text:
Een drukpers was oorspronkelijk een handmatig werktuig dat gebruikt werd om teksten of afbeeldingen in oplage te vermenigvuldigen. De oudste drukpersen maakten afbeeldingen voor speelkaarten. Deze waren omstreeks 1050 in China in gebruik. De eerste Europese drukpersen ontstonden rond ongeveer 1350 in Oostenrijk.

Losse letters
Rond 1450 werd in Zuid-Duitsland voor het eerst gebruikgemaakt van losse letters om teksten te vormen die dan afgedrukt konden worden; dit staat bekend als de boekdrukkunst. De man die beroemd werd met deze innovatie was Johannes Gutenberg. Zijn bekendste werk is de Gutenbergbijbel. Zuid-Duitsland, Bazel en Venetië waren in de periode 1470-1550 de belangrijkste centra voor gedrukte werken. Er waren veel verschillende drukkers actief en de onderwerpen van het gedrukte werk liep zeer uiteen.

De drukpers heeft de verspreiding van informatie een nieuwe dimensie gegeven, doordat informatie nu breed toegankelijk werd. Tot dan waren alle boeken handgeschreven en dat was zeer kostbaar en tijdrovend. De renaissance kreeg een extra impuls door de uitgaven van klassieke werken voor een breed publiek.

Techniek

Het oudste type drukpers in Europa is de degelpers. Deze bestaat uit een stellage van een onderplaat waar de drukvorm op ligt en een bovenplaat (degel). De drukvorm wordt met de hand ingeïnkt. Vervolgens wordt een vel papier op de drukvorm gelegd. De degel kan met behulp van een spindel omlaag gedraaid worden tot op de drukvorm. Door het tegen het papier drukken van de degel wordt de afdruk tot stand gebracht.

In de loop der eeuwen is de degel gemoderniseerd. Later werden cilinderpersen en rotatiepersen ontwikkeld waardoor de productiesnelheden enorm toenamen. In de twintigste eeuw kwam het offsetprocedé in zwang. Daarnaast bestaan persen voor foliedruk, diepdruk, zeefdruk en tampondruk.

De oudste Europese drukpersen zijn te bezichtigen in het Plantin-Moretusmuseum in Antwerpen en het Industriemuseum in Gent.

Galerij

Zie ook
 druktechniek
 boekdrukkunst
 Vrijheid van drukpers

Druktechniek
Kopiëren

redpajama_set_name: RedPajamaWikipedia


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We are happy to accommodate any dietary restrictions, allergies and preferences. Menus are subject to change due to seasonality and availability of the best quality ingredients.
Chef's Notes: With the approaching Chinese New Year on February 5th, we thought it appropriate to present our first course in the form of a dumpling and the ushering of good luck upon those that eat it. Luck would also have it, that it is mushroom time on the Northern California coast and with that comes the king of mushrooms, the Porcini. Bringing these two together in a silky dumpling filled with rich and succulent porcini custard. Set afloat in a deeply flavored parmigiano broth teeming with roasted mushrooms and topped with shaved bonito, we couldn't think of a better way to say Gung Hay Fat Choy!
Chef's Notes: Some things that have worldwide appeal sometimes fall short of the shores of the United States or its popularity comes on a bit slower. Soccer (er. Football), Gangnam Style, K-Pop, Formula 1, and Celine Dion (?) have never really been embraced here quite the way they are elsewhere. The same can be said for the humble Barramundi fish. Firm and delicately textured, this fish has been prized for ages by the people of the South Pacific, but it's popularity to the American dining public is on the rise. Here we pan roast and butter baste this lovely delicacy placing it atop braised agrodolce radicchio and finish it with a rich truffle and black trumpet sauce. Can't say it'll be headlining Vegas, but it's putting on a great show this month at The Kitchen.
Walk around. Visit and sample at chef stations.
Enjoy our garden patio. Relax by the fire.
Chef's Notes: With Valentine's Day falling firmly in the middle of our Late Winter Menu, we think of blush on the cheek when a little romance and emotion are concerned. In fact, Charles Darwin stated in his book 'The Expression of the Emotions in Man and Animals' that blushing… "(is) the most peculiar and most human of all expressions". While our cheeks our rosy, let us have some that are tender. Heirloom pork cheeks braised to succulent peak then crisp fried and tossed with black garlic and tamarind. Nestled atop a creamy celery root remoulade finished with a hint of mustard, we have something else you might fall in love with.
Chef's Notes: The warmth of the holidays is over, and the chill of late winter is taking hold. Thoughts of warm summer evenings with friends and family dining languidly over meals of grilled meats and garden-fresh tomatoes fill one's mind…well it did ours too. So here is our winter version of that summer meal. Rich Montana beef is braised then grilled crispy and tender then bathed in a sun-dried tomato jus. Playing foil to this is delicately light potato gnocchi finished with a hint of rosemary. We can't have the summer nights yet, but at least we can eat like one.
Chef's Notes: We believe the saying goes, 'the way to a man's heart is through his stomach', but we all know the way to a woman's heart is through dessert. To distill this even further, chocolate and caramel hold a very special place, or so it's been our experience. With this and Valentine's Day in mind we offer our Dulcey chocolate tarte. Set off with flavors of salted caramel and brown butter with high notes of blood orange, what better way to express our love. Bon Appetit!


