text:
MySQL Deserves a Double Take
In early 1995, when Windows 95 was still vaporware and Red Hat was the upstart, user-friendly alternative to Slackware, I worked for the "Pathfinder" site at media giant Time Warner. Like all media companies, Time Warner realized that the Web was going to take off, but wasn't sure just how that would happen.
So, it hired a bunch of programmers and designers, and gave us the opportunity to experiment with different types of designs and applications. It was a wonderful job, with some creative, smart and interesting people. And, during my time there, I created all sorts of applications—quizzes, mail auto-responders, games, search engines and even a personalized version of Money magazine's "Best Cities" rankings.
As the applications I built became increasingly sophisticated, it became obvious that the text files I often used for data storage and retrieval were neither efficient nor flexible enough for a site as large and popular as ours. Finally, someone introduced me to our newly hired database guru, who taught me about the wonders of relational databases and SQL. I was hooked, and I enjoyed working with the database server that we had installed.
When I wanted to reap the benefits of SQL on my Linux box at home, my options were, unfortunately, limited. I found a number of abandoned open-source database projects, but nothing that was as powerful as Time Warner's Sybase server or even in the same league.
So, you can imagine my delight when I discovered MySQL. No, it didn't do all the things that Sybase did, and it wasn't released under an open-source license. But, it was free of charge, it was easy to install and it had enough features to keep people like me relatively happy. Internet service providers felt similarly, and began to install it on their systems—first as a competitive advantage over their rivals, and then because everyone else was including it in the base configuration.
Fast-forward more than a decade, and MySQL is by far the best-known open-source relational database. Monty Widenius and David Axmark, whom I met back when they were the only full-time MySQL programmers, are now at the top of a large corporate pyramid. MySQL AB now distributes its products under the GNU General Public License (GPL), with a closed-source license available to those who require it. It runs, as always, on a very large number of different operating environments. And, it is still developed at a feverish pace by people around the world, who submit patches and suggestions.
This is the first of three articles on open-source databases. This month, I discuss MySQL, including its use, features and problems. The next article will include a similar analysis of PostgreSQL, and the third article in the series will compare the two databases.
Starting with MySQL
One of MySQL's claims to fame is the ease with which people can get started using it. And, indeed, when you compare MySQL with many commercial databases, it is strikingly simple. You install it (typically with an RPM or Deb, but compiling it from source is also straightforward), and start up the database server with safe_mysqld. (You also could use the plain mysqld command, but then you wouldn't benefit from some of the behind-the-scenes housekeeping that safe_mysqld offers.)
Once you have started the server, you can create one or more databases. (I admit it is somewhat confusing that MySQL is often referred to as a database when, in fact, it is a database server, offering you the chance to create one or more databases. Each database contains one or more two-dimensional tables.) To create a database, use the mysqladmin program:
mysqladmin create testdb
It is quite possible, depending on your configuration, that the above command worked without a hitch—particularly if you are logged in as the root user under Linux. However, your system administrator might have (wisely) decided to set a password for the MySQL root user, in which case, you need to type:
mysqladmin -p create testdb
The -p option tells mysqladmin that you want to enter a password for this account. You also can specify the root user, or any other user, with the -u option, as in:
mysqladmin -u mysqlroot -p create testdb
Once you have created a database, you then can connect to it with the mysql client program:
mysql -u mysqlroot -p testdb
Notice that I'm once again specifying a user name and that I want to enter a password. I return to the subject of permissions below; for now, we assume that this combination works.
In the client, you can issue any SQL command you want, and it will be executed immediately. For example, we can create a new table:
CREATE TABLE Classes (
class_name    TEXT    NOT NULL,
room_number INTEGER  NOT NULL,
starting_date  DATE NOT NULL,
ending_date   DATE  NOT NULL,
instructor       TEXT    NOT NULL
One of the problems with the above table is that it lacks a unique primary key. This makes it difficult to refer to the Classes table from another table. We could use the name assigned to the class by the university's registration system, but there is no guarantee that this will be unique. Moreover, what will we do next year, when a class of the same name is offered? For this reason (among others), it's the norm to create an "artificial" primary key, one whose purpose is to identify a row within the database uniquely.
In MySQL, we can do this most easily with the AUTO_INCREMENT keyword. For example:
class_id         INTEGER AUTO_INCREMENT,
instructor       TEXT    NOT NULL,
PRIMARY KEY(class_id)
If we want, we can INSERT a row into Classes with an explicit integer value for class_id. The fact that class_id is defined as a primary key means that it is both indexed and guaranteed to be unique. But, if we fail to enter an explicit value for class_id, MySQL inserts a new value into the column, giving us a primary key value for the new class without having to calculate it ourselves.
The above table definition shows a few of the many data types MySQL offers. MySQL offers many traditional data types, such as NUMERIC and VARCHAR, but it also includes a number of signed and unsigned numeric types (for example, TINYINT, SMALLINT, MEDIUMINT, INT and SIGINT), a number of CLOB/BLOB types (such as, CHAR, BINARY, BLOB and TEXT), and several having to do with dates and times (DATE, DATETIME and TIMESTAMP). There are also ENUM and SET types, allowing you to work with nonstandard sets of enumerated data.
MySQL also offers a wide variety of operators, from simple string-concatenation, to date extraction, to one of my favorites, the CASE statement, which lets you place if-then logic inside of a query.
In addition, MySQL offers a system for full-text search. This means you can store text inside of TEXT columns in your tables, and then identify the column (and retrieve the text) without having to index it yourself.
If the included suite of functions doesn't suit your needs, you can always write one of your own. Recent versions of MySQL also offer the ability to create a stored procedure or function, which provides both increased speed and centralized control over commonly used functions. Stored procedures also can be invoked automatically when particular events occur, known as a trigger in database parlance. You also can write new functions in C or C++, loading them into MySQL at runtime.
So far, MySQL sounds like a nice, flexible relational database. You might be surprised, however, to find that there is a huge amount of pent-up frustration, and even hostility, toward MySQL in the Open Source and Database communities. Just look for a recent story on Slashdot about MySQL, and you will see many comments indicating that PostgreSQL, Firebird or nearly any other option would be a better solution.
Part of this stems from a time-honored tradition of rivalry in the computer world, and particularly in the Open Source community. Over the years, we have seen fights between Emacs and vi, Perl and Python, Linux and BSD, and countless other pairings.
But, part of the animosity toward MySQL stems from several design decisions that the authors made early on. For example, documentation for an old version of MySQL said that foreign keys are really unnecessary, and that such integrity checks could (and should) be handled in the application, rather than in the database. Many experienced database people see this and don't know whether to laugh or cry. The primary reason for using a database is for its reliability, not speed, and adding foreign-key checks is an easy way to increase the reliability of inserted data.
Similarly, old versions of MySQL failed to lock tables. If you wanted to be sure that no one would write to a table from which you were reading (or to which you were writing), you needed to lock the table explicitly at the application layer. Given the many years of research that had gone into row-level locking (and even more-advanced systems, such as mutliversion concurrency control), this seemed to many like a step backward.
MySQL's solution to these problems has been a novel one. Rather than add these features to the existing (MyISAM) table structure, it made it possible to choose from a number of different table structures, each with its own set of trade-offs. Much as Linux system administrators can choose from a variety of filesystems, MySQL administrators and programmers can choose from several different storage engines.
This approach has some problems, of course. The biggest problem from my perspective is that MyISAM remains the default storage engine, which means that many users effectively choose to go without foreign keys and sophisticated locking due to ignorance. Many other storage engines seem to be of more limited use or for particular applications, such as MEMORY (for in-memory databases), BDB (Berkeley DB-based) tables and even FEDERATED (for tables on remote servers).
A very popular storage engine, InnoDB, has a different problem associated with it—the company that develops InnoDB was purchased by Oracle earlier this year. This may have no effect on MySQL's open-source distribution, because Oracle continues to make InnoDB available under the GPL. But, it has raised some questions regarding MySQL's commercial version, given that an essential part of the commercial-grade toolbox is now owned by a major database rival.
Much has been made about MySQL's fast performance over the years, with little or no tuning of the server. The truth is a bit hazier than that; although MySQL is undoubtedly a fast database, many of those tests were made using MyISAM tables, which are inherently faster because of their lack of locks and integrity checks. (As an analogy, I often say that it's faster to leave your house without locking the door, but the extra speed is usually not worth the risk.)
Many of the features in recent versions of MySQL have been aimed at corporate customers, whose license purchases are helping drive MySQL development forward. One of the biggest bottlenecks that a database administrator can face, particularly as the data grows in size, is disk speed. Recent versions of MySQL thus provide both tablespaces (that is, allocation of disk space on a per-table basis) and partitions (that is, division of a table across several filesystems). Tablespaces are available only with InnoDB tables, but partitions are available for all storage engines. Moreover, tables can be partitioned based on column values, using a hash function to decide into which partition a particular row should be placed.
Another important aspect of MySQL has been replication and backup. These are crucial features for enterprise clients, who need their data to be available all the time and to have backups available at a moment's notice. The latest versions of MySQL have improved the replication engine and have also made it more flexible, making it possible to replicate tables even on a per-row basis.
Another feature I have been waiting to see for some time is Unicode support. Although not all string and regexp operations work with Unicode, this is a big boon to those who work with multiple languages.
Perhaps the biggest asset that MySQL has going for it is a very large, very active community of users and developers. The sheer number of books, Web sites, mailing lists, help forums and code snippets for MySQL is overwhelming.
For its part, MySQL AB has been doing an admirable job of updating the documentation on a regular basis and of moving forward with new features at an impressive rate. (This demonstrates that although open-source software can often be written by volunteers, having paid professionals work on a project can speed it up immensely.) In particular, I am impressed by the on-line documentation, which includes not only numerous examples, but also intelligently placed links to related subjects.
MySQL has grown up quite a bit since I first began to use it more than ten years ago. Some of its quirks, such as using MyISAM tables by default, continue to rankle serious database users who would like to see transactions and foreign keys everywhere. But, especially with versions 5.0 and 5.1, MySQL is looking like a database that can advertise its depth of serious features, rather than claim its main advantage is speed.
Reuven M. Lerner, a longtime Web/database consultant, is a PhD candidate in Learning Sciences at Northwestern University in Evanston, Illinois. He currently lives with his wife and three children in Skokie, Illinois. You can read his Weblog at altneuland.lerner.co.il.
elementary 5 "Juno"
Bryan Lunduke
Review: the Dell XPS 13 Developer Edition Laptop
Review: System76 Oryx Pro Laptop
Robert J. Hansen
Review: the Librem 13v2
Shawn Powers


