrait of 1967 Homecoming Queen Michele Maddox. Ms. Madox is holding a bouquet and a football with several signatures on it.
The Glass Menagerie, 1967
Capbern, A. Martial; Kaufman, Paul; Williams, Tennessee, 1911-1983; Del Rey Players; College theater; Theatrical productions; Advertising; Loyola University of Los Angeles
1967-1968 Season playbill: The Del Rey Players of Loyola University at Los Angeles present "The Glass Menagerie" by Tennessee Williams, directed by A. Martial Capbern, production designed by Paul Kaufman, in Theatre Spectrum 1967-1968.
Mister Roberts, 1967
Kaufman, Paul; Logan, Joshua; Heggen, Thomas, 1919-1949; Del Rey Players; College theater; Theatrical productions; Advertising; Loyola University of Los Angeles
1967-1968 Season playbill: The Del Rey Players of Loyola University at Los Angeles present "Mister Roberts" by Thomas Heggen and Joshua Logan, directed by Paul Kaufman, in Theatre Spectrum 1967-1968.
Look Homeward Angel, 1967
Kaufman, Paul; Wolfe, Thomas, 1900-1938; Frings, Ketti; Del Rey Players; College theater; Theatrical productions; Advertising; Loyola University of Los Angeles
1967-1968 Season playbill: The Del Rey Players of Loyola University at Los Angeles present "Look Homeward Angel" by Ketti Frings from the novel by Thomas Wolfe, directed and designed by Paul Kaufman, in Theatre Spectrum 1967-1968.
Catch Me If You Can, 1967
Capbern, A. Martial; Weinstock, Jack; Gilbert, Willie, 1916-1980; Del Rey Players; College theater; Theatrical productions; Advertising; Loyola University of Los Angeles
1967-1968 Season playbill: The Del Rey Players of Loyola University at Los Angeles present "Catch Me If You Can" adapted from the French by Weinstock & Gilbert, directed by A. Martial Capbern, in Theatre Spectrum 1967-1968.
Marie Elena Gillegly and Mary Raymunde McKay, R.S.H.M.
Commencement ceremonies; Nuns; College presidents--California--Los Angeles; Religious of the Sacred Heart of Mary
Marie Elena Gillegly, Gerard Scholar of 1967, receiving recognition from Mary Raymunde McKay, R.S.H.M. at Marymount College.
Los Angeles Loyolan headline: Loyola-Marymount Affiliation Signed, April 10, 1967
Universities and colleges; College presidents--California--Los Angeles; College student newspapers and periodicals
Front page of the Loyolan includes articles such as "Loyola-Marymount Affiliation Signed, Each School Will Retain Own Name, Autonomy," "Aptheker Cleared, Communist to Speak," and "Some Progress Made by Reform Committee."
Big Pine Citizen, August 13, 1927
Inyo County Bank; Banks and banking; Actions and defenses; Owens Valley (Calif.)--Social conditions; Advertising; Water-supply--California--Management; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water...
The Big Pine Citizen was the weekly newspaper of Big Pine, a town in the northern Owens Valley of the California Sierras. The newspaper expressed the viewpoint of Big Pine residents on Los Angeles' control of the Owens Valley water supply during...
Inyo County Bank; Banks and banking; Watterson, W. W.; Actions and defenses; Owens Valley (Calif.)--Social conditions; Advertising; Water-supply--California--Management; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water...
Banks and banking; Watterson, W. W.; Actions and defenses; Los Angeles Chamber of Commerce; Owens Valley (Calif.)--Social conditions; Advertising; Water-supply--California--Management; Big Pine (Calif.)--History; Water rights--California--Owens...
Big Pine Citizen, September 10, 1927
Los Angeles Aqueduct (Calif.); Bombings; Banks and banking; Watterson, W. W.; Actions and defenses; Owens Valley (Calif.)--Social conditions; Advertising; Water-supply--California--Management; Big Pine (Calif.)--History; Water...
Big Pine Citizen, January 2, 1926
Big Pine Reparations Association; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water rights--California--Los Angeles
Big Pine Citizen, July 16, 1927
Mineral industries; Actions and defenses; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water rights--California--Los Angeles
Big Pine Citizen, August 6, 1927
Water-supply--California--Management; Actions and defenses; Inyo County Bank; Banks and banking; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water...
Big Pine Citizen, May 14, 1927
Reparations; Claims; Hession, Jess; Lawyers; Water-supply--California--Management; Mineral industries; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water...
Los Angeles Aqueduct (Calif.); Bombings; Del Valle, Reginaldo F. (Reginaldo Francisco), 1854-1938; Water-supply--California--Management; Actions and defenses; Mineral industries; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine...
Big Pine Citizen, June 25, 1927
Los Angeles Aqueduct (Calif.); Bombings; Hession, Jess; Lawyers; Water-supply--California--Management; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water...
Big Pine Citizen, April 23, 1927
Water-supply--California--Management; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water rights--California--Los Angeles
Big Pine Citizen, March 12, 1927
Reparations; Owens Valley (Calif.)--Social conditions; Advertising; Big Pine (Calif.)--History; Water rights--California--Owens Valley; Water rights--California--Los Angeles; Newspapers--California--Big Pine


Actress Rose Byrne has revealed she and her partner Bobby Cannavale are expecting their second child. The comedy actress - who has appeared in funny films including Spy, Bridesmaids and bad Neighbours - debuted her baby bump in a magazine interview with her creative brother, George.
Speaking to Jones magazine, the Byrnes - who originally hail from Australia - spoke about their close relationship as the 37-year-old actress showed her burgeoning bump.
Rose already shares one-year-old son Rocco with American actor Bobby - who portrayed Gyp Rosetti during the third season of the HBO drama series Boardwalk Empire, for which he won the 2013 Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series.
The pair have been together since 2012.
Describing her pregnancy during the interview, Rose said she was "feeling good".
The mother-of-one said: "I'm a little tired but feeling good ... You always get a little bit more attention when you're pregnant, which is fabulous."
Rose and Bobby have never confirmed whether they are married but the actress suffered an awkward encounter when she appeared on the Today show in November 2016 and presenters Lisa Wilkinson and Richard Wilkins referred to Bobby as her 'husband' twice.
Despite looking visibly uncomfortable Rose didn't choose to correct the presenters, leading to speculation about whether she has secretly wed the Will & Grace actor.
Previously speaking about life as a mum after welcoming Rocco last February, the actress admitted she stayed in her apartment for a long time after his birth.
The star said: "I'm still in a fog, I haven't even left my apartment in three months.
"It takes an hour and forty-five minutes to get out of the house with a baby and by the time I'm ready, I'm exhausted. I'm done, I'm going back in. I don't care!"