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Eutropia (daughter of Constantius I)
daughter of Constantius I
Eutropia (died 350) was a Roman woman of the Constantinian dynasty (a line of rulers who governed the Roman Empire during Late Antiquity).[1] Eutropia was the daughter of the Roman emperor Constantius I, the half-sister of the emperor Constantine the Great, and the mother of Nepotianus.[1] Eutropia's mother was Flavia Maximiana Theodora, the wife of Constantius I.[2]
Nobilissima femina
Flavia Valeria Eutropia
Flavia Julia Eutropia
c. 295–306
Virius Nepotianus
Nepotianus
Constantinian dynasty
Constantius I
Flavia Maximiana Theodora
Eutropia was written about by the Roman historians Eutropius, Aurelius Victor, and Zosimus.[1] The bishop Athanasius knew her and also wrote about her.[1][3]:53
1 Birth and early life
3 Widow
5 Related pages
Birth and early lifeEdit
Eutropia was born after her parents married in late 289. Eutropia's father was Constantius I, who was made an emperor in 293. Eutropia's mother was Theodora. Theodora was the daughter of the emperor Maximian and his wife, who also had the name Eutropia. Eutropia had an older half-brother, Constantine the Great, and five other full siblings, the other children of Constantius and Theodora.
Constantius's and Theodora's children were probably born after 295 and before 306.[4] Theodora may have given birth to Eutropia after the year 300.[4] Eutropia might have been her parents' youngest child.[4]
Eutropia's full name may have been the Latin: Flavia Valeria Eutropia, although it may have been Flavia Julia Eutropia.[5]:79–87 She probably had the title in Latin: nobilissima femina, lit. 'most noble woman'.[5]:79–87 This was a title women of the emperor's family normally had.[5]:79–87 The emperor Constantius died in 306. Constantine then became an emperor.
There is no evidence that any of Constantius's daughters married before their father died.[4] Eutropia's sister Constantia may have been the first to marry, and may have been the oldest of the siblings. She married in 313.[4] Their sister Anastasia married in 316.[4] Eutropia herself probably married by the early 320s, if she married the Roman consul of 336.[4]
MarriageEdit
Eutropia probably married Virius Nepotianus.[1] He was Roman consul in the year 336.[1] Eutropia's father was probably dead by the time she married, so her half-brother Constantine, now emperor, probably arranged her marriage.[6] The choice of Eutropia's husband was probably for political reasons, just as Constantia's marriage to Constantine's co-emperor Licinius in 313 was for reasons of political strategy.[7]:191
Virius Nepotianus may have died in 337, the year Constantine the Great died.[8] (After the emperor died, many people in Constantine's family killed one another in summer 337.)[8] Eutropia survived because the emperor Constantius II did not kill the women in the family.[8] The fact that Eutropia continued to live means that Ammianus Marcellinus was wrong when he wrote that Constantius II had killed everyone in his own family.[9] The only other members of the family to live through the killings of 337 were Eutropia's nephews Constantius Gallus and Julian.[9]
At some time after her wedding, Eutropia was probably the owner of a ship.[5]:79–87 A sign made of bronze that has been in the library of the Department of Classics at Harvard University since 1961 might have come from the ship.[5]:79–87 It was probably a "No Trespassing" sign. Its purpose was to keep people off the ship and to show that the ship was Eutropia's property. The bronze sign came from Ostia, the port of Rome, and the ship was possibly used for the transport of grain supplies to the capital city. The ship may also have been a barge on the Tiber River (the river that connects Ostia with Rome) or a boat used for private leisure.[5]:79–87
The sign says that the ship was the property of "Flavia Valeria Eutropia nobilissima femina". The Latin: nobilissima femina means "most noble woman", and women from the emperors' families used this title.[5]:79–87 Because there are only two women named Eutropia in emperors' families, the ship very probably was the property of either Eutropia herself or her grandmother, Eutropia (wife of Maximian). The bronze sign is the only evidence for the name "Flavia Valeria Eutropia".[5]:79–87 It reads:
This ship (is the property) of Flavia Valeria
Eutropia, the most noble lady,
and of her sons.
Read and go away.
navicula fl·val
evtropiae nob fe
m·et·filiorum eius
lege·et·recede
The bronze sign says that the ship was the property of Eutropia "and her sons" (or "and her children"). If the ship was the property of Eutropia the daughter of Constantius I, then the sign shows that she had more than one child.[5]:79–87 No-one knows when Eutropia's son Nepotianus was born. He is probably one of the children of Eutropia the bronze sign speaks of.[5]:79–87 Because no-one killed Eutropia's son Nepotianus in 337, it may be that Eutropia had not yet given birth to him at that time.[9]
WidowEdit
Eutropia lived in Rome for a long time, and both Athanasius and Zosimus wrote that she met Athanasius in Rome in the 340s.[10]:298 Eutropia may have given Athanasius political help when he came to Rome in late 339.[11] He made a pun on her name, saying she was "the aptly named Eutropia" because the name "Eutropia" comes from the Greek: εὔτροπος eútropōs 'morally good'.[3]:254 Athanasius says that Eutropia was among those people who helped him in Rome, saying that she "received us nobly".[3]:53
In the 5th century, Jerome wrote that Athanasius came to Rome to speak to powerful Roman women about the monks and monasteries in the desert of Roman Egypt.[3]:53, 254 Jerome wrote that this was the start of monasteries in the west of the Roman Empire.[3]:53, 254 This is probably not true, but Athanasius probably did lobbying with Eutropia and others to try to get back political power in the Christian Church.[3]:53, 254 Eutropia was a woman in the emperor's family, so Athanasius will have tried to get help from her when he was in Rome between 339 and 342.[3]:53
Athanasius's writing may mean that Eutropia was a representative of the Constantinian family in Rome.[10]:298 Women from the emperor's family often represented the emperor in Rome, because the emperor was not often in the city.[10]:298 Eutropia lived in Rome at the same time as Constantina, Constantine's daughter, who lived in Rome from 337 to 351.[10]:298
DeathEdit
When Eutropia's half-nephew, the emperor Constans I died, Eutropia's son Nepotianus made an attempt to be emperor himself.[10]:298 Nepotianus took the emperor's title "Augustus" (Latin: augustus) in 350.[12] Magnentius, who had killed Constans, soon killed Nepotianus.[10]:298
Women in the Roman dynasties usually depended on the lives of the men in their family.[8] Magnentius probably killed Eutropia in Rome – she died soon after her son Nepotianus died.[1][3]:53 Athanasius wrote about her death.[1] Athanasius was also friendly with Magnentius's representatives.[11] This may mean he was not in fact friendly with Eutropia and Nepotianus.[11]
When Magnentius was dead, Athanasius said to Constantius II in a speech that he had never written friendly letters to Magnentius.[3]:53 He says Eutropia was Constantius's "aunt of blessed memory".[1][3]:53 Athanasius said he had no reason to write to Magnentius, because Magnentius had killed many of Athanasius' friends.[3]:53 Athanasius asks rhetorical questions of Constantius, asking how Athanasius could have written to Magnentius after Magnentius had done so much against him and his friends:
What sort of opening would I affix to my letter if I had written to him? 'Congratulations on murdering the one who honored me, whose favors I can never forget'? 'I welcome your killing of my friends who were very firm and devoted Christians'? 'We admire your slaughter of those who received us nobly in Rome, the emperor's aunt of blessed memory, the aptly named Eutropia, Abuerius that noble man, the faithful Sperantius, and many other good men'?
ποῖον προοίμιον τῆς ἐπιστολῆς ἔτασσον γράφων αὐτῷ; ὅτι ‹τὸν τιμῶντά με, οὗ τῶν εὐεργεσιῶν οὐκ ἄν ποτε ἐπιλαθοίμην, τοῦτον φονεύσας καλῶς ἐποίησας, καὶ ἀποδέχομαί σε τοὺς γνωρίμους ἡμῶν Χριστιανοὺς καὶ πιστοτάτους ἄνδρας ἀνελόντα, καὶ θαυμάζομέν σε σφάξαντα τοὺς ἐν Ῥώμῃ γνησίως ἡμᾶς ὑποδεξαμένους›, τὴν μακαρίαν σου θείαν τὴν ἀληθῶς εὔτροπον καὶ Ἀβουρήιον τὸν γνήσιον ἐκεῖνον καὶ Σπειράντιον τὸν πιστότατον καὶ ἄλλους πολλοὺς καλούς;
—Athanasius of Alexandria, Defense before Constantius, 6.5[13] —Athanasius Alexandrinus, Apologia ad Constantium imperatorem, VI:5[14]
Related pagesEdit
Anastasia (daughter of Constantius I)
↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 Jones, A. H. M.; Martindale, J. R.; Morris, J. (1971). "Eutropia 2". The Prosopography of the Later Roman Empire: Volume 1, AD 260–395. Cambridge University Press. p. 316. ISBN 978-0-521-07233-5.
↑ Kienast, Dietmar; Eck, Werner; Heil, Matthäus (2017) [1990]. "Constantius I. (1. März 293– 25. Juli 306)". Römische Kaisertabelle: Grundzüge einer römischen Kaiserchronologie (in German) (6th ed.). Darmstadt: Wissenschaftliche Buchgesellschaft (WBG). pp. 269–271. ISBN 978-3-534-26724-8.
↑ 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 Barnes, Timothy David (2001) [1993]. Athanasius and Constantius: Theology and Politics in the Constantinian Empire. Cambridge, MA: Harvard University Press. pp. 53, 101, 254. ISBN 978-0-674-00549-5.
↑ 4.0 4.1 4.2 4.3 4.4 4.5 4.6 Potter, David (2013). Constantine the Emperor. Oxford University Press. pp. 63–64, 321. ISBN 978-0-19-023162-0.
↑ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 Hammond, Mason (1964). "Three Latin Inscriptions in the McDaniel Collection". Harvard Studies in Classical Philology. 68: 79–97. doi:10.2307/310799. ISSN 0073-0688.
↑ Odahl, Charles Matson (2010) [2004]. Constantine and the Christian Empire (2nd ed.). London and New York: Routledge. p. 264. ISBN 978-1-136-96128-1.
↑ Salzman, Michele Renee (2002). "The Emperor's Influence on Aristocratic Conversion". The Making of a Christian Aristocracy: Social and Religious Change in the Western Roman Empire. Cambridge, Massachusetts; London: Harvard University Press. pp. 178–199. doi:10.2307/j.ctvk12r62.9. ISBN 978-0-674-01603-3.
↑ 8.0 8.1 8.2 8.3 Harries, Jill (2012). Imperial Rome AD 284 to 363: The New Empire. Edinburgh University Press. p. 258. ISBN 978-0-7486-5395-9.
↑ 9.0 9.1 9.2 Lovén, Lena Larsson; Harlow, Mary (2012). Families in the Roman and Late Antique World. New York: A&C Black. p. 188. ISBN 978-1-4411-7468-0.
↑ 10.0 10.1 10.2 10.3 10.4 10.5 McEvoy, Meaghan (2020). "Imperial Cities Under the Sons of Constantine". In Baker-Brian, Nicholas; Tougher, Shaun (eds.). The Sons of Constantine, AD 337–361: In the Shadows of Constantine and Julian. Cham: Springer International Publishing. pp. 275–307. doi:10.1007/978-3-030-39898-9. ISBN 978-3-030-39897-2.
↑ 11.0 11.1 11.2 Hanson, R. P. C. (2005). The Search for the Christian Doctrine of God: The Arian Controversy 318–381 AD. A & C Black. p. 269. ISBN 978-0-567-03092-4.
↑ Bleckmann, Bruno (2006). "Eutropia 2: Half-sister of Constantine". In Cancik, Hubert; Schneider, Helmuth; Salazar, Christine F.; Landfester, Manfred; Gentry, Francis G. (eds.). Brill's New Pauly (Online ed.). Brill.
↑ Barnes, Timothy David (2001). Athanasius and Constantius: Theology and Politics in the Constantinian Empire. Cambridge, MA: Harvard University Press. p. 53. ISBN 978-0-674-00549-5.
↑ Brennecke, Hanns Christof; Heil, Uta; Stockhausen, Annette, eds. (2006). "Apologia ad Constantium". Athanasius Alexandrinus: Apologia ad Constantium / Epistula ad Ioannem et Antiochum / Epistula ad Palladium / Epistula ad Dracontium / Epistula ad Afros / Tomus ad Antiochenos / Epistula ad Jovianum / Epistula Joviani ad Athanasium / Petitiones Arianorum. Berlin: De Gruyter. doi:10.1515/9783110924046. ISBN 978-3-11-092404-6.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Eutropia_(daughter_of_Constantius_I)&oldid=7966514"