text:
Exhibition | Embracing Color: Enamel in Chinese Decorative Arts
Posted in exhibitions by Editor on January 2, 2023
Now on view at The Met:
Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900
The Metropolitan Museum of Art, New York, 2 July 2022 — 17 February 2025
Incense burner in the shape of a rooster / 清中期 掐絲琺瑯鷄形香薰, Qing dynasty (1644–1911), Qianlong period (1736–95), second half 18th century, cloisonné enamel, 8 inches (21cm) high (New York: The Metropolitan Museum of Art, 29.110.41). A symbol of diligence and fortune, the rooster is a particularly popular Chinese decorative motif. The hollow body houses the burning incense and the detachable wings serve as the lid, with several small openings on the wings allowing the fragrant smoke to escape.
Enamel decoration is a significant element of Chinese decorative arts that has long been overlooked. This exhibition reveals the aesthetic, technical, and cultural achievement of Chinese enamel wares by demonstrating the transformative role of enamel during the Ming (1368–1644) and Qing (1644–1911) dynasties. The first transformational moment occurred in the late 14th to 15th century, when the introduction of cloisonné enamel from the West, along with the development of porcelain with overglaze enamels, led to a shift away from a monochromatic palette to colorful works. The second transformation occurred in the late 17th to 18th century, when European enameling materials and techniques were brought to the Qing court and more subtle and varied color tones were developed on enamels applied over porcelain, metal, glass, and other mediums. In both moments, Chinese artists did not simply adopt or copy foreign techniques; they actively created new colors and styles that reflected their own taste. The more than 100 objects on view are drawn mainly from The Met collection.
Rotation 1 | 2 July 2022 — 30 April 2023
Rotation 2 | 20 May 2023 — 24 March 2024
Rotation 3 | 13 April 2024 — 17 February 2025
« Symposium | Digging for Delftware
Exhibition | Ganesha: Lord of New Beginnings »

redpajama_set_name: RedPajamaCommonCrawl


Investors seeking leverage to precious metals should focus on junior resource companies who own the world's undeveloped gold and silver deposits as they provide the best exposure to a rising precious metals price environment.
You need to find the quality management teams with money in the treasury, the ability to raise more and owning the advanced projects that are well along the development path towards a mine.
A mine that is going to be a long life, lowest quartile all-in cost producer in a geo-politically safe country.
These companies are the world's future gold/silver producers and of course many will be in the sights of mid-tier and major producers for takeover candidates as reserve replacement targets.
The gold mining industry needs to discover 90 million ounces of gold every year just to stay even.
But despite increased exploration expenditures, a record US$8b in 2011, and an increasing gold price, gold ounce discovery is not keeping up to the rate needed to replace mined ounces.
The Metals Economic Group estimates that the 99 significant discoveries (defined as greater than 2 mil oz) found between 1997 and 2011 replaced only 56 percent of the gold mined during that same period.
According to the Thomson Reuters GFMS's Gold Survey 2012 global gold mine production was flat (output rose 0.1 percent to 1,366 metric tons) in the first half of 2012.
The average grade of ore processed globally dropped 23 percent from 2005 through the end of last year and is forecast to decline another four percent in 2012.
A complete breakdown of costs, an all-in cost figure, courtesy of CIBC, shows cash operating costs pegged at $700 an ounce.
Sustaining capital, construction capital, discovery costs and overhead at $600. Add in $200 for taxes and you get US$1500.00 as the replacement cost for an ounce of gold.
Using the all-in figure provides a more accurate and definitive picture of actual mining cost and profit.
Also, according to CIBC World Markets, the sustainable number gold miners need is $1,700/oz. The long term gold price chart from the World Gold Council shows gold has been in consolidation since late 2011.
Mining is an extremely capital intensive business for two reasons. Firstly mining has a large, up front layout of construction capital called Capex - the costs associated with the development and construction of open-pit and underground mines. There are often other company built infrastructure assets like roads, railways, bridges, power generating stations and seaports to facilitate extraction and shipping of ore and concentrate.
Secondly there is a continuously rising Opex, or operational expenditures. These are the day to day costs of operation; rubber tires, wages, fuel, camp costs for employees etc.
The bottom line? It is becoming increasingly expensive to bring new mines on line and run them.
Since 2006 the major gold producers have spent 40 percent of their entire market capitalization building new mines. As you can see in the chart below it isn't going to get any cheaper - major miners will need to spend 60 percent of their market capitalization building new mines in order to sustain the same level of production going forward.
The major gold producers desperately need to replace their mined gold reserves yet can't afford to build many of the large deposits slated to be built.
The declining mined and mineable gold grade is a direct result of the industry's inability to discover new high grade/high margin deposits.
Junior market caps have been savaged - 25 percent of the stocks on the TSX.V are under a nickel, another 25 percent are under a dime – 50 percent of the stocks trading on the TSX.v are under a dime, a total of 70 percent are under .20 and 80 percent are under .30 cents. Less than 20 percent of stocks on the Venture are over .30 cents and only seven percent of stocks are over a dollar.
The junior exploration sector is presently in the midst of one of the worst financing environments ever experienced by the sector.
One market analyst recently said that out of the 1800 companies he tracks, as many as 524 have less than $200,000 in working capital.
With today's extremely low share prices, financing - if money is even available - is going to massively dilute shareholders forcing a tremendous number of future rollbacks.
Financing for many juniors is going to be challenging – very ironic that just a few short years ago, with gold at only $400 oz, it was much, much easier to raise money then today with gold at $1700.00 oz! Those juniors with some money, and not wanting to excessively dilute shareholders raising more with devastated share prices, will conserve their cash and drastically cut expenditures.
The outlook for many juniors in 2013 is grim, many will not survive. Expect rollbacks, property sales for cash, shares for debt and mergers and acquisitions (M&A) to become the norm. Exploration will drop, the discovery of the future supply of gold, silver and other metals will be put on hold.
A Junior exploration company's place in the food chain is to acquire and explore properties. Their job is to make the discoveries that the mid-tiers and majors takeover and turn into mines. Junior exploration companies own the majority of the world's future gold mines.
The juniors who do have money for exploration and development of their properties, and those few who can get financed, will be well rewarded in the market place for discoveries and bringing the lowest cost projects to production.
This author believes that there is exceptional, and as of yet, undiscovered value in junior companies with quality assets in safe stable countries.
The bottom line for investors in the resource sector is that many juniors working in safe stable jurisdictions, already own what the world's mining companies increasingly, desperately need.
Ahead of the Herd has posted a short list of junior resource precious metal companies with defined deposits operating in North America. The AOTH list is free, you may access it here.
WallStreetJournal, SafeHaven, MarketOracle, USAToday, NationalPost, Stockhouse, Lewrockwell, Pinnacledigest, UraniumMiner, Beforeitsnews, SeekingAlpha, MontrealGazette, CaseyResearch, 24hgold, VancouverSun, CBSnews, SilverBearCafe, Infomine, HuffingtonPost, Mineweb, 321Gold, Kitco, Gold-Eagle, The Gold/Energy Reports, Wealthwire, CalgaryHerald, ResourceInvestor, Mining.com, Forbes, FNArena, Uraniumseek, FinancialSense, Goldseek, Dallasnews, SGTReport, Vantagewire, Resourceclips, Indiatimes, ninemsn, ibtimes, jsmineset and the Association of Mining Analysts.


text:
Q: Creating animation point using openlayers and geoserver Before getting started on creating points that are animated like this using flash
http://adventure.nationalgeographic.com/adventure/trips/americas-best-adventures/map/
I would like to know if it is possible in anyway to create animated point using openlayers and geoserver. If it is what are the different ways? I saw this example.

