I paint with several different materials: Oil paint, soft pastels, and ink and watercolor. I can suggest which to use with your painting. Oil paintings are on canvas or a wood panel, and I keep the sides of the canvas/panel tidy so that you may choose to keep the finished piece unframed. Pastels are on either a primed rigid surface or sanded card stock. Ink and watercolor paintings are on watercolor paper or board. Pastels and most watercolors need to be framed, and this is something to keep in mind when calculating the cost of a commissioned painting.
I price my artwork by size. My largest size is limited simply by my studio space. Other sizes not listed below are available at your request.
If you have a photographic reference you'd like me to work from, we'll start there. If you have more than one photo of your subject, that's even better. We'll talk about size and medium, as well as any feelings or point of view you wish me to convey about the subject. Your photo doesn't have to be professional quality—in fact, I work from pretty sub-par photos, myself, as a jumping off point. I will probably suggest cropping your image or modifying some elements to create the most harmonious composition.
If you do not have a photo reference, you may ask me to do some local scouting for a landscape painting, or maybe you have a still-life subject you'd like me to arrange.
You can say to me, "I just need some artwork. I want something this big, I like sunflowers, and also I like red." Okay!
In any of these situations, we will work together to agree on the picture. This part of the process takes the most amount of time. You know that saying about house painters? "It's 90% preparation, 10% execution." It's the same for me.
Approvals: I will complete sketches of our agreed upon image for you to approve. I will complete a color study for your to approve.
Because of my other job as a mom, I take most of the summer off from painting, but I may be able to accommodate a request at that time. During the school year, I can usually complete any work in about three weeks. Oil paintings will need time to be dry to the touch—about two weeks—so keep that in mind as you determine your deadline to receive the finished work.
I ask for half of the cost as a deposit to get started after you decide on the size, and the last half, plus any shipping cost, due at delivery.
I will refund 100% of your cost within 30 days of delivery. I want you to be very happy with your painting, AND I want to be very happy with it, too. I won't give you something I don't like, which is why I'll take it back it you don't.
I asked the client to think about what she loves most about her cat and to take photos of him doing these things naturally. She gave me about ten photographs.
After the client decided the size, I painted a couple of color studies to show how I'd change the palette from the original photograph.
I chose two photos to sketch at different sizes, but the client asked me to try a third picture because she realized it showed her favorite attributes: his squishy sleeping face and mark on his fluffy tail.
I showed the client progress shots along the way, but I work pretty quickly when I start putting paint on canvas.


text:
La paroisse de Baton Rouge Ouest (anglais : West Baton Rouge Parish) est située dans l'État américain de la Louisiane. Son siège est à Port Allen. Selon le recensement de 2000, sa population est de . Elle est l'une des 22 paroisses de la région officielle de l'Acadiane.

Géographie
La paroisse a une superficie de  de terre émergée et  d'eau. Elle est enclavée entre la paroisse de Feliciana Ouest au nord, la paroisse de Baton Rouge Est à l'est, la paroisse d'Iberville au sud-ouest, et la paroisse de la Pointe Coupée au nord-ouest.

Municipalités

La paroisse est divisée en trois villes et villages :

 Addis
 Brusly
 Port Allen

Démographie

Selon l'American Community Survey, en 2010, 94,45 % de la population âgée de plus de  déclare parler l'anglais à la maison, 2,67 % l'espagnol, 2,58 % le français et 0,30 % une autre langue.

Notes et références

redpajama_set_name: RedPajamaWikipedia


text:
YouTube page opens in new windowFacebook page opens in new windowTwitter page opens in new window
Fleming and Curti, PLC
Elder Law Attorney Tucson AZ
ONLINE INTAKE FORM
OFFICE FEES
What Estate Tax Repeal Means For Most Taxpayers: Not Much
JUNE 11, 2001 VOLUME 8, NUMBER 50
On June 7, 2001, President George W. Bush signed the Economic Growth and Tax Relief Reconciliation Act of 2001. Despite extensive media coverage of tax reform, and especially of estate tax repeal, over the past six months, you may have been left wondering what it means. It turns out that it doesn't mean much for most of us.
Estate tax repeal will have one of two effects for most people. For some, the change in tax laws will mean they must spend more on lawyer's fees for changes to their estate plans—and may have to make more than one set of changes as the rules slowly shift over the next decade. For most people, however, the principal effect of estate tax repeal will be felt when government revenue must be raised from some other source—possibly including taxes on middle class citizens who wouldn't have paid estate taxes under the old rules.
There are four elements of estate tax repeal that make it difficult to predict exactly what will happen over upcoming months and years:
• Reductions in the estate tax will be phased in over a ten-year period, with relatively little change before full repeal. The current $675,000 exemption from federal estate tax liability is raised to $1 million next year and then increases slowly, but it only reaches $3.5 million before repeal.
• The top tax rate drops slightly each year, from the current 55% to 45% in the year before the tax is finally eliminated.
• Upon repeal of the estate tax, a new system of taxation is imposed—heirs will pay income taxes on capital gains when they sell inherited property. There will, however, be a substantial exclusion from this new tax—$1,300,000 of gain for every decedent's estate, and another $3,000,000 of gain for surviving spouses.
• Estate tax repeal is itself repealed in 2011.
That's right: as currently written, the law ending the estate tax in 2010 ends (and the estate tax returns) in 2011. Authors of the tax repeal measure insist that they only included that provision in order to "balance" the budget for the next decade, but real estate tax repeal will require another Congress and President to sign another bill sometime in the next decade.
The new law eventually eliminates the "generation-skipping" tax, which penalized transfers to grandchildren (although a $1 million exemption makes the penalty less onerous). The gift tax, however, remains in effect—to keep taxpayers from giving their property to terminally ill family members expecting to get the property back within a few years.
Meanwhile, no one dares predict how federal estate tax "repeal" will affect state governments, where the estate tax has been a major source of revenue for decades. Arizona, for example, received about $80 million from the state estate tax last year. The federal credit for payment of state taxes will be phased out starting in 2002, so that the effect of estate tax reductions will be smaller—unless states follow the federal governments' lead.
Categories: Newsletter, Tucson Elder LawBy Robert Fleming June 11, 2001 1 Comment
Tags: "generation-skipping" taxEconomic Growth and Tax Relief Reconciliation Act of 2001Estate Taxgift tax
Author: Robert Fleming
https://elder-law.com/team/robert_b_fleming/
Can't Find Original Will? That Might Not Be a Problem
Disinheriting a Child Over Politics? Think About a Trust
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text:
The Little-known Story of the Nationwide Queer Protest 3 Years before the Stonewall
Patrick Kelleher December 8, 2019
The Stonewall riots of 1969 are often cited as the moment that gave rise to the modern LGBT+ rights movement. It was a seminal moment for LGBT+ people in the United States – but it wasn't the first time gay people had protested against mistreatment.
Three years before the Stonewall riots kicked off, gay people in cities across the United States gathered to protest against their exclusion from the armed forces. The protests had been a long time coming. The US armed forces introduced a policy during World War II which excluded gay people from serving. They were often discharged by doctors for displaying "homosexual tendencies."
"The discharge policy increased fear, reinforced hostility and prejudice, encouraged scapegoating and witch hunting, and helped to solidify gay men and women into a political movement against the military's exclusion of homosexuals," writes Alan Berube in Coming Out Under Fire.
The protests of 1966 came at a politically charged moment in time. As the Vietnam War gained steam, many gay people were starting to ask the question: why should they want to serve in the armed forces in the first place? The fight for inclusion had started to be seen as "old fashioned" by the "baby-boom generation of gay activists" who were questioning why gay people would want to serve in the face of war, according to Berube.
A 'loose confederation' of gay groups was formed to protest the armed forces' exclusionary policies.
Despite reservations from some sections of the community, there was ample support for protests against the armed forces' exclusionary policies. The idea of gay people mobilising was first conceived at the National Planning Conference of Homosexual Organizations in Kansas City. More than 40 gay activists attended the meeting and discussed how they could improve the standing of gay people in America. Out of this emerged the Committee to Fight Exclusion of Homosexuals from the Military, a "loose confederation" of homosexual groups across the US. They came up with a plan to launch the biggest ever gay demonstration the world had seen.
The government's categoric rejection of all persons it knows to be homosexual is un-American and based on ignorance and superstition.
On May 21 that year, gay people gathered and protested against discriminatory military policies in Los Angeles, New York, Philadelphia, San Francisco and Washington D.C. The protest on Armed Forces Day was "the largest group of homosexual protestors" gathered up until that point in the United States, Josh Sides writes in Erotic City: Sexual Revolutions and the Making of Modern San Francisco.
Gay activists at the protests did not shy away from speaking out about their exclusion from public life. Activist Don Slater was asked by a Newsweek reporter why they were protesting, according to a contemporary report in Tangents magazine.
"Who wants to be drafted? Surely not the homosexual," Slater replied. "But the government's categoric rejection of all persons it knows to be homosexual is un-American and based on ignorance and superstition. Homosexuals are asking for equal rights and benefits from their country. At the same time they recognize their equal duties and responsibilities."
Meanwhile, Cecil Williams addressed the crowd at the San Francisco demonstration, and said: "There is a homosexual revolution here and across the land. We protest against the Armed Forces' policy of discharging 'discovered' homophiles under less than honorable conditions."
Taking part in protests in 1966 was 'a daring adventure' for LGBT+ people.
The protests did not come without risk for the gay people taking part. Writing in a letter at the time, Del Martin – one of the founders of the protests – wrote: "This is quite a daring adventure for us. It is not like any other civil rights demonstration – having no popular support and being somewhat hazardous, if not disastrous, to the individual who reveals himself."
While the protest did not encourage the military to overturn its discriminatory policy, it did raise the profile of gay people significantly. Media outlets across the country covered the protests. They were picked up by newspapers such as the San Francisco Chronicle, the New York Times, the Los Angeles Times and Newsweek. While not all the coverage was positive – the San Francisco Chronicle ran the story with the headline "Deviates Demand the Right to Serve" – it gave gay people a platform they had previously not had access to.
Bob Ross, secretary of the Tavern Guild, wrote that the public response to the protests was "favourable."
"This was the communitys [sic] first try at demonstrating nationwide, and we understand that reaction was quite favourable across the country… we must move forward now, there can be no turning back."
It is now more than 50 years since the protests took place – but that doesn't mean the battle is over. In 1994, the Clinton administration introduced the infamous "Don't Ask, Don't Tell" policy, which encouraged gay people to stay in the closet while serving in the military. That policy was finally repealed in 2011.
Furthermore, a longstanding ban on trans people serving in the military was lifted by the Obama administration in 2016. However, current US President Donald Trump quickly reversed that decision, and reintroduced the ban.
The legacy of those activists who fought for their inclusion in the armed forces in 1966 lives on because the fight is not yet won for LGBT+ people.
‹ One of Chicago's Oldest Churches Will Now become an LGBT Homeless Youth Center › Acclaimed Gay Cartoonist Howard Cruse Leaves Behind a Legacy of Groundbreaking Work


