Wilbert D. Sleep and Jean (Meredith) Sleep had one son, Meredith D. Sleep, born on April 13, 1899, in St. Louis, Missouri. When he was counted in the U.S. Census of 1900 in Cicero, Illinois, the son still bore his birth name. In 1910, though, after his father was gone, he was called Lewis Beyers. The name change had come about because of Jean Meredith's marriage to a widower, Henry W. Beyers (dates unknown). In 1920, the name of Jean Meredith's son changed again. This time he was L. Meredith Beyers. (In 1910 and 1920, the Beyers family lived in Evanston, Illinois.) Henry W. Beyers died in 1936, probably in Chicago, but by then Jean was out of his life and long gone.
Here is a curiously brief and relatively uninformative newspaper item from the Buffalo Evening News, February 20, 1922: "The marriage of Mrs. Jean Meredith Beyers of Evanston, Illinois, to Charles M. Ransom, will be quietly solemnized in Pasadena, Cal." So what happened in the marriage of Henry and Jean Beyers? Who knows. But in marrying Ransom, she seems to have finally settled, as she spent the rest of her life in Pasadena. Ransom, who had come from Buffalo, seems to have been a wealthy man. He had been a manufacturer of medicines in his hometown. In Pasadena, he switched to another kind of medicine: wholesale liquor. Ransom died in Pasadena in 1955 at age eighty-seven. Jean Meredith Ransom, who was selling real estate in 1940, survived him by seven years. She died on February 1, 1962, in Pasadena, at age ninety-two. Both were buried in Buffalo.
So, two big personalities have pushed Meredith Beyers, the subject of this biography, to below the fold. Well, when he was a child, he had this name and that to go along with whatever man was married to his mother. In the earliest record I have from his adulthood, though, he called himself Lewis Meredith Beyers. The record is his World War I draft card, filled out in 1918 when he was nineteen. Beyers was a student in the college of engineering at Northwestern University at the time. Not long after that he was inducted into the U.S. Army, with dates of service of October 5, 1918 to January 17, 1919.
Meredith Beyers attended Northwestern University and Harvard University. He was an engineer, mathematician, and physicist and worked in aerospace at Indian Bay Research Corporation in Michigan and at Convair and Ryan Electronics in California (probably other places, too). I don't know when he moved to California, but he married Florrie May Gosse, on November 8, 1958, in San Diego. She was a Canadian-born teacher. They were close and loving. In their dotage, they walked hand in hand to lunch every day. In 1966, Beyers came out of retirement to help with elections in San Diego County. An astute and exacting man with figures, Beyers kept election results in line for years. "He's always 100% on the mark," his wife said. What's missing in all of this is an account of Beyers' young adult years, a time when his work wasn't so entwined in science and mathematics but came closer to matters of the occult, or at least to a cult of personality.
Sometimes I think that human history is just a chronicle of personalities. Meredith Beyers is a good example. He lived nearly a century, married for the first time and got a new job at age fifty-nine, started working in county elections in his sixties, and was writing away on half a dozen books in his eightieth year. "You can't sit in a rocking chair and watch TV and expect to grow into your 80s gracefully," Beyers said, and he lived by that credo. When he was young he wrote poems and stories, when he was in middle-aged he worked as an aerospace engineer, and when he was old . . . well, maybe Meredith Beyers never got old.
There were big and irrepressible personalities in Beyers' family before him. His grandfather, Welsh author and preacher Lewis Meredith (1826-1891), took to the pulpit at age eight. In his twenties, he preached in front of Wesleyan congregations, worked for a printer, and founded a literary society. Taking the nom de plume Lewys Glyn Dyfi, he published, at age twenty-six, a collection of his own verse entitled Blodau Glyn Dyfi. Three years later he was accepted to the ministry, and in the late 1850s or so, he went to the United States, to Chicago, there to preach as well. He continued to write, too, sending back to his home country pieces for a couple of Welsh-language magazines. In 1863 Meredith returned to his native land to advocate for the Union cause in the American Civil War. Once again he went to the United States and preached in Chicago. Known as "the bard of Glyn Dufvy," Meredith died in the Chicago suburb of Oak Park in 1891. Meredith's brother, Richard Meredith (1826-1856), was also a writer and a lay preacher.
Meredith and his American wife Millie had two children, a son, Arza, and a daughter, Jean, nicknamed Jennie, who was born on May 13, 1872. Jean Meredith's son, Meredith Beyers, remembered her as a great beauty--an international beauty, in fact, who "captured the heart of none other than the crown prince of Germany." When she was young, Jean slid down a rope from her upstairs bedroom to go to dances, even as her father read the Bible in the downstairs parlor. She attended Northwestern University when few women did such things and was a member of Kappa Alpha Theta. After spending a year in Europe, she married, on April 15, 1897, in Oak Park. Her new husband, Wilbert Douglas Sleep (1872-1930) of Halifax, Nova Scotia, was supposed to have been well connected but worked as a salesman. By 1910, Sleep was out of Jean Meredith's life but not before fathering her only son. And in July 1930, with his residence given as Elgin State Hospital--yes, a mental hospital--he died in or near Peoria, Illinois.
According to a description of the Ingo Swann Papers in the Ingram Library Special Collections at the University of West Georgia, Sylvia Leone Mahler was a pseudonym used by Edith Chandler Haubold. I'll take the library's word for it, as I haven't been able to find anyone named Sylvia Leone Mahler in public records or historical newspaper accounts. So . . .
Edith Chandler Walker was born on January 21, 1900, in Azusa Township, Los Angeles County, California. Her parents were Charles H. Walker, a physician, and Lilian (Chandler) Walker. Tragically, Lilian Walker died on January 28, 1900, only a week after the birth of her daughter. Dr. Walker was left to rear his three girls, the twins Bertha Ellinwood Walker and Ethel Bardwell Walker, and the new baby, Edith Chandler Walker, on his own. However, in 1910, when the census taker came around, his mother-in-law, Stella B. Chandler, was there to lend a hand. The Walker family lived in South Pasadena then and for years afterwards.
Edith C. Walker graduated from South Pasadena High School in 1917. Twelve years later, in 1929, she married Georgia native Moritz Casper Haubold (1888-1966). He had been married before. Considering the ages of his previous wife and daughter and the year of his filling out his draft card--1918 the year of the Spanish Influenza--I hate to think what happened to them.
Moritz C. Haubold was nearly deaf, but the Haubold family got by. In 1930, he was working as a shipping clerk in a department store. By 1940, he and his wife had had a daughter, Lila J. Haubold. They lived in various places in southern California over the years, in South Pasadena (1930), Pasadena (1935), Monrovia (1940), and Temple City (1942). By that last date, Haubold was retired due to a disability.
Feathers from the Starry Swan by Bertha Ellinwood Walker, illustrated by Edith C. Haubold. Bertha E. Walker was of course Edith's sister. Her book was issued in a hardbound edition of 500 copies in 1940 by Harvey Parker of Hollywood, California.
"Colleagues" (short story) in Weird Tales, May 1943; reprinted in Weird Tales Canadian edition, September 1943.
Symbolic Drawings and Interpretive Poems by Sylvia Leone Mahler and Nazir Hassan, published in Los Angeles by Arrowswift Press in 1947.
"Of a Little Jade God" (poem) in The Beacon, April 1948.
The book mentioned here is Cosmic Art by Raymond F. Piper and Lila K. Piper, edited and with a forward by Swann (1975). Cosmic Art does indeed have at least one piece of art by Sylvia Leone Mahler. (1) We should also remember that Pasadena, California, was kind of a hotbed of occult activity in the 1930s and '40s. Scientist and occultist John Whiteside Parsons (1914-1952) lived there, as did L. Ron Hubbard, at least for a time. Anyway, Marian Pullen's letter of 1976 to Ingo Swann was too late: Edith Chandler (Walker) Haubold, aka Sylvia Leone Mahler, died on May 23, 1972, at age seventy-two. She was buried at Rose Hill Memorial Park with her husband, who had preceded her in death in 1966.
Sweet fruit, soon tasted, gems too gladly sold . . .
Wind, fill afresh the slack sails of my yearning . . .
No footprint on this shore and no returning.
Mirrors, redoubling vestiges of sun.
And reap no harvest from the fleeing foam . . .
Let me set sail for the strangest harbor--home . . .
Where spent tides still the restless pulse of ships.
The hawser to the rusted mooring-ring.
And strange new harbors, in remembered eyes.
(1) In case you're wondering, Lila K. Piper was not Lila J. Haubold. She was actually Lila (Kehm) Engberg Piper of Mason City, Iowa, later of Syracuse, New York, and much too old to be the daughter of Edith Haubold.
The front cover of Feathers from a Starry Swan by Bertha Ellinwood Walker, sister of the illustrator, Edith Chandler (Walker) Haubold, from 1940.
An interior illustration from the same book.
And the front cover of Cosmic Art, in which at least one piece of artwork by Edith Haubold, working under the name Sylvia Leone Mahler, was published.
By the way, it occurs to me that Sylvia Leone Mahler may be a symbolic or totemic name: Sylvia for the forest, Leone for the lioness, and Mahler for a composer of sweeping Romantic music.
Edna L. Bell was born on May 5, 1877, in Maine to Richard and Mary J. Bell. She lived with her family in Springfield, Maine, in 1880. In about 1887, the family moved from Gardiner, Maine, to northern Wisconsin. They moved again, to North Carolina, sometime after that, perhaps in the 1890s.