A: The Openlayers documentation refers to a tween function that will fire off a function every so often http://dev.openlayers.org/docs/files/OpenLayers/Tween-js.html.
Perhaps having it fire on the mouse over function and animate a circle growing around your point? I don't see why it wouldn't be possible...

redpajama_set_name: RedPajamaStackExchange


So, in the wake of his latest blog post about him and the Moff, the whole Lawrence Miles thing has exploded across this bit of fandom, after long being contained as a particularly stupid bit of wankery over whether there should be a thread to discuss his blog posts on the !OG. And to be honest, a lot of the reaction is saddening me because of what I feel are fundamental misunderstandings of what it's all about.
1. All of this is simply my opinion. I am not claiming to know anything, it's just my interpretation. Please imagine "IMO"s all over it if it makes you feel happier.
2. I've never met Lawrence Miles and my abject fear of RL fannish socialising makes it staggeringly unlikely that I ever will. I have, on the other hand, read what must amount to millions of his words, between his novels, non-fiction books and articles, interviews, blog posts and associated blog-like things like the Countdown.
3. Although I enjoy Miles's writing, he's far from perfect. He's appallingly classist (with a nasty side order of fetishisation in there too) and quite sexist quite a lot of the time. It's very obvious that he's difficult to work with and he almost seems to delight in burning bridges with people initially well disposed towards him. There are many valid criticisms that can be made of him. I'm just trying to argue against a particular one that I think isn't valid.
I honestly believe that Lawrence Miles is a creative genius. He's one of those writers who throws away ideas others would build whole trilogies out of. And he keeps doing it, over and over again. (The key thing about Alien Bodies isn't all the arcs it launched -- which was an entirely accidental thing, AFAICS, but also inevitable in a range that was struggling to find a direction, that some of those brilliant ideas would resonate with the readers and the other writers -- it's that it's full of other ideas that never did get picked up on. And then Interference comes along and does a whole bunch of different stuff, only tangentially related. And Adventuress, again, launches a whole bunch of stuff without really trying.) Doctor Who fandom is lucky to have had him write one book for it, let alone several and a whole set of spinoff ranges.
Now, bearing in mind point 4, I need to be careful how I phrase this, but it definitely seems fair to say that Lawrence Miles has an outlook on reality that differs significantly from most people's. And I think both the successes of his creative work, and the misunderstandings that arise, stem from this difference. And that difference is that he sees, very clearly, the links between individuals, society, and the culture that mediates interactions between the two. My theory is that this view of the world gives him a skewed perspective where it's vitally important that the culture be vibrant and alive.
And so, for Lawrence Miles, the enemy is banality.
This idea comes through in his work (even if you don't buy into my Enemy theory there). Although his best remembered brainchildren are Faction Paradox, the ones that come closest to expressing all this are the Faction's creations, the Remote -- colonies of humans who respond to transmissions in unpredictable ways (and so make the perfect way to mess up a Time War, as no one can work out how they're going to interact with everyone else that's going on). In The Book of the War, we learn about the "broken Remote", which as well being a good pun is a story of a Remote colony that were made predictable, and thus their threat nullified, by the Great Houses using banal transmissions which, when you read their descriptions, are clear satires of Ally McBeal and Big Brother. In Bad Wolf, Big Brother just kills you; in Faction Paradox, it makes your entire existence and that of your entire culture pointless.
It also comes through in Miles's position in that oh-so-middle-school fanwar of "rad" vs "trad". (For those of you lucky enough to have missed out, before Who fandom had The Eternal Shipwar, we had "debates" on whether the point of new Doctor Who was to be new new, or to be as close as possible to your favoured era of the TV show -- which usually turned out to be something the '70s.) People always seem to wonder what Miles's problem with Mark Gatiss is, as though it's going to turn out Gatiss was horrible to him at some point, or something. But really -- his problem with Mark Gatiss is that Mark Gatiss acts as though the point of new Who is to come as close as possible to recapturing the stuff he used to like in the '70s. That's why he's always banging on about Gatiss's PDA Last of the Gaderene, which actually succeeds on its own terms as a story that could come from late Season 10. I personally found it disappointingly dull; for Miles, it would seem, it's a moral failing of the worst kind to have such a horrendously limited aim in the first place.
It's also worth noting along the way that Miles is much more self-aware (and, in some ways, self-deprecating) than some people give him credit for, and he's also much more aware of what people are saying about him than he likes to admit. This latter is nowhere near new behaviour -- the Interference Rumour Table, the radw flounce, these are all the antics of someone who likes poking at things with a stick. Oh, and this isn't the first time he's moaned about Neil Gaiman, incidentally, given that that seems to be exciting the most interest from the FW crowd. (Though given his baleetion habits, I can't now find evidence of it.) I disagree with him on that -- I ♥ Sandman in particular VERY HARD INDEED, but from Miles's point of view it's another stunted creation that had the potential to be so much more. I think Lawrence Miles views unachieved potential as worse than no potential at all.
And he thinks that Doctor Who (his personal mythology, remember) has an infinite potential to be new, to be "surprising", to be anything but banal.
And this is the heart of his problems -- when he has them, everyone always tends to ignore his complimentary reviews -- with the new series in general and Moffat in particular. When he says things like the infamous "I could piss Blink in my sleep" comment, he's not saying "I am a better writer than Moffat, therefore I should be running things", he's saying "Blink failed to surprise me, failed to push the envelope of what the series could do sufficiently hard, and I think that Moffat could write something which did do that". In its way, it's a very backhanded compliment.
People seem to write these off with ideas along the lines of "oh, he's just bitter because no one's asked him to write for the new series". And I really don't think he is (maybe a bit miffed no one's asked him to do another book). He knows with his lack of TV experience and so on he hasn't got a hope. And I don't think he really cares, either. What he cares about is his desire for Doctor Who to be the ultra-rad thing he has convinced himself it should be, not that he necessarily be the one to write it. There's much less ego there than most people seem to read into it, to my way of thinking.
Now, I'm certainly not saying anyone has to agree with me about any of this. But hopefully you can see why I feel a profound sense of disappointment when people sum up the whole thing with what amounts to a "LOL, bitter".


text:
Internationalist Writer
About Fogarassy
Fogarassy's Books
Fogarassy's Life
Fogarassy's Career
Art and Commerce
Status Quo and Change
Communication in a Global World
Fogarassy on Twitter
New Book Claims Trump was a Phenomenon, not a President
Fogarassy came of age at a time when writers were supplicants looking for acceptance and space on the pages of respected periodicals and the imprints of major publishers. The SASE (self-addressed stamped envelope) was a requisite inclusion with the submitted work. It usually came back with a printed rejection or an encouraging note that said try us again. Rejection was routine and led to a renewed effort to better the craft of writing and aim at the target.
Over the years, Fogarassy's work has been deemed by editors to be everything from profound to most overwritten ever seen. Those critiques are aptly applicable to a writer thinking in complex Hungarian as expressed in straight-forward English, on who sees the world in the subtleties of an artist with the awareness that the message must be simplified for the pragmatic marketplace. The challenges of Fogarassy's calling have been monumental. The rewards made the effort more than worthwhile.
Early short works were published in literary magazines such as the Texas Sidewinder and the Canadian Queen's Quarterly. Two dozen of the short works were published by literary magazines throughout the world when her first novel was published by Quality Publications of Ohio.
Mix Bender is a novel about complex Hungarian-American immigrants meeting on a carefree Caribbean island. "A lively, intriguing and gutsy novel," wrote international journalist Lydia Ferabee. Other reviewers described the novel as "exhilarating," "intelligent and entertaining," and "a fascinating novel of personality, interactions and complex emotions."
Her non-fiction Mission Improbable: The World Community on a UN Compound in Somalia was enthusiastically received by numerous publishers, including Howard University Press. Even so, only Lexington Books published the work. The US perception of events in Somalia during the intervention was considered too strong to afford any sizable interest in Fogarassy's first-hand record of events.
Even so, the book was well reviewed by Abdul Rahman Turay of Sierra Leone, head of the UNOSOM Somalia Mission. He said the book set the record straight. The Mission in Somalia was succeeding but nobody in the greater world knew of the success. He said the book was a provocative argument for humanitarian intervention in global cires.
George Parker, head of the Press Section at UN Headquarters in New York, said the work was an accurate and comprehensive view of the Mission. It provided a unique insight into UN operations and shed a remarkable light on the peace the Somalis were trying to achieve after a jump-start from the UN with US help withdrawn just short of the mark.
Among others who expressed support for the views expressed in the book were Richard Holbrooke, Jonathan Howe, Jimmy Carter also on behalf of wife Rosiaynn, Bill Clinton and Anthony Lake. Their views, like those of Fogarassy, are of long-term duration, spanning the inevitable ups and downs of forward progress in mutually beneficial global relations.
Fogarassy's simultaneously published noves about global relations were the first to enter into the cyber-age. Light of a Destiny Dark about the contrast between the European and American experience of the Second World War era, has been called unrelentingly dark. The Midas Maze about the vast UN global network is a novel in search of an audience. While the mighty United States was the driving force behind the United Nations aimed at preventing another world war after the Second, America has remained complacent about the rest of the world and has has denigrated the diplomatic solution to problems that it first championed.
A global pandemic may have changed that course, particularly under an administration that came to power after the country made great strides as a global leader by electing the western industrialized world's first non-white head of state. As the world grows global and details merge, differences and similarities become clear. At bottom is the basic human connection.
Nobody anywhere likes to be poor or insignificant. All strive for the maximum impact they can make on the world within their circumstances. Achieving that goal requires a balance of risk and retreat to safety grounded in personal circumstances.
As a writer drive to express her experience of life as encountered, Fogarassy has presented her work to literary and commercial outlets. She has been called profound. She has also been deemed the most over-written writer ever met. The range of views about her work represents not only her stabs at finding her voice and target audience,but also the structural demands of society at large,
The trick today, as throughout history, is to push a personal experience out into the greater world so as to make an impact. Great or small, profound of over-written, the bottom line is to make a mark worthy of the feeling that the mark has been hit. Progress has been made by experiencing life as it presenlf and the experience has been passed on to others through the workds and contacts of a lifetime.
Contribute To Global Good Will
internationalism, communication, media, global politics
racial diversity
Democracy Summit. Tune in Thurs/Fri
America Votes Obama to Biden Past Trump: Now Live
The Accidental Insurrectionists
Nations United by the US 2020 Election Debacle
Bonkers America in a Tech-Addled Covid World
Tweets by HelenFogarassy
Copyright © 2022 · helenfogarassy.com
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking "Accept All", you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent or read our privacy policy


At Extra Space Storage, we're proud to offer our customers dependable storage options at an affordable price. Our Waltham storage facilities are always well-maintained, well-lit, and equipped with security measures like video surveillance and electronic gate access.
Customer service is our top priority in Waltham! Our friendly, professional staff is happy to provide assistance whenever you need help. We truly want every customer to have an incredible experience.
With a variety of storage units available and amenities like climate-controlled storage, heated storage, and vehicle storage, finding the right storage solution for your needs is easy at Extra Space Storage!
Storage units in Waltham range in size from 25 square feet to 300+ square feet and come with convenient features like first-floor access and elevator access!
If you plan to store delicate items, we suggest renting a storage unit with climate control or heated. Our climate-controlled units maintain temperatures between 55 and 80°, while our heated option ensures your unit stays warm during colder months!
Extra Space Storage in Waltham can accommodate your vehicle storage needs! Store cars, motorcycles, RVs, trailers, campers, and boats in one of our secure outdoor parking spaces!
Take advantage of our excellent move-in deals, such as first month free* and first month half off, to receive an incredible value from Extra Space Storage!
Ready to rent a storage unit in Waltham? Reserve online or over the phone today with no credit card required! Our team is available to answer questions or set up a tour at a nearby storage facility!


