text:
Isabel de B Lockyer
I used to know someone who would say 'Isabel de B Lockyer' so grandly I got it into my head that, of all the forgotten artists, she must be the most glamorous, the most desirable. So when I eventually found a linocut of hers in a shop in Camden Passage, Islington, I was inevitably confused. It was called The striped sail; it was quite small; it was rather abstract. It had none of the bravura I liked to associate with colour woodcut or linocut and I left it there in the shop. I have never seen another one since.
But, if I was wrong to leave The striped sail down in Islington, my other instincts were proved correct. There is chic and glamour in these early landscapes - the little temple screened by trees in Near Vevey (1924), the Italian coast, above, in Rapallo (1926) and the stylish The lagoon, Corfu (1928). They all make me think of house-parties in the country and holidays abroad. And indeed I think she chose as mentor an artist with the most glamorous light of them all. I mean William Giles (see WG: modern printmaker, March, 2011). There is no record that he actively taught her anything but we only have to look at Near Vevey to see that she knew his work very well. But this is Giles without any pretence at realistic lighting. He went to extremes to get that kind of pink; I don't think Switzerland is quite so northern lights as that.
As I said 'Ada Collier, ancient and modern' (March, 2011), we do know that Giles taught Collier and this does suggest to me that other artists may have gone to him for tuition. We not only find the same improbable colours in her linocuts, she also goes in for his precision. She is not only exact about titles, at times she goes in for describing the light the way he does. But in almost all other respects, there the tutorship ends. Although they may look like colour woodcuts because of the water-based inks she uses, all these prints were made from linoblocks. The works from the twenties are also landscapes, very much in line with many British colour woodcutters of that period, including Ian Cheyne and Helen Stevenson. By 1930, though, there is a change.
The shop window from 1930 is typical - schematic and with more of an interest in the human figure. Inevitably, again, it hard to really know what these changes mean without knowing more about her or seeing more of her work. I've deliberately placed these prints in chronological order (she always dated her work) but we only have a run of eleven years here, which isn't very much to go on. What I do think we can see is the influence of the Grosvenor School, especially when she chooses social or popular activities like shopping or picnics as her subjects. Bear in mind that both Giles and Claude Flight were the kind of men who very much wanted to show what could be done with their chosen mediums. So far as Isabel de Bohun Lockyer went, it seems that work had its effect.
Which brings us to Wembury Church (1933). The Lockyers came from Plymouth and one of them bought Wembury House in the early C19th. He later moved to Australia with the British Army but the family connection clearly took Lockyer to south Devon to produce this rather unsual offshore print. (It's been pointed out that you could have only see the church this way from a boat). The de Bohun bit of her name is something of a mystery. So far as I can see, the de Bohuns only had a residual Devon connection and my own feeling is that this rather grand addition to her name was made by Lockyer herself. It makes her name as complex as one of Giles' titles.
I like the name, as I said; and what I do like very much about her work is the variety. She uses a wide range of colours but usually doesn't let her interest in them predominate - one of Giles' failings. If she has no interest in natural light (even at its Giles' weirdest) she does have a strong sense of the social world around her. I suspect her early voguish landscapes suggest a social milieu as much as the portrait etchings of Emil Orlik do. These are very specific types of places she is recording. It a view of them as pleasurable with their isolated old buildings. The fur coats, the cloche hats, the Japanese sun shade only add to the general feeling of fashionable exclusivity. [It would also be wrong of me not to credit joseflebovicgallery.com/ in Sydney for five of these prints.]
The Grosvenor School of Modern Art
The Grosvenor School is the sort of place where you would like to walk to Warwick Square, wander in and speak to Miss Andrews in the office, to enquire whether you could look in on Mr Flight's class so you find out just what they were all up to. I suspect it was the kind of place that had as much in common with the community of artist-converts at Ditchling in Sussex as it did with the Bauhaus in Weimar, Germany. Claude Flight (1881 - 1955) was a linocut evangelist and everyone, including the staff, attended his classes. It's no wonder they all made so many.
It was set up in this rambling old house in 1925 by three men who had all come to art and print later rather than sooner. Flight had tried out various things, including bee-keeping, untill he hit on modernism and, in particular linocut, as the answer. As you see from his Swiss Mountains from c1934, he was an enthusiast. He had begun making linocuts in 1919 and taught students to use separate blocks for each colour. In 1929 he organised 'The first exhibition of British linocuts' and even if his name is almost synonymous with linocut today, his enthusiasm for the Grosvenor School was short-lived. He taught there for only four years, from 1926 untill 1930, when he transferred his already informal classes to a cave above the river Seine.
Flight had studied at Heatherley's School of Fine Art in London both before the war and then after. Cyril Power (1872 - 1951) didn't enrol at Heatherley's untill 1925 when he was already 53. He had been a successful architect but turned his mind to art. He had met Sybil Andrews in 1921 and she duly became school secretary. (See Sybil Andrews: the rural year, February, 2011). It's not hard to see his interest in both architectural design and form in general in The Tube staircase, 1929. It shows the stairs at Russell Square underground station in London, an exact location for a dynamic print. If their modernism is at times far-fetched, this linocut does put me in mind of Marcel Duchamp.
Power gaves classes on architecture and ornament (he had already published a three-volume book) but the only one of the trio with any prior experience of teaching at all was Iain MacNab (1890 - 1967) - and that wasn't much. If I also tell you he spent a year at Glasgow School of Art in 1917 before also moving to Heatherley's in 1918, you will begin to see the pattern. The brave idea of a school dedicated to modern art may well have begun with their joint experience of a London private art school. (I'm not suggesting the experience was bad because MacNab became joint-principal of Heatherley's in 1919 and didn't relenquish his post of director of art studies untill as late as 1953.) But in 1925, even with his limited experience, MacNab took on the job of principal at the Grosvenor and certainly stuck at it longer than Flight.
MacNab was also one of the finest British wood-engravers of C20th. The effect of prints like Corsican Landscape on his students of wood-engraving is clear; it may be less obvious with the students that practised other forms of printmaking but it there nevetheless. As for the students themeselves, I started the post off with French Porters by the most talented one them all, the Swiss printmaker, Lill Tschudi (1911 - 2004). She came across the linocuts of that albatross-around-my-neck, Norbertine von Bresslern Roth, while still at school in Switzerland. She saw the school adverts in The Studio and attended between 1929 and 1930 when Flight was still teaching there. Like some of the other students she also trained with the French cubist Andre Lhote. It wasn't a matter of this being their only brush with modernism; some the students could obviously afford to pick and choose.
The Australian artist, Ethel Spowers (1890 - 1947) was one. She had studied art in Melbourne then moved to Europe in 1921 and, just to let you know what their first prints could be like, I include Spowers woodcut Eglise de Grace, Paris made during her first year in Europe. As you see, it isn't up to very much at all. Tug of War she produced in 1933, after her return to Australia, and is a fine piece of work without having the modernist thoroughness of Tschudi. Spowers only spent part of 1929 at the Grosvenor but it had a great effect. Linocuts she produced before that time were stronger than her early woodcut effort but conventional untill Claude Flight showed her how.
Eveline Syme had been at school with Spowers in Melbourne but went on to study classics at Cambridge. She turned her mind to painting and France in the early twenties but it was the discovery of Flight's book Lino-Cut that led Syme and her friend Ethel Spowers to enrol at Pimlico in 1929. I like the way they all went back home and turned the technique on Australia. It has of course helped to make their name. But that process only began in the 1970s, with the vogue for all things Deco. Nowadays a dealer on ebay only has to add the illustrious words 'Grosvenor School' to some linocut or other to prove that linocuts will never be affordable or democratic again. The idea had been to show the modern age they lived in - what everyone else was doing when they were making linocuts - in a modern way.
Wattle tree is by Dorrit Black (1891 - 1951). I think she is the weakest of the three Australian artists but this does show what they were about. She studied in Melbourne before heading for London in 1927 when she spent a mere three months at the Grosvenor School. It wasn't long but it was clearly enough. The British artist Gwenda Morgan (1908 - 1991) studied there far longer - between 1930 and 1936. This almost certainly couldn't have been a full-time arrangement. She had already spoent the years 1926 to 1929 across the river Thames at Goldsmith's, after all. But the example MacNab gave shines through much of her fine body of work. These wood-engravings may not be as thrilling as those linocuts but her work stays in the mind a long time after excitements have washed over it.
Ronald Grierson (1901 - 1992) was another student of MacNab's. Mainly known as a designer of textiles, he had also first studied elsewhere (at Hammersmith School of Art) before spending time at the Grosvenor. Alison MacKenzie (1907 - 1982) didn't arrive untill the 1930s (with her sister Winifred, see July, 2011). Both had studied woodcut with MacNab's sister, Chica, at Glasgow School of Art. It was a small, quite short-lived world for many of them, I imagine, far from the formal disciplines of many art schools and more in line with the progressive independent schools that were being opened up - but far more dependent than they were on the trends.
Labels: Alison MacKenzie, Claude Flight, colour linocut, Cyril Power, Dorrit Black, Ethel Spowers, Eveline Syme, Gwenda Morgan, Iain MacNab, Lill Tschudi, Ronald Grierson, Sybil Andrews
Mary Macrae White goes to Fez