text:
Vintage Advertising: Selling Luxury
Beginning in the late 1920s, the Packard Motor Company ran a series of colorful ads in the Post that displayed not only the car but the glamorous life associated with it.
Though long gone — production ceased in 1956 — Packard automobiles are still remembered for their elegance and engineering. In their day, they had a reputation for sumptuous style and fine craftsmanship. And high price.
Beginning in the late 1920s, the Packard Motor Company ran a series of colorful ads in the Post that displayed not only the car but the glamorous life associated with it. These innovative ads paid tribute to artists and adventurers or showed consumers in elegant attire in exotic places to emphasize Packard's appeal "for a discriminating clientele." And all Packard ads included the slogan that only a confident manufacturer would make: "Ask the man who owns one."
The slogan first appeared in 1901  —the concept of associating a consumer product with an aspirational lifestyle was groundbreaking at the time and has been the model for many an ad campaign since.
Also see our image gallery of Classic Car Ads: The Packard.
Gallery: Christmas Ads You'll Never See Again
The 1910s, Vintage Ads
Vintage Advertising: Gillette Safety Razors Make the Cut
Vintage Ads: Elections in Advertising
carl fletcher says:
looking for artist ERTE advertising in SEP of his art deco style clothes
Beautiful ad feature on the Packard. The ad copy here emphasizes speed, indeed more than you'll ever need, over luxury. The Crash and Depression didn't affect Packard as severely as two of its competitors, Duesenberg and Cord, unfortunately both ending in 1937.


text:
Q: get blob API Call from Azure Data Factory I asked the same question at MS qna site too.
In ADF, I tried to call get BLOB() https://learn.microsoft.com/en-us/rest/api/storageservices/get-blob
I got this error message:  "Server failed to authenticate the request. Make sure the value of Authorization header is formed correctly including the signature."
I'd like to read an image or non structured file and insert it into a varchar(max) column in SQL server. (source: binary to sink:binary in sQL server)
My pipeline is configured as below.

*

*linked service:
base url: https://{account name}.blob.core.windows.net/
authentication type: anonymouse
server certificate: disabled
type: Rest

*data set
type :Rest
relative url: {container name}/xyz.jpeg

*copy data activity
request method: get
x-ms-date: @concat(formatDateTime(utcNow(), 'yyyy-MM-ddTHH:mm:ss'), 'Z')
x-ms-version: 2018-11-09
x-ms-blob-type: BlockBlob
Authorization: SharedKey {storage name}:CBntp....{SAS key}....LsIHw%3D
( I took a key from an SAS connection string....https&sig=CBntp{SAS key}LsIHw%3D)
Is it possible to call the Azure Blob rest API in ADF pipelines?

A: Unfortunately this is not possible because When using Binary dataset in copy activity, you can only copy from Binary dataset to Binary dataset.
Source dataset property when Source is Binary

Sink dataset property

Reference - https://learn.microsoft.com/en-us/azure/data-factory/format-binary#copy-activity-properties

redpajama_set_name: RedPajamaStackExchange


For those government documents which are available online, try using Google Custom Search, as seen below (code courtesty of MacOdrum Library, Carleton University).
Not sure you've found everything using a search engine? Try the following resources, or contact the Government Documents staff for assistance.


text:
Sharks' OT loss to Winnipeg Jets might…
SportsNHL
Sharks' OT loss to Winnipeg Jets might prove costly
By Area News, News Group and Curtis Pashelka |
Click here if you're having trouble viewing the gallery or video on your mobile device.
SAN JOSE — Joe Thornton demonstrated again on Tuesday night why he's been the Sharks' emotional leader for more than a decade.
So there was palpable concern after the Sharks' 5-4 overtime loss to the Winnipeg Jets that Thornton might have suffered another serious injury.
Thornton collided with Sharks forward Mikkel Boedker near center ice with roughly 44 seconds left in the third period and appeared to injure his right knee. Boedker was knocked forward into Thornton by Jets forward Andrew Copp, and Thornton could not put much weight on the leg as he hobbled to the Sharks' bench and the dressing room.
After the game, Sharks coach Pete DeBoer said he did not have an update on Thornton's condition, saying the team would likely know more Wednesday. Asked, though, what he was thinking when he saw Thornton leave the ice in that state, DeBoer said, "He doesn't leave unless, you know, we all know him. So, not a good feeling."
Last April, Thornton needed major surgery on his left knee to repair a torn medial collateral ligament and a partially torn anterior cruciate ligament that he suffered earlier in the month in a regular season game in Vancouver. Remarkably, Thornton returned to play just two weeks later, suiting up for the Sharks' final four playoff games in their first round series against the Edmonton Oilers. The Sharks lost in six games.
Thornton is enjoying a comeback season of sorts. After he had just 50 points in 79 games in 2016-17, he's bounced back to be one of the Sharks' leading scorers again with 35 points in 46 games coming into Tuesday.
Thornton was playing with an edge for most of Tuesday's game.
He had words with Jets forward Bryan Little just as the Sharks were starting a power play in the second period. Shortly after, the two came together again during a stoppage in play.
Then Thornton did what he does best — thread the needle with a perfectly placed pass.
Chris Tierney scored his 12th goal of the season, one-timing a pass from Thornton that tied the game 3-3.
"It's tough," Tierney said when asked what the feeling was on the bench to see Thornton get injured again. "Obviously, he brings a lot of passion to the team and drives our team. It's not something you want to see. Just try to stick with it the rest of the game and deal with it after."
The Sharks needed two comebacks to salvage a point against the Jets. Little scored 18 seconds into overtime to lift the Jets to a win at SAP Center.
The Sharks trailed 4-3 in the third period on a goal by the Jets' Joel Armia. Less than four minutes later, though, Timo Meier tied the game with 4:40 left in the third, getting just enough on a backshot from the slot to beat Winnipeg goalie Connor Hellebuyck for his 11th goal of the season.
The Sharks trailed 3-0 by the 11:56 mark of the first period as the Jets scored on three of their first four shots on San Jose goalie Aaron Dell. Goals by Joe Pavelski and Logan Couture cut the lead to one before Tierney's one-timer.
The Sharks had to play most of Tuesday's game without Tomas Hertl, who was given a five-minute major for boarding and a game misconduct in the first period for a questionable hit from behind on Jets defenseman Dmitry Kulikov.
Kulikov was going back into his zone to the left of Jets goalie Connor Hellebuyck to retrieve the puck when Hertl came in and hit Kulikov face-first into the glass. A bloodied Kulikov had to be helped off the ice by a Jets trainer as Hertl and Winnipeg defenseman Jacob Trouba wrestled each other to the ice.
The Sharks trailed the Jets 2-0 at the time of the penalty, 8:13 into the first period. Little scored on the ensuing Winnipeg power play to give the Jets a 3-0 lead.
The Sharks have a 12-2-3 record against Pacific Division opponents, which included a 6-2 win over the Ducks. They haven't fared as well against Central Division teams, though, losing three straight to fall to 2-3-1 for the season. That includes a 4-1 loss to the Jets in Winnipeg on Jan. 7.
? Goalie Martin Jones remained out with a lower body injury. DeBoer said he was hopeful Jones could be available to play Thursday against the New York Rangers, but reiterated that there were "no guarantees."
? Forward Joonas Donskoi missed his second straight game with the flu. Melker Karlsson took Donskoi's spot on the third line with Chris Tierney and Mikkel Boedker and Jannik Hansen was on the fourth line with Joel Ward and Barclay Goodrow.
Curtis Pashelka


Bihar Health Department recently releases an employment notification to hire 1585 eligible and capable aspirants for Senior Resident / Tutor Posts. Candidates who are looking for govt jobs in Bihar Health Department can apply for this recruitment notification by submitting online application form before the last date i.e.(14th September 2018) through official website www.health.bih.nic.in.
Educational Qualifications For Bihar Health Department Jobs 2018: Candidates who have completed Post Graduation Degree in relevant subject from the recognized university or institution with required minimum marks can apply for Bihar Health Department jobs 2018.
The age of candidate who is willing to apply for Bihar Health Department should not be more than 37 Years As on 01-07-2018.
Contenders for Bihar Health Department Jobs 2018 are selected based on their performance in Counselling/ Interview.
How to Apply for Bihar Health Department Vacancy?
First of all you have to logon to the Official website of organization that is www.health.bih.nic.in.
Date to Start Submission Application Form : 07-09-2018.
Closing Date to Fill Online Application Form : 14-09-2018.