Welcome! Library staff looks forward to working with you. We offer a diverse array of services, resources, and collections for work or play, some of which are listed below. If you do not see something you're looking for, please Ask Us!
Ask a Librarian- have a question, contact us!
Databases - we provide access to over 500 databases where you can find articles, reports, images and more. You'll find a complete list here!
FAQs - check here to see if our FAQs answer a question you have!
Make an appointment - we'll meet with you to answer questions you have or help you with your personal research.
Off-campus access - you can access electronic resources we license from off-campus. You will need to enter your UMass NetID and password when prompted. If you want to search other sites such as Google Scholar, JSTOR, ScienceDirect, etc., using your own bookmarked links, you can do that by installing a UMass Remote Access Bookmarklet on your browser.
Books - borrow a book from our collection or one of the Four Colleges Libraries with your UCard! And you can use the Five College catalog request item feature and pick-up the item in either the Du Bois Library or the Science & Engineering Library!
Can't find a book or DVD you want in our collection? Request if from the Commonwealth Catalog (all the public libraries in Massachusetts).. Or you request it through Interlibrary Loan!
News and Events - forthcoming events at the Libraries are listed here. Looking to host,an event in the Libraries, place an event request.


text:
Q: Grails - Spring Security not working with Mysql 8 I have a application where I used these technologies:

*

*Grails 3.3.0

*JDK 1.8

*Spring 4+

*Mysql 8

*GORM 6.1.6.RELEASE

*org.grails.plugins:spring-security-core:3.2.0

*Hibernate 5+

Problem is when I am trying to connect the application with Mysql 8(with 5.6+ it is working fine), I am not able to get the information related to user from Grails-Spring-Security plugin.
The application is running even connect to DB but wont be able to authenticate or fetch the information of the User like findByUsername where username is property in my user domain class.
I have User domain class defined in application.properties file.

grails.plugin.springsecurity.userLookup.userDomainClassName = 'com.aaa.User'

At some point I found this error but not sure whether it is related to this or not.
java.lang.IllegalStateException:
Either class [com.aaa.User] is not a domain class or GORM has not been initialized correctly or has already been shutdown.
Ensure GORM is loaded and configured correctly before calling any methods on a GORM entity.

Want to understand why it wont be able to fetch the information from DB. I have tried lot of things like change the GORM version to 6.1.7 and grails spring-secuirty-core plugin version but not able to get anything.
Any help would be appreciated.
Thanks,
Atul

A: We are able to solve the issue. It happens when grails-hibernate plugin look for the property(in my case its username as I am calling API findByUsername) which is present in the static api or not. If it is not there it throws the exception.
The thing worked for me is, I have to put the property in static mapping of User domain class:
static mapping = {
table 'userTable'
id column: 'id'
password column: 'userpassword'
username column: 'username'
}

I am not sure why it is happening, when I run the application with Mysql5.6+ its working.(The driver is according to it) but when go with Mysql8, it look for the property in static mapping.
One more point I would like to mention to fix the issue is, make sure you have tablename, columnname same as defined in DB. Case sensitivity is what expected.
As I mentioned the case sensitivity, if you are using linux with Mysql8, the lower_case_table_names=0, this check with the following as per Mysql official documentation:

Table and database names are stored on disk using the lettercase
  specified in the CREATE TABLE or CREATE DATABASE statement. Name
  comparisons are case sensitive. You should not set this variable to 0
  if you are running MySQL on a system that has case-insensitive file
  names (such as Windows or macOS). If you force this variable to 0 with
  --lower-case-table-names=0 on a case-insensitive file system and access MyISAM tablenames using different lettercases, index corruption
  may result.

So if the table name is static is in camel or upper case and in db it is lower case it wont match. and the error occurred.
Hope this helps to someone.


text:
package com.planet_ink.coffee_mud.Behaviors;
import com.planet_ink.coffee_mud.core.interfaces.*;
import com.planet_ink.coffee_mud.core.*;
import com.planet_ink.coffee_mud.core.collections.*;
import com.planet_ink.coffee_mud.Abilities.interfaces.*;
import com.planet_ink.coffee_mud.Areas.interfaces.*;
import com.planet_ink.coffee_mud.Behaviors.interfaces.*;
import com.planet_ink.coffee_mud.CharClasses.interfaces.*;
import com.planet_ink.coffee_mud.Commands.interfaces.*;
import com.planet_ink.coffee_mud.Common.interfaces.*;
import com.planet_ink.coffee_mud.Exits.interfaces.*;
import com.planet_ink.coffee_mud.Items.interfaces.*;
import com.planet_ink.coffee_mud.Libraries.interfaces.*;
import com.planet_ink.coffee_mud.Locales.interfaces.*;
import com.planet_ink.coffee_mud.MOBS.interfaces.*;
import com.planet_ink.coffee_mud.Races.interfaces.*;

import java.util.*;

public class NoCombatAssist extends StdBehavior
{
	@Override public String ID(){return "NoCombatAssist";}

	int tickTocker=1;
	int tickTock=0;

	@Override
	public String accountForYourself()
	{
		return "unhelpful passiveness";
	}

	@Override
	public boolean tick(Tickable ticking, int tickID)
	{
		super.tick(ticking,tickID);

		if(tickID!=Tickable.TICKID_MOB)
			return true;
		if(--tickTock>0)
			return true;
		((MOB)ticking).setAttribute(MOB.Attrib.AUTOASSIST,true);
		if((++tickTocker)==100)
			tickTocker=99;
		tickTock=tickTocker;
		return true;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Donnerstag 2 | 8 | 2018
Next Stop, Portugal
For its eight edition, the Locarno Pro's First Look initiative (3 – 5 August) will focus on Portuguese cinema. Thanks to a partnership with ICA – Instituto do Cinema e do Audiovisual, this year's First Look will present six films in post-production chosen by the Locarno Festival. We asked ICA's President Luís Chaby Vaz about today's Portuguese industry.
Portuguese cinema has proven to have a strong identity that is well appreciated by the most important festivals around the world. What makes Portuguese cinema so unique?
Portuguese cinema is a very free and artistic cinema, with exceptional technical quality, that is not afraid to explore and play with techniques, formats and themes.
Portuguese filmmakers work with total freedom of expression and this reflects in the way films are able to reach and touch the viewers by exploring common themes in a very personal and unique way. Different people relate differently to the same subject, but if it's presented in a very good, free and honest artistic way the ability to relate grows exponentially. And this is one of the strongest characteristics of Portuguese cinema: its ability to reach the viewer without conceding the artistic vision of the author with a remarkable and unique identity.
The absence of creative boundaries makes Portuguese cinema a very honest and truly a cinéma d'auteur.
What are the main struggles for Portuguese producers today and how do you see the Portuguese production scenario developing in the next years?
Having a very small domestic market, there are currently two main goals: to create very solid cultural projects and to increase, trough co-production, the distribution markets for our films, directors and producers.
This is one of the main struggles for Portuguese producers, who are very good at co-producing, but, and despite having had remarkable results in recent years, still have some difficulties in projecting their films internationally.
As for the development of the Portuguese production scenario, we, at ICA, are making an effort to increase the number of films produced each year and also to increase animation production.
Portugal is an interesting bridge for international productions seeking for up-and-coming Portuguese partners. Do you believe this is one of the keys to increase international recognition of Portuguese professionals?
Co-productions are not only a very interesting way for professionals to interchange experiences and expertise but also for discovering new talents.
Portugal has many highly skilled professionals whose work can definitely have more exposure with a co-produced project.
Our professionals have a long track record on co-produced projects, since Portugal has established co-production agreements with more than 60 countries; some more recently, like Israel or Morocco, and others that have been in force for several years, like France, Italy and all the Portuguese speaking countries, including Brazil.
And we believe that the co-production experience of Portuguese professionals will also be a huge advantage for projects produced in Portugal in matters of competitveness and in relation to our new incentive system of the film and TV production cash rebate.
Markus Duffner
Baamum Nafi
Open Doors è adesso!