Here is yet another colour print by a forgotten Scottish artist - this time Mary Macrae White, with a subject that is just as striking as the medium she is using. Her subject first. I am pretty confident that this is Morocco and fairly certain that her woodcut depicts the old city of Fez. Admittedly, it could be Tetouan or another of the Andalucian towns of northern Morocco but I think the tower you can see is the minaret of the Kairouine mosque and the green she uses suggests the tiles that decorate the corners. There are also still open spaces in the valley below the mosque and mules are commonly used as transport. To beef up the Moroccan connection, Macrae White came from Aberdeen. The link may be the etcher, James McBey (1883 - 1959) who was born in Aberdeenshire but spent a good deal of time in Morocco from 1912 onwards. In fact, he died in Tangier and I'm including one of his watercolours of the fine northern city of Tetouan, which obviously fascinated McBey.
You probably have to know Morocco and its colours to realise how observant an artist she was. I have her down as the same plein air generation as Ethel Kirkpatrick. Like her, Macrae White began as a watercolourist though I wouldn't say there was the same attempt to capture the effects of light that we find in Kirkpatrick. All the same, the dominant colours of the print - the cedar green and ginger on the mule - are commonly used for dyes in Morocco, like many other earth colours. (It was a common ploy for C19th painters to use a combination of turquoise and terracotta to signify the East). She is certainly interested in the effect of light and shadow, as you can see around the horses, so much so she must have made watercolours of the subject. But the artist she reminds me of most is SG Boxsius. The use of planes of colour is very much like him (although her reliance on the keyblock to articulate objects also puts me in mind of Frank Brangwyn). Nevertheless, I think we have here a trained artist who knew what she was about by the time she made this quite powerful colour woodcut. There is a refreshing lack of artiness about the print. It does tend to make me think of a C19th watercolour sketch but it's beautifully realised nevertheless - not something so easy to achieve in this demanding medium. I am just surprised we don't know of more prints by her. At some point she began to teach at the Greenwich House pottery in Greenwich Village, New York (presumably as a painter) but always kept a base for herself in Surrey, Kent or Sussex. She died aged 80 - I would have thought in about 1955.
I couldn't resist including this extraordinary photograph from 1916. It's a good example of the way cheaply-produced postcards often had more to tell about Morocco than fine etchings by artists like McBey - as much as he obviously liked both the country and its people. The men in the coarse djellabas and turbans on the left are countrymen, the ones in dark cloaks and fezzes are Jewish. So much work by Europeans tends to avoid real identity. Veiled or hooded figures are all too common. It gives local colour. I will say this for Macrae White: in this woodcut, at least, she does north Africa better justice than many do. There is an awareness and objectivity about her print that makes me feel it comes from the 1920s. The clothing, of course, offers no clues. But then everything surrounding this woodcut is generally frustrating! [I almost forgot to add that I lifted the Macrae White from Steven Bishop's blog. It may well be for sale at his site meridiangallery.co.uk/. I only wish I'd found it first.]
Ian Fleming, Ian Cheyne & Laboureur
I have to admit that for a long time I looked on the Scottish artist Ian Fleming (1906 - 1994) as an also-ran. I first came across his colour woodcuts at an exhibition way back in 1986 and I should think I was too shocked by the prices being asked to take in anything else about the show. In my defence, I've only had monochrome catalogue illustrations between then and now. But that really is no excuse and, to be fair to him, colour woodcut wasn't Fleming's stock-in-trade, anyway. I know of only five colour woodcuts - the two I have posted here and three others, called Aspidistra, Road to the valley and Mist in the valley. OK, he wasn't good on titles, but I am going to assume all his woodcuts date from early on in his career. He produced the lyrical Parkscape, with its subtle modernity, in 1928 while still a student at Glasgow School of Art.
Or, to be more exact, he appears to have produced a very humble edition of three to begin with. Parkscape. Sunshine & rain was less snappy than the abruptly modernist Parkscape but that was its first title. As you see the second edition ran into a modest twenty-five. Glasgow tenement window (I am sorry to say only in monochrome) is equally subtle, framing the three yards and adopting the high viewpoint that became such a strong feature of his work. This print adopts a restricted view, later work does not, and perhaps behind it are the limitations placed upon student work. His teacher of woodcut at Glasgow was the influential Chica MacNab. To my intense frustration, I've been unable to turn up even one image by MacNab to show just how her work might have affected printmakers like Fleming and Winifred MacKenzie (another of her students). What these two have in common in their early work is the modern manner and I shall assume they learned that from MacNab.
But, in the end, it was his teacher of engraving, Charles Murray (1994 - 1954) who was to have the more enduring effect. Murray had himself been a student at Glasgow and is credited with reviving the art of copper engraving before even innovators like Robert Austin who taught at the RCA in London. Murray was something of a renegade who first fought with the White Army, then won the Prix de Rome before travelling, settling down again at his old art school and eventually hitting the bottle. Fleming wisely exchanged Murray's fine but mannered style for the urbane and voguish approach of the Breton engraver Jean-Emile Laboureur (1877 - 1943). Like Murray, Laboureur also got around but there was less of Iceland and Russia and more of Paris, London and New York. And in some ways this neatly sums up the appeal of Fleming's own work: there are the lyrical incidents of gardens and the Galloway and Dumfries countryside (as you will see below in Laboureur) but he never forgets his home town. Glasgow was his convincing subject, and no more so than in his wonderful engraving of 1930, Botanic Gardens, Glasgow.
The same is true of the incisive Modern suburbia from 1929. This was the year he left art school (he first attended in 1924) and the youthful wish to take a modern view of things is evident in the title. But for everything he seems to have learned from Laboureur - the strong contrast of light and shadow, the linear, descriptive approach - he is already his own man. I also have to admit that I prefer these early works. There's a freshness of vision here and a strong desire to show aspects of the world he lived in. Ironically, he is a realist in a way that the man from Nantes never is. He has taken the lessons of Laboureur about the complexities of modern lives to heart but he never sinks to pastiche.
Nor does Ian Cheyne (1895 - 1955). I am unashamedly re-posting my own Summer Picnic and his masterly Campers just to show how brave Ian Fleming was. Fleming never achieved work with this panache. By comparison, he looks almost antiquarian. But he was an engraver first and foremost and I always have the greatest admiration for printmakers who can make both convincing woodcuts and intalgio prints. Laboureur tried both but his woodcuts tend to look like pattern-making. Cheyne started off as a painter. He was eleven years older than Fleming but didn't attend Glasgow School of Art untill 1921 - 1923. He may have trained first at another school, or the war may have interrupted his studies. I don't know. Whatever the case, somewhere along the way, he meshed the contemporary impact of Laboureur with the mastery of Hokusai to come up with something utterly unique and deeply desirable.
He was brought up in the seaside town of Broughty Ferry, on the east coast of Scotland, near Dundee, but all we really know about him are the colour woodcuts that have set a standard for all those productions of the 1920s and 1930s. I have already posted as many as I can (well, there are one or two more). As for Laboureur himself, I leave you with two copper engravings from 1916 and the early twenties, and two woodcuts from a similar period. Just compare, if you will, the shapes of the trees on the hill in Le Printemps with the trees on the left in Fleming's Botanic Gardens, Glasgow or the meshes of the fishermens' nets with the meshing of the rain and light in Parkscape. Cheyne's frothy trees and cubist tents are more obvious loans but we take them as they were intended, with great good humour. And although there is no record of Fleming and Cheyne meeting, it's pretty certain that they did know one another through exhibiting with fellow Scots (and Englishmen) at the Society of Artist-Printmakers (Cheyne was treasurer). The 1930s market for prints held up better in Scotland than in England and this attracted English printmakers like Edgar Holloway to show with them. He knew both Cheyne and Fleming and exchanged Cheyne's West Highland Loch for one of his own etchings. Which shows just how much they learned from one another.
Seeing double with Engelbert Lap
Here is the print that I talked about buying in Sheffield with the same print but with a different colourway below. My photograph is too pale. The colours are richer than this. All the same it suggests the image must have sold well at the time to warrant a second edition. I haven't found any others that Lap approached in this way. Not that many Austrian and German printmakers went in for numbered editions at the time. I can't make out the title of the work and mine only has a signature. This suggests to me that it was the second version. Gerrie Caspers described the blue one as his best print and of the ones I have seen, I tend to agree. But then you need to see the work in front of you and in this country, at least, we don't get that much of an opportunity to see woodcuts by Lap. I was fortunate when I bought this. No one used to be able decipher the signatures of Austrian or German artists. In those days access to Thieme-Baecker, with their list of monograms and signatures, was necessary to even identify someone like Carl Thiemann. I don't think you would even find one now.
Engelbert Lap
A few years ago someone I know put me onto a shop on West Street in Sheffield. It was the kind of place that had a happy mix of second-hand books and C20th century paintings and prints, the kind of place that had a well-selected stock that appealed to a bookish crowd, the kind of place that time has tidied away. That particular afternoon I stopped to look in the window where I saw the colour woodcut you can see above. Or, at least, not that woodcut but one with a different set of colours. I went in; it was £110. I didn't hesitate. Neither the owner of the shop, nor I, had any idea who it was by or where it was from. But it was, of course, the Austrian printmaker, Engelbert Lap (1886 - 1970). And it was love at first sight.