Author's Note: In today's time, it is highly impossible to allow a woman travel alone, be it for work or otherwise. Families discuss, debate and sometimes even disallow a woman to travel alone fearing untoward incidents. Hence the chaperone.
I have used the prompts notable, oddball and perky.
Loved it. And you are absolutely right; in today's times of sick mentalities, this is the solution to crime against women.


text:
Q: Read byte value string characters I am trying to implement a communication protocol in JavaScript (language mandatory). The communication is done in TCP/IP thanks to webtcp.
Every packet is divided this way: content size in big endian + content.
So for a packet of a size 28, let's say {"type": "success", "id": 0}, the packet sent will be 0,0,0,28,'{','"', 't', etc....
I have no problem sending packets in pure JavaScript using this syntax.
The problem is, because of WebTCP, the packet I get on my end is always a string, and when the size of a packet is between 128 and 255 (I'm guessing, I just know that it is greater than 128), the size is read wrong. I think I know where the problem is:
Here is my function which extracts the data.
function extractData() {
    // return empty string if not enough bytes to read the size of next packet
    if (!buffer || buffer.length < 4) { return ""; }

    // read size
    var size = [];
    for (var idx = 0 ; idx < 4 ; ++idx) {
        size.push(buffer.charCodeAt(idx)); // pretty sure the problem comes from here.
    }

    // size from big endian to machine endian
    size = ntohl(size);

    // return empty string if the buffer does not have the complete packet yet
    if (buffer.length < 4 + size) { return ""; }

    // copy the packet content into ret
    var ret = "";
    for (var idx = 4 ; idx < size + 4 ; ++idx) {
        ret += buffer[idx];
    }

    // the buffer removes the packet returned
    buffer = buffer.substring(size + 4);

    // return the packet content
    return ret;
}

buffer is a global variable which is filled every time data is received.
ntohl is a function I got from http://blog.couchbase.com/starting-membase-nodejs (without the i offset) which takes a 4 bytes array and returns an integer.
So the line at fault would be size.push(buffer.charCodeAt(idx));, I'm guessing the charCodeAt function overflows when the character code given is greater than an ASCII value (0-127). From printing on the server side (which works, I tried in python and C++), the size sent is 130, and on the JavaScript side, the size array contains [0, 0, 0, 65533] (or something like this, I don't remember the right number. With a size of 30 I get [0, 0, 0, 30] so I know that this is supposed to work.
I have several questions :

*

*How can I extract the raw integer value of a char in a string ?

*Is there an easy way to turn the 4 first bytes into something like a bytearray ? Using only JS and jQuery.

Thanks.

A: Well according to the definition of ntohl it excepts an integer and an array.
exports.ntohl = function(b, i) {
  return ((0xff & b[i + 0]) << 24) |
         ((0xff & b[i + 1]) << 16) |
         ((0xff & b[i + 2]) << 8) |
         ((0xff & b[i + 3]));
}

where b is an array and i is an integer.
You are only passing a single parameter in your code sample.
If I pass 0, it returns a value if I pass no parameter it returns 0.
Try your code with nthol (size, 0 );
Here is a fiddle demonstrating this: http://jsfiddle.net/3jxrr3k7/


The GP2X is an handheld running Linux. It has 2 arm-processors and a few peripherials, amongst others an usb host function. The usb host function is available through the ext-port, but no 5V is available there, so in order to get usb from that you'll either need a wall wart to supply the 5V or use a DC-DC-converter to generate 5V from the 3.3V that is available from the ext-port. Both solutions aren't really handy if you want to keep your GP2X portable.
Luckily, the GP2X does have some spare space inside the casing, and it uses a MAX1566, which is a DC-DC-converter. It uses this to generate the 3.3V for the system and some weird voltages like 17V for the LCD. But next to these, it also has an output for 5V, rated at 500mA. As far as I know, there's no peripherial that uses the 5V line, so we should be free to use that for our own purposes.
Please go and read the disclaimer at the end of this article first if you're going to build this yourself.


text:
Le parasphénoïde est un os crânien présente chez de nombreux vertébrés. C'est un  non apparié qui se trouve sur la ligne médiane du toit de la bouche. Chez de nombreux sauropsides (incluant les oiseaux), il fusionne avec l'os phénoïde de base endochondrale (dérivé du cartilage) du neurocrâne inférieur, formant un os connu sous le nom de parabasisphénoïde. Les premiers mammifères ont un petit parasphénoïde, mais pour la plupart, sa fonction est remplacée par l'os du vomer. Le parasphénoïde a été perdu chez les mammifères placentaires et les amphibiens du groupe des cécilies.