redpajama_set_name: RedPajamaCommonCrawl


text:
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text:
Featured / News / R&B News
Update: Dallas Austin Pleads Guilty To Drug Charge
by Singersroom July 2, 2006 January 1, 2016
Grammy-winning R&B producer DALLAS AUSTIN, who has worked with MICHAEL JACKSON, TLC, PINK and MADONNA, has pleaded guilty to possessing cocaine in Dubai according to the Associated Press. Austin told the judge he had made a mistake and did not mean to break the law in the United Arab Emirates. He could face up to four years in jail when he is sentenced on Tuesday. Austin was arrested at Dubai airport last month and has pleaded guilty to possessing 1.26 grams of cocaine. Austin, from Columbus, Georgia, made his name producing hits for Boyz II Men and won a Grammy for best R&B album in 1999 for producing TLC's Fanmail.
TaggedDallas AustinMichael Jacksonpinktlc
Gym Class Heros – New Friend Request
Alicia Keys Mentioned in Bob Dylan Song
Mary J. Blige, Solange Support Gabby Douglas, more at 'Women of the Year'
No Grapes For Usher: Closes Atlanta Wine Bar, Hits Studio with Pharrell
Alexandra Burke On Top of UK Charts, Leona Lewis & Beyonce Follow
[Premiere] R&B Newcomer Sonne Riley Shines A Light On Suicide In 'Want Love' Video
Mario Readies New Album: "Don't Expect Anything You've Heard Before!"
October 10, 2008 January 1, 2016
Rihanna Newest Ambassador For Home-Country, Barbados


text:
Woman's body found stuffed inside suitcase in New Delhi
Updated: Jan 09, 2019, 17:14 IST | PTI |
The trolley bag was found abandoned near the canal at Dharamshila Road. The body had sharp injuries
New Delhi: The body of an unidentified woman, who apparently had tattooed "Mohit" in Hindi on her right hand, was found stuffed inside a suitcase near Kondli canal in east Delhi's Ashok Nagar area, police said Wednesday.
The trolley bag was found abandoned near the canal at Dharamshila Road. The body had sharp injuries, Deputy Commissioner of Police (east) Panjak Singh said. He said a tattoo mark with "Mohit" in Hindi was found written on her right hand. A case has been registered at the New Ashok Vihar Nagar police station and the matter is being probed, the DCP said.
The body has not been identified yet, police said, adding they are also scanning through profiles of missing women registered at local police stations. Since no CCTV cameras have been found at or near the spot, it is not known who would have dumped the bag, he said.
The body has been preserved in a mortuary and will be sent for post-mortem, police said. An investigation is underway.
In a similar case, a 40-year-old woman was found dead and her 18-year-old daughter found unconscious inside their residence in the Shantinagar locality here Sunday, police said. The body of the victim bore strangulation marks, Circle Officer Yogender Kumar said. The husband of the deceased was not at home when the incident took place, Kumar said.
new delhimurder caseCrime Newsnews
Pregnant woman's body found stuffed in suitcase
Nitin Gadkari urges industry to cash in on new expressway projects
Cabinet approves raising of upper limit for permitting abortions to 24 weeks


Born in Dunfermline, Scotland, Alexander Ross came to the United States at the age of three. With early ambitions to be an industrial designer, he studied nights for two years under Robert Leper at the Carnegie Institute of Technology in Pittsburgh, Pennsylvania.
Otherwise self-taught, Ross got a job in the Rayart Studios in Pittsburgh. From there he progressed to Pitt Studios, and then to the Charles E. Cooper Studio in New York. Two years later, he sold his first cover design to Good Housekeeping magazine. This was followed by a total of 130 cover paintings over the next twelve years. In the meantime, he was doing editorial illustrations for most of the national magazines, including Collier's, The Saturday Evening Post, The Ladies' Home Journal, and Cosmopolitan. He illustrated several books, among them Saints; Adventures in Courage for Doubleday and Company.
Ross painted many experimental pictures in watercolor and in mixed media, exhibited regularly, and was a member of the American Watercolor Society and the Fairfield Watercolor Group.
His awards included the Ranger Fund purchase prize, the Saxe Foundation award, and the Connecticut Watercolor Society award. His work is represented in the U.S. Air Force Art Collection, the New Britain Museum of American Art, the Mattatuck Museum, the National Academy of Design, and in many private collections.
In 1953, he was awarded a Master of Arts honorary degree by Boston College.


text:
Home Company Profile Online Condolences Personal Selections Our Services Resource Center
A memorial service is a service without the body present and can vary in ceremony and procedures according to the community and religious affiliations. Some families prefer public visitations followed by a private or graveside service with a memorial service later at the church or funeral home.
Because the body is not present at the memorial, disposition may take place either before or after the service. You can hold a memorial service instead of a funeral, or in addition to it. For instance, you might have a funeral in the town where the person lived and died, and a memorial service later in the town where he/she grew up.
More and more, families are choosing to have the cremated remains present with a nice selection of photographs depicting the life of the person being remembered. Audio visual presentations are also becoming more popular and we would be pleased to assist with these arrangements.
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This set from the late singer-songwriter and producer collects tracks cut for his own LHI label. His biggest hits as a songwriter were behind him, but Hazlewood still had plenty of weirdo ambition.
Lee Hazlewood is hard to categorize. With his eerie baritone and ear for trippily reverbed vocals, he mingled orchestrated pop and Laurel Canyon folk, a bit like Serge Gainsbourg singing country and western or Leonard Cohen gone bubblegum. He was never quite as overtly sexual as his French contemporary nor as overtly Biblical as his Canadian peer, but possessed an equally singular vision of pop music, which, 40 years after his heyday, makes his songs immediately distinctive and identifiable. But Hazlewood's solo career was overshadowed by his collaborations, first with Duane Eddy and most famously with Nancy Sinatra. He wrote and produced her biggest hits-- "These Boots Are Made for Walkin'" and "Some Velvet Morning"-- and even recorded a few duets with her, like Porter & Dolly for the Sunset Strip. During the mid-1960s, their partnership made her a star in her own right, although she would always be known as Frank's daughter. After they parted ways, Hazlewood released a string of comparatively minor hits on his own LHI Records, and while he never achieved the same level of success he enjoyed with Nancy, he never lost his weirdo ambitions.
Assessing his legacy is just as difficult as pinning down his sound. Hazlewood remains a curio, with neither the influence that Phil Spector continues to assert nor the cultish cachet of someone like Van Dyke Parks. Instead, he's just one of those oddballs floating around the pop periphery, with a surprisingly large catalogue that's more dark corners than known quantities. That makes him a perfect subject for a compilation like Light in the Attic's Nudes, Singles & Backsides, which culls from three years of his career and only scratches the surface of his repertoire. Compiling seventeen tracks from his lesser-known LHI output in the late 1960s and early 1970s, it shows him working well within the Nancy/Lee concept, often using a female counterpart to offset his own vocals. Much like Gainsbourg, he envisions pop songs less as monologues and more as dialogues between men and women. Nudes is heavy on duets, and while there's no Nancy here, there is Ann-Margret, still so full of blustery femininity on "Sleep in the Grass"; Nina Lizell, embodying European mystique on "Leather and Lace"; and Suzi Jane Hokom, barely distinguishing herself on "Nobody Like You".
And there's Hazlewood himself, presiding over everything with that disarmingly low voice of his, so lonesome in this cavernous production. The man had a sense of humor-- check out that album cover-- but didn't always let it show in the songs, which tend to be straightfaced and self-serious. That's not necessarily a dig, especially when "Victims of the Night" evokes a surreal Golden State desert landscape and "Califia (Stone Rider)" shifts tempo into an exquisitely blissed-out coda. A meditation on lost love that verges on the suicidal, "The Bed" proves he could write a sadsack country song with the best of them, and he could invest a line like "I've learned to pay the paperboy on time" with immense melancholy. But occasionally his lyrics jump on a premise and ride it like a rodeo bull. "If It's Monday Morning," which sounds like a response song to Kris Kristofferson's "Sunday Morning Coming Down", repeats itself rigidly, turning a potentially intriguing hook into a tedious refrain.
Most rewardingly and remarkably, Nudes, Singles & Backsides manages to present a fairly detailed portrait of an artist who found himself suddenly back on the pop music margins. But he continued to conceive of new shapes for pop songs, and his struggle to adequately and accurately express himself through the music of his time illuminates this collection and compensates for the almost comically grave spoken-word passages and the occasional clunky line. This compilation won't raise Hazlewood beyond his cult status, but maybe that's where his songs are best heard.