By enabling the "External Site Shows" (ESS) feature on your Streamate profile, you will have the ability to simulcast onto both the Streamate Network and your member site when you go live.
Your member site viewers will be able to watch your Streamate live cam show for free. At the same time, you will appear to Streamate viewers as being in a continuous "Private" session: they will have the ability to join your ESS show by agreeing to pay your per-minute rate.
Keeping your loyal members happy and still earning a per-minute rate from visitors on the Streamate Network… I'd say it's a win!
How much does it cost for the ESS feature?
It is a complimentary feature for Streamate models.
Simply write into Streamate Model Support with a request, and be sure to provide the URL to the exact page within your member's site where you'd like your Streamate profile to appear. Support will then send you 2 codes that you (or your webmaster) can paste onto your member site. The codes will be accompanied by instructions on how to use this feature.
Is ESS always "on" on my member site?
No. There will be a switch on your Streamate chat interface to turn the feature "on" or "off." If your ESS is "off," viewers on your member site will only be able see you when you're in Free Chat.
Does ESS work for Gold Shows too?
Yes. You'll need to check a box within your Gold Show interface to allow your external site (member site) members to view your Gold Show.
Can I block users during ESS's?
You will have the ability to block viewers on the Streamate end, but not viewers from your member site during an ESS.
What should I know about ESS?
You can use this feature as often as you'd like, but we recommend doing standard (non-ESS) shows regularly. Only doing ESS shows can potentially have a negative impact on your placement on Streamate.


text:
Current Lyme Disease Research Shows These 6 New Developments
By JR Thorpe
Vitalii Matokha/Shutterstock
Lyme disease is carried by ticks, and is a pretty well-known problem — around 300,000 cases are likely diagnosed in the US every year, according to the Center for Disease Control and Prevention — but there's still a lot we don't know about it. Lyme disease is more complex than it looks, and the first few months of 2019 have brought some studies that are changing our understanding of tick-borne diseases and Lyme.
People with Lyme disease contract it from the bite of a tick infected with a particular bacterium, often after traveling through tick-friendly areas like forests and prairies, and it can cause issues like joint pain, flu-like symptoms and a distinctive bulls-eye rash (though you can have Lyme even if you don't see a rash). It's treated with antibiotics. However, between 10 and 20% of people who are bitten suffer from symptoms long after the disease has been treated, and scientists aren't entirely sure why. "Some scientists believe the bacterium can persist in the body, but others dismiss the idea. This dispute, combined with patients whom doctors often can't help, has created a fractious field unlike almost any other," noted Science in a review of Lyme disease research funding in 2019.
New science is helping to solve this conundrum, and cast more light on Lyme in general. Here's where Lyme research stands right now.
1. We Know More About Post-Lyme Disorder — And How We Might Cure It
Center for Disease Control & Prevention/Wikimedia Commons
One of the biggest mysteries of Lyme disease is what's called post-treatment Lyme disease syndrome (PTLDS). Why does treatment work on some people and not others? What makes PTLDS patients particularly vulnerable, and how can you treat it?
2019 has brought a few answers. Research by Johns Hopkins Medicine has revealed that people with PTLDS have a particular kind of brain inflammation, and that it's probably the source of their high inflammation levels in general — and the cause of a host of symptoms. This is a new discovery; before this study, nobody knew what was causing people with PTLDS to have elevated inflammation.
There's hope for treatment of PTLDS too; a three-antibiotic 'cocktail', also formulated by scientists at Johns Hopkins, has shown some serious promise for treating slow-growing Lyme bacteria. These 'persister' bacteria, according to their theory, might be missed in the first treatment of Lyme disease and cause symptoms to last for months and years — but the cocktail, when it was given to infected mice, cleared up the problem totally. It needs to be given human trials, but it's a promising lead.
2. Lyme Disease Is Expected To Increase Due To Climate Change
Lyme disease research is accelerating, and that's good news — because experts in 2019 warned that as climates warm worldwide, it'll become more common. The European Congress of Clinical Microbiology & Infectious Diseases noted that mosquito- and tick-borne illnesses worldwide, from Lyme to malaria, will probably infect more people worldwide. Dr Giovanni Rezza, Director of the Department of Infectious Diseases at the Istituto Superiore di Sanitá in Rome, said in a press release: "The stark reality is that longer hot seasons will enlarge the seasonal window for the potential spread of vector-borne diseases and favor larger outbreaks."
3. We Now Know The Grass Length In Your Garden Doesn't Matter
Concerned that your backyard is a breeding-ground for dangerous ticks bearing Lyme bites — because you don't mow it often enough? Research published in PLOS One in 2019 found that it might not actually matter. "We tested the hypothesis that lawn mowing frequency influences tick occurrence," the scientists explain in the study. They studied tick levels in 16 yards with varying mowing frequency in a region known for ticks, and found that there were no ticks at all. None. Zero.
"Promoting frequent mowing (i.e., shorter lawns) and the removal of grass clippings could have minimal impacts on tick microhabitats, but is consequential for beneficial wildlife and other ecosystem services associated with urban biodiversity," they explain. Many species of endangered bee, for instance, like longer grass, so a bit of length is actually preferable.
4. Machine Learning Is Helping Us Diagnose Lyme Disease
Research published in Nature in 2019 reveals that machine learning — the principle behind artificial intelligence — can help understand Lyme disease, given that its symptoms in individuals can be radically different. The study tracked the medical records of Lyme disease patients at Mount Sinai hospital in New York, and found that using machine learning, it could predict comorbidities — illnesses that showed up at the same time – and what conditions and disorders might show up in certain people and not others as they recovered (or, in the case of PTLDS patients, didn't). The aim, the study said, was to create a framework that could help individual treatment plans for Lyme disease patients, rather than going for a one-size-fits-all approach.
5. We Know More About How The Bacteria Itself Survives
National Institute of Allergy and Infectious Diseases/Wikimedia Commons
The bacterium behind Lyme disease is called Borrelia burgdorferi, and it's what's transmitted into your system by an infected tick when it bites you. Research in 2019 by Connecticut scientists has found that Lyme disease bacteria have a very particular shape and structure that makes them dependent on peptides to function. They obtain these peptides from animal hosts like mammals, including, yes, humans. Without them, a Lyme disease bacterium doesn't survive; with them, it thrives. Figuring out how to disable that mechanism might mean that one day, in the future, we can stop Lyme bacteria in their tracks.
6. 'Persister' Bacteria Might Be Killed By Plant-Based Treatments
In the future, we may be treating Lyme disease with treatments derived from garlic, cinnamon and cumin. That's the interesting conclusion from a groundbreaking study from Johns Hopkins, one of the most important Lyme disease research centers worldwide. In late 2018 they published results showing that, in petri dishes in their labs, essential oils derived from 11 different natural sources — garlic, pimento, cumin, palm rose, cinnamon bark, myrrh, hedychium ginger flowers, torchwood, thyme, mountain pepper, and lemon eucalyptus — that were hugely effective against Lyme disease bacteria. More effective, in fact, than standard antibiotics.
"We found that these essential oils were even better at killing the 'persister' forms of Lyme bacteria than standard Lyme antibiotics," lead study author Ying Zhang said in a press release. This doesn't mean that Lyme disease patients should give up their antibiotics for inhaling or swallowing natural oils; for one thing, that's likely dangerous, and for another, exposure in a petri dish is very different to life in the human body. It will take a long time before we know whether this can be replicated in medication form; right now, antibiotics are still the best way forward.
The mysteries surrounding Lyme disease and its persistent form are still complex, but there's hope that new treatments will be developed — and that we'll finally get ahead of this disease as it becomes more common worldwide.


text:
Trains/Subways
Freight Containers
Life Cycle Data
Light-Weighting Studies
Links: Companies
Links: Associations
It is no surprise that some of the most stylish vehicles (and indeed buildings, consumer products, fashion items and accessories) of the last two centuries, have employed aluminium – both for its functional and also for its aesthetic properties; its durability, formability and wide range of finishes. The Airstream trailer, London's Eros, Philippe Starck's 1006 chair, the iPod, the BMW 328 racing car – all make full use of aluminium's light weight, strength and durability and are at the same time transformed from functional objects to cultural icons through their stylish look and feel.
Over the past 200 years, increasing mobility, afforded by new and innovative transport solutions has been synonymous with style; from the Victorian and Edwardian opulence of the Orient Express and White Star Liners, through the luxury service and exotic destinations of the airlines of the early 20th century, to the ultimate reflection of social mobility – the sports car.
Enduringly stylish objects, including vehicles, have at their heart great design and quality materials. It is no surprise that some of the most stylish vehicles (and indeed buildings, consumer products, fashion items and accessories) of the last two centuries, have employed aluminium – both for its functional and also for its aesthetic properties; its durability, formability and wide range of finishes. The Airstream trailer, London's Eros, Philippe Starck's 1006 chair, the iPod, the BMW 328 racing car – all make full use of aluminium's light weight, strength and durability and are at the same time transformed from functional objects to cultural icons through their stylish look and feel.
Streamlining, the dominant design style of the 1930s and 1940s in America, was synonymous with dynamism and modernity. Streamlining combines technology and design aesthetics in commercially innovative ways just as manufacturing companies were recovering from the Great Depression. Although streamlined objects were popular in the home and workplace, the design aesthetic found a niche in transportation because of its obvious association with aerodynamic movement. Aluminium was the perfect material for the streamlined age: clean, smooth, sleek, new and readily cast or extruded into the seductive curves that defined the look. "In using extruded shapes," the Aluminium News-Letter reported in an article about streamlined trains, "the engineer designs the shapes he needs to fit the contour of the structure rather than designing the structure to fit conventional shapes." Most importantly, aluminium's lightness translated into greater speed: all-aluminium streamlined trains provided a smooth comfortable ride and broke speed records.
Into the jet age, this modernist legacy, of using futuristic materials in stylish and functional ways, has seen aluminium employed not only as a hidden benefit for long lasting strength and weight reduction but also as a key feature of the look and feel of vehicles, at sea, in the air and on land.
© 2018, The International Aluminium Institute. All rights reserved | Terms of Use