Notes et références

Crâne


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text:
Image from the cover of LeRoi Jones's Black Magic (1969).
The Sweet and Angry Music of Amiri Baraka
SOS: Poems, 1961–2013
William J. Harris
Topics: Criticism, Poetry
By Amiri Baraka
Edited by Paul Vangelisti
Grove Press, $30 (cloth)
Amiri Baraka is one of the most invisible of visible poets. Readers see him but they don't really see him. They see what they want or need to see. Interference from beyond the text—social or ideological static—too often gets in the way. And his poetry is simply hard to find: it is either out of print or available only from little presses which usually don't make it into the big bookstores and mainstream imagination. The one Baraka book that is everywhere is Blues People (1963), which has never gone out of print. Its success suggests that the grand struggle of black people in America, told through the story of black music from spirituals to free jazz, is one of Baraka's most effective and powerful narratives. It connects without being offensive or threatening. It is highly theoretical, a precursor to cultural studies and critical race theory, satisfying on both emotional and intellectual levels. But there is equal and analogous power to be found in the less well-known poems.
Baraka's career began very differently. He won an Obie, the off-Broadway theater award, for his 1964 play Dutchman, and his early poetry was published by such major houses as Grove Press and Bobbs-Merrill. Other work came out with William Morrow, a publisher who stayed loyal to Nikki Giovanni, if not Baraka. Several theories try to explain Baraka's disappearance from the mainstream—some point to anti-Semitism, some his political move to the left, and others the persistent and unconscious traditional aesthetics of many critics. Baraka's alleged anti-Semitism is a complex issue played out in an explosive but not subtle public area, where name calling replaces serious discussion. And after the 1930s, being leftist has rarely helped the reputation of an American poet. As for the last point, a recent review of Baraka by New York Times critic Dwight Garner epitomizes the pervasive divisions that continue to skew so many "aesthetic" judgments. He writes: "There are two ways to rank writers, the poet John Berryman said, 'in terms of gift and in terms of achievement' . . . Baraka's achievements . . . were only rarely equal to his talents. He went from beatnik to Black Nationalist to Marxist, and his political voice slowly ran over his poetic one." How are we to judge the artistic achievement of a poet who is at once a New American poet, post-war avant-garde poet, a politically engaged poet, and a jazz poet—a poet for whom process, commitment, and context are more important than some static ideal of perfection?
You can now make up your own mind about Baraka, as Grove Press has returned to him and published his new selected poems, SOS: Poems, 1961–2013. The volume was overseen by Baraka's long-time editor Paul Vangelisti. Though not flawless—suffering from typos and a disappointing preface—it is a big handsome book, over five hundred pages. I love holding it; I love the cover with Baraka, hands clasped, staring out at me; I love the weight. The collection surveys Baraka's entire career from Beat bohemian to black and then red revolutionary, generously stretching chronologically from the first book, Preface to a Twenty Volume Suicide Note (1961), to recent uncollected poems.
Baraka is an autobiographical poet. "Let my poems be a graph / of me," he writes, but this graph is always more than personal, always also social and political. His poems tell the story of his life and times. Preface to a Twenty Volume Suicide Note transpires in the Beat world of the 1950s. The poet declares his existential despair ("Nobody sings anymore"), shows the limitation of the poet's role ("Remember, I do not have the healing powers of Oral Roberts"), fuses pop and ethnic art ("Tonto way off in the hills / moaning like Bessie Smith"), and begins his remarkable experiment of turning African American musical form and content into American poetry:
The changes are difficult, when
you hear them, & know they are all in you, the chords
of your disorder
This book came out when I was in my late teens and helped me to find my direction as a young poet. Baraka was part of the same camp as I was: New American poetry, the world of Allen Ginsberg, Charles Olson, and Robert Creeley. At the time, I was much whiter, less interested in my black identity; I responded to the Beat Baraka, not the black one. I identified with poems such as the comic "For Hettie," not included in SOS, about the left-handed bohemian wife who is "always trying to be / different." It is a fun poem, both mocking and celebrating nonconformity. I did not identify with poems such as "The New Sheriff": "There is something / in me so cruel, so / silent. It hesitates / to sit on the grass / with the young white / virgins." Neither Baraka nor I knew the explosions that were coming to our lives. Baraka's transformation is as important for literature as Malcolm X's was for politics.
The chronological structure of SOS makes a narrative of Baraka's aesthetic, personal, and political development. In his 1964 collection of dense and beautiful lyrics, The Dead Lecturer, a black revolutionary evolves before our eyes. Though I was too close, too young, and too naïve to understand these poems at the time, today they show the world of the conflicted black intellectual very clearly: self-hating, alienated, both loving and despising the dominant culture. In "An Agony. As Now," the poet observes:
I am inside someone
who hates me. I look
out from his eyes. Smell
what fouled tunes come in
to his breath. Love his
wretched women.
Baraka is the Frantz Fanon of poetry, the poet-psychologist of the radical black intellectual. Through autobiography instead of psychiatry, he scrutinizes the impact of close contact with the dominant culture and the use of violence for both personal liberation and revolution. His poem "Short Speech to My Friends"—these are white friends—deserves many readings; it concludes with these lines:
Let the combination of morality
and inhumanity
begin.
Baraka suggests that liberal ideas and ideals will no longer suffice, that he will have to harden himself to revolutionary violence to bring about a better more humane world. Like Fanon he recognizes the legitimacy of violence.
In "Rhythm & Blues" Baraka takes on the persona of Western civilization. He knows that if he preaches the dogma of love, and not of hate, he will be celebrated by the culture, will become legend. In this persona, he praises the black individual that the world desires:
This is the man who
saved us
Spared us from the disappearance of the sixteenth note, the
Of the scale
But through musical metaphors, he explains that he does not want to save white civilization from its destruction. Returning to his own voice, he asserts: "I will not move to save them. There is no / 'melody.' Only the foot stomped, the roaring harmonies of need." He rejects such music, the music of ideas or ideals, for the music of the black masses, for the needs of those masses. Like John Coltrane, the great free jazz saxophonist, Baraka wanted "to murder the popular song," "do away with weak Western forms." These forms are weak because they are false: as they speak of humanism, their speakers loot and destroy the earth. Throughout his Black Nationalist years, one of Baraka's main goals is to counter Western lies.
Baraka is indigestible, or at least hard to digest; that is part of his greatness.
With its stuck-full-of-pins, blue-eyed, yellow-haired voodoo doll cover, Black Magic (1969) is Baraka's collection in which race takes center stage, tracking his full break from his white friends and movement toward becoming a revolutionary artist. This new position is spelled out in "A Poem Some People Will Have to Understand." "Some People" and "My Friends" are one and the same—Baraka's old liberal Village friends, with their failed idea of rebellion, a rebellion that could not help black people. The poem ends:
We have awaited the coming of a natural
phenomenon. Mystics and romantics, knowledgeable
of the land.
But none has come.
Will the machinegunners please step forward?
Baraka's poem declares that it is pure romanticism to think that change is possible within current social structures. With his "machinegunners," he asserts that change will only come through violent revolution. To achieve a "Black World," as he states in "Black Art," "We want 'poems that kill.' / Assassin poems, Poems that shoot / guns." Baraka wants poems with "teeth," written in strong and vernacular language that will move the black masses to action.
By 1975, Baraka's poems begin to present race in class terms. The enemy is no longer "whitie" but international capital. The poems shift from a commitment to Black Nationalism to asking for "the new socialist reality, its [sic] the ultimate tidal wave." The poem in which this quotation appears—"A New Reality Is Better / Than a New Movie!"—was originally published in Hard Facts, a mimeographed, stapled pamphlet. It was a stark illustration that after Baraka became a Marxist, he was published less and less by mainstream presses. Not widely known, these socialist poems represent some of Baraka's finest and most inventive work, including his great Coltrane poem "AM/TRAK" ("Trane was the spirit of the 60's / He was Malcolm X in New Super Bop Fire"), and "In the tradition" for Black Arthur Blythe, the jazz alto saxophonist. These two poems present black music as revolutionary. As Baraka's poems argue, the whole tradition—from the slave songs to free jazz—says:
Fight! &c. &c.
Booshee doooooo doo
Doooo dee dooo
Dooooooooo!
DEATH TO THE KLAN
During his Marxist period, it became clearer and clearer to Baraka that black music, produced by a struggling people, embodies the revolutionary impulse in its very fiber and structure. From the militant pounding of work songs to the melody-transforming rapid notes of bebop to the form-destroying atonal rhythms of free jazz, this music asserts its own voice and demands freedom from all forms of white oppression.
Like William Carlos Williams, Langston Hughes, Allen Ginsberg, H.D., Melvin Tolson, Anne Carson, Nathaniel Mackey, and Charles Olson, Baraka has written one of the most significant long poems of the twentieth century. Yet Wise, Why's, Y's (1995) is not well known, probably because it was published by a small press, but even more probably because it was published by a black one. It contains the history of the African American in the New World:
If you ever find
yourself, some where
lost and surrounded
by enemies
who won't let you
speak in your own language
who destroy your statues
& instruments, who ban
your omm bomm ba boom
then you are in trouble
deep trouble
probably take you several hundred years
to get
out!
The African comes to America, is surrounded by a hostile and dominating culture which forces her to give up her culture and language, including the language of music that is beyond words ("omm bomm ba boom"). Baraka bitterly and bitingly understates the tragic destruction of African American culture ("you are in trouble / deep trouble") and mockingly underplays the black heroic struggle ("probably take you several hundred years / to get / out!"). Is this blues laughter—the kind of laughter that keeps you from crying?
At the upper right corner of the first page of each section of this poem, Baraka notes what black music should accompany it. For the above excerpt, it is "Nobody Knows the Trouble I Seen." In the context of Baraka's epic, the spiritual takes on a social meaning instead of a religious one. Baraka becomes an American griot, channeling an oral tradition of storytelling from West Africa; he narrates the story of his tribe, a story that, as Kathy Lou Schultz observes, includes "the genocide of slavery, Reconstruction and the oppressive Black Codes, the Great Migrations, and the shift to an urban Black population." In SOS: Poems, Vangelisti makes a generous selection of this virtually ignored poem of tremendous scope and ambition, providing a good sense of its volume. The selection ends with this dark quip:
"Y THE LINK WILL NOT ALWAYS BE
'MISSING' #40"
Think of Slavery
Educational!
The music Baraka pairs with this poem is John Coltrane's tranquil and meditative "The Wise One." But I think the title of the piece matters as much as the composition. If one has learned the meaning of the history of slavery and its consequences presented by Baraka as griot in these pages, "one" has become a "wise one." This last section is both gallows humor and profound truth.
In 1996, Baraka published Funk Lore, another small press volume, containing his Duke Ellington poems, which reveal both Baraka's aesthetic evolution and his return to beauty. In his early books Baraka worked for beauty but, as an honest poet, he let the ugliness of the world intrude. Especially during his Black Nationalist period, his language and subject matter became brutal, brutalized, as the music of the age also became harsh and violent. Though a new, rough beauty persisted in his work, it feels different from this concluding lyric from "One Thursday I Found This / in My Notebook":
When love & the Soul
are uncovered
then you will always
sound like
The second Ellington poem, "DUKE'S WORLD," meditates on Ellington's creative genius, "the explanation / beauty makes," concluding, "Duke's world / Is where we go if we are good." It is not clear to me whether Duke's World is part of the real world or separate from it, a refuge ("expansive gardens") from the here and now. In "Black Art," one of Baraka's most brutalized poems, he wrote, "Let there be no love poems written / until love can exist freely and / cleanly." Perhaps he finally accepted the fact that love will never exist at large in the world but only individually. We certainly find that individual love expressed in his late love poems to his wife, Amina. "Notes to Sylvia Robinson from When I Saw Her Walking Through the Projects in 1966" and "Ballad Air & Fire" are some of the most exciting and engaging pieces in the collection, both lyric and tender.
SOS: Poems ends with these poems and others largely unpublished in book form and therefore new to most readers. The happy news is that Baraka continued to produce wonderful and lively poetry until the end. Included here is Baraka's "controversial"—that adjective critics so often use in the first lines of their reviews—"Somebody Blew Up America," which is a great exercise in political poetry. Though powerful and well crafted, it is marred by unnuanced indictments of power and Internet gossip. But let the reader decide on its truth and power: what is fantasy and what is reality?
The most delightful discovery I made in SOS: Poems is "All Songs are Crazy," which ends:
I who have learned singing from the oldest singers
In the world and have sung some songs myself
Want to create that song that everybody knows
And that everybody will sing one day.
So what is left to do? That is how the song
Begins.
What sweet music. Baraka creates melody through the repetition of "sing" and its variations, the alliteration of "s" in "sung some songs," the repetition of "o" in "some songs," "everybody knows," and "one," the repetition of "i" throughout, the graceful rhythm of enjambments, the dignified pacing, the elevated diction. Although this poem is another example of Baraka's return to lyricism, this is not the only direction of his verse—he continues to be a relentless critic of our society.
With Baraka's death the critical climate seems less icy toward him. Maybe people are no longer afraid that Baraka is going to talk back to them, bite their heads off. I wonder if people will see Baraka more clearly now. But seeing him, understanding him, requires more than having the texts easily available. I think of these sentences from Ralph Ellison's classic novel, Invisible Man (1952): "I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass." Readers will have to struggle to find the real Baraka instead of the cartoons created over the years. To think of Baraka in terms of jazz figures, the people who he has emulated, is helpful. The young militant Baraka followed the avenging angel John Coltrane; the mature Baraka molded himself after the angular, haunting, metaphysical Thelonious Monk. I hear Monk's song in the late poetry and see Duke Ellington's epic vision.
In Barnes & Noble the other day I saw Maya Angelou's new book prominently featured, but Baraka's was nowhere to be found. In December, William McDonald, the New York Times the obituary writer, celebrated both as members of the "veritable legion of the laureled." Celebrating Baraka is new for theTimes: this too seems to come after his death. Where Angelou's book is described on its inside flap as consisting of "sage advice, humorous quips, and pointed observations," Baraka offers nothing so easy to take away. He is indigestible, or at least hard to digest. To come to terms with him—his in-your-face language, strong feelings, and radical ideas—is not easy; that is part of his greatness.
Paul Vangelisti and Grove Press have done American literature a service by making a major poet easily available. Let us hope that a scholarly edition of collected poems, carefully edited with notes, critical apparatus, and introductions, is in our near future. For now, we have a big handsome book of Amiri Baraka's poetry to give us word magic, wit, wild thoughts, discomfort, and pleasure.
William J. Harris, former Director of the Creative Writing Program at the University of Kansas, lives and writes in Brooklyn. He is coauthor of Crooners, a volume of poems, and editor of The LeRoi Jones/Amiri Baraka Reader. His poetry and essays have appeared in Catamaran, Callaloo, African American Review, Artforum and The American Scholar.