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Written by way of a crew of well known members and thoroughly edited to handle the subjects laid out through the editors of their advent, the publication contains theoretical concerns about the questions of aesthetics and politics and addresses urban and concrete options in the basic critique of the "post-political". by way of focusing on particular case reports from Warsaw, Barcelona, Dubai, Tokyo and lots of extra the e-book consolidates the contributions of a various workforce of lecturers, architects and critics from Europe, the center East and America.
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Literary studies: general
Writing Fundamentalism PDF
by Axel Staehler, Klaus Stierstorfer
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Given its discursive amplification and its very real impact on contemporary societies, fundamentalism has become the focus of much scholarly attention. However, whereas it is commonly recognized to be centred on texts, the complex and at times paradoxical relationship of fundamentalism with literature remains as yet largely unexplored. Based on new research by an international team of scholars working in the fields of literary and cultural studies, the essays gathered in this volume are based on a number of theoretical frameworks and debates and open up a historical perspective which engages critically with received notions of fundamentalism: by exploring literary representations of fundamentalisms and the function of literature in fundamentalism, they enquire into the underlying generic differences and incompatibilities as well as - perhaps more unexpected - the similarities and affinities between fundamentalism and literature.
Opening up a historical perspective reaching back to the early sixteenth century, concepts of fundamentalism as a response to exclusively modernist tendencies since the beginning of the twentieth century are challenged in this volume and several contributors begin to explore the rise of fundamentalisms at various points in history characterized by the crisis experience of cultural change. While taking this conceptual base as a point of departure, the articles collected here then spread out on a plurality of theoretical frameworks. Alert to the productive friction between these discourses, which it aims to elicit, the volume confronts earlier research in the disciplines of theology, history of religion, sociology, political history, anthropology and - if less copious - literary studies with postcolonial and cultural studies.
With its general focus on writing in English, including American and British literatures as well as the "new" literatures in English worldwide, the collection takes into account cultural and historical affinities and differences which have contributed to the ongoing negotiations of fundamentalism and literature in the English language and transcends borders of both nations and academic disciplines. In exploring new perspectives on fundamentalism and literature, the volume offers tools for a better understanding of this interrelation which should be of interest to scholars across all disciplines concerned with fundamentalism as a social and cultural phenomenon of ever growing global importance and impact.
Publisher:Cambridge Scholars Publishing
Religious & spiritual fiction
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Tag Archives: leaves
DVD Review: Winter's Bone
Isn't it helpful when reviews compare a new film to something you've previously seen? Lots of writers have something resembling a "if you liked that you'll like this" feature. It's impossible to keep constantly clued up so to find out Pirates of the Caribbean 4 is a lot like Pirates of the Caribbean 3 is a real time saver.
Seriously though what about when those comparisons are technically true but grossly misleading? It's not really constructive to recommend Pixar's Cars to someone who liked the revving, neon lighting and cheerleaders of The Fast and the Furious. Black Swan and Step Up are both about dancing but poles apart. Forced similarities are far from enlightening.
Bear that in mind when I tell you Winter's Bone is like Hot Fuzz. It's set in a close knit rural community. It's about crime. It turns out that all the locals are part of a sinister conspiracy to protect the "greater good", covering up murder most foul. The police are dodgy and probably in on it. A few characters have "great big bushy beards".
Things happen in Hot Fuzz though. Apart from the above similarities, which made me long for Pegg and Frost blowing Wells to bits, Winter's Bone is Hot Fuzz's complete opposite in tone, style and substance. There is not a single laugh in it. Instead of explosions and comical supermarket shootouts, we get moody trudging through woods and a drug dealing lumberjack casually smashing in a windscreen with an axe. Instead of Nick Frost pretending to stab himself in the eye we get sombre, faultless acting.
Winter's Bone is arty and managed to get enough critics gushing to earn Oscar nominations. It's beautifully shot, showcasing one of the faces of America rarely given an outing at the multiplex; a bleak, rough and timber strewn existence. We follow Ree, convincingly played by Jennifer Lawrence, on her mostly far from fruitful quest to find her meth cooking Dad, who has skipped bail, jeopardising the family home. She stalks about a neighbourhood dependent on nature, trekking through the crunchy undergrowth to have uninformative conversations with an assortment of stripy shirted chaps playing earthy music. Her walking about the place is almost like a mind blowing and oh so subtle metaphor for her struggle through social convention for the truth and justice.
This is a film that will delight a certain audience, whilst sending others into a coma. I fell somewhere between the two views, partially numbed by the pedestrian pace but appreciative of the acting and cinematography. The drama is always of the dreary variety, except for one harrowing and emotional scene. I will try to avoid spoilers, but up until this point Ree appeared to be hardened beyond her years and unattached to her fugitive father. When she's asked to carry out a gruesome task no daughter should ever have to do (relating to the film's title) we see that she is merely a brave child underneath it all, scraping by.
Unfortunately Winter's Bone doesn't have enough of these genuinely moving moments to be engaging. It is atmospheric and pretty in its own way. Some will think sunbeams of quality shine from its every orifice. But I'd rather watch something less pretentious. Give me the silly satire of narrow minded communities in Hot Fuzz any day.
Tagged "if you like that you'll like this", acting, action, adaptation, America, and, arty, bail, banjo, basic, bleak, Blu-Ray, Bone, cinema, Community, compare, comparison, conspiracy, convention, cooking, corrupt, country, cows, crime, cut off, Dale, Debra, Dickey, director, dreary, Drop, dull, DVD, earthy, email, existence, family home, farm, Festival, film, films, Flickering, Frost, fuzz, Granik, greater good, gruesome, hands, Hawkes, Hollywood, hot, jail, Jennifer, John, justic, kids, Lawrence, leaves, Liam, Love Film, metaphor, meth, Missouri, movie, movies, multiplex, music, myth, nature, Nick, nominations, not much happens, novel, Oscars, Pegg, police, pretentious, primitive, rarely, raw, Real, redneck, Ree, Review, reviewer, script, secret, shirt, similar, Simon, Snake, Social, stripy, struggle, subscribe, Tear, thoughts, timber, trees, Trim, trudge, truth, tv, unseen, Verdict, violence, walking, Western, Winter's, woods, writer
Roman's next move could topple his Chelsea Empire
It surely can't be the same season and yet it is. Chelsea began this campaign steamrolling the opposition and notching up impossible scores. Drogba and Anelka and co were unstoppable. But this weekend Chelsea crashed out of the FA Cup, the one trophy their fans must have been counting on their team to comfortably retain. The coming week is make or break for the blues as they take on Copenhagen in the Champions League. After letting slip the Premiership to a way below par Manchester United side and an Arsenal team still in development, Chelsea's only hope for silverware this term is in Europe. Carlo Ancelotti started this season as if he could do no wrong after reclaiming the title for the London side after a 3 year stay in Manchester, but it would seem he has to win the trophy Chelsea owner Roman Abramovich has always coveted and never won to keep his job.
Indeed it feels as if Abramovich's tenure as Chelsea owner has reached a sort of tipping point. The unspoken fear around Stamford Bridge has always been what if the big Russian tires of his English plaything and leaves the club. It was the one consoling thought for many football fans as they watched Chelsea steadily ascend to the heights of world football; that the situation was unstable and one day Chelsea would crash and burn. It's been said again since unfathomable amounts of oil money were ploughed into Manchester City. But so far Roman's defied the expectations and hopes of the doubters, and continually funded his club. He's proved the role model and catalyst for countless other investors to take the leap into English football. And thanks to Roman's success and commitment, fans have even started welcoming benefactors in lots of cases.
Since the departure of the Special One however, Abramovich's record with managers has been poor, with Ancelotti the only real success, besides Hiddink who was a temporary measure. And the chopping and changing of managers has disguised the relentless decline of the club's squad. Once unbeatable and prized assets like Drogba, Lampard and Terry are ageing and no longer capable of consistent greatness. Once again Roman dipped into his vast wealth to try and resurrect his empire during the transfer window. Fans might have been reassured by this continued investment and the arrival of Torres and Luiz. But the Spaniard from Liverpool is yet to ignite and is not a long term solution. David Luiz displayed commanding defensive ability and sublime passing on his full debut against Fulham, alongside experienced Terry at centre back. It will take a whole clutch of young signings like Luiz to rejuvenate a Chelsea squad that has been neglected and has become predictable.
Ancelotti is coming under considerable fire of late for his tactical decisions. There's no doubting that he is playing far too narrow through the midfield and into the hands of opponents that no longer see Chelsea's defence as invincible. He's certainly trying too hard to accommodate Torres without thinking first of the need for results and team chemistry. But in many ways Ancelotti is limited by his squad, a group of players he had little hand in selecting. There are an abundance of central midfield players in the Chelsea team, all of them quality players, and Ancelotti is trying to play to his strengths.
The danger is that Abramovich will simply sack another top class coach and there will once again be a period of upheaval. There's an unquestionable need for change and fresh legs at Chelsea, but this will be best managed through continuity as well. It's a real shame that the pressures of modern football and the heavy egos of club owner's mean that managers no longer get time to shape a side to their vision. If Roman Abramovich is truly serious about winning the Champions League, and establishing Chelsea as a long term force at the top of football, he'll keep faith in a manager who's already proven himself and back him with the resources he needs. Top coaches deliver with time as Alex Ferguson proves. Take a reactionary axe to his management team as well as his squad and Roman might see his football empire crumble into mediocrity.
Tagged 0-0, Abramovich, ageing, Ancelotti, Arsenal, article, Avram Grant, backing, billionaire, blog, Carlo, CaughtOffside, Champions League, change, Chelsea, coaches, continuity, David, defence, disappointing, Drogba, England, Europe, Everton, FA Cup, failure, football, Fulham, goal, Hiddink, Jose, Lampard, leaves, Luiz, Man City, Man Utd, managers, Money, national, Oil, opinion, owner, players, Premiership, pull out, race, renewal, results, Roman, Russia, Scolari, season, special one, sport, squad, Terry, title, Torres, transfers, two halves, writer, writing
Cultural Wanderings of an Ignorant Youth
This week I went all middle-class and cultural. On Wednesday I went to the Royal Albert Hall for "An Evening of Vivaldi" with violinist Nigel Kennedy. And yesterday I ambled round the Tate Modern, hoping I didn't look as stupid as I felt. It was all certainly a far-cry from my rural roots and the working class hubbub of a football match and the intoxicating odours of warmed sausage rolls. But if I'm honest I don't feel comfortable in either environment.
Wednesday then and the much anticipated, long awaited evening of Vivaldi. I was spirited to the venue by an irritable cabbie all the more grunty and scowly I suspect due to the additional traffic clogging the arteries of the capital's roads, vomited up from below by the tube strike. On several occasions his grumpy state prompted less than textbook driving manoeuvres and one of these bursts prompted the howling horns of a sleek BMW pulling out into our lane, along with an un-graceful involuntary spasm from me. Not daunted in the slightest he drove on and continued occasionally with his inaudible mutterings, and I listened to Jeremy Vine on Radio 2 as he accepted calls about the change in the law allowing prisoners to vote, prompted by the EU courts. Eventually the Albert Hall crept on me from nowhere and I was out, stalking around its beautifully lit circumference, killing time until the doors were opened.