text:
Conversations with A Killer: The Ted Bundy Tapes
Tag Archives for " Conversations with A Killer: The Ted Bundy Tapes "
'No Man of God' Trailer: Elijah Wood Has a Close Encounter With Ted Bundy
There's no end in sight to Hollywood's fascination with serial killer Ted Bundy. Two years ago, on the 30th anniversary of Bundy's death by electric chair, Netflix released the docuseries Conversations with a Killer: The Ted Bundy Tapes. One week later, Extremely Wicked, Shockingly Vile and Evil premiered at the Sundance Film Festival, with Zac […]
'No Man of God' Director Amber Sealey on Joe Berlinger's Fiery Email: 'It Felt Very Mansplain-y'
Director Amber Sealey, who helmed the new film about Ted Bundy, "No Man of God," has responded to Joe Berlinger's email accusing her of attempting to discredit his two films centered on the serial killer to gain attention for her release."It felt like he was trying to silence me, to let me know that his […]
Extremely Wicked
Shockingly Evil and Vile
Joe Berlinger Writes Fiery Email to 'No Man of God' Director, Accusing Her of Misrepresenting His Ted Bundy Films
Joe Berlinger is accusing Amber Sealey, the filmmaker behind "No Man of God," a new film about Ted Bundy, of taking unnecessary potshots at the two films he previously made about the serial killer in an effort to generate attention for her movie.The indie director, whose credits include both the Netflix docu-series "Conversations with a […]
'Night Stalker' Trailer: The Hunt For A Serial Killer Begins On Netflix In January
Anyone with a Netflix account already knows that the platform has a monopoly on serial killer-themed entertainment. Two pieces on Ted Bundy, "Extremely Wicked, Shockingly Evil and Vile" and "
Netflix Stays in the Ted Bundy Business, Buys Zac Efron's 'Extremely Wicked' Bundy Biopic
Netflix recently debuted Joe Berlinger's documentary series Conversations with A Killer: The Ted Bundy Tapes, and they plan on staying in both the Berlinger and the Bundy business. The streaming service has scooped up the rights to Berlinger's Bundy movie Extremely Wicked, Shockingly Evil and Vile, starring Zac Efron as the notorious serial killer. The […]


Tell everyone it's spring with this adorable bunny with an easel back. The bunny is holding an egg and has a fluffy pompom tail. Made of MDF/galvanized metal and burlap details.
Dimensions: 12" W. x 15 3/4" H. x 6" D. with easel extended.


text:
01182020Sat
Last updateTue, 14 Jan 2020 10pm
Mid-America Jewelry News Mid-America Jewelry News
The Marketing Minute
Bob Carroll
Bob Epstein
Brad Huisken
Diana Jarrett
Mia Katrin
Chuck Koehler
Ivan Levi
Brad Simon
Amy Minnick
Ann Glynn
Bill Warren
George Prout
Brian Barfield
Howard Kelrick
Suzan Alexander Weir
Martha Williams
Crystal Vilkaitis
Konrad Darling
Aleah Arundale
Bob DeMaria
Menny Bezalel
Steve Hartz
From general store to jewelry store, Buchroeders adapting & succeeding since 1896
Category: Featured Articles
Written by Paul Holewa
Buchroeders has a 120-year history. For owner Mills Menser's mainly young bridal jewelry buyers that doesn't matter. In appealing to today's bridal customers it's "all about them." And Mills has made a number of changes to his family business to create a modern shopping experience with competitive pricing.
Mills Menser, owner of Buchroeders.
After a flawless transition of power from his father's store to his, Mills has not only transformed his family's Columbia, Missouri-based jewelry store, but also the way consumers and retail jewelers across the country can leverage their fine jewelry with loan options from the Diamond Banc, which opened in 2008. But as Mills is quick to admit, his story wouldn't have happened without the opportunity presented to him by his father, and the generations that came before him.
The Buchroeders story begins in 1896, when Otto Buchroeders opened a general store in St. Louis. Little is known about exactly how the family business evolved over time to become a jewelry store. The tale that can be told today, however, is that each generation responded to market changes starting in the early 1900s when Otto moved the family business to Columbia.
Fast forward several decades to Michael Menser's (Mills' dad) ownership of the business in 1971 - that's when things really started to change. Mike converted the store from a jewelry manufacturer and retailer to a guild branded store, carrying all categories from giftware and a bridal registry to gemstones and bridal jewelry. As far back as he can recall, Mills remembers being enthralled with the family business and wanting to learn everything that he could from his father. "At 12 I started cleaning jewelry for customers and by the time I was 18 I was the top performing sales associate."
Mike Menser with John Buchroeder, last living descendant, in 1971.
While many Baby Boomer jewelry storeowners are quite laissez-faire about bringing their children into the family business, Mills and his father had a more committed and engaged approach.
"My father provided me with tremendous opportunities accompanied by tremendous expectations from a very young age," says Mills, who purchased the family business at 24 in 2008. "We were both blessed in our lives to develop the ideal situation and structure for me to purchase the company. Result based decisions, clear expectations, good communication and both parties doing as agreed led to the smooth transition."
Upon taking the helm at Buchroeders, Mills made sweeping changes of his own. These days Mills describes his family's jewelry store as a "bridal focused powerhouse" with a massive GIA-certified inventory of diamonds, prototypes, custom jewelry creation options and numerous creative financing choices to afford them.
Other drastic changes to his father's business model meant greatly reducing the number of staff while dramatically increasing sales volume. Mills also closed out many non-performing categories such as giftware and color, and then used those resources to double down on bridal. Most importantly, Mills broke tradition by not being all things to all customers.
"ROI [Return On Investment] reports indicate that subscribing to 'have to carry this or that' in most cases is not profitable," says Mills. "We started offering products and services that we could be the best at and be properly compensated for offering. No more selling sterling silver baby cups and engraving them."
And, like many younger generations of jewelers, Mills added technology to the family business as part of his imprint with the development of Assurance, a proprietary extended warranty software that Mills developed that has become a "significant profit generator," netting $150,000-plus in its first three years for Buchroeders. Menser is now offering the Assurance software, framework and support to other retailers to launch their own extended warranty division.
"The jewelry industry is rapidly changing. Fellow retailers who add Assurance will be tremendously thankful for the cash they build up by launching their own division," says Mills.
Modernizing the family business and adapting to market changes was a business quality Mills and his father shared back in the day. Today, Mills carries on that family tradition. In the lead up to the jewelry store's 120th anniversary, Mills contracted a major remodel in 2013.
"We went with a sleek, modern design," says Mills. "I also changed the company logo during that milestone anniversary year."
Major renovations and logo changes are customary when a business commemorates such a momentous occasion. Even with his tech-driven modernization, he employed good old-fashioned branding in 2018 when he partnered with a local micro-brewery to create his store's own beer.
"It's called Since 1896," says Mills. "And, it shows customers that we're involved in the community and approachable, but still a luxury buying experience. Plus, it's only available in our store, which keeps them coming back in."
Most incoming generations are fortunate enough to make their imprint on a family business. Mills has been fortunate enough to do that plus make a tremendous impact on the industry. In 2008 he created Diamond Banc (https://www.diamondbanc.com/); a company that provides jewelry equity loans to consumers and inventory equity loans to other jewelers. Good ideas have a similar start - out of necessity. Diamond Banc is no exception.
"An initial reason for the concept was to lower the cost of goods at Buchroeders, particularly for diamonds," says Mills. "Diamond Banc started with $20,000 in a buying account and no other funding. As 2008 set in, the gold boom profits fueled the concept. DB began getting customer requests to borrow against fine pieces they could not bear to part with. I soon realized a modernized jewelry equity lending solution that operated with the intent for customers to redeem their assets was missing from the national landscape."
Mills leveraged his tech prowess to get Diamond Banc started. To this day the business model is digitally native. But he still wanted physical stores to provide the experience and customer service associated with luxury brands. "I was very blessed to first open a partnership office with TIVOL in Kansas City in 2016," says Mills, "This proved to be a very successful endeavor and I set out to open more locations." A big leap in Diamond Banc's development came in 2018, when Mills partnered with Diamond Cellar Holdings.
"They provide capital, scale expertise and contacts while my team runs the operation," says Mills.
A century-plus is a lot of years to take in. When looking back on his own timeline in the family business, Mills is humbled and grateful for the one thing above all else his father gave him - opportunity, and of course some business essentials including accounting best practices, cash flow management, solid and sound marketing and being judicious and impartial with inventory.
Looking forward, Mills has three children that range from seven to not quite one year old. Whether they'll join the family business - "Who knows," says Mills. "A little too early to tell, but my oldest really enjoys sitting in my chair in my office."
The Story Behind the Stone: Carving out history
The Retailer's Perspective: Staying in your own lane
Buying jewelry is too hard
Sales management communication strategies
One-horse towns and direct response marketing, Part II
Southern Jewelry News
Copyright © 2020 Mid-America Jewelry News. All Rights Reserved.