Luan Maloku (Presheva) | Galaktika Poetike "ATUNIS"
Luan Maloku was born in 1954 in the village of Miratoc (the municipality of Presheva). He completed primary school in his native country and his high school studies in Presheva and Kamenica. He graduated in Albanian language and literature at the University of Tetova. Interested in writing since primary school, his works have been published in Kosovo and Diaspora magazines. His name appears in Leksikoni i shkrimtarëve shqiptarë (The Leksikon of Albanian writers) by Hasan Hasani (2003); in the first and second volume of Psherëtimë për tokën. Panoramë letrare e krijuesve të Kosovë Juglindore (Sigh for the earth. Literary overview of Kosovo's Southeastern writers) by Hysen Këqiku (2004); in Pasqyra e shpirtit, Engjëjt e frymëzimit, Jam pjesë e qiellit tënd. Antologji poetike (The mirror of the soul, Angels of inspiration, Being part of your heaven. Anthology of Poetry) edited by Baki Ymeri.
He is member of Shoqata e Shkrimtarëve "Feniks", Preshevë (The "Phoenix" Writers Association in Presheva); member of Lidhja e Shkrimtarëve të Kosovës (Kosovo Writers Association); member of Atunis Lugina (Atunis Valley) in Presheva; member of the Albanian Writers Club in Switzerland; chairman of Galaktika Poetike "Atunis" (Atunis-Poetry Galaxy) in Switzerland and member of the board of directors.
As winged I would be miserable.
How much I will mlss you.


text:
Tacurong records biggest number of PMA examinees in five years
A total of 686 aspirants trooped to the Tacurong City Cultural and Sports Center to take the Philippine Military Academy Entrance Examination yesterday, September 9, 2018.
The number of test takers this year is the largest so far since Tacurong became a testing center in 2014. Only 280 hopefuls took the exam last year.
Head examiner Lt. Col. Lope Domingo, Jr. said that, aside from Sultan Kudarat, the test in Tacurong gathered examinees as far as South Cotabato, North Cotabato, and Maguindanao.
"I'm happy because the city has been gaining ground as testing center", Col. Domingo said. "The increasing number of test takers is a proof of that."
The exam was held in three batches. The first batch of test takers started at 11:30 AM and given three and a half hours to finish the whole test. The last batch of examinees took the test from 7:00 to 10:30 PM.
Mayor Lina Montilla, who stayed at the venue up to the last hour of the exam, also expressed her elation with the huge turnout of examinees.
She said that she will ask the Sanggunian to pass an ordinance institutionalizing the conduct of PMA exam in Tacurong.
Aside from Col. Domingo, the team of examiners included TSgt. Arnel Lumasoc and Sgt. Bryan Apiado.
Two graduating PMA cadets assisted them. They were Cdt. First Class Kathleen Rose Ea and Cdt. First Class Aljune Businos.
Both cadets took their exam in Tacurong four years ago. Ea is a resident of Tacurong while Businos is from Tantangan.
Also, at least five officers from 40th and 33rd Infantry Battalion of Philippine Army assisted and served as proctors.
Col. Robert Dauz of 2nd Mechanized Infantry Brigade and Col. Edgar Catu of 40th Infantry Battalion, both PMA alumni, also visited and chatted with Mayor Montilla at the venue. (AFreno-LGU Information)


text:
"""Abstract implementation of the visitor pattern for GWV Schema objects."""

from __future__ import absolute_import
from __future__ import division
from __future__ import print_function

from gwv import schema

class SchemaVisitor(object):
  """SchemaVisitor implements the visitor pattern for schema models.

  Subclasses should override visit_* methods corresponding to the model classes
  that need to be processed. The default implementations recursively traverse
  *_list attributes; overriding methods must call the super method if this
  traversal is desired.
  """

  # This class follows the method naming convention of ast.NodeVisitor, so:
  # pylint: disable=g-bad-name

  def __init__(self, **kwargs):
    pass

  @classmethod
  def process(cls, schema_obj, **kwargs):
    cls(**kwargs).visit(schema_obj)

  def visit(self, obj, subtype_prefix=None):
    """Super method for visiting each obj."""
    if obj is None:
      return
    # First, try to visit "subtype" methods, e.g. visit_struct_Field
    if subtype_prefix:
      cls_name = obj.__class__.__name__
      getattr(self, '_visit_%s_%s' % (subtype_prefix, cls_name))(obj)
    # Next, visit methods for the obj class and any SchemaObject parent classes
    for cls in obj.__class__.__mro__:
      if (issubclass(cls, schema.SchemaObject) and
          cls is not schema.SchemaObject and
          cls is not schema.TraitCollectionBase and
          cls is not schema.StructEnumCollectionBase):
        cls_name = cls.__name__
        getattr(self, '_visit_%s' % cls_name)(obj)
    # Last, all objects get passed to visit_generic
    self.visit_generic(obj)

  def visit_list(self, lst, **kwargs):
    for obj in lst:
      self.visit(obj, **kwargs)

  def visit_generic(self, obj):
    pass

  def visit_Schema(self, schema_obj):
    pass

  def _visit_Schema(self, schema_obj):
    self.visit_Schema(schema_obj)
    self.visit_list(schema_obj.vendor_list)

  def visit_Vendor(self, vendor):
    pass

  def _visit_Vendor(self, vendor):
    self.visit_Vendor(vendor)
    self.visit_list(vendor.typespace_list)
    self.visit_list(vendor.trait_list)
    self.visit_list(vendor.interface_list)
    self.visit_list(vendor.resource_list)
    self.visit_list(vendor.struct_list)
    self.visit_list(vendor.enum_list)

  def visit_Typespace(self, typespace):
    pass

  def _visit_Typespace(self, typespace):
    self.visit_Typespace(typespace)
    self.visit_list(typespace.enum_list)
    self.visit_list(typespace.struct_list)

  def visit_Enum(self, enum):
    pass

  def _visit_Enum(self, enum):
    self.visit_Enum(enum)
    self.visit_list(enum.pair_list)

  def visit_EnumPair(self, pair):
    pass

  def _visit_EnumPair(self, pair):
    self.visit_EnumPair(pair)

  def visit_Struct(self, struct):
    pass

  def _visit_Struct(self, struct):
    self.visit_Struct(struct)
    self.visit_list(struct.field_list, subtype_prefix='struct')

  def visit_Trait(self, trait):
    pass

  def _visit_Trait(self, trait):
    self.visit_Trait(trait)
    self.visit_list(trait.enum_list)
    self.visit_list(trait.struct_list)
    self.visit_list(trait.command_list)
    self.visit_list(trait.state_list, subtype_prefix='state')
    self.visit_list(trait.event_list)

  def visit_Command(self, command):
    pass

  def _visit_Command(self, command):
    self.visit_Command(command)
    self.visit_list(command.parameter_list, subtype_prefix='parameter')
    self.visit(command.response)

  def visit_CommandResponse(self, command_response):
    pass

  def _visit_CommandResponse(self, command_response):
    self.visit_CommandResponse(command_response)
    self.visit_list(command_response.field_list, subtype_prefix='response')

  def visit_Field(self, field):
    pass

  def _visit_Field(self, field):
    self.visit_Field(field)

  def visit_Event(self, event):
    pass

  def _visit_Event(self, event):
    self.visit_Event(event)
    self.visit_list(event.field_list, subtype_prefix='event')

  def visit_event_Field(self, field):
    pass

  def _visit_event_Field(self, field):
    self.visit_event_Field(field)

  def visit_struct_Field(self, field):
    pass

  def _visit_struct_Field(self, field):
    self.visit_struct_Field(field)

  def visit_parameter_Field(self, field):
    pass

  def _visit_parameter_Field(self, field):
    self.visit_parameter_Field(field)

  def visit_response_Field(self, field):
    pass

  def _visit_response_Field(self, field):
    self.visit_response_Field(field)

  def visit_state_Field(self, field):
    pass

  def _visit_state_Field(self, field):
    self.visit_state_Field(field)

  def visit_Interface(self, interface):
    pass

  def _visit_Interface(self, interface):
    self.visit_Interface(interface)
    self.visit_list(interface.component_list)
    self.visit_list(interface.group_list)

  def visit_Resource(self, interface):
    pass

  def _visit_Resource(self, resource):
    self.visit_Resource(resource)
    self.visit_list(resource.component_list)
    self.visit_list(resource.group_list)

  def _visit_Component(self, component):
    self.visit_Component(component)

  def visit_Component(self, component):
    pass

  def _visit_InterfaceComponent(self, component):
    self.visit_InterfaceComponent(component)

  def visit_InterfaceComponent(self, component):
    pass

  def _visit_ResourceComponent(self, component):
    self.visit_ResourceComponent(component)

  def visit_ResourceComponent(self, component):
    pass

  def visit_Device(self, device):
    pass

  def _visit_Device(self, device):
    self.visit_Device(device)
    self.visit_list(device.group_list)

  def visit_Group(self, group):
    pass

  def _visit_Group(self, group):
    self.visit_Group(group)
    self.visit_list(group.component_list)

  def visit_GroupComponentRef(self, component_ref):
    pass

  def _visit_GroupComponentRef(self, component_ref):
    self.visit_GroupComponentRef(component_ref)