As it happens, I now prefer the blues and greens of the one you can see to the browns and blues and golds of the one I own. And this says more than enough about the Engelbert Lap who was destined from an early age to join the Austrian army. From a military secondary school, he went on to the Theresian Military Academy in Vienna then joined the Tyrolean Kaiserjaeger as a lieutenant in 1907. He fought on the Galician and Dolomites fronts during the first war, retiring in 1923.
Being an artist in post-war Austria probably wouldn't have been the easiest way of making a living unless you had married an aristocrat like Norbertine von Bresslern Roth. Carl Rotky was a doctor; Emma Schlangenhausen painted frescoes; Emma Bormann had her academic job; Lap had his army pension but, so far as I can see, no training whatsoever as a professional artist. This is what makes the immaculate printing of the work I have propped up on a chair beside me so remarkable. Much less remarkable is the drawing of the church in the print above. It's insipid. You only have to compare Siccard Redl's unforgettable little woodcut of a chapel in the Tyrol (see Jospehine Siccard Redl: lost images of a lost province, February, 2011) and the way she integrates the building into the style of the picture to understand Lap's limitations and weaknesses - and the way he understood his strengths.
There are two points I want to make here: it was necessary for him to make a living and he obviously wished to do a good job. He had started off as a watercolour painter and progressed to woodcut. The days of the Secession, with its enthusiams and rejection of specialisms, were long gone. Unlike Carl Moll who had been painting away merrily for years untill he took it into his head to make a few faintly peculiar woodcuts around 1905, once Lap had hit on colour woodcuts, he stayed with them. Truth to nature? Plein air? Do me a favour. He could change the colourways of a print as it suited him, as he had done with mine, without concerning himself with the actual shade of either the mountains or the sky. This is about as far from the approach taken by Ethel Kirkpatrick as you can get.
As I said at the start, Lap has immediate appeal. The fact that this wears off once you have seen dozens of them is by the by. The work of artists like Emil Orlik, Emma Bormann and Walther Klemm that appeals to the mind as well as the eye, was by the kind of people who could go off and get secure jobs in universities. Decorative printmakers like Carl Thiemann, Hans Frank and Lap had no other option but to try and make sure their works sold. This is exactly why I found his work such a long way from the Tyrol. Try finding a Bormann or an Orlik in Yorkshire. I don't think you ever will.
He made prints of the farm below from all angles! Some prints look as if they have just been reversed. The same range of peaks appears in one woodcut after another. Sometimes these alpine farms are buried in snow, sometimes they are just buried. You have to admire his chutzpah. And this is exactly the approach that appeals to certain collectors. The variations, once you start to notice them, become a sort a game that makes you feel quite clever. All the same, every collection needs to have one. I can guarantee the pleasure; I cannot guarantee the price.
Labels: Engelbert Lap, Tirol, Tyrol
Adventures at the Vienna zoo
Here is the perfect excuse to post two very recent finds - what I hope is a cleaner image of LH Jungnickel's Tigerkopf from 1909 and yet another of his unpredictable maccaws. The excuse was provided today by Neil's very welcome article about the merits of another Austrian printmaker, Norbertine von Bresslern Roth. I was disappointed that no one really took isssue with me at the time, so please look at adventuresintheprinttrade.blogspot.com. I have also changed the second image for a better one that I am happy to admit I have just this minute stolen from Lily's seminal blog Japonisme lotusgreenfotos.blogspot.com. It is also very annoying to find that Lily posted an LHJ tiger image three years ago! That's a double dose of humility for me in one day.
I should also add that the second woodcut is a proof. That's why there are marks and no signature. There are at least two versions, one with a blue macaw, one with a grey-blue one. It may be that he produced different versions for different editions. I think I shall be unable to resist eventually putting together a post dealing with this and Jungnickel's working methods. Stand by.
The Vale of Pewsey by Edward Loxton Knight
I thought this was a rare enough colour woodcut by the British artist Edward Loxton Knight to be worth a quick post. It's just come up for sale on British ebay from Jubilee Galleries at the kind of 'Buy it now' price it might go for at auction in Nottingham without exactly being his most stylish work. He adopted a pretty Arnesby-Brownish manner later on and I don't think The Vale of Pewsey is as period as some of the work on my Loxton Knight post (September, 2011). In its favour, it's subtle and ambitious. It's the first out of an edition of 35, I think, still in the original frame and mount, so it is hard to say what the actual condition is - and at that kind of price, it matters. If his earlier work tends to look like colour-by-numbers, then this one is too much like a conventional landscape painting to be that interesting as a print. He just can't win, can he?
Here is a replacement image that I've found with help (see comments) which may show altered colours, I'll put it like that. It will come from a photograph from a catalogue because that's where all these art sites find their images - that or on ebay. I had this one down as The Trent Valley, which is probably wrong as the Trent valley isn't so heavily wooded. You have to ask yourself if this is just another version or is it just that the top print has faded. I tend to think Loxton Knight was correcting a misjudgement by darkening the foreground in the lower print because the blue of the valley in the upper print is too pronounced and makes it float upwards. Darkening the clouds had the same effect. I think the improvements work and that number two is the better print. It goes to show what care Loxton Knight took with his woodcuts.
Labels: colour woodcut, Edward Loxton Knight
Siegfried Berndt
If Emil Orlik went all the way to Japan to learn the art of woodcut, then Siegfried Berndt (1880 - 1946) did the next best thing: he went to Scotland. He was born in Goerlitz in the far south-east of Germany in 1880. If he had been born in 1889 as some people seem to think, he would have been nine years old when he entered the Academy of Fine Art in Dresden and although he came out as a prizewinner, even Berndt wasn't that sort of prodigy.
I've started this post off with two versions of Auf der Rehde (the topmost is from 1925, the one below from 1911) to try and give some idea of what kind of an artist we are dealing with here: someone willing to try out new ideas and someone who was willing to learn. At Dresden between 1899 and 1906, a leading student of the landscape painter Eugen Bracht (1842 - 1921), he had also managed to become an accomplished printmaker. My hunch is that, like Orlik, he had to pick things up where he could. Winning a travel scholarship in 1907 certainly gave him the chance to study far away from the academy.
Paris was an essential stop-off on the itinerary and Bruckenlandscahft von St Cloud shows an artist who has not only learned from Japanese woodblock but an artist who was well-aware of the lessons of French impression. But what strikes me most about this work is the freedom of his handling. This is still a painter's work, with none of the graphic qualities we associate with C19th Japanese printmaking. In fact, I will say this now: I think talk of the influence of Japanese art on Berndt has been overdone. I don't know if this print was made in France or when he returned to Germany. He also visited Belgium.
But Scotland is far more intriguing. I certainly can't think of any German or Austrian printmaker that made Scotland the subject of one print let alone two. In Hafen von Stranraer he moves sideways into the spare, muted territory of the German printmaker Wilhelm Laage. Unfortunately, I was unable to track down an image of Brucke uber der Firth of Forth but Edinburgh is nearer to home. The idea that fascinates me is this one: Frank Morley Fletcher has become director of the Edinburgh College of Art in 1906 and I am guessing this is what took Berndt as far as Scotland. He wanted to learn from someone who was working in the Japanese manner. (By then Orlik was not). I also think that Orlik's Japanese prints were too literal for what Berndt wanted.
This woodcut is seriously Japanese but is seriously German as well. The sketchiness of the details also remind me of Fletcher. The glorious print below does not. This makes me think of Ponte degli Alpini by a Scotsman, Charles Hodge Mackie (1862 - 1920). What I suppose I am saying is that Berndt was somewhere between magpie and chamaeleon. It's another way of saying he was modern.
I am also going to say now that I am a late convert to the work of Siegfried Berndt despite the nice noises I have made elsewhere online. (Look if you dare). I thought his prints were hesitant and amateurish but there is nothing like the kind of photographs you get on ebay to give the worst impression possible of any artist let alone a more experimental one like Berndt. So I didn't look farther.
It would be very easy to play spot-the-artist with Berndt. It's a temptation I'm going to resist. What I will say is that he must surely have known the work of the impressionists as well as Cezanne and Van Gogh. The three cows are starker than Walther Klemm would have done them but I think he knew Klemm's early woodcuts. (Klemm taught in Weimar from 1913 onwards). The strong colours and high horizon are Klemm with the Vienna Secession removed. The use of other artists is a key to his prolific printmaking - remember that he was also painting.
I am going to leave you to make up your own minds about the rest of these strong and varied prints. Yes, he often does boats and water but he is far less susceptible to the old standby of snow. (I held a snow scene back, partly because the image was murky). I don't really know a great deal about his life or career after he returned to Dresden. He married and between 1932 and 1941 taught at Waldorfschule. There must be other written sources in German somewhere and his prints are still available. A commercial Berlin gallery held an exhibition of his woodcuts from 1905 to 1945 only last August.
I know he came to monchrome woodcuts after the first war, surely influenced by the contemporary work first of Die Brucke and then the Expressionists. This says alot about his willingness to adapt. But true to form, he amalgamates with aplomb. Because there is Cezanne and van Gogh in the mix as well as art deco. (Those two artists I have to say come over more in his oil paintings). And with facility like that, it's no wonder he won prizes. [I forgot to say I nned to credit Annex Galleries for the 1925 version of Auf der Ruhe.]
James Woodford
Charles Paine: Edinburgh connections
Tales from ebay: Leslie Moffat Ward