Minnesota Secretary of State Mark Ritchie is regarded as a "non-party friend" by the Communist Party USA.
So highly does the Communist Party regard Mr. Ritchie, that he has been allowed to attend an high level "not to be publicized" Party meeting in Minneapolis.
Some of the Communist Party members at this meeting, later supported Ritchie in his Secretary of State election campaigns. One of them, labor leader Mark Froemke, went on to support two of Ritchie's Democratic - Farmer - Labor - Party colleagues - Al Franken and Mark Dayton in their respective election campaigns.
As Minnesota Secretary of State, Mark Ritchie's job includes overseeing the State's electoral recounts. In 2009, following a very controversial recount, Ritchie awarded a U.S. Senate seat to Al Franken. Currently Ritchie is overseeing another recount which could give Mark Dayton the Minnesota Governorship.
Note in the first scan that Mark Ritchie is named as a "non-party friend" an honor bestowed only on the most trusted and respected of Party allies. Ritchie was allowed to spend the entire morning of an important Party meeting, addressing comrades from all over the U.S.
Ritchie and three of the Communists had just returned from the "Battle in Seattle" - the mass riots that broke out around the World Trade Organization meeting in that city.
Though he was an official U.S. delegate to the W.T.O. meeting, Ritchie gloats that the rioting and protests "stopped the WTO," and that "It is a tremendous victory".
Ever the skilled propagandist, Mark Ritchie then advises the Communists on how best to present their message - to use the more emotive term "food" rather than the harder sounding "agriculture".
Mark Ritchie points out a target for activism, the proposed merger of Agri-giants "Continental" and "Cargills".
Next, Chicago based Communist Party USA Labor Commission chair Scott Marshall raises the issue of agribusiness nationalization. Minnesota/North Dakota based Mark Froemke gives the example of so called successful socialist agri-enterprise, North Dakota's state owned grain elevators. A suggestion is made to use this example in a future article in the Communist Party USA's newspaper, Peoples Weekly World.
"Karl Marx, Frederick Engels and V.I. Lenin devoted much study to the "agrarian question." To prepare this report, I read for the first time parts of Volume III of Capital. "This natural productivity of agricultural labor (which implies here the labor of gathering, hunting, fishing, cattle raising) is the basis of all surplus labor," Marx writes. "So is all labor primarily and originally directed toward the appropriation and production of food. Originally, agricultural and industrial labor are not separated. The second joins the first." For Lenin, the strategy that underlay the Russian Revolution was the alliance of workers and the poor and landless peasantry. In the U.S., for much of the past century, the strategic goal of left and progressive movements was the creation of a Farmer-Labor party."
Next came discussions of a march on Washington D.C., by the same coalition that had "staged" the "Battle in Seattle". Niel Ritchie, (spelt incorrectly in the report), Mark Ritchie's brother is also revealed as a Communist Party contact. Niel Ritchie is now a leader of the League of Rural Voters.
The document is signed by former People's Weekly World editor, Baltimore/Washington State based dairy farmer Tim Wheeler - son of Donald Niven Wheeler, a communist and once a Soviet spy inside the World War 2 Office of Strategic Services.
Mark Ritchie's ties to the Communist Party USA did not end there. In 2006 and 2010, Erwin and his wife, Doris Marquit donated to Ritchie's Secretary of State campaigns. In 2006 Erwin and Doris Marqit, Peter Molenaar and Mark Froemke were all listed as Mark Ritchie campaign supporters.
Mark Froemke also went on to support Mark Ritchie's colleagues Al Franken and Mark Dayton - Ritchie, Franken and Dayton all serve on the advisory committee of Wellstone Action.
In 2008 Mark Froemke's Bakery, Confectionery, Tobacco Workers and Grain Millers Union, Local 167G, endorsed Al Franken.
In October 2009, Mark Froemke was the Fargo Moorehead organizer for a 10 Days of Labor Action campaign for Minnesota gubernatorial candidate Mark Dayton.
Froemke did more work for Dayton in 2010. The pair were apparently very close as demonstrated by the Froemke/Dayton "manhug" shown in the January 2010 photo below.
The Communists were well aware that their Democratic allies, desperately needed Franken's 60th seat in the Senate. This was the "magic number"required to ensure that "progressive" legislation, such as the pro-union "Employee Free Choice Act" could be passed without the inconvenience of a Republican filibuster.
In the Communist Party's People's Weekly World, November 22, 2008, labor journalist Barb Kucera wrote an article, Minnesota euphoria over Obama win tempered by Senate recount, which quoted both Mark Ritchie and Mark Froemke .
"Whether Minnesota labor's massive effort to mobilize members in the 2008 elections was a success will ultimately turn on the results of a recount in the U.S. Senate race, Labor 2008 coordinators say.
While most AFL-CIO and Change to Win unions backed Democratic-Farmer-Labor (DFL) challenger Franken, a few labor organizations–notably the Carpenters and Pipe Trades--endorsed Coleman. After all the results were turned in, Coleman led Franken by only 215 votes out of just under 3 million cast. An official recount began Nov. 18 and could take a month, Secretary of State Mark Ritchie said.
Independence Party candidates made the difference in the Bachmann and Paulsen races and definitely affected the Senate race, said Mark Froemke, president of the West Area Labor Council that spans the western half of the state. 'The Independence Party got a better number than I would have expected in this area,' he said."
Clearly the Communist Party USA supports at least some sections of Minnesota's Democratic - Farmer - Labor Party. In particular the Mark Ritchie/Al Franken/Mark Dayton faction.
It is also very significant that the Communist Party USA , an ultra secretive and highly paranoid organization, trusts Mark Ritchie enough to admit him to an high level secret ("not for publication") meeting.
Mark Ritchie, the Communist Party's "non-party friend" was tasked with overseeing both elections.
The integrity of Minnesota's voting system depends on it.
Reposting. Thank you, Trevor. Great find!!!
Most likely his "non-Party friend" status is really code for secret Party member. Good work Trevor.
I know you have the ability to influence Glenn Beck.I would ask You to see if You can interest him in this Mark Richie story,it should easily tie in with his coverage of George Soros and his SOS Project.Communists is a word I hardly hear from Glenn Beck,Hannity,or Rush.They damn sure have out ear but these commies are HIDING IN PLAIN SIGHT.Sad.
Jim. As Ritchie has been on the CP radar, since the '70s, i wouldn't be surprised if you are correct.
Larry. Glenn beck picks up a lot of my material. hopefully he will pick up the Ritchie story.
I would also like to plead to Glenn to pick up this story on Ritchie. It's important for people to understand that these communist empathizers have gotten themselves into positions of power within our government and are pretending to be "mainstream" but have an agenda which is much, much darker.
Once again, nice work, Trevor. Thanks for all the work you've done to uncover the truth in America.
And I must acknowledge that it was Becks site that linked me here to yours.This is one of my MUST view sites each day.Anyhow I must believe,"we shall overcome".
The meaning of non-party friend in a CPUSA classified document is clear - it means Communist infiltrator.
One infiltrator exposed, now let's see if our end can stop him from completing his task.
One of the KeyWiki videos came back to mind, "Frances Fox Piven: "We Got Obama - that's not bad at all" "
The CPUSA has been doing a great job of getting things done under the radar.