I was suitably impressed by the building from the outside and enjoyed snatching chunks of a singer that floated from a window in the Royal College of Music opposite, but was somewhat underwhelmed by the scale of the interior. I loved the deep scarlet (or crimson?) colour to everything and the history present in the antique seats, but whilst it was undoubtedly a big venue, perhaps my aforementioned working class sensibilities, used to giant football stadia, left me unmoved by the jewel in Britain's musical crown. However I was pleased with the view from my seat and impressed by the impression that everyone's seat must have a decent view. Still it felt smaller than it looked on the Dr.Who Proms anyway.
The only thing that mattered to my father (if I wasn't writing would have called him Dad, but that sounded wrong and just a little too affectionate to be accurate, although father makes me sound more refined than I am) about Nigel Kennedy was that he too was an Aston Villa fan. All I really knew of him was a few performances on TV and the CD of the Four Seasons I own, played by him, that I know inside out and was my only real motivation for coming. That CD alone convinced me I loved Vivaldi and seeing as I loved his native city of Venice too it seemed like a good idea to delve deeper. But as I have said, I am a stranger to this world of cultured classical music and was therefore grateful in many ways for Nigel's eccentric onstage behaviour with a working class twang. He honestly looked scruffy in my opinion. But he was instantly likeable. He swore frequently and strongly, to the shock of some and amusement of most; "Now I guess I have to play some shit on my own". He bantered with audience members late because of the tube strike, pouncing on one with kisses and theatrical gestures; "You've only missed a few concertos but there's loads of good stuff left". He referred to sport when introducing his glamorous and beautiful female companions. He generally joked and entertained. And he seemed as baffled as I was at times at the ever so frequent applause. Every minor piece required a bout of praise at its finish, leaving me and by the look on his face at times, Nigel himself, wondering when they would get on with it. But then I guess it was all so wonderfully and terribly British, and why so many Germans, Irish and Italians were seated around me to enjoy the show.
I am hardly qualified to comment at length on the music itself. The first half of the show was comprised mostly of concertos I was unfamiliar with and consequently towards the end of it I found myself growing a little weary, especially during the softer sections. I confess that I enjoy the frantic and furious crescendos considerably more than the gentle, swaying parts, no matter how beautiful and intoxicating and calming they may be. I suppose the real revelation in seeing the performance live was the sheer visual spectacle of the violin. During my favourite intense moments the entire orchestra moved in energetic, synchronised slashes and jolts. All that striking swishing up and down through the air was like a chorus of swords striking at our ears, echoing the very "V" sound of Vivaldi, Venice and violin. Watching Kennedy duet with his various exotic female companions was also extraordinary for me, seeing the sort of chemistry I had only previously experienced between singers or dancers between two instruments was wonderful. The way he would undulate and stomp and stamp was so engaging at times, as if he was enjoying it then so would we I guess. Nevertheless I shamefully longed for some of the lively hip gyrations and sexy beats of Dirty Dancing which I had seen the week before as a present for my mother, at times. But of course when he finally got round to "four little unknown concertos" I was so delighted he was going to play the whole Four Seasons, and felt for a brief moment brilliantly middle-class and cultured to be in on such a joke. The striking strings tell such a story in that music and the waves of sound rising up stronger and stronger during my preferred pieces was wonderful and fantastic to hear the whole thing in one go. Admittedly by the end I was tired and keen to leave for bed, but I was privileged to have heard what I knew as tracks on a CD, treasured and enjoyed in quiet privacy, in the company of others, even if they were more than simply a casual appreciator as I was.
Mind you I am a bloody expert on Vivaldi when you compare my knowledge of his music to my knowledge of modern art. So I'm not sure why I had the urge to go and look round the Tate Modern, but go I did. I guess part of it was simply the wonderful approach and the walk past St.Pauls and over the marvellous Millennium Bridge, poised like a delicate, wobbly blade over the Thames. The walk was actually surprisingly easy and quick and I shall be doing it again. I loved the contrast of St.Pauls white marble with that of the Tate Modern building itself, beautiful in its own way. Part of my problem has always been though that I appreciate the buildings selected to store great art in more than the works themselves. Whilst I can see the value more easily in the traditional works at the National Gallery in Trafalgar Square (and I always pop in), with some pieces, such as those of the Venetian canals, blowing me away with their vibrancy and colour, I find it much easier to marvel at length at the scale and beauty of the building around me than the paintings.
Once inside the Tate Modern though the interior is nothing to marvel at. Disappointingly there was no sign of the controversial seed art installation that had made the news, but I picked up a map and set off aiming to educate myself. I was expecting to despise a lot of what I saw, as I am an ignorant, rural, traditional sceptic when it comes to "modern" art in many ways. I do not claim to know what constitutes art and what doesn't, and would rather not get into that debate as it's surely a subjective question, but for me a piece of canvas painted one colour, albeit a striking one, is interior design, not art. There's no reason why it would not have been done before by someone. I'm not saying it doesn't require skill and aesthetic appreciation, but it does not seem to be art to me. And yes there was the odd piece that I hurried past to avoid staring at it angrily and in disbelief. Even Matisse's celebrated "the snail" which I was familiar with from a documentary and was surrounded by admirers, does nothing for me with its simple blocks of colour. For the most part however I was surprised at how engaging I found a lot of the works and generally enjoyed my couple of hours or so wandering about.
Calling the Tate Modern "modern" can be misleading in itself, as there is a lot of history to be found within the walls. Granted when you take human civilisation as a speck on the table top of world history then the twentieth century works on show are very modern indeed, but for me as a child born at the end of the century it's a period rich in variety, close enough to be stirringly relevant but far enough away to be exotic. I stumbled across Monet's Water Lillies for example, which seemed like a genuine progression of what the sceptic might term "real" art, as opposed to a cop out like some of the more controversial, politically motivated revolutionary pieces. I was happy to sit and lose myself in its colours for a fair few minutes and could see the value in the blend of colours expressing something true about what one actually saw in such situations. As I've said before on this blog, for me culture speaks to me most when it says something true and I found throughout the day that reading the brief background of a piece might help me see the meaning the artist was striving for and thus appreciate it more. Having said that some pieces were simply a visual treat I didn't want to spoil by thinking about and dissecting, such as Jackson Pollack's Summertime, on the opposite wall to Monet, which was a colourful splash of elongated colour.
Generally reading about and discussing the various methods of artists, especially when they produce dubious results, bores and alienates me. But when these methods are placed in the context of their times and given intellectual motivation I am more interested. I found a number of pieces by German artist Max Ernst interesting, for example. One of them, The Entire City, painted in 1934, was created using a technique called grattage or scraping. This introduced elements of chance into the work and I found this philosophical idea fascinating, especially when placed in historical context it is said to express Ernst's pessimism at the unfolding Nazi situation in Germany. It also helped that the visual end product of The Entire City was visually intriguing as well as being not so abstract as to be unintelligible by my simple eyes.
I have always found it difficult to relate to the craft of the artist, perhaps simply because I was so utterly useless and talentless myself. I have always preferred and understood the skill of the written word and seen more value there. But in the "Poetry and Dream" section of the Tate I found some pleasing overlap that could stimulate my brain as well as my senses. A piece by Juliao Sarmento entitled Mehr Licht, meaning "more light", is interestingly ambiguous with the image of a man holding a woman's neck and was intended to be so, as the artist points out that such a gesture can be violent or tender. Having said this I still found that the end product of some works seemed to bare no correspondence to their descriptions lavishing praise and finding intellectual enquiries where there were none. Francis Picabia's Handsome Pork Butcher for example just seemed grotesque and silly and perhaps that was the point, although his Otaiti was more thought provoking.
So whilst I did appreciate the different and striking pieces, especially when they had inspirational ideas behind them and connected to them, the uneducated ogre in me still preferred the pieces that resembled "real" art and exuded skill. Yes there were sculptures by Anish Kapoor and others such as a tumbling stack of felt and a circuit comprised of ordinary silver kitchen objects that held me transfixed for a while, but these seemed to belong in a different category. The realist room containing pieces by Meredith Frampton and Dod Procter, seemed to have a better blend of skill and modern ideas. Dod Procter's Morning had a wonderful 3D quality and captured the light and imperfections of the human form as well, and better, than any camera. Frampton's works too seemed to have mastered the fall of light as well as containing symbolic, vibrant objects that made it more modern and set it apart from a traditional portrait.
Oh dear listen to me trundling out the sort of art critic bollocks that usually makes me heave. And worse still I'm a complete amateur; at least they've been taught or learned the bullshit they spout inside out. If I'm honest in the vast majority of the galleries I was often distracted from the works by the superior quality of female that creativity seems to attract. I mean seriously I may have to consider cultivating a sideline in bullshit art appreciation alongside my "writer's beard", as a friend of mine told me I was now sporting. I have literally not seen so many attractive girls in one place at once in a very long time. Or maybe I just haven't been looking hard enough. But anyway every other girl seemed to be a stunner, I was looking around for the gallery official whose glorious job it was to admit the beautiful and turn away those whose standards fell short. Was it always like this? I imagined that if I should ever be lucky enough to talk to any of these women, even if they churned out arty farty crap that was incomprehensible to me, I would listen, transfixed, jaw hanging in wonder and scraping the industrial floor. There was the odd creative guy type about who would clearly act as a magnet to all the budding female artists drifting aimlessly, except that a great number of them may have been gay by appearances. But then who can judge by appearances alone? Artists perhaps. Anyway needless to say I did not speak to any of these wonders, these fine specimens, these art drugged creatures. I simply marvelled and left, having enjoyed my cultural wanderings. But I remained essentially terribly ignorant.
Tagged 1934, 20th century, an, Anish Kapoor, architecture, art, arty, Aston Villa, attractive, autumn, Bacon, beautiful, blocks, building, Cathedral, chance, cityscape, colour, concerto, creative, critic, cultural, design, Don Procter, enjoy, evening, female, football, Four Seasons, Francis, Gallery, girls, grattage, Handsome Pig, ideas, ignorant, inspire, interior, interval, Jackson Pollack, Juliao Sarmento, Kennedy, leaves, light, marvel, Matisse, Max Ernst, meaning, Mehr Licht, Meredith Frampton, middle class, Millenium Bridge, modern, Mona Hatoum, Monet, National Gallery, Nazism, Nigel, of, Orchestra of Life, painting, performance, Picabia, Poetry and Dream, realism, romantic, Roy Lichenstein, Royal Albert Hall, sculpture, skyline, slashing, St.Pauls, stadia, stadium, strike, strings, Summertime, surreal, swords, synchronised, Tate, taxi, The Entire City, the snail, Trafalgar Square, tube, Venice, vibrant, violin, Vivaldi, wanderings, Water Lillies, what is art?, women, working-class, youth