redpajama_set_name: RedPajamaGithub


text:
HomeMotorsportsTickets Now on Sale for 2022 Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil in Denver
Tickets Now on Sale for 2022 Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil in Denver
December 2, 2021 Motor Sports NewsWire Motorsports, NHRA, Racing Comments Off on Tickets Now on Sale for 2022 Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil in Denver
DENVER, CO – December 2, 2021 – (Motor Sports NewsWire) – Tickets are on sale today for the 42nd Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil, which takes place July 15-17 at Bandimere Speedway as part of the 2022 NHRA Camping World Drag Racing Series season.
The race is the 11th of 22 races during the 2022 season and again serves as the opener to the NHRA's famed Western Swing. A staple on the NHRA circuit for more than four decades, the Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil has long been a fan-favorite event, with race fans packing Bandimere Speedway to see the stars of the NHRA Camping World Drag Racing Series tackle the unique challenge of racing at an elevation of more than 5,800 feet.
"The Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil has delivered unforgettable moments for more than 40 years and we are excited to again kick off the Western Swing at Bandimere Speedway in 2022," said John Bandimere, Owner of Bandimere Speedway. "The fans in the Denver area are truly some of the most passionate in drag racing, and the thrilling challenges of the race and the incredible atmosphere on Thunder Mountain always makes it one of the most memorable events of the year."
Steve Torrence (Top Fuel), Matt Hagan (Funny Car) and Matt Smith (Pro Stock Motorcycle) won the event in 2021. Pro Stock will make its first appearance at the facility since 2019, meaning all four professional categories will be in action on Thunder Mountain in 2022. The event will also be broadcast on the FOX Broadcast Network (FOX) as racers try to open the Western Swing with a victory. It is the first of three straight races on a stretch that also includes stops in Sonoma and Seattle.
Torrence won his second straight race at Bandimere Speedway last year, picking up his third career victory at the race, while Hagan won for the first time on the mountain, racing to an emotional victory at his sponsor's race. John Force leads all competitors with an impressive eight Funny Car victories in Denver and Greg Anderson, the reigning Pro Stock world champ, is the active leader in his class with four wins. Smith raced to his third career win at Bandimere Speedway last year, with Andrew Hines' five wins at the track pacing the Pro Stock Motorcycle category.
The race, which marks the halfway point of the 2022 season, will also count toward the All-Star Shootout in Funny Car that takes place at the U.S. Nationals in Indy.
To purchase tickets for the 2022 Dodge//SRT Mile-High NHRA Nationals presented by Pennzoil, please visit www.bandimere.com. For more information about the NHRA, visit www.NHRA.com.
About Camping World Holdings, Inc.
Camping World Holdings, Inc., headquartered in Lincolnshire, IL, (together with its subsidiaries) is America's largest retailer of RVs and related products and services. Our vision is to build a long-term legacy business that makes RVing fun and easy, and our Camping World and Good Sam brands have been serving RV consumers since 1966. We strive to build long-term value for our customers, employees, and shareholders by combining a unique and comprehensive assortment of RV products and services with a national network of RV dealerships, service centers and customer support centers along with the industry's most extensive online presence and a highly-trained and knowledgeable team of associates serving our customers, the RV lifestyle, and the communities in which we operate. We also believe that our Good Sam organization and family of programs and services uniquely enables us to connect with our customers as stewards of the RV enthusiast community and the RV lifestyle. With over 185 locations in 40 states, Camping World, and sister company Gander RV & Outdoors, have grown to become prime destinations for everything RV. For more information, visit www.CampingWorld.com.
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Contact Karen Porter [email protected]
ABOUT NHRA
Headquartered in Glendora, Calif., NHRA is the primary sanctioning body for the sport of drag racing in the United States. NHRA presents national events featuring the NHRA Camping World Drag Racing Series, NHRA Lucas Oil Drag Racing Series, E3 Spark Plugs Pro Mod Drag Racing Series presented by J&A Service, Constant Aviation Factory Stock Showdown and Top Fuel Harley Series. NHRA provides competition opportunities for drivers of all levels in the NHRA Summit Racing Series and the NHRA Drags: Street Legal Style. NHRA also offers the NHRA Jr. Street program for teens and the Summit Racing Jr. Drag Racing League for youth ages 5 to 17. With over 120 Member Tracks, NHRA allows racers to compete at a variety of locations nationally and internationally. NHRA's Youth and Education Services (YES) Program reaches over 30,000 students annually to ignite their interest in automotive and racing related careers. NHRA's streaming service, NHRA.tv, allows fans to view all NHRA national events as well as exclusive features of the sport. In addition, NHRA owns and operates four racing facilities: Atlanta Dragway in Georgia; Gainesville Raceway in Florida; Lucas Oil Raceway at Indianapolis; and Auto Club Raceway at Pomona in Southern California. For more information, log on to www.NHRA.com, or visit the official NHRA pages on Facebook, YouTube and Twitter.
Source: National Hot Rod Association
2022 Dodge//SRT Mile-High NHRA Nationals
Industry Update on Tucker Powersports Acquisition of Kuryakyn Holdings
New Products: Variety of Hats Added to Pro Circuit Headwear Collection
Hight, Salinas, Anderson and Krawiec Secure No.1 Qualifying Spots at Route 66 NHRA Nationals
June 2, 2019 Motor Sports NewsWire Motorsports, NHRA, Racing 1
JOLIET, IL – June 2, 2019 – (Motor Sports Newswire) – Robert Hight rocketed to the No. 1 qualifying position in Funny Car on Saturday at the 22nd annual Route 66 NHRA Nationals at Route […]
Collier Family Racing Shines again in NHRA Competition
March 27, 2018 Don O'Neal Motorsports, NHRA, Racing Comments Off on Collier Family Racing Shines again in NHRA Competition
HOUSTON, TX – MARCH 27, 2018 – (Motor Sports Newswire) – Collier Family Racing continues to shine in NHRA and Lucas Oil Competition at Royal Purple Raceway this past weekend. The family name dominated in […]
B. Torrence, Hagan, Line and Oehler Win E3 Spark Plugs NHRA Nationals ib NHRA's First Race Since February
July 13, 2020 Motor Sports NewsWire Motorsports, NHRA, Racing Comments Off on B. Torrence, Hagan, Line and Oehler Win E3 Spark Plugs NHRA Nationals ib NHRA's First Race Since February
INDIANAPOLIS, IN – July 13, 2020 – (Motor Sports NewsWire) – Billy Torrence powered his way to the Top Fuel win on Sunday as the NHRA Mello Yello Drag Racing Series raced for the first […]


Modern Plant decor are coming back and why not start with this Zebra Plant. This particular succulent is hard to kill and looks amazing on its own. We have potted this plant in a gorgeous charcoal stone pot on a metal stand along with a cute baa baa sheep.


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text:
Q: How to make redirection to some vue form from laravel's control? In my Laravel 5.6 application with vue.js 2.5.7 I and vue-router 3
I use Socialite for login into the system
and in case of success I need to make redirection to some vue form with success message and next options available.
For this I make redirection like:
    $url= $site_hosting . "/home";
    return redirect()->route($url, [])->with([
        'text'   => 'google_new_user',
        'type'   => 'success',
        'action' => 'successful_login'
    ]);

where url has value like
example.com/home

the question is that I do not know how redirecting from Laravel control to point to Vue component, defined in resources/assets/js/app.js file as
const routes = [
    {
        components: {
            notFound: NotFound,
        ...

How can it be done ?
MODIFIED BLOCK # 2
Thank you for the link, but actually I did not catch the decision.
I see in laravel's route file url with "vue_capture"  defintion,
but in url examples there are
/resource/,
/posts/,
/posts/{slug}

and "storage" in reg expression. What are "storage"/"vue_capture" some predefined names for some actions ?
Could you, please,  give some detailed explanations how it would work, as I need FROM lasravel's action to open vue form?
Also I starting working with vue reading some docs/videos and now my router is defined as :
const router = new VueRouter( {
    mode: 'hash', // default
    routes
})

with a lot of routes defined.
I mean mode has different value here. Will this example work with this option ?
Thanks!

A: Check out vue router. https://router.vuejs.org/
Here's an in depth tutorial https://laravel-news.com/using-vue-router-laravel