When she was still a teenager (a word that didn't exist then), Edna Bell married a man named Elmer L. Case (1870-1935). She lived with him in Louisiana, and that's where her two daughters were born. First came Evern C. Case, born exactly a week after Edna's sixteenth birthday. Next came Veva B. Case, who was born in April 1895.
Edna's estranged husband wanted the girls for a two-month visit, and so he took them to Mississippi with him in the spring of 1899. Edna was supposed to have them back by Evern's sixth birthday. Instead Case kept them, and so Edna's sister, Elvia M. Bell, then just twenty-five or twenty-six years old, resolved to go after the girls and fetch them back to their mother.
What followed is enough for the plot of an exciting movie: Elvia took a train to Ocean Springs and, enlisting the sympathy and aid of a hotel keeper and a local newspaper reporter, got Evern and Veva back from their father. Elvia and her nieces were going to try to evade him by way of a riverboat, but that plan was blocked, so they rode in a carriage to a local railroad station. "[T]hrough Mississippi mud and water" they rode, dodging a town quarantined for smallpox along the way. They made it to the train but were confronted there by Case's father, who had gotten on board and threatened to have Elvia arrested for kidnapping. He was put off, but a number of police officers got on at the next station and began a search for the fugitive party. Failing in that, the men left the train, but more police officers got on in Mobile, Alabama. After battering open the door behind which Elvia and the children were hiding, then chasing them through the train, these men took Elvia, Evern, and Veva into custody. A quick trial followed. Elvia M. Bell, described as "a brunette of distinguished appearance and [. . .] considerable intelligence," was awarded the children and returned to Greensboro with them in happiness and triumph. The Greensboro Patriot called her "a heroine" for her actions.
In 1905, Richard Bell moved his family to Wisconsin, where his son, Merton J. Bell, was in the logging and milling business. Father and son worked side by side in building up the business. They also founded two towns, at least one of which, Bellwood, Wisconsin, is a thing of the past. Then came more marriages for Edna Bell. First was to a man named Galle, who resided in Minneapolis, Minnesota. I have found a name, E.E. Galle, head of a cranberry-growing operation based in Minneapolis. I can't say for sure whether he was Edna's husband. Whoever that husband might have been, Edna's younger daughter Veva began using his last name. When Veva married in June 1918, her mother's name was given as Mrs. George M. Seward of Nicollet Avenue, Minneapolis. That means that sometime in 1917 or 1918, Edna L. Bell Case Galle married George Morton Seward (1856-1926), originally from Bloomington, Indiana, and later of Chicago, Illinois.
Seward was in accounting and real estate. He may have gotten himself caught up in some financial shenanigans in the early part of the century. If so, maybe the scandal attached to him equalled or exceeded any scandal involving his wife because of her first husband or her now multiple marriages. Maybe they formed a kind of bond between them as a result. Maybe I'm speculating too much. In any case, Edna Bell Seward may have enjoyed some amount of happiness with Seward. She became associated with the Indiana Club of Chicago and the annual Hoosier Salon art exhibit in that same city. In 1922, she composed the lyric for the song "Indiana, We're Coming Home." The music was by Captain W.J. O'Callaghan, director of music at Culver Military Academy in Indiana. (3) In 1923, Edna's poem "To 'Laddie Boy'," composed upon the death of Warren G. Harding, appeared in the Wausau (WI) Daily Herald. (4) She had a letter in "The Eyrie," the letters column of Weird Tales, in March 1924. In May and June 1924, her serial "The Lacquer Dressing Case" was in Real Detective Tales. (The May issue was the last published by Rural Publishing Corp, also publisher of Weird Tales.) She capped all of that off with her lone story for the magazine, "The Land of Creeping Death," in June 1927.
In the meantime, her husband died, in 1926. After that, she went from place to place. In 1930, she was in St. Paul, Minnesota, with her daughter Evern and Evern's husband Ashton K. Smith. In 1940, the three resided in Queens, New York. Late in life, Edna Bell Seward wrote scads of letters to the editors of the Oakland Tribune, San Francisco Examiner, and other California newspapers. She was at the time living in California, and that's where she died, on July 22, 1963, in Alameda County, at age eighty-six.
And what of the others who were part of the adventure of 1899? Well, Elvia Bell married her college sweetheart, John M. Graham, and lived in Duluth, Minnesota, for many years. For part of that time her niece Veva lived with her. Evern Case, who married Ashton K. Smith, also lived in California late in life. She died there like her mother before her, in 1981. As for Veva, she married Ensign Allen Baker of the U.S. Navy in Philadelphia in June 1918. They were divorced in Dade County, Florida, in 1927, but not before they had had a son, Welles A. Baker. He had seven children. We can only hope that the story of the kidnapping from 1899 survives among his progeny . . .
But there's one more thing. Both Evern and Veva went by the last name Foley at some point in their lives. That makes me wonder whether Edna Bell Case married someone by that name, after Elmer Case but before the mysterious Mr. Galle.
I guess we should remember that not every question can be answered.
(1) From "A Thrilling Adventure: The Kidnapping Expedition of Miss Elvia M. Bell." Greensboro Patriot, Greensboro, NC, June 29, 1899, p. 1. Reprinted in: "A Tarheel Heroism: Extraordinary Case of Successful Kidnapping." Henderson Gold Leaf, Henderson, NC, July 20, 1899, page 1.
(2) "Stories Told of Belle Boyd" by Edna Bell Case. Greensboro Telegram, Greensboro, NC, Nov. 17, 1900, p. 2.
(3) "New Song for Hoosier Expatriates." Star Press, Muncie, IN, December 10, 1922, p. 26.
(4) "To 'Laddie Boy'" by Edna Bell Seward. Wausau Daily Herald, Wausau, WI, Aug. 31, 1923, p. 6. Edna submitted her poem from Highland Park, Illinois.
I have found a Fannie Georgia Stroup and I hope that she is the same Fannie Georgia Stroup throughout the records that I have found. I'm pretty confident in most of this. It's the transition from California to Chicago (or Kansas to Chicago) that seems a little uncertain. But then there is a gravestone for her in Illinois. The name and birthdate on the stone fit the facts of Fannie's biography. Maybe sometimes things really are as simple as they seem.
Fannie Georgia Stroup was a writer, a teacher, and a teacher of teachers. She was born on March 16, 1882, in Liberty, Missouri, to George W. Stroup (1856-1886), a farmer, and Louisa D. "Lula" Stroup (1860-1932). Her parents married in about 1881 and had two daughters, Fannie being the elder, Anna May Stroup (1886-?) the younger. They all lived together in Osage Township, Miami County, Kansas, at the time of the Kansas State Census of 1885, but that way of life came to an end with George Stroup's death in 1886.
Lula Stroup remarried sometime after her husband's death. In the state census of 1895, she and her daughters were in Osage Township with her second husband, William H. Addy, (1848-1920), who was also a farmer. By the time of the 1900 U.S. Census, Fannie, at age eighteen, was teaching. Also during that year she attended (or possibly taught at) a school called Brush College. From 1900 to 1902 or after, she taught at Boicourt, Keokuk, and Moneka, all in Linn County, Kansas. She was at Linn County Normal School at about the same time and in 1907 taught at the Frantz school, also in Kansas.
That's a lot of trivia adding up to not very much. However, it indicates that Fannie Stroup, who called herself F. Georgia Stroup (perhaps after her father), was pretty well on her own once she reached adulthood. That changed on April 25, 1909, when she married William Harvey "Will" Morrison (1879-1946) in Fontana, Linn County, Kansas. In the week after their wedding, the two went to live in California. In the census of 1910, they were in Redlands, where he worked as a farm laborer and she as a teacher. By 1920, he had worked his way up to being a police officer in the city. She, on the other hand, was an orange packer. He kept working his way up, eventually to become chief of police in Redlands from 1935 to 1942. She, on the other hand, ended up in a grave at a mental hospital in Illinois.
The split between F. Georgia Stroup and her husband came sometime in the late 1910s and was final by 1930 when she was living in Chicago and working as a forelady at a lamp shade factory. William H. Morrison had another wife by then and was ensconced at Redlands. So what made Georgia move to Chicago? No one can say, for she was one of countless millions of people who have been swallowed up by the black hole of the past--millions who have left not a trace of themselves other than in public records and perhaps a granite monument in some lonely graveyard.
F. Georgia Stroup left one more thing, though. She left a story called "The House of Death," published in Weird Tales in the magazine's very first issue, March 1923. Did that story arrive on the editor's desk from California? From Kansas? Or was she already in Chicago by 1923? If I had to guess, I would say that Georgia returned home, to Kansas, after her California adventure, including her marriage, came to an end in about 1920. As one piece of evidence, I have a non-fiction piece called "Iron Rust," written under the byline F. Georgia Stroup Morrison and published in the Stockton Review, Stockton, Kansas, March 2, 1922. That article may be the only other piece of her writing still in existence.
Again, by the time of the 1930 census, F. Georgia Stroup was in Chicago. She was counted again in the same place in 1940 but did not give an occupation. She also provided a little more information that was previously lacking in census records: she was in fact divorced and she had received only an eighth-grade education. Also, she let us know that she had lived in Chicago in 1935.