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Casa Tropical
Casa Tropical is open for takeout and delivery. Masks are mandatory. Floor markers are in place for social distancing and hand sanitizer is at the counter.
Casa Tropical brings a little taste of Brazil to College Street with Brazilian-style pound cakes and brigadeiro desserts beside home-cooked hot meals and sandwiches.
Dani Olimecha and her daughter Anna moved to Toronto from Brazil in 2015, and are happy to offer the flavours of their home country in a neighbourhood with few other Brazilian restaurants.
Featuring large front windows, clean white walls with signs bearing sweet messages, and a wraparound counter with all of their cakes placed front and centre, the bright space is welcoming and cheery.
For a quick lunch, you can build your own salad or protein combo (ranging from $10.89 - $14.59), served cafeteria-style.
Salmon, rotisserie chicken, chicken parmesan, roast beef with mushrooms and gravy, and Italian meatballs (made with a mix of Brazilian and Italian spices) are all made fresh each morning in the back kitchen.
It comes with your choice of white or brown rice with lentils or quinoa and a salad with nearly 20 different toppings to choose from including crunchy onions, hickory chips, chickpeas, edamame, tomatoes, and red beets.
They also have a few sandwiches. The Rotisserie Chicken Sandwich ($12.59) comes on soft floury bread and is piled high with half a chicken. It's dressed with garlic mayo, cheese, mixed greens, carrots, crunchy onions, and a made-in-house hot sauce on the side.
If you're anything like me, you'll beeline for the beautifully-decorated cakes which are sometimes topped with Ferrero Rocher.
With lots of different brigadeiro and dulce de leche options, the cake offerings tend to change depending on what they're baking that week and can be preordered or bought by the slice in-store.
The Nutella Brigadeiro Cake (slice: $4.50, 6-slice cake: $25, 8-slice cake: $30), framed with chocolate shavings on all sides and topped with fresh strawberries and five traditional brigadeiro balls, which are each a dessert in their own right, comes with layers of Nutella and condensed milk inside.
The Brazilian Churro Cake (slice: $4.50, 6-slice cake: $25, 8-slice cake: $30) brings you the taste of the delicious cinnamon dough sticks in cake form with sweet sticky dulce de leche layered with a moist cinnamon cake.
If what you're after is more of a bite-sized treat, they have small traditional brigadeiro balls ($2 each) in a number of different flavours including the traditional milk chocolate and condensed milk, crunchy milk chocolate, crunchy white chocolate, and regular white chocolate.
Besides the sweeter options, they have a selection of savoury pastries like traditional Brazilian croquettes.
Each one comes with a different filling ranging from cheese and ham and cheese to chicken, while kibe is a Brazilian beef croquette (box of five: $6.99). The dough is made from scratch and fried before serving.
The Milk Hot Chocolate (regular: $3.50) has quickly become another popular feature on the menu due to its rich and creamy flavour that's achieved with a mix of milk, heavy cream and high-quality milk chocolate.
This restaurant, bakery and cafe on College St. provides ultra-sweet and decadent Brazilian desserts while also offering well-rounded, homemade meals made with healthy ingredients. It's already proving to be a popular spot.
Hector Vasquez
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Mira Mira
Xo Bisous
Osteria Giulia
Thammada Thai Cuisine
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Albert's Real Jamaican
Classico Macha at Hush Hush Bar
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RACKSPACE: S-1 Filing Breakdown and Business Update
Rackspace: S-1 breakdown, update quantity
Category: Analyst Insight
Rackspace recently returned to the public markets after a hiatus of about four years. Rackspace first went public back in 2009 when it was the leading independent managed hosting provider in the US. Public cloud was in its infancy and Rackspace was carving out significant market share in managed hosting and private cloud. Rackspace continued to scale towards and then past $2b in annual revenue. But as fast as it got there, it soon found itself on the losing side of the public cloud wars — a battle it was fighting in, but with increasingly less effectiveness. The hyperscale platforms had prevailed by the middle of the previous decade and this kicked off a momentous shift in the market for MSPs and infrastructure service providers — already in motion in the early 2010s – that quickly began to accelerate.
The rise of hyperscale cloud as the predominant infrastructure platform meant providers like Rackspace were faced with a stark choice: compete and inevitably lose (with some exceptions) or get on the bandwagon and be part of the value chain. The big shift: the managed third party cloud model. Rather than compete to host infrastructure, service providers began to resell public cloud infrastructure and drive added value through migration, managed services and consulting. Rackspace was a bit late to this game, but closed the gap when it made a series of acquisitions starting in 2017. The most important of these was for New Jersey-based Datapipe. Datapipe was never able to best Rackspace in managed hosting, but saw early in the game where public cloud was going and pushed into the opportunity. Rackspace eventually decided to acquire the business to catapult itself back into the race it had started to fall behind in, but was definitely equipped to compete in given its culture, reputation and DNA.
Rackspace went private back in 2016 amid this transition phase in the market. In retrospect, it made perfect sense. It would have to re-invent the business and make some strategic moves (such as M&A) away from the glare of quarterly results. Rackspace did not just push to
managing public cloud. It also moved into the application layer and began to support widely used platforms like SAP, Oracle and Salesforce, providing both infrastructure and managed services. The managed services and support layer has long been Rackspace's calling card. During this transition, it also doubled down here and added more advanced professional services, consulting capabilities, security and application management expertise, along with technology and skill sets around data and analytics.
As Rackspace returns to the public markets, it has re-focused the business and shifted to being more asset-light, but in many ways it is still very much the same animal. The core revenue base comprises about 85% of total revenue and the managed third party cloud piece remains a relatively small slice of that base. Managed third party cloud is still an emerging category and it is not a foregone conclusion that Rackspace will win this market like it did with mid-market managed hosting a decade or so ago.
This report takes a closer look at the state of the Rackspace business through an analysis of its recent S-1 filing and the first quarterly results — 2Q 2020 — it reported as a newly re-minted public company. The foundation of the business is solid and the overall strategy in line with where the market is moving. But execution has not been stellar over the last few years and both M&A and management turnover has shredded the continuity the business once had. Yet things have already started to change. A new management team has organic growth moving again and is continuing efforts to optimize overall operations. There have and will continue to be growing pains as Rackspace navigates a difficult transition amid a shifting competitive landscape. But it is on the right track after making some good bets and hard, but ultimately correct, long-term strategic choices. Putting all these parts together, there is reason for renewed optimism.
2020 Outlook for Internet Infrastructure
M&A Update
AWS Capex & Margin Patterns
Hyperscale Procurement Dynamics