BETTER VISION interviews the Product Manager for DuraVision® Platinum, the most robust ZEISS spectacle lens coating ever.
We use our spectacles every day without thinking about not only what our spectacle lenses can do optically, but also how robust they have to be to withstand what we subject them to. And that's the way things should be. No optical equipment is continuously exposed to the same mechanical strains and environmental impacts as spectacle lenses. Developers at Carl Zeiss work on constantly improving the finishes and coatings available for spectacle lenses. BETTER VISION asked René Stanke, the Product Manager for DuraVision® Platinum what modern spectacle lens finishes are all about.
BETTER VISION: When you have spectacles adjusted by an ophthalmic optician, it is normally the case that relatively little attention is paid to the choice of lens finish at the end of the consultation process. We tend to rely on the optician's recommendation. However, the finish has a critical influence on the service life of spectacle lenses, their vision and cleaning properties. What should spectacle wearers actually consider when choosing the coating?
René Stanke: You're right. Spectacle lens finishes can make a difference. These days, most people buy plastic lenses, but right from the outset plastic is not as hard, durable or scratch resistant as a mineral spectacle lens. As a result, I would definitely recommend a hard coating to extend the life of the lenses, and make the surface less sensitive to mechanical strains which can lead to scratches and therefore to a deterioration in vision.
A high quality anti-reflective coating is not only important to improve the look, but also to minimise distracting reflections through the spectacle lens, for example when driving at night or reading in natural and artificial light.
In addition, a good spectacle lens should not attract dirt, dust and fluff easily and should be easy to clean. Working together, modern spectacle lens finishes can make the lens a robust everyday object. We can only advise all spectacle wearers to ask their optician about the precise capabilities of a spectacle lens coating.
BETTER VISION: Carl Zeiss has now launched a new spectacle mineral finish - the DuraVision® Platinum. You were involved in the development. What is special about DuraVision® Platinum? What's new?
Firstly, we did a lot of work on the hardness of the spectacle lens surface. We are very proud to come up with the first plastic spectacle lenses with anti-reflective coating to have the same or even better hardness than comparable mineral spectacle lenses. Our measurements have shown that with DuraVision® Platinum we are producing three times harder spectacle lenses than in the past.
Secondly, we have significantly improved the anti-reflective coating performance. Despite the anti-reflective coating, every spectacle lens has what is known as a residual reflection, i.e. light that is reflected back by the spectacle lens and therefore does not find its way through the lens into the eye. Thus, the quality of anti-reflective coatings differs in terms of how low the residual reflection can be kept. Compared to previous lenses, we have succeeded in reducing this residual reflection by 20%.
Of course, we also wanted to maintain the outstanding, patented anti-static performance of ZEISS spectacle lenses, so that they do not get dirty quickly and attract significantly less dust and fluff. This is product feature no. 3.
The fourth is the exceptionally easy to clean spectacle lens surface provided by our water and oil repellant top coating. You can clean a spectacle lens with DuraVision® Platinum coating using our ZEISS cleaning products or simply under running lukewarm water, shake off the remaining water droplets and you will hardly need to wipe them with a microfiber cloth.
BETTER VISION: How can these improvements be tested - particularly the improved hardness properties?
René Stanke: We carry out intensive laboratory tests. For example, a diamond point is pressed into a conventional spectacle lens coating and the new comparison product. We measure the required force before the coating can no longer withstand the force and breaks. This enables us to determine and compare the hardness of individual coatings. DuraVision® Platinum achieved up to 50 per cent better results in this test than previous spectacle mineral finishes from ZEISS.
However, practical tests were more important to us, as a spectacle lens has to survive in day-to-day use, not in a laboratory. We assume a service life of two to three years, which we simulated in this test to demonstrate the wear resistance of our new coating. We got hold of "standard dirt" (which is also used in the vacuum cleaner industry for example), covered a spectacle cleaning cloth with it and "cleaned" spectacle lenses with a conventional coating and the new DuraVision® Platinum coating 600 times each with a defined pressure. The results were then analysed in detail under the microscope. The result: The spectacle lens with DuraVision® Platinum coating showed almost no damage, while the comparison product was very clearly scratched in this test.
BETTER VISION: Impressive. But this isn't something you should normally do to your spectacle lenses, is it?
René Stanke: No, please don't copy our tests. Despite everything that modern spectacle lens finishes can do, you should handle your spectacles with care. Over time, a large number of tiny scratches can make a spectacle lens appear opaque when you look through it, which impairs your vision and also significantly reduces the anti-reflective coating. Do not clean your spectacle lenses with clothing, tissues or similar items. We recommend running, lukewarm water or ZEISS cleaning spray and a microfibre spectacle cleaning cloth for day-to-day spectacle cleaning. From time to time, you can use moistened spectacle cleaning cloths from ZEISS, which do not attack the coating. Another tip: do not leave your spectacles in your car. The heat that can build up damages your spectacles. Don't wear your spectacles in the sauna and don't rest them on the lenses. This will increase the service life of your spectacles.
BETTER VISION: Absolutely, it would be a real shame if individually adapted progressive lenses did not last as long as they should.
René Stanke: Exactly. Unfortunately damage such as scratches cannot be polished out of plastic lenses and the lens cannot be given a new finish. This means that the spectacle lens is permanently damaged and a totally new one has to be made to restore full performance.
BETTER VISION: What personally impressed you the most about the development of the DuraVision® Platinum by ZEISS?
René Stanke: My highlight? There are two actually. Firstly, the fact that we created a plastic spectacle lens with the same hardness as a mineral lens or better, and secondly the fact that we managed to significantly improve the anti-reflective performance.
Firstly, the part-finished plastic product is worked on so that it has the optical and wear properties required to give the spectacle wearer the best visual experience. This is succeeded by turning and milling. The plastic lens is then polished to give optimum transparency.
The hard lacquer is then applied in an immersion bath, and is completely cured in a type of oven. This gives the lens a certain basic hardness and the lacquer provides an optimum link between the base lens and the anti-reflective coating.
The anti-reflective process with the individual anti-reflective coatings then starts in a high vacuum coating system. In total, eight ultra-thin layers are vapour coated. Metal oxides and semi-metal oxides are alternately deposited on the hard coated spectacle mineral surface.
During this process, high-energy ions, i.e. charged particles, are "fired" at the spectacle lenses based on a special method. These ions give off their energy when they strike the surface. This compresses the individual coating layers. This increases the hardness of the overall coating. Combined with the hard lacquer, this tailored coating provides the necessary robustness for the spectacle mineral coating.
In addition, the anti-static layer patented by ZEISS is applied, and finally the clean coat layer, which makes the spectacle lens water and oil repellent and easy to clean.
After dip coating with the hard lacquer, the vapour coating of the individual layers takes around three quarters of an hour in the coating system. But this is only the finish on the first side of the spectacle lens. The lens is turned and the second side is given the same treatment. The entire coating process must be carried out under dust-free clean room conditions. If even the slightest contamination occurs (e.g. a grain of dust) on the spectacle lens, it is rejected.


Singapore Airlines sister's Scoot is selling at the moment cheap nonstop economy flight tickets to Singapore with departure from Athens (Greece). Secure the flights with the fares start for only €324 for a round-trip. As usual, the fares include only cabin baggage, checked baggage available for a surcharge.
Cheap flights can be found between June 2019 to February 2020.


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Denn ist das Tier gesund, freut sich, so das Sprichwort, auch der Mensch. Des Weiteren können die Funktion des Merkzettels genutzt und Sonderkationen genossen werden. Dann wählst Du ganz in Ruhe alles aus, was Du brauchst..
we have issued our new gdpr Privacy Notice relating to personal data that is subject to the EU gdpr. Subscribe to stay connected, statements made on this website have not been evaluated by the.S. That is exactly what you can see being done in this video below. For example there might be tante gutschein a time limited code like Dave has done before on m. These unique codes are a great way to get various discounts on everyday items or special gifts you buy in either a big physical store like a Walmart or even your local pizza restaurant looking to promote business in local town. It is concept used by marketing teams to help promote more sales. Here youll be able to see what products you have clicked to place in your online shopping cart, what each item costs and how much the total cost with or without shipping fees included. Our top goal is to improve your shopping experience and help you save money in a tough economy.
These are used to unveil hidden discounts for a brand or specific product. This is when you copy and paste your coupon into this area and press enter to see if it is still valid as some expire and how much of a percentage discount was applied to your online order. However, not only can you use them in a physical store, but also online ecommerce stores too like m coupons. 2 Coupon Codes for m 3 Coupon Codes for m 1 Coupon Code for m 3 Coupon Codes for m 2 Coupon Codes for 2 Coupon Codes for m 2 Coupon Codes for m 2 Coupon Codes for t 4 Coupon Codes for. For example Bulletproof coffee kits are cheaper than buying each item individually so why not just send you straight to help you save money. Printable Coupons this is more for online stores that have a physical outlet too.


text:
Theophilus è un cratere lunare di 98,59 km situato nella parte sud-orientale della faccia visibile della Luna.

Altri progetti

Collegamenti esterni

Theophilus


text:
September 14, 2022 September 12, 2022 Jennifer Hartnett-Henderson
Guo Pei's Couture Fantasy Report
Thanks to a friend, I had the good fortune of seeing the Guo Pei Couture Fantasy show at the Legion of Honor in San Francisco. While much has been written about this fashion designer whose work combines elements of theatre, fashion, sculpture, and performance, what touched me most was her focus on the details.
As a global fashion designer, Pei's mastery of the entire presentation of an outfit is something to behold. Pei's ensembles include not only the garment, but the jewelry, often headwear, sometimes outerwear, and custom 3D printed shoes. The silver embroidered and pleated ensemble below includes a bolero embellished with trim, a necklace, earrings, bracelet or cuff, and ring in tiger eye blue. It's definitely not only about the dress.
Bolero & Necklase
Necklase
Cuff and Ring
A few details from one of Pei's ensembles
Proud to be Chinese and of her Chinese heritage, the revival of embroidery techniques from Chinese history is central to Pei's mission. And wow, has she done it! Pei's innovative use of materials is evidenced throughout the exhibit and signals her mastery. While embroidery is clearly the star technique, I experienced a growing awareness of the important role that pleats play in Pei's work.
Pei uses pleats in an unusual way. Ordinarily, a pleat is used to soften edges, to add ease where the body needs to move. Some examples include a pleat in the center back of a man's dress shirt to allow for arm movement and in a woman's skirt to add drape and movement. Instead, Pei uses pleats to add stability, structure, and volume. The net effect is that the pleats dramatically increase the space that the wearer takes up and establish a strong perimeter around the wearer.
Yellow pleats
Pleat & Embroidery Detail
Example of Pleat Architecture in An Amazing Journey in a Childhood Dream collection
Pei also makes the pleats out of an unexpected material; silk. Silk is a delicate fabric that I associate with drape and flow but here it adds architectural form.
My friend and I tried hard to deconstruct how these were done without getting in trouble with a security guard or looking like absolute weirdos. We had modest success looking at another ensemble.
Embroidered Front
Pleated Sleeve
Pleat Detail
The volume of the pleats provides architectural framing for the embroidery (Embroidered Front). The folds of two pleats face each other like envelopes with flaps together (Pleated Sleeve). The rows of pleats are interleaved two on the top row followed by two on the bottom row (Pleated Sleeve). The pleats look secured and slightly separated at the body by clear beads and anchored together (Pleat Detail). I would have loved a much closer look!
What I enjoyed photographing most was a composition of the bust and or visage entangled in the frame. Each ensemble and mannequin conveyed the impression of a presence. I attempted to capture each presence as though glimpsed passing by. Even in the incompleteness of these photos, I want to know more.
There's so much more I'd love to share and show about the incredible Guo Pei and her work. But it's more fun to see it yourself and as of now you still have a chance. Due to Couture Fantasy's wild success, the Guo Pei Legion of Honor Exhibit has been extended through November 27, 2022.
Guo Pei Couture Fantasy
A professional milliner's thoughts on the exhibit. MilliStarr
Fashion Design and Construction
Previous Still Life: Beth Lipman: All in Time
Next Bring Intentionality to Your Closet