Born in the spring, F. Georgia Stroup died in the fall, sixty-six years ago today, on November 14, 1952. In this week of remembering, we can remember her, too. She lies buried at State Hospital Cemetery in East Moline, Illinois. Presumably she died there, at East Moline Hospital. Norman Elwood Hamerstrom (1899-1970), who also contributed to Weird Tales, died at that same hospital and may very well rest in the same place.
This is a year of two anniversaries divisible by one hundred years each. Two hundred years ago, Frankenstein; or, The Modern Prometheus by Mary Shelley, in which a man (or semi-man) is assembled from corpses, came out in an edition of 500 copies. One hundred years ago today, at this hour (my local time), the Great War, in which millions of men had been reduced to corpses, came to an end. Both were momentous events. One was a work of art, thus of life and creation. The other was a great and horrifying work of death and destruction. In 1818 and 1918, these were recognized as opposites: life and death, creation and destruction. On a much smaller scale, both had a great influence on the evolution of fantasy and weird fiction. Some people consider Frankenstein to be the first novel of science fiction. From it and similar books--books more properly called romances--came tales by British and American authors, chiefly Edgar Allan Poe, that led to weird fiction. And it is from Edgar Allan Poe that Weird Tales, no doubt named for a collection of his works published in the 1890s, is descended. But would there have been Weird Tales without the Great War? It's impossible to say. But in that war, horror, death, mutilation, and destruction met and in some ways became allied with art. I have recently read a book that makes that claim at least, and I have a hard time seeing that its author was wrong.
The book is called Art and Fear. The author was Paul Virilio, who was still living when I read it a couple of months ago but who has since died, on--of all days--September 10, 2018, the day before an anniversary of mass death and horror could revisit the world. (1) Art and Fear is a slim volume, published in 2006 by Continuum of London. It consists of two essays drawn from talks given by M. Virilio. Here I'll consider the first, "A Pitiless Art."
Four years ago, I wrote a series called "What is the monster of the twenty-first century?" My conclusion was that the zombie, representing mass man, in other words, all of humanity in our mass age, is that monster. Lately, though, I have seen signs that the zombie is fading. For example, we're already into the last season of The Walking Dead (supposedly), and it looks like zombies are going to lose their main television venue. Sorry, zombies. I have also seen signs that another monster for the twenty-first century could be on the horizon. Some people think that Artificial Intelligence (AI) or robots armed with AI will turn against us and seek to destroy us. Maybe. But maybe AI is a red herring. Maybe the next monster will be inclusive of AI but be something else instead.
Maybe the new monster of the twenty-first century will be the transhuman, or, perhaps more accurately, the man who makes him.
Whether it will be or not, Paul Virilio foresaw the coming of the transhuman and the maker of the transhuman in the monstrousness and horrors of the twentieth century, a century in which terror, murder, mutilation, and mass dehumanization of men became like artistic expressions, one in which science and the arts fused in the creation of new ways of representing the human form, not in stone or clay, not on canvas or paper, but in the murdered corpse, the dissected, mutilated, or vivisected body, and in the genetically altered human being himself.
At the dawn of industrial modernity, Baudelaire declared, 'I am the wound and the knife.' How can we fail to see that, in the wake of the hecatomb of the Great War, when Braque and Otto Dix found themselves on opposite sides of the trenches in the mud of the Somme, modern art for its part forgot about the wound and concentrated on the knife--the bayonet--with the likes of Oskar Kokoschka, 'the scalpel-wielding artist', before moving on through the German Expressionism of Der Sturm to the Viennese Actionism of Rudolph Schwarzkogler and his cohorts in the 1960s . . .
And so we have had a century not only of cruelty but also of terror, mass murder, self-destruction, dehumanization, and mutilation of the human form and the human person, much of it the hands of scientists (or pseudoscientists) operating beyond any previously observed or acknowledged limits. They are men without pity, practitioners of one of the pitiless arts of Virilio's title. They were and are technological giants but ethical pygmies, maybe even ethical amoebas.
This is a key insight, I think, for as Gimpel saw so keenly, Hate--a new and special kind of hate--is an invention of modernity, more specifically, a materialistic and thoroughly scientified modernity, one that has replaced God with countless minor gods. "The demons of gothic pictures," as Gimpel put it, "are child's play." The gothic, the supernatural, the romantic, the traditional, the folkloric--all have been overtaken and left in the dust by modernity. This was the greater problem for humanity in the twentieth century, a far lesser one for weird fiction. I have written before about this problem and how one teller of weird tales, Fritz Leiber, Jr., tried to deal with it.
Rothko killed himself in 1970, "exercising," Virilio wrote, "the most nihilistic of freedoms of expression: that of SELF-DESTRUCTION." (p. 21) In that, Rothko recapitulated other suicides by other artists and prefigured the suicides of many more to come.
Sir Francis Galton, the unredeemed eugenicist, is back in the land of his cousin Darwin: freedom of aesthetic expression now knows no bounds. Not only is everything from now on 'possible'. It is 'inevitable'!
Where will it end? I suspect it won't, as "end" requires limit. There are and will be no limits in men who lack all moral and ethical sense. And so, as Mary Shelley foresaw two hundred years ago, as the men who lived through the Great War foresaw a century ago, and as Paul Virilio foresaw at the beginning of the current century, we will have things among us that cross boundaries, between man and animal, between man and machine, between man and monster. These will be transhuman. But will they be the real monsters among us, or will that role be played by the men who create them? Who in Frankenstein was the real monster, the creature or the creator?
The problem of transhumanism goes deeper than that, though. If we say that the transhuman or the creator of the transhuman is the monster, we remove the problem from ourselves. We are absolved. We can say to ourselves, Those people over there are monsters. But not us. We are good. Remember Virilio's premonition: "[S]urely we can see what comes next [. . .] an officially terrorist art preaching suicide and self-mutilation thereby extending the current infatuation with scarring and piercing. Or else random slaughter, the coming of a THANATOPHILIA [. . . .]" The signs are all around us. We are full of hatred, each for himself, all for all, all for humanity, for human history, culture, society, and civilization. And because of those hatreds we rush to negate ourselves, mutilate ourselves, destroy ourselves, or else commit murder, mass murder if we can, but murder nonetheless. We can point fingers and say that the transhuman or the men who will create him will be monsters, but what will stop us from rushing to those same creators, begging them to mutilate us, transform us, turn us into monsters, anything so that we might be something other than what we are in this hated thing? Are we not attempting transhumanism ourselves? And if the transhuman is a monster, what does that make us?
Paul Virilio did not mention Frankenstein in his essay, yet by strange coincidences, the connections are made in this year of a centennial, a bicentennial, and his passing from the earth. I am an artist. I can tell you that what Virilio described among artists is an actuality. I have seen so much hatred, violence, cruelty, nihilism, and destruction in the work of artists I have encountered. There isn't any question in my mind that they hate not only themselves but also life, God, the world, and the rest of humanity. Not knowing what they are or hating what they are, they engage in the everyday self-mutilations of tattooing, piercing, and scarring. And now we have people having their bodies surgically altered. Anything, they seem to be saying. Give us anything so that we don't have to be what we are. These things are the drip, drip, drip of suicide and self-destruction. If they could, these artists might very well commit murder. Short of actual killing, they commit murder in their art. It is an art of extreme cruelty, extreme violence, extreme destruction. Artists once provided warnings against such things. They were human, not anti-human. Artists and thinkers operating within limits foresaw that the transhuman and his extreme-scientist/extreme-artist creator, operating without limits or beyond limits, would prove monstrous. But then, in the twentieth century, the artist joined the scientist and the war-maker as one of a class of destroyers. Those who lived and operated within limits, before limits were destroyed, may have failed to see that we might all wish to be monsters, but we will be. Unless we draw back, unless we recognize limits, unless we say no to death and destruction and yes to life and creation.
(2) And they're still carrying on quite well, despite their sickness, on their march to self-destruction and the destruction of Europe.
The Wounded Soldier by Otto Dix, 1917.
An illustration for Frankenstein by the American artist Lynd Ward (1905-1985).
Labels: Friedrich Nietzsche, Mary Shelley and Frankenstein, Weird Tales and World War, What Is the Monster of the Twenty-First Century?