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SamCorp advised John Onslow and his team on the management buy in / buy out (BIMBO) of IGF Invoice Finance (IGF) from Greater London Enterprise (GLE).
Experienced commercial lending professional, John Onslow approached SamCorp to advise him on the buyout and introduce a funder for the transaction. After speaking to a number of potential funders, Spring Ventures were selected as the preferred equity provider.
Spring Ventures will initially invest £9m to fund the acquisition and provide growth capital. It will commit a further £11m of follow on capital over the next three years and will take a majority stake. With continued demand for SME funding, the team intend to grow IGF's invoice lending platform into an asset based lending business of significant scale.
Established in 1997, the company is headquartered in Tonbridge, Kent and currently employs 38 people. Following the investment, the business will hire additional staff and expand its national presence across the UK.


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Stocks week ahead: Has Wall Street missed the boat on cryptocurrencies?
One reason banks are hesitant: Cryptocurrencies are still in regulation purgatory.
The US government, for example, can't decide what they are. As currencies they face very little regulation. But as securities, such as stocks and other investments, they would face a different level of scrutiny.
In December 2020, the US Securities and Exchange Commission filed a lawsuit against crypto platform Ripple and its leadership for the alleged illegal selling of unregistered securities — in form of its cryptocurrency XRP — worth $1.3 billion.
The case, which is ongoing, suggests XRP is a security and not a currency, because otherwise securities law wouldn't apply. Ripple rejects that label.
Cases like that, paired with the huge regulatory uncertainty for other big cryptocurrencies, make it hard to get involved for banks, which are regulated to the bone.
"Undoubtedly, the Ripple action was an example of the regulatory dark cloud that could potentially hang over cryptos other than Bitcoin or Ether," Ashley Ebersole, a partner at law firm Bryan Cave Leighton Paisner and former SEC attorney, told CNN Business.
Bitcoin and Ether, the currency of Ethereum, are so large and decentralized at this point that no promotional efforts by individuals would make a difference to their trading, Ebersole added.
Regulatory uncertainty is scary for companies looking to jump on the crypto bandwagon. But eventually, banks will likely be able to get on board.
Goldman Sachs (GS) reportedly restarted its crypto trading desk in March and will soon offer its private wealth management clients ways to invest in cryptos.
Goldman Sachs CEO David Solomon said on the company's earnings call in April that the rapid rise of cryptocurrencies signals that "there will be significant disruption and change in the way money moves around the world."
"We need to operate within the current regulatory guidelines," Solomon said during the earnings call. "For example, we cannot own Bitcoin or trade it as principal."
Meanwhile, JPMorgan (JPM) Co-President Daniel Pinto said that if crypto demand from clients keeps increasing and the asset class keeps growing and developing, banks can't just sit on the sidelines.
Digital currencies should best be thought of as a new financial product banks are getting involved with, Ebersole said. "Does it require new and different financial control? Probably."
To be sure, big Wall Street names have already made money on the most recent bout of crypto-mania. Goldman was the lead bank for Coinbase's direct listing, for example, which means the company reaped the highest fees for their investment banking efforts.
Social media is a lifeline for Indians. And a threat for Modi
On most days, Network Capital, a business networking group with over 67,000 members on Facebook (FB), focuses on providing its community with information on job vacancies, higher education, and careers.
Recently, however, the group has been flooded with posts from users looking for hospital beds, oxygen and medicines, as a devastating second wave of Covid-19 sweeps across India.
Members of the Facebook group, mostly Indian professionals, have responded swiftly to appeals for help, at times sharing extensive Google (GOOGL) spreadsheets with details of medical suppliers and volunteer organizations.
With authorities struggling to provide adequate information, distressed patients and their families have turned to Twitter (TWTR), Facebook, WhatsApp, Instagram or LinkedIn, begging for help, my colleague Diksha Madhok reports from New Delhi.
But even as Indians turn to social media during one of the country's darkest hours, Prime Minister Narendra Modi seems to be cracking down on the major platforms in an attempt to stifle dissent. Last month, Twitter removed several tweets about Covid-19 at the request of the Indian government, including some that were critical of the prime minister's handling of the pandemic.
In a statement last week, India's Ministry of Electronics and Information Technology said it had asked Twitter, Facebook and others to remove around 100 posts by users it accused of spreading fake or misleading information.
New Delhi's intervention has put the social media companies in a difficult position in one of their biggest markets, wedged between their users and a government that recently introduced new rules that could make them liable for not removing controversial posts.
Pratik Sinha, co-founder of fact-checking website Alt News, said he does not buy the government's explanation that it was going after fake news. "There are hundreds of thousands of posts with fake news on social media during the pandemic, why take down only these 100 and let the others stay," he said.
Monday: Earnings from Estee Lauder, Avis Budget and Suncor Energy; US ISM Manufacturing Index
Tuesday: Earnings from ConocoPhillips, CVS Health, DuPont, Marathon Petroleum, Pfizer, Sysco, Under Armour, Activision Blizzard, T-Mobile US and Virgin Galactic
Wednesday: Earnings from General Motors, Hilton, Jones Lang LaSalle, Allstate, MetLife, Maersk and PayPal; US crude oil inventories
Thursday: Earnings from Anheuser-Busch InBev, ArcelorMittal, Moderna and Volkswagen Group; US unemployment claims
Friday: Earnings from Siemens, Adidas, IAG, Credit Agricole, BMW and Cigna, US jobs report for April
Facebook says decision on whether Trump ban will be overturned coming Wednesday
Inside Miley Cyrus' exuberant Los Angeles home — designed by her mother


Who are the best Saxon athletes of the passing year? This is the question being asked by the State Sports League of Saxony and the sports journalists each year anew and being answered by tens of thousands citizes keen on sports. In the course of the biggest and most important athlete survey in Saxony a male athlete, a female athlete and a team can be elected.
For this election, voting cards are being used where each participant can check their favourite sportsman, sportswoman and team. Thousands of cards are returned and the checkmarks in all three categories have to be counted. In 2014, we were asked by SachsenSportMarketing GmbH, the company in charge of the election, if we could count the votes as a service and if the card in its current design was suited for an automatic evaluation.
No problem for FormPro! Each category is marked with 10 checkmark zones which can be grouped as multiple-choice questions. The zone checked in each category will return the name of the athlete or team. This way, invalid multiple checks within the same category will be marked as errors automatically. The results of the valid cards will be exported to MS Excel where the actual vote counting can be done.
The actual challenge is the time limit. We receive most of the cards by 5 January around 2pm and are being asked to return the results by the next day. This is because the athletes of the year will be announced at the Saxon Sports Gala only a few days later. So there is not much time for preparations. But only 90 minutes after receiving the cards all of them are scanned and the result is being returned to SachsenSportMarketing GmbH the same day. We are happy to support all future elections of Saxony's Athlete of the Year.


To help you find your next hike around Waltrop, we've reviewed our full collection of walks and hiking trails in the region. Browse all of the details of each route below — and explore more of the nature around Waltrop.
If you are interested in routes for other sport types around Waltrop, check out our guides on Cycling around Waltrop, MTB Trails around Waltrop, or Road Cycling Routes around Waltrop.


Welcome to sphairlab, a product of the mecora GmbH.
As a company from the medical engineering sector, mecora develops plastics engineering components and produces them under clean room conditions in Aachen. The sphairlab was drafted in collaboration with Airworxx, a specialist for textile architecture and aeronautic construction business. It is built as an alternative to the conventional clean rooms. Throughout our years of experience in the usage of clean rooms, we are convinced that with sphairlab the term clean room can be redefined.


Make money work for you in 2011 – get your money hat on!
In my experience, the majority of people have some seriously bad attitude to money; rich and poor alike. Socio-economic group makes little difference. It just makes it easier to predict what the specific problem is likely to be. To help you make money work for you in 2011, here are my top ten (10) money symptoms. Are you on this list?
The answer is to maintain a calm and optimistic mind towards money. And never (never, never) focus on money as the source of your problems.
Make no mistake! You are the cause of your financial problems. You put yourself in the position you are in and the key to making it better is already in your hands. You simply choose not to use it.
It sounds harsh and unfair, I know. But sugar coating the truth won't help you.
Your financial situation is a reflection of your state of mind. If your mind is stressed, distracted, angry, jealous or resentful, your finances will reflect the negative energy you generate.
So try some positive thoughts followed by some positive action. And don't slip back into your old way of thinking just because your plan hasn't worked after one week.
http://garyweigh.com/wp-content/uploads/2017/12/GWeigh_2018-300x83.png 0 0 admin http://garyweigh.com/wp-content/uploads/2017/12/GWeigh_2018-300x83.png admin2010-12-29 06:50:042014-09-02 03:19:25Make money work for you in 2011 – get your money hat on!


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Canada 4.1.8
Compendium of Cultural Policies & Trends / Country Profiles / Canada 4.1.8
Sections 41 and 42 of the Official Languages Act commit the federal government to enhancing the vitality of English-speaking and French-speaking minority communities, as well as to fostering the full recognition and use of both English and French in Canadian society. This commitment ensures not only that official-language minority communities have access to services in their language, but also that all federal institutions actively contribute to the development and vitality of these communities. Thus, all federal cultural programmes and policies are structured according to two separate official linguistic communities and markets.
Second (official)-language learning support programmes are among the most important tools in developing an inclusive and participatory society in Canada. For 35 years, the government of Canada has provided financial assistance to the provinces and territories, which together have jurisdiction over education. The Department has signed four-year agreements with the Council of Minister of Education, Canada and the provinces and territories for specific measures related to second-language learning. The objective of the Enhancement of Official Languages Programme and the Action Plan for Official Languages is to double the proportion of Canadian youth between 15 and 19 years old who have a working knowledge of both official languages and a greater understanding and appreciation of the benefits of linguistic duality. In addition to the second language learning programmes, the Department of Canadian Heritage also implements the Development of Official-Language Communities Programme (see chapter 2.5.4).