Two days ago, I wrote about ten minute workouts at home and included links to no-cost YouTube workouts. One of my all-time favorite yoga workouts is Kate Potter's Namaste Yoga. I love the beautiful views, the shifting locations, the changing perspectives, the graceful, yet powerful moves, and the soft narration.
In my post I mentioned only one video clip of the Namaste Yoga workout which I like even though it abruptly ends. Now I have found something even better: an entire episode. The Namaste.tv site has a sample episode.
Daniel, adding yoga to your routine sounds like a good addition. I find it adds flexibility and balance as well as strength. Good luck with your workouts. Thanks for stopping by.
Keep up the good work! You recognize, lots of persons are looking around for this info, you could help them greatly.


The global finger print sensors market is slated for substantial expansion, driven by the rising need for reliable access and security across multiple smart devices. Technological advancement is a primary catalyst of the global finger print sensors market. Saturation of the market is a key concern among the leading market players, as the heightened level of competition has resulted in a price drop. As the competitive landscape becomes increasingly crowded, and almost every new smartphone in the next five years is expected to feature fingerprint sensors, several market participants are looking to explore newer terrains beyond the smartphone market.
The emergence of smartcards has been recognized as a major area for growth, apart from the obvious next step towards personal computers and laptops. The growing deployment of Internet of Things (IoT) is likely to offer significant growth opportunities, driven by the emergence of several smart devices such as smart suitcases that would soon flaunt fingerprint sensor technology. Wearable devices as well as smart cars are some other domains that promise a wide scope for the advancement of the global finger print sensors market.
In May 2017, it was predicted that the newest iPhone 8 is to feature a fingerprint reader at the rear. Another smartphone launched during the same month in India at a price as low as Rs.5999, Zen Admire Sense, also boasts a finger print sensor. Similarly, in the same month, Goodix announced that it has been developing the world's premier in-display fingerprint sensor which might be integrated into its new smart car interface solutions.
Finger print sensor is an electronic device used to capture/scan a digital image of the finger print pattern. This pattern, known as live scan, when analyzed at different scales, exhibits different types of features. The live scan is further processed digitally to create a biometric model, which is stored and used for matching/verification. The finger print sensors market can be segmented by applications across different types of devices such as consumer electronics, smartphone, tablets, and other standalone devices among others. Moreover, finger print sensors are being used in a wide range of industry verticals, including banking and finance, commercial security, criminal identification, defense, government, healthcare, smart homes, and travel and migration.
The finger print sensors market is further segmented by the technology used in designing finger print sensors. Optical sensors use reflection technology, reflection with sweep, light transmission, and thin-film transistor (TFT) displays to read or scan a finger print. Electro-optical sensor is a variant of TFT devices, where capacitance is used to collect information instead of reflected light. RF field-AC capacitance is sometimes confused with capacitance sensors, due to the use of same technology in sensing of 'capacitance' connection of the signal.
Tactile MEMS (Micro-electromechanical systems) sensors provide an interface that can sense and process the surrounding environment. They form a crucial component in automotive electronics, wireless devices, medical equipment, computer peripherals, smart portable electronics such as Personal Digital Assistants (PDAs), cell phones and hard disk drives. Thermal sensors use pyro-electric material that convert, changes in temperature into a specific voltage, and are specifically used in infrared cameras. Ultra-sound finger print reading is based on the principle of echography, due to its advantage of producing good quality images for dermatology reading purposes – reading the sub-surface of the skin, rather than just the surface. Other commonly used sensors are pressure sensors and solid-state sensors.
The key drivers for finger print sensors market are: rapid technological developments, ever-increasing demand for effortless and secured access to devices, along with high adoption rates of smartphones, tablets and mobile commerce. Finger print sensing technologies are currently more cost effective and reliable than all other existing biometric technologies. This trend has diverted the focus of all the leading biometric vendors to manufacture finger-print sensors. Although, the finger print technology holds a considerable share in commercial security, with the introduction of finger print sensing in Apples' iPhone 5S, has triggered the market for finger print sensors. They allow quick, secure, and reliable access to the smartphone users by encrypting and storing their personal information. With increasing acceptance of smartphones and tablets, the demand for finger print sensors is expected to grow immensely.
Despite the strong and effective use of finger print sensors, manufacturing challenges has restrained their mass manufacturing. The challenge faced by the vendors in particular, is the cost of production per surface unit (screen/scan surface size). For the same reason, the market price of an area sensor is almost three times higher than the market price of a swipe sensor. There are numerous significant trends driving the technological innovations in the industry, thereby contributing to the market growth. For instance, integration of sensors in mobile phones, laptops, gaming consoles, tablets and wearable devices, is in turn influencing the size reduction of the finger print sensors. Moreover, increasing demand for sensors in biometric systems has compelled manufacturers to strategically collaborate with algorithm providers.
The key players of the finger print sensors market are: Apple Inc., Adhesive Material Group, Bio-Key International, Cross Match Technologies Inc., DigitalPersona Inc., Finger print Cards AB, RCG Holdings Ltd., Fujitsu Ltd., Fulcrum Biometrics LLC., Idex ASA, Next Biometrics Group ASA, Sony Corp, Synaptics Inc., and Thales Group.