Paul Ernst lived a long life and enjoyed a long career as an author of stories published in popular magazines. The FictionMags Index has his first story as "Lights Out," published in Breezy Stories in July 1926. (He was then twenty-six years old and presumably living in Chicago with his mother.) Wikipedia gives a very late credit, a short story called "Blackout" for Good Housekeeping, July 1971. (Then seventy-one years old, he was presumably living in the Tampa Bay area with his wife.) In the intervening forty-five years, Ernst penned hundreds of stories for Amazing Stories, Astounding Stories, Breezy Stories, Clues Detective Stories, Dime Mystery Magazine, Droll Stories, Ghost Stories, Horror Stories, Mystery Stories, Nick Carter Magazine, Popular Detective, Racketeer Stories (who knew there was such a thing?), The Shadow Magazine, Terror Tales, and dozens of other titles. Under the byline Kenneth Robeson, Ernst wrote two dozen tales for The Avenger magazine. He was the ninth most prolific author of stories appearing in Weird Tales. As pulp magazines faded, Ernst sold stories to The American Magazine, Cosmopolitan, Good Housekeeping, Redbook, The Saturday Evening Post, and Woman's Home Companion. He wrote love stories, detective stories, crime fiction, weird fiction, science fiction, tales of terror and horror (also called weird menace), and the kind of mainstream fiction that appeared in women's magazines and slick magazines for decades after the war. In short, Paul Ernst wrote everything (everything but Westerns), and he kept it up for decades. And still, we know so little about him.
Joel Reeve, Pseudonym of William R. Cox (1901-1988)-A prolific author of Westerns, mystery stories, and sports stories, Cox was working on a Western on the day of his death at age eighty-seven.
Wyatt Blassingame (1909-1985)-Another prolific author of adventure stories, crime stories, and detective stories, as well as of tales of terror and horror.
Theodore Tinsley (1894-1979)-A third very prolific author of crime and detective stories. Tinsley also wrote a number of stories of The Shadow for that character's self-titled magazine.
Norvell Page (1904-1961)-A veteran newspaperman and pulp author, Page is most remembered for his many stories of the The Spider. He also wrote tales of heroic fantasy, one of which was adapted to Marvel Comics' Conan the Barbarian in 1973-1974.
Margaret Scott (1898-?)-According to the article, Margaret Scott was the sister of Mrs. Wyatt Blassingame, otherwise known as Gertrude (Olsen) Blassingame. I have found Margaret Scott in public records. Her name was actually Margurete or Margurite Olsen, but she wrote under the pseudonyms Margaret Scott, Rita Dever, and (with Will Oursler) Gale Gallagher. Her stories appeared in The Household Magazine, Liberty, Triple Detective, and confession-type magazines.
Kreigh Collins (1908-1974)-Although he wrote adventure stories for boys, Kreigh Collins was and is most well known for his work as a comic strip artist, illustrator, and painter. He created a number of beautifully drawn comic strips, including Mitzi McCoy/Kevin the Bold (1948-1972).
Frances Mallory Wykes (1905-1990)-Born in Evanston, Illinois, Frances Mallory Wykes lived in Florida for many years. She was the author of novels, including Wings in the Sun (1941) and The Lady and the Looking Glass (1955). She was married to Frederic Kirtland Wykes (1905-1982), who illustrated Wings in the Sun.
Fanny Herron Wingate (dates unknown)-A poet whose work appeared in magazines and newspapers.
Dr. James M. Stifler (1875-1949)-An authority and author of books on Benjamin Franklin, Stifler was a Baptist minster and a secretary of the University of Chicago (1935-1940). He's not the kind of man I would expect to hang around with a bunch of lowly pulp writers, but who said they hung around together? Maybe they all just wintered in the same place.
Dr. Binford Throne (1873-1952)-Dr. Throne was an expert on skin diseases and served as a physician in New York City for many years. He wrote in his area of expertise for various medical journals.
Talbot Mundy (1879-1940)-Pulp writer and adventure story author Talbot Mundy also wintered at Anna Maria Key . . .
Walter Lippman (1889-1974)-As did journalist, author, and commentator Walter Lippman.
So Paul Ernst didn't labor away in isolation and obscurity, but the image of a group of writers wintering on the golden coast of Florida in the mid 1940s is so powerful that I want to go there and be among them. Golden days like that may be lost forever . . .
Anyway, Paul Ernst wrote thirty-eight stories for Weird Tales, the first being "The Temple of the Serpents," from October 1928, and the last being "Outbound," from September 1945. Ernst wrote one of these stories, "The Way Home" (Nov. 1935), under a pseudonym, Paul Frederick Stern. Among his other stories was the five-part serial "The Black Monarch," from February-June 1930. Ernst also contributed four stories to Oriental Stories and one to The Magic Carpet Magazine, plus one letter to "The Eyrie," the letters column of Weird Tales. Eight of his stories for "The Unique Magazine" were in the Doctor Satan series. As mentioned, he also penned twenty-four stories about the series character The Avenger for the magazine of the same name, from 1939 to 1942. All or most of these appeared as reprint paperback editions in the 1970s under the Warner Paperback Library imprint.
I wonder what happened to Paul Ernst's papers after his death in 1985. Could they have been destroyed? Or are they still out there somewhere? If nothing else, we have his hundreds of stories, all that remains of his life on this earth.
I'm afraid there's nothing much on the Internet on Paul Ernst except for lists of his stories on the Internet Speculative Fiction Database and The FictionMags Index. The Encyclopedia of Science Fiction has a brief article on him cautioning against confusing him with other authors of the same name. That makes me wonder if The FictionMags Index, and consequently I, have him confused with the other Paul Ernst. Anyway, there is also Robert Weinberg's long-ago collection, Dr. Satan (Pulp Classics #6), published in 1974.
(1) "Nationally Famed Authors Form Winter 'Colony' at Anna Maria Key," Tampa Times, January 21, 1942, page 19.
A gallery of covers illustrating stories by Paul Ernst. First, Astounding Stories, June 1932, with cover art by H.W. Wesso.
Startling Stories, May 1948, with cover art by Earle Bergey.
Strange Tales of Mystery and Terror, March 1932, with cover art by Wesso again.
Terror Tales, March 1936, with cover art by John Howitt. Note the red-robed cultists.
The Avenger, September 1939, with cover art by H.W. Scott.
Finally, a Swedish edition, De mikroskopiska jättarna (The Microscopic Giants), published in 1973. I think A.E. van Vogt's byline is on the cover for his authorship of "The Sea Thing," which was originally published in 1940 and included in this edition.
When I first looked at Paul Ernst a few years ago, information on his life was pretty well missing. That has changed, but Wikipedia still has his birth and death dates wrong. His biography on that website is otherwise spare. The Internet Speculative Fiction Database is better, but it has a link to the biography of another man (German actor Paul Ernst [1866-1933]) on the Internet Movie Database. It also has a link to the online Encyclopedia of Science Fiction, which has Ernst's place of birth wrong. (His place of death on that same website may or may not be right.) I guess the thing to do is to start with primary sources.
First, according to Summit County, Ohio, birth records, Paul Frederick Ernst was born on November 7, 1899, in Akron, Ohio, to Louis C. and Nellie (Ticknor) Ernst. They had married on August 22, 1897, in Portage County, Ohio, and Paul was their firstborn and only child. Louis Ernst worked as a railroad postal clerk. His parents were immigrants from Germany.
By 1910, Louis Ernst was gone. His widow Nellie, then working as a dressmaker in her own home, was in Chicago with ten-year-old Paul. She remarried on October 14, 1915, in Cook County, Illinois. Her new husband was George B. Kerr. He was nearly thirty years her senior. In the U.S. census of 1920, the three were living in Chicago, where Kerr managed a brass foundry. Paul Ernst, giving his age as twenty-two, was unemployed at the time.
The next record I have for Paul Ernst is for a trip he made with his mother to Europe and back. On December 19, 1928, the two arrived in New York City from Naples. They gave their address as 540 Brampton Place in Chicago. That place seems to be no longer in existence.
I have not found Ernst in the 1930 census, but in 1940, he was living in Buckingham Township, Bucks County, Pennsylvania, and working as a freelance writer. He was also married. His wife was named Martha, and the two let the enumerator of the census know that they had lived in the same place in 1935. She was the former Martha Jones, who had lived in Chicago with her parents. In 1930, she was single. That narrows down the marriage date for Paul Ernst and Martha Jones to the period 1930-1935. Ernst was in New Hope in Bucks County, Pennsylvania, in 1942 when he filled out his draft card. At five feet, ten inches tall, he was a slight 140 pounds.
I guess it's no wonder that the facts in the life of Paul Ernst are so hard to come by. His parents died before he reached mid life. He didn't have any brothers or sisters. He also didn't have any children as far as I can tell. His first wife died before him. And, finally, his second wife, whom he had married late in life, had been married before and had only a daughter, in other words another family apart from him. In any case, Wikipedia is wrong, the Internet Speculative Fiction Database is right but has an errant link, and the Encyclopedia of Science Fiction has his dates right but at least one of the places wrong. Here's hoping that corrections are on the way. Oh, and by the way, today would have been his 119th birthday, so Happy Birthday, Paul Ernst!
(1) Tampa Tribune, May 3, 1989, p. 110.
(2) Tampa Tribune, September 24, 1985, p. 20. According to public records, Ernst died in Pinellas County. I assume he died either at home or at a local hospital.