text:
Q: Horrible "Callback chains" in winforms application I'm working on a winforms application that is very complicated, and has massive callback chains being passed around all over the place.
As an example loosely based on this code, there could be a "Manager" class, that spawns a class "SetUpWorkerThreads" class, which creates a "HandleWorker" thread for say 10 workers.
The worker thread needs to call back to the manager class on occasion, to achieve this the code looks like this:
public class Manager
{
    public delegate void SomethingHappenedHandler();

    private void Init()
    {
        var x = new SetUpWorkerThreads(SomethingHappened);
    }

    private void SomethingHappened()
    {
        // Handle something happened
    }

}

public class SetUpWorkerThreads
{
    private readonly Manager.SomethingHappenedHandler _somethingHappened;

    public SetUpWorkerThreads(Manager.SomethingHappenedHandler somethingHappened)
    {
        _somethingHappened = somethingHappened;
    }

    public void SetupTheThreads()
    {
        // Contrived!
        for (int x=0; x<10; x++)
        {
            var worker = new Worker(_somethingHappened);
            new Thread(worker.DoingSomething).Start();
        }
    }
}

public class Worker
{
    private readonly Manager.SomethingHappenedHandler _somethingHappened;

    public Worker(Manager.SomethingHappenedHandler somethingHappened)
    {
        _somethingHappened = somethingHappened;
    }

    public void DoingSomething()
    {
        // ... Do Something
        _somethingHappened();
    }
}

In reality, there can be many more classes involved, each passing around a mass of callbacks for various things. I realise that poor class/application design is playing a part in this, but are there better ways to go about handling these interactions between classes, specifically in winforms apps, and when a lot of threading is going on?

A: I can't see that the threading makes it more or less problematic.
One alternative is to use events instead of callbacks, but that won't break up the long chains and will give you an unsubscribing hell too.
One possible approach is to create an object responsible for handling all the events. Either as a singleton or as a single object that you pass to all your threads (instead of the callbacks). Then you can have a simple interface on the EventRouter object to raise events from the threads. You can then subscribe to events on the EventRouter where you need to handle "something happened".
Edit
Something the GoF pattern Mediator but with a publisher-subscriber twist.


text:
import React, { PureComponent } from 'react';
import { showError } from 'binary-utils';
import EmptySlate from '../containers/EmptySlate';
import { actions } from '../_store';
import PortfolioList from './PortfolioList';

export default class PortfolioCard extends PureComponent {

	props: {
		compact: boolean,
		contracts: Object,
		purchaseTotal: number,
		payoutTotal: number,
		indicativeTotal: number,
		digits: number,
		currency: string,
		onViewDetails: (contract: Contract) => void,
	};

	static contextTypes = {
		router: () => undefined,
	};

	onViewDetails = contract => {
		const { compact } = this.props;
		const { router } = this.context;

		actions
			.detailsForContract(contract.contract_id)
			.then(() => {
				if (compact) {
					router.push({
						pathname: '/contract',
						query: { id: contract.contract_id },
					});
				}
			})
			.catch(e => showError(e));
	}

	render() {
		const { compact, contracts, payoutTotal, purchaseTotal, indicativeTotal, digits, currency } = this.props;

		if (Object.keys(contracts).length === 0) {
			return (
				<EmptySlate
					img="img/portfolio.svg"
					text="You have no open contracts"
				/>
			);
		}

		return (
			<div className="portfolio-card">
				<PortfolioList
					compact={compact}
					contracts={contracts}
					payoutTotal={payoutTotal}
					purchaseTotal={purchaseTotal}
					indicativeTotal={indicativeTotal}
					digits={digits}
					currency={currency}
					onViewDetails={this.onViewDetails}
				/>
			</div>
		);
	}
}


Introducing Even More Offers & a New Product by TEAC!
TEAC's TN-100 brings the classic sound of vinyl to a price anyone can afford. Designed for music enthusiasts, the belt-drive motor ensures a cleaner sound than direct-drive DJ players. The output is switchable between phono out, for use with a preamp, and line out with phono EQ for use with powered monitors or receivers. An additional USB output allows vinyl collections to be recorded to Mac or PC computers.
The TN-300 is a belt-drive analog record player with a stylish and luxurious chassis containing an MM Phono equalizer amplifier with USB output. The TN-300 supports Phono and Line output, which allows you to play vinyl with a stereo that isn't equipped with Phono input, and Phono equalizer amplifier of your hands. You can transfer music from vinyl records to your Mac or PC, using the USB digital output.


text:
Payment
=======

PHP library which provides abstraction of payments management.

It ships with default **Payment** and **PaymentMethod** models.

.. note::
   This component does not provide any payment gateway.
   Integrate it with `Payum <https://github.com/Payum/Payum/>`_.

.. toctree::
   :maxdepth: 2

   installation
   basic_usage
   models
   interfaces
   default_fee_calculators
   state_machine

Learn more
----------

* :doc:`Payments in the Sylius platform </book/orders/payments>` - concept documentation


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om is not associated with YouTube. The anyvideos. nfo name and logo is used under a limited license granted by open source matters the trademark holder in the United States and other countries. He pursues her persistently until she agrees to date him and they get engaged. Finally, she says that if her husband beckons to her, she would run into his arms on naked feet. Sridevi is sitting behind her with some other ladies. The girl goes to sit beside Sridevi and insists that she perform a few dance steps. Sridevi refuses initially but complies eventually. A man makes Rajeev Verma the actor playing Rishi Kapoor's father stand up and shake a leg. When Sridevi says that she would not go to her husband's home if her father-in-law invited her, she uses some insulting words playfully. She resumes her dance and says that her sister-in-law's husband invited her and performs a few dance steps with Anupam Kher. Rishi Kapoor appears behind her when his turn to invite her comes. The song peters out and the video ends as Rishi Kapoor and his family returns home. Sridevi's performance is even beyond par excellence. And Saroj Khan has only trained under Bollywood choreographers.
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�� Although his remark did not amuse Judge Pollack, it garnered a chuckle from the radicals looking on. He attempted an escape by restraining a marshal in the courthouse with the marshal's own belt and making a run for it. After racing down two flights of stairs, he was apprehended. Hughey ended up serving two years, while Alpert absconded. While harbored by members of the Weather Underground, she circulated the feminist manifesto Mother Right to much praise and criticism from the radical left, before surrendering in 1974. There, abusive guards were the norm, as were ludicrously sparse rations such as a single bar of soap every other month and one roll of toilet paper given out only once a month. The lone bright spot for Melville was finding prisoners to connect with from the Black Panthers and a likeminded Puerto Rican civil rights group called the Young Lords. Over the course of the next year, Melville sent out a storm of letters decrying the conditions at Attica to lawyers, outside supporters and the New York Commissioner of Corrections, Russell Oswald, while also publishing a handmade newsletter distributed to prisoners on the sly called The Iced Pig. Jackson's lyrical, vengeful writing style resonated with fellow prisoners, while enticing the romantic radicals of the New Left. When word got out that Jackson had been shot dead during a bungled uprising on August 21, 1971, it set off a brooding fury in Attica. In an act of solidarity, Melville led a multiracial phalanx of prisoners wearing black armbands into the mess hall for a very solemn hunger strike. For months after Melville's arrival to Attica, an obvious resentment had smoldered between inmates and guards, but the death of George Jackson ignited the spark. Blyden, Elliott "L. . �� Barkley and Melville, began two weeks after Jackson's death, on the morning of September 9, when several portions of the prison were set ablaze.
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CATOPTROMANCY is an early form of crystal gazing that utilizes a mirror turned to the moon to catch moonbeams. CAUSIMOMANCY is divination from behavior of objects placed in a fire. CEPHALOMANCY refers to divination with the skull or head of a donkey or goat. CERAUNOSCOPY seeks to draw omens from the study of thunder and lightning. CEROSCOPY, CEROMANCY is a form of fortune telling in which melted was is poured into cold water. CHIROMANCY is divination from the lines on people's hands. CHIROGNOMY is the study of the general hand formation. CLEROMANCY is divination by "casting lots", similar to dice but with objects such as pebbles or sea shells. CLIDOMANCY or CLEIDOMANCY is divination using a dangling key. CYCLOMANCY is the practice of divination from a turning wheel. DACTYLOMANCY is an early form of RADIESTHESIA using a dangling ring. DAPHNOMANCY requires one to listen to laurel branches crackling in an open fire. DENDROMANCY is divination with either oak or mistletoe. GASTROMANCY is an ancient form of ventriloquism whereby the voice is lowered to a sepulchral tone and prophetic utterances are delivered in a trance state. GELOSCOPY is the divination from the tone of someone's laughter.