text:
Posted Wednesday, July 3, 2019 4:00 pm
Jewish Film Series returns this summer
MANCHESTER — Israel Congregation of Manchester is pleased to present its second annual Jewish Film Series at 7 p.m. on consecutive Mondays from July 15 to August 5 at the Manchester Community Library.
This year's lineup will be a mix of films that are humorous, poignant, eye-opening, and inspirational.
"Last summer, the MCL's Hunter Room was over-flowing with film-goers who valued the quality of stories told from interesting perspectives," said Carol Goldsmith who, along with Marjorie Weiss, is coordinating the series. "We've carefully selected films that have universal themes, appealing to a diversity of adult audiences."
The series starts with "Big Sonia" on July 15, "Itzhak" (Perlman) on July 22, "Nicky's Family" on July 29, and "Shoelaces" on August 5.
Given the enthusiastic community response last summer, attendees are urged to arrive well before show time to ensure a seat.
Free and open to the public. Donations appreciated.
For more information, call ICM at 802-362-4578.
Church offers basketball, soccer camp
MANCHESTER — Northshire Baptist Church is sponsoring a Fellowship of Christian Athletes basketball and soccer camp July 8-12 for ages 5-12.
It will meet at the Dana L. Thompson Memorial Park in Manchester Center from 5:30 to 8:30 p.m. The fee of $55 includes an athletic FCA Camp T-shirt, FCA Bible, and snacks. Scholarship requests and registration are available at www.nefcacamps.org.
Dave Shehadi, former BBA varsity basketball coach, will be running the basketball component. Eric Hartwell, an experienced soccer coach, will be running the soccer component.
For more information, email northshirebaptistchurch@gmail.com or call 802-362-1988.
Library offers programs on animals, Star Wars
MANCHESTER — The Manchester Public Library is offering the following programs in early July:
Summer Reading Kids program: 11 a.m., July 11. Wildlife tales by the Southern Vermont Natural History Museum, including a live animal visit. Free and open to the public.
Everything Star Wars crafts: 2 p.m. July 10. Make light sabers from glow sticks, droid-inspired mason jars and Wookies from cookies. Free program for ages 12-18.
Super Saturday program: 11 a.m. to 1 p.m. July 13. The 501st Legion, Green Mountain Squad will be at the library for a demonstration and picture opportunities with troop members in realistic costumes of some of your favorite Star Wars characters. Free and open to the public.
Manchester Community Library is located at 138 Cemetery Ave. in Manchester Center.
Veterans' home CEO earns credential
BENNINGTON — Licensed Healthcare Administrator and Chief Executive Officer Melissa A. Jackson, of the Vermont Veterans' Home in Bennington was named a Fellow of the American College of Health Care Administrators.
The Fellow distinction is the highest membership status one can gain in recognition of professional achievement and continuous adherence to the ethical and professional standards of ACHCA.
Fellowship requires a record of participation in professional continuing education, suitable formal education, community service, and at least two years of voting membership.
Our nationally recognized Fellow status confirms a member's dedication to the post-acute and aging services community.
A member of the American College of Health Care Administrators since 2013, Jackson has served members of the military and their families at Vermont Veterans' Home, the only state-run veterans home in Vermont, for eight years.
Having a long family history of military service to our country, Jackson has a personal connection to the residents and the community she serves including the special issues our veterans face in health care.
For more than 20 years, Jackson has worked in nursing homes as a social worker and as an administrator in homes.
MCL accepts fundraising challenge
MANCHESTER CENTER — The Manchester Community Library has a chance to raise funds at twice the speed toward it's July 31 fundraising goal.
The library has announced that a friend of the library has made a challenge to donors and will match all gifts, up to $10,000.
The dollar-for-dollar match will double all donations during this time.
MCL accepts gifts via mail, in person, or over the phone. Payment may be made using a check, debit card, or credit card.