Dear Readers, Himachal Pradesh Subordinate Allied Services (HPPSC) has conducted HPPSC Allied Services Exam Prelims Exam on 29th April 2018 at the various Centers in Himachal Pradesh. Exam was conducted for Total 86 Posts of various departments. In this article we are going to provide you the HPPSC Allied Services Prelims Exam Analysis & Answer Key 29 April 2018, Aspirants who will be appearing in the same type of Exam must be eager to know about the Examination's level, types of questions asked, all of which can help them to appear in the upcoming exams.
Candidates who are going to appear in the test and are checking out the HPPSC HPAS combined competitive prelim test answer key 2018 are advised to follow the link we are giving for the HAS Prelims (Subordinate Allied services).
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text:
package org.apache.hive.service.cli.session;

import org.apache.hadoop.hive.conf.HiveConf;

/**
 *
 * HiveSessionHookContextImpl.
 * Session hook context implementation which is created by session  manager
 * and passed to hook invocation.
 */
public class HiveSessionHookContextImpl implements HiveSessionHookContext {

  private final HiveSession hiveSession;

  HiveSessionHookContextImpl(HiveSession hiveSession) {
    this.hiveSession = hiveSession;
  }

  @Override
  public HiveConf getSessionConf() {
    return hiveSession.getHiveConf();
  }

  @Override
  public String getSessionUser() {
    return hiveSession.getUserName();
  }

  @Override
  public String getSessionHandle() {
    return hiveSession.getSessionHandle().toString();
  }
}

redpajama_set_name: RedPajamaGithub


text:
RADIO GIANT CUMULUS THREATENS CONSERVATIVE HOSTS
After months of stoking anger about alleged election fraud, one of America's largest talk-radio companies has decided on an abrupt change of direction.
Cumulus Media, which employs some of the most popular right-leaning talk-radio hosts in the United States, has told its on-air personalities to stop suggesting that the election was stolen from President Donald Trump – or else face termination.
A Cumulus executive issued the directive on Wednesday, just as Congress met to certify Joe Biden's election victory and an angry mob of Trump supporters marched on the Capitol, overwhelmed police and briefly occupied the building, terrorizing lawmakers and leading to the deaths of five people.
"We need to help induce national calm NOW," Brian Philips, executive vice president of content for Cumulus, wrote in an internal memo, which was first reported by Inside Music Media. Cumulus and its program syndication arm, Westwood One, "will not tolerate any suggestion that the election has not ended. The election has been resolved and there are no alternate acceptable 'paths.' "
The memo adds: "If you transgress this policy, you can expect to separate from the company immediately."
A Cumulus representative did not respond to repeated requests for comment on Sunday.
The new policy is a stunning corporate clampdown on the kind of provocative and even inflammatory talk that has long driven the business model for Cumulus and other talk show broadcasters. And it came as Apple, Google and Amazon cut off essential business services to Parler, the pro-Trump social media network where users have promoted falsehoods about election fraud and praised the mob that assaulted the Capitol. Apple and Google removed the Parler app from the offerings for its smartphones, while Amazon suspended it from its Web-hosting services. (Amazon founder and chief executive Jeff Bezos owns The Washington Post.)
Atlanta-based Cumulus owns 416 radio stations in 84 regions across the country. Many of its stations broadcast a talk format, a medium that has been dominated by a conservative point of view for decades. In addition to its national personalities, it employs local talk-radio hosts in many of its markets.
Cumulus's biggest stations include WMAL in Washington, KABC in Los Angeles, WLS in Chicago and KGO in San Francisco, all of which air a news-talk format.
The memo appears to reflect the reality that voters, presidential electors, courts and now Congress have accepted or certified that Biden won the election and is the president-elect. It may also be an attempt to cool down emotions that led to Wednesday's invasion of the Capitol, and to mollify advertisers that are concerned about being associated with programs that could be inciting listeners to violence.
But it also reveals some of the hidden corporate hand behind what is said and discussed on talk-radio programs. Rather than a medium of freethinking individuals expressing passionately held beliefs, the memo reminds that hosts are subject to corporate mandates and control.
Read more at The Telegraph
House Democrat Cori Bush prepares resolution to expel Republicans who supported election challenge
'I ENDED AS A WINNER-GOT OUT JUST BEFORE CENSORSHIP OF CONSERVATIVES'