text:
CULTURAL APPROPRIATION AND LA JAPONAISE
April 15, 2016 by aestheticsforbirds	4 Comments
Nils-Hennes Stear (University of Michigan)
Last July, the Boston Museum of Fine Arts (BMFA) put on an exhibition featuring Claude Monet's La Japonaise (1875), a painting of Camille, Monet's wife, dressed in a resplendent red kimono. For some of that period, the museum also invited visitors to "dress up" in a replica of the depicted kimono beside the painting, to take selfies, and share them with the museum. Protestors accused the BMFA of Orientalism and cultural appropriation, after which the museum cancelled the dress-up activity in favour of one in which visitors could interact with the garment in other ways. More details about the case are here and here.
I am sympathetic to the protests, at least insofar as I think the museum should not have exhibited the pieces as they did. Nor should the museum have failed to engage properly with the criticisms of the protestors. It doesn't follow from this, of course, that the issue is a simple one in which all reasons obviously favour one course of action. Nor need it follow that the museum ought to have cancelled any portion of the event. And plausibly, inviting participants to try on the kimono under different circumstances could be okay, on balance.
A central problem of the event seems to have been one that could have been quite easily remedied: the apparently cavalier way its curators invited visitors to engage with the work and the activity without any serious commentary about the ethically troubling aspects of Japonisme—the fascination with perceived aspects of Japanese culture that flourished in late nineteenth century Europe—and its entanglement with US and European imperial history. For instance, the exhibit might have foregrounded the fact that Japonisme was in large part a consequence of the Kanagawa Treaties of the 1850s, which Japan signed quite literally at gunpoint, and which opened Japan up to US and later European trade, among other stipulations. (The MFA website describes this aggression limply as "the opening of Japan's ports to Western trade in 1854".) And the way that works in the tradition often trade in stereotyped and exotified imagery (I invite readers to search for promotional images for Gilbert and Sullivan's Mikado, for instance), coupled with the often appalling consequences of the US's fraught relationship with both Japan and its own Asian American inhabitants, merit comment. I will shortly offer a reason for thinking that embellishing the exhibition in this way would have made it ethically better.
The accusation that the event condoned or exemplified cultural appropriation raises a difficult question: what exactly is cultural appropriation and when does it constitute a harm? This issue will be my focus here.
To appropriate something is, at its core, to take ownership of it. Cultural appropriation involves, at minimum, taking ownership (however partial) over some part of a culture (however concrete or abstract). Appropriation can be understood as an ethically neutral term by itself, albeit one that also picks out unethical instances. Ethical worries of the familiar sort invoked by social justice activists typically begin when the appropriating is by a culturally hegemonic group from a disadvantaged group's culture (Rowell 1995).
James Young, in one of the few sustained discussions of cultural appropriation in analytic philosophy,1 identifies three kinds of ways acts of cultural appropriation can, though need not always, be morally offensive. The first concerns one kind of what Young calls "subject appropriation", in which members of hegemonic cultures misrepresent members of non-hegemonic cultures. Many works of the Japonisme tradition, and the paintings and writings of 19th Century painter Paul Kane are examples. The second concerns consent, where members of hegemonic cultures adopt some part of a non-hegemonic culture without securing the permission (however exactly this is understood) they ought to have secured. Clothing multinational Urban Outfitter's 2011 "Navajo" fashion line featuring imitation "native" patterns and other paraphernalia is one example. The third concerns an hegemonic culture's misuse of parts of a non-hegemonic culture that are sacred or private. The satirical French magazine Charlie Hebdo's depictions of the Prophet Muhammad is one example.
Which of these kinds of appropriation applies to the BMFA event, if any? It's not clear whether any of the types of offensiveness fit very neatly. There is some sense in which one might take the event to be offensive in the first way, as misrepresenting Japanese culture by making it seem, as many of Monet's contemporaries did, exotic and other. Additionally, a significant part of the protestor's concerns, one familiar from criticisms of other appropriative practices, seems to be the inappropriately playful or shallow engagement with parts of a non-hegemonic culture; some protestors' equation of taking selfies in the robe with practicing "Yellowface" suggests something like this. This criticism might be understood as a friendly extension to Young's third kind of offensiveness. The offending act in this case is not the misuse of a sacred part of a culture, but of a serious part.
I want to suggest a fourth source of offensiveness concerning the benefits and value of culturally appropriative acts—an issue Young touches on—and which arguably applies to the event. A number of factors make particular instances of cultural appropriation morally better or worse and the offense it causes more or less reasonable, Young thinks. Among the factors Young invokes is social value:
Sometimes, I expect, an artwork will have a degree of societal value that can counterbalance the offense felt by members of a culture whose has been appropriated. Perhaps the clearest instances of subject appropriation with a high degree of social value are provided by some of Shakespeare's plays. Shakespeare was clearly engaged in subject appropriation when he represented Jews, Moors, and others. Equally clearly, the works are profoundly offensive. Even today many Jews regard The Merchant of Venice and its treatment of Shylock as profoundly offensive. Nevertheless, the plays that resulted from Shakespeare's cultural appropriation have a degree of social value that far outweighs their offensiveness. Shakespeare, I would say, did not act wrongly in penning The Merchant of Venice or Othello. […] There is no reason why someone who appropriates aboriginal content could not produce a work whose value more than outweighed any offense it caused. When this is the case, we have a reason to think that the act of cultural appropriation is not wrong. (Young, 139)
While Young identifies something important here, he neglects a consideration that any appeal to social value must recognize to be adequate, and which is happily consistent with everything Young says. The consideration concerns to whom the social benefits of appropriated work flows. The problem is not always that a privileged individual, say, recklessly uses parts of an underprivileged culture. Sometimes, the problem is the way the hegemonic culture profits from this reckless use.
At last year's Race & Aesthetics conference in Leeds, Leona Nichole Black offered the germ of this idea during the Q&A session for James McGuiggan's talk on Brett Bailey's Exhibit B. Bailey, a South African artist racialized as White, created an interactive artwork depicting a fictional human zoo populated by actors racialized as Black. On McGuiggan's tentative and qualified defence of the work, Exhibit B's aim was to invite a racially loaded objectifying gaze in the viewer in order to get her to realize her susceptibility to executing such a gaze. This was meant to be achieved in particular by meeting eyes with the otherwise objectified actors, thereby being jolted into recognizing their humanity. The work, much like the BMFA event, provoked protests about its ethical character. Black's worry, with which I agree, was that part of what is troubling about Exhibit B was its use of Black bodies in the service of White edification. The idea is that persons racialized as Black were unlikely to benefit from Bailey's first-personal lesson in the seductiveness of a racialized gaze, whether directly as appreciators, or as social beneficiaries causally further downstream. And while the actors performing the piece under Bailey's direction were exclusively racialized as Black, the appreciators were predominantly racialized as White. The work thus assumed an exploitative dynamic, however unintentional.
The BMFA's event might be thought to exhibit a similar dynamic in its using Japanese cultural objects to celebrate a morally fraught Western artistic tradition, while also catering to the tastes and preconceptions of a predominantly White, US audience. Moreover, it seems to have done so, not with the end of White (or, perhaps, US) edification, but with that of White (US) amusement. A more serious and careful effort to place Japonisme and Monet's work in its ethical and political context could have helped remedy this potentially exploitative dimension to the exhibition by turning it into an opportunity to educate or remind everyone of imperialism's impacts—including on cherished artists such as Monet—rather than merely flaunting its fruits.
I should close with a few important caveats to my discussion. First, as a German-Brit racialized as White, I am in some respects ill-placed to delineate exactly the moral and political contours of this or similar cases. This is just an obvious point that follows from a minimal commitment to some form of standpoint epistemology. Second, I have not interacted with the exhibition in person; my information about it is second-hand. Third, there are a number of important details that I can't possibly do justice to here; the BMFA's impressive and educative collection of Asian art, the extent to which the exhibition is best understood as an affront to Asian-Americans rather than Japanese nationals per se, and whether appropriation is the best concept through which to understand what might be wrong with the event, are just three such important issues. Finally, accusations of cultural appropriation and its potential harms are subject to so many intersecting considerations, that they are difficult to navigate with confidence. This goes for the BMFA event discussed here. I encourage readers to read more about the exhibition to inform their own conclusions.
Rowell, John. "The Politics of Cultural Appropriation." The Journal of Value Inquiry, 1995: 137-142.
Young, James O. Cultural Appropriation and the Arts. Malden, MA: Blackwell, 2010.
Young, James O. "Profound Offense and Cultural Appropriation." Journal of Aesthetics and Art Criticism, 2005: 135-146.
1. At least, that I can find; Young's arguments have since been elaborated and supplemented in Young (2010).↩
Categories: Guest Posts | Permalink.
4 thoughts on "CULTURAL APPROPRIATION AND LA JAPONAISE"
This is an interesting contrast to cultural inundation which is best described as flooding a culture with aspects of another culture. The best example is the widespread distribution of American films and pop culture in Europe and Asia since WWII.
Nils-Hennes Stear
Thanks. Both phenomena (can) connect in interesting ways to broader issues of imperialism.
Axel Arturo Barceló Aspeitia
I did not know of James Young work, but I find it very surprising that his classification does not include what I take to be the most insidious form of cultural appropriation: where the hegemonic culture appropriates part of a non-hegemonic culture with the purpose of silencing and/or erasing such culture. I am thinking here of the recent Turkish appropriation of Kurdish music or the Mexican appropriation of indigenous cultural artefacts. In a certain sense, this could fall under type (2) or (3) appropriation, but it seems to be such an important and singular phenomenon that it deserves it own classification.
Now regarding La Japonaise, I still do not see why you are hesitant to say that it is appropriation of kind (1). Is it because you think that classifying it that way leaves out much of what makes it controversial?
Thanks for the comment, Axel. I agree that erasure seems like a significant feature of some instances of cultural appropriation. What might Young say? On damaging a culture by distorting it (subject appropriation), he writes:
"Whether this harm was caused by ignorance, malice, or a combination of the two, it was certainly wrong. Notice, however, that the production of works that harmfully distort a culture is not wrong qua act of cultural appropriation" (p. 108)
I think he'd say something similar about silencing/erasure, insofar as these are taken to be downstream effects of appropriation. Of course, one might think appropriation is constitutive of silencing/erasure. But Young doesn't, to my memory, discuss it in these terms. He does discuss the harm of assimilation in the book, which comes close to the issue of erasure – but again, he appears to understand it in causal rather than constitutive terms. He writes that the argument that identifies assimilation as a harm of cultural appropriation "must be taken seriously since it correctly identifies the single most important threat to minority cultures: destruction by assimilation." (p. 119) But he is skeptical of the empriical premise on which accusations of assimilative cultural appropriation depend – i.e. the that appropriating minority cultures leads to their assimilation. Interestingly, he is less skeptical that they have led to other harms such as discrimination against members of the widely misrepresented cultures. But regarding both causal relations, he is careful to stress that it isn't totally clear whether they obtain.
Whether Young is right about any of this is a further issue.
On the last bit of your comment, I'm not exactly hesitant to describe the exhibition of 'La Japonaise' as appropriative in the first way Young identifies (as misrepresenting a culture). It's rather that it dosn't fit very cleanly in this category (as compared with, for instance, depictions of Native Americans in Westerns, or Germans at beer festivals). One way to put this is as you have – that what is tricky and controversial about the exhibition goes beyond this kind of appropriation.
Leave a Reply to Nils-Hennes Stear Cancel reply


Featuring dry and steam settings, spray function and extra steam shot.
It helps ironing with a scratch-proof ceramic foot.
No more accidentally burning your clothes. The newest iron from dyras, complete with digital display, switches off immediately when left.
Removes bits from the pullovers, dresses and other clothes, making them like new.


text:
Ганна Юхимівна Ліщук (?, село Дитиничі, тепер Дубенського району Рівненської області — ?) — українська радянська діячка, новатор сільськогосподарського виробництва, ланкова колгоспу імені Кірова Вербського (тепер — Дубенського) району Рівненської області. Депутат Верховної Ради УРСР 5-го скликання.

Біографія
Народилася в селянській родині. Закінчила сільську школу. Член ВЛКСМ.

З 1955 року — колгоспниця, ланкова комсомольсько-молодіжної ланки колгоспу імені Кірова села Дитиничі (центральна садиба в селі Плоска) Вербського (тепер — Дубенського) району Рівненської області. У 1958 році зібрала по 667 центнерів цукрових буряків та 230 центнерів картоплі з гектара посіву.

Нагороди
 орден Леніна (26.02.1958)
 мала золота медаль Всесоюзної сільськогосподарської виставки
 медалі

Джерела
 газета «Червоний прапор» (Рівне) — лютий 1959 року.

Персоналії за алфавітом
Депутати Верховної Ради УРСР 5-го скликання
Уродженці Дубенського району

redpajama_set_name: RedPajamaWikipedia