redpajama_set_name: RedPajamaCommonCrawl


Approaching from the Strand, turn onto the Salthouse Dock opposite the Hilton Hotel. Continue straight on passing the Pumphouse Inn on the right and the Maritime Museum on the left. The quickest route to us is across the Hartley Bridge. This bridge can sometimes be closed to pedestrians with very little notice to allow boats into the Albert Dock. These closures are generally only for a short time.
Bike racks are located in the Mermaid Courtyard, adjacent to Tate Liverpool.
Liverpool ONE Bus Station on Canning Street is directly opposite the Albert Dock, approximately 365 metres from Tate Liverpool. Route C4 also stops at the Albert Dock.
The nearest train station to Tate Liverpool is James Street station, Liverpool L27PQ (720 metres approx.). For travel within Merseyside plan your journey at merseyrail.org. Mainline rail tickets to Liverpool Lime Street station are valid for travel to James Street Station.
Mersey Ferries from Seacombe and Woodside on the Wirral call at the Pier Head (960 metres approx.). Access from the Pier Head to the gallery is via The Strand.
To get to Tate Liverpool, follow the brown signs to the Waterfront.
Q-Park Liverpool ONE, with 2,000 underground spaces: 35 Strand Street, Liverpool L1 8LT. Visitors to Tate Liverpool can park at Q Park and receive a 50% discount on parking for up to 24 hours. Ask for a voucher from a member of staff when visiting the gallery.
Coach parking is available at the Kings Dock Car and Coach Park, near to Tate Liverpool. More information for drivers www.albertdock.com.
Visitors may also like to make use of Liverpool's Shopmobility service, on the third floor of the Liverpool ONE shopping centre. Equipment must be booked in advance and there is a charge.l. More information for drivers www.liverpool-one.com.
Admission to Tate Liverpool is free, except for special exhibitions. Become a Tate Member or Patron and get free entry to special exhibitions.
The gallery is closed 24–26 December but open as usual on all other days of the year, including Bank Holidays, Good Friday and New Year's Day.
Tate Liverpool opens at 10.30 on the first Wednesday of every month.
Limited pay and display parking is available near to Tate Liverpool inside the Albert Dock Gates near The Pump House public house (100 metres distance) and outside the Britannia Pavilion (100 metres distance).
A Q-Park Liverpool ONE, with 2,000 underground spaces: 35 Strand Street, Liverpool L1 8LT. Visitors to Tate Liverpool can park at Q Park and receive a 50% discount on parking for up to 24 hours. Ask for a voucher from a member of staff when visiting the gallery.
Tate Liverpool is located in the Albert Dock complex, which includes period features such as cobbles and original Yorkstone paving.
There are no steep gradients on approaches to Tate Liverpool.
There is level access to the gallery.
The main revolving doors are operated manually.
The two side doors open automatically and are push pad operated. The doors are single width. The door opening is 110cm wide.
Five wheelchairs are available to borrow during your gallery visit. You can book one in advance or ask a member of staff for one on your arrival.
Tate Liverpool welcomes guide dogs and hearing dogs.
Visitors with a disability pay a concessionary rate, and carers' entrance is free. Details are available on each special exhibition page.
We welcome guide dogs and hearing dogs in the gallery. Drinking bowls are available – just ask a member of staff.
Tate Liverpool provides a range of interpretative material including information panels, labels and leaflets.
Find out whether an event at Tate Liverpool has visual description in the What's On pages.
A range of portable loop systems are available for use in meeting and event spaces which can be used by visitors with or without hearing aids.
Find out whether an event at Tate Liverpool offers BSL interpretation in the What's On Pages.
We can provide various colours of transparent overlays, which may benefit some visitors with dyslexia when reading black-on-white text captions and leaflets.
All artwork labels are available in large print at the entrance to each exhibition or display.
Exhibition booklets are also available in large print. Please ask a member of staff.
Just ask at the Information desk.
Our programme for community groups offers a range of activities that can be tailor-made to suit the requirements of particular groups, such as visitors with learning disabilities.
The Information desk at Tate Liverpool is located three metres from the front entrance. Staff are happy to help with any questions you have about the artworks, building and facilities.
Female and males toilets are located next to the lift in the basement, 15 and 16 metres from the entrance respectively.
There is level access to both toilets and the lighting levels are bright.
between the rooms at the north end of the gallery on the first and second floors.
All adapted toilets are unisex. A key is not required.
The door to the ground floor adapted toilet opens inwards and is locked by a locking handle. As you face the toilet pan there is lateral transfer space of one metre on the left.
The tap type is lever. There is a functional emergency alarm. Wall mounted grab rails are on both sides of the toilet.
Hand dryer: less than 130 cm.
Toilet roll holder: less than100 cm.
Sink: less than 74 cm.
The contrast between the walls and floor is good. Wall mounted and drop down rails are available.
There is a Changing Places toilet at Tate Liverpool, located in the ground floor foyer.
Changing Places toilets are also available at the Merseyside Maritime Museum which is within a 5 minute walk from the gallery. Information is available on the Maritime Museum website. Changing places toilets are also available at the Museum of Liverpool which is within a 15 minute walk from the gallery, and in Liverpool One which is within a 20 minute walk from the gallery. The facility is located in the Liverpool One Information Centre.
The basement, ground, first, second and fourth floors are accessible to the public.
There are two standard passenger lifts located opposite the main entrance. The right hand lift provides access to all levels; the left hand lift provides access to the ground, first, second and fourth floor.
Lockers are available and free to use in the basement at Tate Liverpool. We kindly ask that visitors put large bags and rucksacks in our lockers for visitors' personal comfort during their visit and for the safety of the artwork.
There is level access to the Café at Tate Liverpool.
There is level access to the Shop at Tate Liverpool and ample room for a wheelchair user to manoeuvre.