redpajama_set_name: RedPajamaCommonCrawl


text:
by EditorDecember 1, 2021Entertainment
The 10-year-old painter will paint live at Art Miami
When most of us watch a movie about a famous artist, we are amazed at it.
Andres Valencia He watched a film about Jean-Michel Basquiat and told his father: I can do it.
You can see for yourself how the work of the 10-year-old painter from San Diego turned out at Chase's contemporary Art Miami booth (hint: it's pretty cool). The collection, on display in the exhibition that runs through Sunday, already has a display from a New York collector, according to Nick Kornilov, the gallery's director.
"We work with young artists all the time, but this is special," Kornilov said, adding that the exhibition is important to him for a personal reason: a part of the sales proceeds will benefit. The Perry J. Cohen Foundation, after his son Perry, who went missing at sea at the age of 14 in 2015.
Andres, who is inspired by Cubism but still loves to play with GI Joe, was self-taught, said his father, Guadalupe Valencia, a lawyer (Elsa's mom is a jewelry designer—she's probably the genetic source of all that talent). Andres painted his first painting at the age of four and began working on small canvases. Last year, as the pandemic spread and lockdown loomed, his father brought home large paintings with trepidation, unsure of Andres' reaction on the larger scale.
Street artist Shepherd Fairey talks about art with 10-year-old painter Andres Valencia at Art Miami on Tuesday. Pedro's Gate pportal@miamiherald.com
Turns out he did just fine. His second large painting is part of the collection at Art Miami.
"He even painted an 84″ x 48″ canvas," Guadalupe Valencia said. – He uses a ladder.
Size is no problem for the young artist, who met street artist Shepard Fairey at Art Miami (their booths are next to each other) and considers Georges Kondo and Picasso his favorite painters (he's a Modigliani fan, too). The hardest thing, he says, "is to combine everything together to make the style match."
the best thing? "You can express your feelings and things on the canvas," he said.
Kornilov said Andres will paint live on Saturday noon at Art Miami, which is a good example of what the show seeks to provide.
"It shows you what we're doing around the show all the time," he said. "We always have something people can look at and say, 'That's interesting. this is different. "
Andres Valencia, a 10-year-old artist stands in his booth at the Miami Art Gallery during Miami Art Week. The plaque in the center is his homage to Jean-Michel Basquiat. Pedro's Gate pportal@miamiherald.com
miami art
where: 1 Herald Plaza, Miami
when: until December 5th; Andres Valencia will draw live on Saturday 4th December
the tickets: $55 for adults; $35 per student and 12-18 students; www.artmiami.com
This story was originally published December 1, 2021 10:07 a.m.
Connie Ogle loves wine, books and the Miami Heat. Please don't make her eat mango.
TagsAndres ValenciaMiamimiami artpainting


text:
'use strict';

const mongoose = require('mongoose');

const hexagramSchema = mongoose.Schema({
  title: String,
  text: String,
  image: String,
  number: Number
});

var Hexagram = mongoose.model('Hexagram', hexagramSchema);
module.exports = Hexagram;


text:
Home » Brandmotion targets auto 'real estate'
Brandmotion targets auto 'real estate'
| By Anne Bond Emrich |
Jobs To Boost Real Estate Market
Bioscience Has Unique Real Estate Needs
Real Estate Brokers Team For Growth
When Jeff Varick looks at the inside of a vehicle, he sees empty "real estate" that he'd like to fill with aftermarket electronic products. For instance, one of his "real estate development" projects included engineering, designing and manufacturing an overhead rail system of storage and entertainment module components for the Ford F-150 pickup truck.
Varick's four-year-old company, Brandmotion, designs and manufactures aftermarket auto products that look like they were installed on the factory floor. Typical aftermarket electronic products have exposed wires, cables or cords, whereas Brandmotion systems conceal the wires and basically plug right into place.
Varick was a new business development manager for General Motors for a decade, worked a couple of years as an engineering consultant in Boston, and then took a position with Johnson Controls, where he spent six years as the innovation director of seating and the marketing strategy director at the company's tech center in Holland.
"I really joined Johnson Controls to help them build their aftermarket business," Varick recalled. "That's how I kind of got into the whole West Michigan landscape."
Varick started Brandmotion in 2004 to sell the integrated audio, navigation and wireless phone systems he invented for cars and trucks to the aftermarket. In order to get his company off the ground, he first had to find a "landing spot" — somewhere with OEM plant shipment codes.
"You can't just walk up to Ford and say, 'I'm going to start shipping to you tomorrow," Varick explained. "Cascade Engineering had the Ford, GM and Chrysler shipping codes that we needed, so Fred Keller made a good partner. He always likes to invest in new ideas for the aftermarket business."
Keller, president of Cascade Engineering, became a major investor in Brandmotion. He and Varick originally met when Varick was working in Switzerland for GM. Keller was in Switzerland working on a joint venture, and he and Varick hit it off, Varick recalled; eight years later he approached Keller to see if he would be interested in investing in his start-up.
"Jeff's proposal to 'attach' to Cascade Engineering's centralized processes fit nicely with our strategy to diversify into automotive aftermarket products," Keller said. "We were able to own some of the 'channel to market,' and then to manufacture products for that channel. We are very interested in this kind of proposition that allows us to leverage our considerable product development and manufacturing expertise while developing channels to market."
Brandmotion enjoyed a running start, but then encountered a snag, which Varick said he hit because he was spending most of his time doing what he enjoyed most — inventing new products — but very little time trying to sell them. Keller became concerned that Brandmotion was on the verge of failure and considered pulling out of the business. Varick took to touring the country and calling on potential customers and was able to turn the business around.
Nearly all ventures run into major difficulties at some point, Keller said, and the people doing the funding need to be very clear about their objectives and hold the organization accountable.
"I believe that is what we did, and as a result, Jeff came up with some new strategies that have promise today," Keller remarked. "Jeff and Brandmotion are on track to continue to grow in retail sales online and continue with innovative product development. Jeff is gifted at making connections between innovative ideas and the needs of the marketplace. I think that the future looks quite good."
Brandmotion products are sold nationwide through retail stores, as well as directly to consumers via its Web site, www.brandmotion.com. Even though car sales are slow, Brandmotion products are selling. Retail sales jumped 240 percent last year over 2007, and the company surpassed $1 million in sales. Varick said 2009 sales will likely be 50 percent higher than 2008. Brandmotion also does custom development projects for other companies.
"We are truly innovation for hire," he added.
Samia Brown, marketing director for Cascade Engineering, said several small companies operate under the umbrella of Cascade Engineering, some working out of Cascade's Innovation Center, as Brandmotion does, and others working out of their own locations. Keller has some sort of relationship with all of them, whether it be an equity investment, a joint venture or a strategic partnership, she said. Those businesses can access a number of consulting services from Cascade Engineering for a fee, such as legal, finance or marketing services.
"It's an a la carte model that has worked really well for me," Varick said. "I just pay for as many services as I need," Varick said. "I don't get saddled with the cost of paying the salary and benefits for a lot of full-time employees."
Varick attributes Brandmotion's success in large part to Keller's incubation model. What motivates Keller to offer assistance, and in some cases financial backing, to fledgling entrepreneurs? A couple of things, Keller said.
"I have observed over the years that as organizations grow, they can become stagnant and less vibrant. By working with entrepreneurs, we are constantly challenging our culture to remain nimble and agile," Keller said. "We call it 'competent, creative and quick.' These are the very traits that most organizations appreciate about Cascade.
"As a strategy, Cascade is interested in diversification. We have a strong backbone of services from engineering, quality, human resources, IT, global sourcing and manufacturing that is second to none. By providing services to other business units, we have learned how to be truly 'consultants' to our many internal clients. This makes the services sharper and the businesses more successful.
"A final observation is that I just enjoy making new businesses grow and prosper. Some have called me a 'serial entrepreneur.' I don't know if that is good or bad, but it sure is fun!"
Next up for Varick is the June launch of the "first all-encompassing aftermarket hands-free calling system" with emergency dispatch and live concierge services. That's being brought to market through a joint partnership with GuidePoint Systems of Pontiac. GuidePoint makes a very successful vehicle tracking system that integrates global positioning satellites, advanced wireless technology, the Internet and 24-hour-a-day response centers.
Varick is working on the launch with Brian Edwards, GuidePoint vice president of corporate development. Keller introduced them. Edwards co-founded and helped build Lambert Edwards & Associates public relations firm in Grand Rapids and has seeded several other businesses.
Anne Bond Emrich
Recent Articles by Anne Bond Emrich
QST Experiences Five-Year Growth Spurt
Medical Mistrust High Among Minority Women