The Respondent is PrivacyProtect.org of Nobby Beach, Queensland, Australia and Arrakis Inc of Panama.
The disputed domain name <cheapvaliumonline.com> (the "Domain Name"), is registered with 0101 Internet, Inc. (the "Registrar").
The Complaint was filed with the WIPO Arbitration and Mediation Center (the "Center") on September 21, 2012. On the same date, the Center transmitted by email to the Registrar a request for registrar verification in connection with the Domain Name. On September 24, 2012, the Registrar transmitted by email to the Center its verification response disclosing registrant and contact information for the Domain Name, which differed from the named Respondent and contact information in the Complaint. The Center sent an email communication to the Complainant on October 5, 2012, providing the registrant and contact information disclosed by the Registrar, and inviting the Complainant to submit an amendment to the Complaint. The Complainant filed an amendment to the Complaint on the same date.
In accordance with the Rules, paragraphs 2(a) and 4(a), the Center formally notified the Respondent of the Complaint, and the proceedings commenced on October 8, 2012. In accordance with the Rules, paragraph 5(a), the due date for Response was October 28, 2012. The Respondent did not submit any Response. Accordingly, the Center notified the Respondent's default on October 29, 2012.
The Center appointed Tony Willoughby as the sole panelist in this matter on November 6, 2012. The Panel finds that it was properly constituted. The Panel has submitted the Statement of Acceptance and Declaration of Impartiality and Independence, as required by the Center to ensure compliance with the Rules, paragraph 7.
At the time the original Complaint was filed, the Registrar's Whois database identified the first of the above-named Respondents, a privacy service, as the registrant of the Domain Name. However, in response to the Center's registrar verification request the Registrar identified the second of the above-named Respondents, Arrakis Inc, as the underlying registrant. Sometimes, the identification of a "new" registrant at this stage can have a material effect on the Complainant's choice of Mutual Jurisdiction. In this case however, that is not a concern as the Complainant has selected the jurisdiction of the courts at the location of the principal office of the Registrar and the Registrar has not changed.
In light of the fact that the privacy service is just that i.e. a service offered to conceal the identity of the underlying registrant, the Panel proposes to treat Arrakis Inc as the true registrant and all references hereafter to the "Respondent" are references to Arrakis Inc.
The Complainant is one of the world's largest pharmaceutical companies. One of its most successful drugs is diazepam, which it has marketed internationally for nearly 50 years under the brand name VALIUM.
The Complainant is the registered proprietor of many trade mark registrations for VALIUM, one of the earliest being International Trademark registration No. 250784 VALIUM (word) dated December 20, 1961 for a variety of goods including pharmaceuticals.
The Domain Name was registered on July 18, 2012 and has been connected to Web pages with links to online pharmacies offering for sale a variety of pharmaceuticals, some of them being the Complainant's Valium product and others being the products of other pharmaceutical companies.
At the date the Complaint was filed, the Domain Name linked to a webpage headed "Cheap Valium Online" and featuring links to a section of the site labeled "About Valium (diazepam)" and a "BUY NOW" button linking to an Indian online pharmacy. When the Panel visited the website (from the United Kingdom of Great Britain and Northern Ireland) on November 8, 2012 it was found to be a "www.hostmaster.com" parking page featuring links to various online pharmacies offering an unlimited range of medicines and diet pills, including pharmaceuticals which compete with those of the Complainant.
The Complainant contends that the Domain Name is confusingly similar to the Complainant's VALIUM trade mark, that the Respondent has no rights or legitimate interests in respect of the Domain Name and that the Respondent registered the Domain Name in bad faith and is using it in bad faith within the meaning of paragraph 4(b)(iv) of the Policy.
Apart from the generic ".com" top-level domain suffix, which may be ignored for the purpose of assessing identity and confusing similarity under paragraph 4(a)(i) of the Policy, the Domain Name comprises the Complainant's well-known VALIUM trade mark preceded by the word "cheap" and followed by the word "online".
The word "online", a description of a selling medium, does nothing to diminish the distinctiveness of the Complainant's trade mark VALIUM. The word "cheap", on the other hand, while descriptive does render it much less likely that any English speaker will assume that the Domain Name is a domain name of or authorized by the Complainant. It is not a word by which one would normally expect a pharmaceutical manufacturer such as the Complainant to promote sales of one of its leading pharmaceuticals.
Adopting the same reasoning, the Panel finds that the Domain Name is confusingly similar to the Complainant's VALIUM trade mark.
The Respondent has linked the Domain Name, directly or indirectly to online pharmacy websites. As a business engaged in that field of activity, the fame of the Complainant's trade mark VALIUM is such that the Respondent will at all material times have been well aware of the Complainant's product. Were there to be any doubt about that, it is removed when one sees that the Respondent made direct reference to the Complainant's VALIUM product on the website connected to the Domain Name at the date of the Complaint.
The Complainant asserts that it has never granted the Respondent any permission to use its VALIUM trade mark for this or any other purpose and the Respondent has not challenged that assertion.
In certain circumstances it may be acceptable for a reseller to use the brand name of the product it is selling as part of a domain name and without the permission of the brand owner. In this case, the Respondent is offering for sale, directly or indirectly, a variety of pharmaceuticals via its website, including not only the Complainant's VALIUM trade mark, but also a variety of products of other manufacturers, including products which compete with those of the Complainant.
According to paragraph 4(c)(i) of the Policy, use of a domain name for the purpose of a bona fide offering of goods can constitute a right or legitimate interest for the purposes of paragraph 4(a)(ii) of the Policy. However, in the view of the Panel to use a domain name which is confusingly similar to a complainant's trade mark, without the permission of the complainant and with a view to selling goods which compete with the complainant's goods cannot on any basis be categorized as bona fide.
While it is for the Complainant to prove each element of paragraph 4(a) of the Policy, paragraph 4(a)(ii) of the Policy requires a complainant to prove a negative in respect of matters, which will often only be known to the respondent. In recognition of this difficulty, UDRP panels will be satisfied if a complainant comes forward with a prima facie case. It is then incumbent upon the respondent to answer that case.
In the view of this Panel, the Complainant has come forward with a prima facie case, which calls for an answer. What possible justification can the Respondent have had for adopting a domain name making prominent use of the Complainant's trade mark for the purpose of selling inter alia products competing with those of the Complainant? There is no answer. The Respondent has not seen fit to come forward with any explanation to justify its selection of the Domain Name.
The Complainant contends that the Respondent selected the Domain Name with knowledge of the Complainant's trade mark and with the intention of using the Complainant's trade mark to attract Internet users to online pharmacy websites for the purposes of commercial gain. The Complainant contends that in so doing, the Respondent is deceiving Internet users. The Complainant contends that Internet users, seeing the Domain Name, will believe that the website to which it is connected is either owned by or authorized by the Complainant.
The Panel agrees. The Panel believes it to be highly probable that there will be large numbers of Internet users around the world who will be likely to believe that the website to which the Domain Name is connected is either owned by or authorized by the Complainant.
The Panel finds that the Domain Name was registered and is being used in bad faith within the meaning of paragraphs 4(a)(iii) and 4(b)(iv) of the Policy.
For the foregoing reasons, in accordance with paragraphs 4(i) of the Policy and 15 of the Rules, the Panel orders that the Domain Name, <cheapvaliumonline.com>, be transferred to the Complainant.


Clark Construction Group is one of the most experienced and respected building and civil construction firms in the United States. American owned and operated since 1906, Clark has grown from a small local excavator into one of the most capable and trusted providers of construction services. As one of the nation's most established firms, they have a long-term perspective that is invaluable in the construction industry. Clark's portfolio features projects of all sizes and scopes, from intricate interior renovations to some of the most complex civil operations in the country.
Governor George Deukmejian Courthouse belongs to the South Judicial District of Los Angeles and was the first social infrastructure project in the United States built under the principles of Performance-Based Infrastructure construction, which capitalizes on the development expertise of the private real estate, design, construction, and facilities operations sector, while ensuring that projects provide high-quality infrastructure for the public. Pierre Landscape's contribution to the construction project spanning two city blocks included landscaping both at street level and in upper-level planters of the courthouse itself and the adjacent parking structure. After preparing the site and installing a reclaimed irrigation system, Pierre crews planted nearly 30,000 5-gallon and 15-gallon shrubs, over 150 trees ranging in size from 36" box to 60" box, 2,900 square feet of sod, over 50,000 square feet of soil and decomposed granite, and over 60,000 square feet of mulch. The successful and substantial soil import to second and third level planters necessitated street closures to ensure public and crew safety. Site furnishings included 24 30" diameter round fiberglass planters, 20 wood benches, and trash receptacles and bike racks.