What do we sell, if people produce their own energy?
How can we connect 1bn people that are currently without safe and sustainable energy?
How can we compete with Silicon Valley brands for future energy services?
How can we unite our organisation across 30 extremely diverse countries?
1. Open the infrastructure to more uses and maximise the value of assets. E.g. through a collaboration with Telcos to bring superfast internet even to remote rural areas.
A key factor in the development of the new brand was the highly collaborative process. Throughout the project we challenged our client's ways of working by including all parts of the company's organisation and all key agencies in every step of the project. We travelled throughout Europe meeting customers, stakeholders, and employees to understand the local requirements. We also had constant loops of sharing work in progress and receiving feedback from the countries using a variety of digital collaboration tools, such as a digital project journal. We designed the creative process in a way that constantly exposed the team to new feedback, from involving all Wolff Olins offices, to countless co-creation sessions with the client, and cross-agency workshops to ensure the brand is built for all relevant touch points.
At the start of our creative process we explored how the abstract concepts of power and openness can be visualized – From kinetic energy to physical phenomena to data driven systems we've asked ourselves: what does power and openness look and feel like? How can we translate these concepts into an expression that truly embodies the future of the organization?


Best offers for car rental in Wroclaw. Effective prices and discounts up to 70% on popular car models. Instant online order confirmation. With a car everything becomes easier during the journey, no need to think about how many things to carry, how to get to the place, or until what time public transport works. Only joy and pleasure of exploring new places. Cars-scanner will help make your trip even more advantageous, use the service for booking a car and get the best offer.
According to the rules of most rental companies of Wroclaw, the provision of an international driving licence is required.
Cars-scanner gives you the opportunity to book a car at the best price; take advantage of special offers and deals on our website. With their help, you may get a discount of up to 80%, the cost of car rental in Wroclaw in this case starts from 1 euro per day.
on the motorway - 140 km/h.
I recommend only this search engine to all my friends and acquaintances, as it's the most reliable and truthful. It has helped me a lot while traveling.
Several times me and my friends have been convinced that this aggregator finds any variants of a car for rent around the world.


text:
import React, { PropTypes } from 'react'
import classes from './Scripts.scss'

const pythonScript = `
"""Script to submit data points via LambStatus API.

It generates and submits random 24 * 60 data points.
"""

import httplib
import datetime
import time
import random
import json

# The following 3 are the actual values that pertain to your stack and this specific metric
api_key = '<API_KEY>'
hostname = '<API_HOSTNAME>'
metric_id = '<METRIC_ID>'

# Generate random data points for the whole day.
total_points = 60 * 24
curr = datetime.datetime.utcnow()
datapoints = []
for i in range(total_points):
  timestamp = curr.isoformat()
  value = random.randint(0, 99)
  datapoints.append({'timestamp': timestamp, 'value': value})

  curr -= datetime.timedelta(minutes=1)

# Submit the data points
body = json.dumps({metric_id: datapoints})
headers = {'Content-Type': 'application/json', 'x-api-key': api_key}
conn = httplib.HTTPSConnection(hostname)
conn.request('POST', '/api/v0/metrics/data', body, headers)
resp = conn.getresponse()
if resp.status == 200:
    print 'Successfully submitted', str(total_points), 'datapoints'
else:
    print 'Failed to submit the datapoints:', resp.status, resp.reason
    body = resp.read()
    print body
`

export default class Scripts extends React.Component {
  static propTypes = {
    params: PropTypes.shape({
      metricid: PropTypes.string.isRequired,
      lang: PropTypes.string.isRequired
    }).isRequired,
    location: PropTypes.shape({
      query: PropTypes.shape({
        apiKey: PropTypes.string,
        hostname: PropTypes.string
      }).isRequired
    }).isRequired
  }

  render () {
    const lang = this.props.params.lang
    let script
    if (lang === 'python') {
      script = pythonScript
    } else {
      script = `Unsupported language: ${lang}`
    }

    const metricID = this.props.params.metricid
    script = script.replace('<METRIC_ID>', metricID)

    const query = this.props.location.query
    if (query.hasOwnProperty('apiKey')) {
      script = script.replace('<API_KEY>', query['apiKey'])
    }
    if (query.hasOwnProperty('hostname')) {
      script = script.replace('<API_HOSTNAME>', query['hostname'])
    }

    return (

          {script}

    )
  }
}

redpajama_set_name: RedPajamaGithub


Get the best moving company in Anaheim with imove! With just a little information, we can get you hooked up with the top movers in The Golden State.
The statistics show it: Anaheim, CA is a great place to live and work! iMOVE has moved thousands of people in and out of your city. Not only is iMOVE your source for fairly priced moving quotes, but we offer expert advice and moving resources to help your move go smoothly. Below are some great things we've learned about Anaheim over the years. We hope this helps you get excited for your upcoming move!
The median cost of rent in Anaheim is $1,349 making rent above the national average.
The median cost of a home in Anaheim is $347,690 making home costs above the national average.
6,729,719 K-12 students in Anaheim attend public school; 682,775 attend private school.
The violent crime rate in Anaheim is 0, which is 100% below the national average. Reported burglaries are at 470 (31% below national average) and property crimes are 2,595 (11% below national average).


I also love Kate Bosworth's mini dress! (Pic 1) The whole look has a free spirited vibe as well as her fresh-natural hair and make up.
Thanks for the lovely comments people, they always brighten up my day!
También me gusta mucho el mini vestido de Kate Bosworth, el look completo tiene un aire libre y el maquillaje y el cabello se ve fresco y natural.
Gracias por sus lindos comentarios que siempre me alegran el día!
Amé todas las imágenes que posteaste!!! Una pieza más bella que la otra!!!
love her dress and that neckless is super cute! i like crochet a lot..its almost like a vintage thing for me.
I have a bunch of crochetted pieces my mother made me.
I have a pink shawl she made me.
I'm always afraid I'll make a mess of it.
woah! that is a great collection of photos! really unique!
i think id like kate bosworth more if she hadnt dated orlando bloom at some point. i like the fence picture though.
..Love that topshop dress ..so simple and beautiful ..
the choker and the gray crochet bag are delicious...i WANT them!!!
loves to you beautiful G!!
lindo vestido no? y lindos botines.... ♥ saludos!
Beautiful crochet stuff, it has such a lovely country feel about it.
me encanta io tb tengo un par d cosas en crochet, lo q más me gusta es un chaleco blanco con una flor hermosa en la espalda!!
such PRETTY images Giovanna! u're a genius at finding such lovely images from the biggg blogosphere!
pic 6 and 8 are my fave!
Beautiful imagery as always. A fabulous inspiration. Love the mini dress too!
Beautiful ispiration as always! Just bought a lovely crochet dress!!! can't wait to wear it but need to loose 4 kgs before...:)!
what a lovely neck piece! i would like to make something like that.
she looks so great! i've been seeing so much crochet lately, it's really starting to grow on me.
These photos are simply fabulous!
beautiful crochet!! espesh the dress in the first photo and the fence!!
Is it weird how much I love those crochet covered rocks? I would love a little garden filled with those.
Thank u for the inspiration. I always love reading your posts.
i love crochet too, lovely picture selection.
i love that crochet dress, its lovely!!
Love the crochet, especially that necklace (is it a necklace? scarf? neck thingy?). Either way, it's gorgeous, like everything! Who knew your grandmother's throw was so chic?
woahh... all beautiful. esp the second one!
I am interior decorator from Milano.
I love crochet and crocheting! There is always such emphasis on knitting but I've always preferred the delicate, bohemian feel to crochet. Thank you for this post!
Me encanta el crochet! El vestido de Kate Bosworth es precioso.
The pink thing on the sofa is so gorgeous!!
If only the mood for every week could be romantic and dreamy. Love this post. Lots.
this is such a great post! the crochet fence is amazing!
La imagen 8 que inspiradora!!!