text:
Neopetrobia summersi är en spindeldjursart som beskrevs av Zaher, Gomaa och El-Enany 1982. Neopetrobia summersi ingår i släktet Neopetrobia och familjen Tetranychidae. Inga underarter finns listade i Catalogue of Life.

Källor

Spindeldjur
summersi

redpajama_set_name: RedPajamaWikipedia


Contact the law firm of Taheri and Todoro, P.C., if you have a pending matter in Genesee County. We frequently practice in Genesee County. We are very familiar with local court rules, the court personnel as well as the District Attorneys Office.


text:
Home Contact us Hong Kong Andrew Jones
Chief Executive Officer - Thomas Miller (Asia Pacific)
M: +852 6131 7350
E: andrew.jones@thomasmiller.com
Andrew has thirty years' experience of P&I management and has also held a number of Thomas Miller management roles over that period. A law graduate, he joined Thomas Miller's London office in early 1991 specialising in handling personal injury and other people claims, taking the leadership of the UK P&I Club's specialist people claims syndicate in 1999. In 2004, Andrew was appointed Operations Director for Europe and subsequently Chief Operating Officer of Thomas Miller P&I Ltd in 2007.
Based in Hong Kong, Andrew is the Chief Executive of the UK Club Hong Kong Branch, and as Chief Executive Officer for Thomas Miller (Hong Kong) Ltd and Thomas Miller (Asia Pacific) Ltd also has the Thomas Miller responsibility for the other offices in the Asia Pacific region: Singapore, Shanghai, and Sydney.


text:
Ari Ólafsson for Iceland
This year the Icelanders have decided to send a ballad sung by a young man to Lisbon. The Icelandic song "Our Choice" – original title "Heim" has won Söngvakeppnin – the Icelandic national final. There has been a great show in the Laugardalshöll Arena in Reykjavik with six finalist. One of the procedures of this national final is also the so called "Super Final", where the two songs with the highest number of votes fight another time for victory.
This year the Icelanders have decided to send a ballad sung by a young man to Lisbon. The Icelandic song "Our Choice" – original title "Heim" has won Söngvakeppnin – the Icelandic national final. There has been a great show in the Laugardalshöll Arena in Reykjavik with six finalist. One of the procedures of this national final is also the so called "Super Final", where the two songs with the highest number of votes fight another time for victory. Here the competitor Dagur Sigurðsson with "Í Stormi" or "Saviors" (in English) made an impressive stage show.
As guest stars there were the former winner Emmelie De Forrest (Denmark 2013 "Only Teardrops") and last year's Swedish performer Robin Bengtsson "I Can't Go On".
Author: Jack KnackertEmail: This email address is being protected from spambots. You need JavaScript enabled to view it.
Photographer, Journalist, Editor
My first Eurovision I watched was in 1987, Brussels. Since then I am following the ESC with great enthusiasm. The greatest fascination for me is the fact that the entire Europe is watching the show at that specific night. Since 2010, Oslo I am a member of the eurovisionlive.com team. I had the chance to witness the second German victory with Lena. My biggest wish would be to have the orchestra back, as it used to be until 1998.


text:
Ports Sea Transport Short Sea Road, Rail, Air Intermodal&Logistics
Commission recommends taxation of ports in Italy and Spain
Brussels - The European Commission has proposed, in two separate decisions, that Italy and Spain align their taxation of ports with State aid rules. The Commission remains committed to ensure a level playing field across the EU in this key economic sector
Ports - Ports - Regulation - Europe
Brussels - The European Commission has proposed, in two separate decisions, that Italy and Spain align their taxation of ports with State aid rules. The Commission remains committed to ensure a level playing field across the EU in this key economic sector. Commissioner Margrethe Vestager, in charge of competition policy, said: "Ports are key infrastructure for economic growth and regional development. That is why EU State aid rules provide ample room for Member States to support and invest in ports. At the same time, to ensure fair competition across the EU, ports generating profits from economic activities should pay taxes in the same way as other companies - no more, no less."
Cross-border competition plays an important role in the ports sector and the Commission is committed to ensuring a level playing field in this key economic sector. Ports carry out both non-economic and economic activities:
- non-economic activities, such as maritime traffic control and safety or anti-pollution surveillance, typically fall within the competence of public authorities. Such public remit activities are outside the scope of EU State aid control;
- the commercial operation of port infrastructure, such as providing paid access to the port, on the other hand constitutes an economic activity. EU State aid rules apply to these activities.
A corporate tax exemption for ports that earn profits from economic activities can provide them with a competitive advantage when they operate on the internal market and therefore involves State aid, which may not be compatible with EU rules. In Italy, ports are fully exempt from corporate income tax. In Spain, ports are exempt from corporate income tax on their main sources of revenue, such as port fees or income from rental or concession contracts. In the Basque Country, ports are fully exempt from corporate tax. In April 2018, the Commission informed Italy and Spain of its concerns regarding their regimes for the taxation of ports. The Commission takes the preliminary view that, in both Italy and Spain, the existing tax regimes provide the ports with a selective advantage that may breach EU State aid rules.
Today, the Commission has therefore invited Italy and Spain to adapt their legislation in order to ensure that ports, as from 1 January 2020, will pay corporate tax in the same way as other companies in Italy and Spain, respectively. Each country now has two months to react. The decisions today follow recent Commission decisions requiring the Netherlands, Belgium and France to abolish exemptions from corporate tax for their ports.
The tax regimes applicable to ports in Italy and Spain existed prior to the entry into force of the EU Treaty in these Member States. Therefore, these measures are considered as "existing aid" and their assessment is subject to a specific cooperation procedure between the Member States concerned and the Commission. For existing aid that is found to be in breach of EU State aid rules, beneficiaries are not required to reimburse aid received in the past. When existing aid appears to be in breach of EU State aid rules, the Commission, as a first step, informs the Member State about its concerns. In light of the reply, the Commission may then propose appropriate measures to bring the measure in line with EU State aid rules. Today's proposals to Italy and Spain are such second steps. If the Member States do not accept the proposals, the Commission may decide, as a third step, to open an in-depth investigation to verify the compatibility of the existing aid.
If the Commission concludes that the regime is not compatible with EU State aid rules, it may require the Member State to put an end to the aid scheme that distorts competition in the Single Market. In parallel, the Commission is also continuing its investigation into the functioning and taxation of ports in other Member States and will take the necessary steps to ensure fair competition between all ports in the EU. Removing unjustified tax advantages does not mean that ports can no longer receive State support.
Member States have many possibilities to support ports in line with EU State aid rules, for example to achieve EU transport objectives or to put in place necessary infrastructure investment which would not have been possible without public aid. In this regard, in May 2017, the Commission simplified rules for public investment in ports. As a result of the Commission extending the General Block Exemption Regulation to non-problematic investment in ports, Member States can now invest up to €150 million in sea ports and up to €50 million in inland ports with full legal certainty and without prior verification by the Commission.
The Regulation allows public authorities to, for example, cover the costs of dredging in ports and access waterways. Furthermore, EU rules enable Member States to compensate ports for the cost of undertaking public service tasks (services of general economic interest).
ALSO ON Ports
Tangier port to become Mediterranean's largest
"The Italian Ports Association at TL Munich 2019"/ GALLERY
Mariners set to strike at South African ports from Thursday
Two 20,000 teu COSCO megaships at Khalifa Port
Download the special magazine on transport and logistics for free
Dunkerque port views BRI as springboard to boost trade between France and China
Canadian farm exports run into Chinese wall amid diplomatic dispute
NCSP Group up 5%


text:
Introduction to Parkinson's Science/Q Page 40
< Introduction to Parkinson's Science
What are the symptoms of Parkinson's disease?Edit
This page needs revision because it follows on from
Introduction to Parkinson's Science/Q Page 2 and
Introduction to Parkinson's Science/Q Page 3 and is linked to from
Introduction to Parkinson's Science/Q Page 50.
It should be headed:
What are the other symptoms of Parkinson's disease?
Some of the material is worth preserving but probably elsewhere.
See Talk page.
Parkinson's Disease symptoms vary from patient to patient. They can come about in a number of ways:-
Dopamine deficiency Primary symptoms
Movement disorders arise through a reduction in the brain's capacity to manufacture a consistent supply of this neurotransmitter. Typical of these are uneven gait, stiffness, difficulty in maintaining balance, a resting tremor in the limbs or jaw.
Dopamine deficiency Secondary symptoms
These are derivative of primary symptoms.
For example drooling is the consequence of a build up of saliva in the mouth.
This is a consequence of a reduced rate of swallowing.
This is a consequence of reduced autonomic movements.
Side effects of therapy
An example is dyskinesia – uncontrolled jerking about of the heed and shoulders arising from prolonged use of levodopa.
Symptoms in the second two categories are treatable, even curable without recourse to dopamine replacement therapy. The implication for researchers is that it is worthwhile to evaluate indivdual symptoms, for diagnosticians that each PD patient should be treated as an individual rather than a phenotype, and for patients that all symptoms should be declared in order to optimse diagnosis and treatment.
The following list of PD symptoms is a synthesis from the following sources:-
Dr. Oliver Sachs Awakenings http://www.acamedia.info/literature/alexanders_feast/awakenings/excerpts.htm
Parkinson' UK	http://www.parkinsons.org.uk/default.aspx?page=9739
Web MD	http://www.webmd.com/parkinsons-disease/parkinsons-glossary
Michael J. Fox Foundation	https://www.michaeljfox.org/glossary.php
National Parkinson Foundation	http://www.parkinson.org/Parkinson-s-Disease/Glossary
Readers are invited to improve on individual entries.
A to ZEdit
Links to the symptoms of Parkinson's in alphabetical order:
F - G H I - L M - N O
P - Q R S T U - Z
(Click to go to table for editing)
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hello im new to unity and i got this eror on the consule: "ensure read/write is enabled at the partical system texture" can somone please help me figure out how to do it step by step?
Go to the texture being used for the particle system in your unity project folder, click on it, and in the inspector under the Advanced dropdown, you'll find a check box that says Read/Write Enabled. Check that box and apply the changes.


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Minnesota's state butterfly is scarce again this summer, a victim of two bad weather years in a row and the decline of caterpillar-sustaining milkweed in the landscape, experts say.
Counts of caterpillars, which transform into monarchs during the summer, are "the lowest we've ever seen," said Karen Oberhauser, a University of Minnesota professor who runs the Monarch Larva Monitoring Project.
But it's not just a problem in Minnesota.
"I don't think I've ever seen it as low as it is this year," said Chip Taylor, an ecology and biology professor at the University of Kansas who is also director of Monarch Watch, a research and educational organization, speaking of the monarch population across North America.
Indeed, an estimated 60 million monarchs spent the winter at their customary migration site in Mexico, but 350 million would be customary, said Elizabeth Howard, director of the tracking site Journey North. That's an 80 percent decline.
Monarch experts said that small coterie laid eggs on its return trip north this year, but the butterflies that hatched across the southern United States in early spring were hammered by drought in the south, then cold weather and lack of food the rest of the way north.
Waconia naturalist Jim Gilbert said he has seen only one monarch so far this year, in his own garden.
He saw none while working in a prairie area near St. Peter on Tuesday. Last year he saw thousands during the northward spring migration, but their offspring were decimated by summer drought before they could travel back south, Gilbert said.
Ordinarily, the distinctive butterflies, with gold-and-black wings trimmed with white specks, are common across the Minnesota landscape this time of year.
Aggressive suppression of milkweed in corn and soybean fields has removed a key piece of the monarch life cycle across much of North America, Oberhauser said.
"There's a strong correlation between the loss of milkweed habitat and loss of monarch numbers," she said.
Along with the drought in the second half of 2012, last year's unusually early spring and this year's unusually cold and wet one, monarchs are facing "the tragedy of a problem with many causes," she said.
Other insects down
Vera Krischik, a University of Minnesota entomology professor, added that the absence of monarchs is part of a larger, more disturbing picture. Honeybees, bumblebees, parasitic wasps and many other kinds of beneficial, pollinating insects — including other butterflies — are also noticeably absent this year.
Krischik, who is researching ways to blunt the declines under a grant from the Legislative-Citizen Commission on Minnesota Resources, said linden trees, which are in bloom this time of year, should be buzzing with pollinating insects.
She said she was "stunned" when she checked 30 trees Wednesday and found only a single painted lady butterfly.
"It's not just that there aren't monarchs. There's nothing there," she said.
Krischik said it's not just agriculture that has reduced the milkweed and other flowering weedy plants that pollinating insects need for nourishment.
She said it's also back-yard gardeners with a preference for flowering but sterile, non-seed-producing plants. Butterflies no longer can find as much food in a back yard as they once could, she said.
"We have met the enemy, and he is us," Krischik said.
'Butterfly gardens'
However, Howard noted that interest in "butterfly gardens" appears to be increasing, with people planting milkweed and other plants to attract a variety of pollinators.
Taylor's Monarch Watch has launched a program to encourage people to plant milkweed in their gardens.
Monarch populations have a history of wide fluctuations. A storm in January 2002 killed 80 percent of those overwintering in Mexico, but the population was near normal a little more than a year later.
"But we're never going to see monarchs like we did, say, in the 1990s," Taylor said. "We've lost too much habitat."
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Tema, June 18, GNA - The photo taking exercise for voters took off smoothly in the Tema area, except few hitches at some polling centres visited by the Ghana News Agency.
While laminators at three polling centres complained that they were not supplied with rollers and that they were using their thumbs to fasten laminations, other centres also complained of having only laminators and cameramen without sorters.
The centres, which made the complaints, included the Community One Police Station and Padmore One and Two areas.
As at 0920 hours, the Tema Community One Police Centre had taken the photographs of 68 persons while Mount Zion One and Two centres in Community Three had recorded 18 and 20 photographs, respectively, as at 0755 hours.
At Padmore One and Two centres, 201 persons and 120 persons, respectively, had their photographs taken by 1700 hours with people still trooping in.


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Q: Python Azure Function remote debugging Is there any way, with any IDE or tool, to remotely debug a Python Azure Function?
It is possible to run a local emulator and use a debugger with VS Code, but my requirement is to attach a debugger to a published Function.
This can be done for the .NET runtime using Visual Studio, but I found no reference stating how to achieve the same in Python.
Any help is appreciated.

A: Under configuration and general settings in our Azure Function App, we have an option to enable remote debugger.

After publishing the function, we can attach the debugger from Visual Studio.
Have a look on the blog to check the process for attaching the debugger and interacting with Cloud Explorer.
Also, we can achieve this from PyCharm IDE as well. For more insights refer to these steps.

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