text:
Weep Not for Strauss-Kahn
French Leftists Should See Silver Lining
By Diana Johnstone
Counterpunch 22 May 2011
Theme: Law and Justice
In a flood of carefully designed public opinion polls, editorials, and books bordering on idolatry, the French communications industry had already settled next year's presidential election. The loser would be Nicolas Sarkozy, sagging in the polls. The winner would be Dominique Strauss-Kahn, ever on the rise. True, the French Socialist Party had not yet chosen its candidate, and Strauss-Kahn had not yet announced his candidacy, but the party nomination and the election itself were little more than formalities. Known by his initials, like the International Monetary Fund he currently heads, DSK was the clear choice of the economic powers behind the throne, and was being vigorously sold to the public as "the most competent" candidate.
Since DSK has the luck to face a New York jury, and not the judges at the International Criminal Court, commentators are all stressing that he is, of course, innocent until proven guilty. Well, yes. But the scandal has already blown the upcoming presidential election campaign out of the water.
The French Socialist Party has been largely speechless at seeing its supposedly unbeatable candidate shoot himself in the foot before the race even starts. Conspiracy theories proliferate. Was this all a plot by Sarkozy?
But Nicolas Dupont-Aignan, a minor candidate who is trying to resuscitate the tradition of social Gaullism, says that, contrary to many observers, he thinks the elimination of DSK is a stroke of luck for the left: "Dominique Strauss-Kahn was a false good candidate for the left and I think that the right would be mistaken to rejoice. I've always thought that there was a sort of phony Strauss-Kahn fad and that he was perhaps the best adversary Nicolas Sarkozy could have…"
Indeed, only a few days before the hotel room scandal broke, DSK was under fire for being photographed getting into a luxurious Porsche – not his own, as it happens, but ironically belonging to his public relations ("communication" these days) advisor. But this was only a reminder that the potential Socialist candidate is anything but a man of the people. Strauss-Kahn's luxurious life style is no secret, his hunger for wealth and power every bit equal to that of Sarkozy, and his womanizing reputation has spiced up Paris dinner party conversation for years. Moreover, he has been credited with a style of womanizing that is not so much the Latin lover stereotype as "a chimpanzee in heat", according to a young journalist who has publicly recounted how she had to fight him off tooth and nail.
But the real scandal for the Socialist Party is the one it does not even begin to recognize: that it was pinning its electoral hopes on a leading champion of global capitalism, the president of the IMF. Whatever the outcome of the New York proceedings, the bursting DSK bubble marks the total degeneration of the Socialist Party in France, for reasons that have nothing to do with his sex life.
Thirty years ago, the wily François Mitterrand led Socialist Party politicians to an election victory they are still celebrating. Initially allied with the French Communist Party, the better to subjugate and destroy it, Mitterrand's Socialists started out in a blaze of reforms, ending the death penalty, nationalizing enterprises and lowering the retirement age, only to turn around a couple of years later and abandon socialist economic policies as impossible to pursue in the free market context of the European Community (now the European Union). The Mitterrand era in reality buried socialism, or even social democracy, but the Socialist Party went on calling itself "the left". This no longer referred to economic policies favoring the working class but above all to moral issues such as anti-racism and all sorts of vague good intentions.
The Socialists were no longer socialist, without being anything else.
With Dominique Strauss-Kahn, the mere absence of socialism evolved into something much more vigorous: unabashed promotion of global capitalism. After becoming Minister of the Economy, Finances and Industry in 1997, he totally reversed the early Mitterrand direction, carrying out a wave of major privatizations, turning over French telecommunications, steel, aerospace and other key industries to the whims of international finance capital. This was to be expected from the vice president of the high level "Cercle de l'Industrie", which he joined in 1994 at the invitation of Raymond Lévy, then head of the Renault auto manufacturer. In this charmed circle, dedicated to promoting the interests of industry in the European institutions, DSK hung out with the same crowd of top French capitalists whose company so delights Nicolas Sarkozy. Indeed, it is only fair to suggest that Sarkozy chose DSK to head the IMF not only, as is constantly repeated, to keep his rival out of France, but also because the two see precisely eye to eye when it comes to international financial policy.
Consistently, DSK opposed the last Socialist Party reform intended to favor the workers, namely the reduction of the work week to 36 hours adopted in 2002. Having written his doctoral thesis in economics on "human resources", he has argued in favor of both a longer work week and raising the age of retirement, "now that we live a hundred years".
In the wake of the Porsche flap, it is a sign of the degeneration of political life that commentators were writing that DSK needed to change. The fact that he was clearly an eager champion of multinational financial capital posing as a socialist was not the problem; the problem was that it showed. He needed to do something to make himself seem more concerned with ordinary people. Well, nobody imagined how rapidly that could be done.
There is another way in which DSK would have been a vulnerable candidate for the Socialists. The PS has often been the party of choice for voters from immigrant communities, but this has been complicated by the Israeli-Palestinian conflict. All mainstream French politicians are pro-Israel, but DSK went farther than most, writing: "I consider that every Jew in the diaspora, wherever he is, and thus this holds true for France, should contribute to helping Israel. Moreover that is why it is important for Jews to assume political responsibilities. Not everyone in the Jewish community thinks so, but I believe it is necessary. […] To sum it up, in my functions and in my daily life, through all my actions, I do what I can to contribute my modest stone to the construction of the land of Israel" (from the review Passages, number 35, 2007.) This sort of stuff no doubt aroused the enthusiasm of the large Jewish community in the Paris suburb of Sarcelles that elected him mayor. But it is strange for a presidential candidate to declare that concern for a foreign country is the primary motivation of his political career.
In his comments, Nicolas Dupont-Aignan was the first public person in France to express concern for the victim. "If the facts are proven, it is very grave, all the more in that nobody speaks of the victim. If it had happened in France, I am not sure that the police would have dared to arrest DSK." Dupont-Aignan deplored the fact that France "will go on having that image of a culture of impunity for important personalities. … The United States", he concluded, "has a lot of faults but in such sex cases they have much less of the culture of impunity which prevails in our country."
Many French will see the prosecution of DSK as symptomatic of American puritanism. Certainly, this scandal will draw attention to the cultural differences between the two countries, including what it is that causes a major scandal. Back in the summer of 2004, a huge uproar occurred in France when a young woman claimed to be the victim of a group of young blacks who attacked her on a suburban commuter train because they thought she was Jewish. Even the President of the Republic joined the chorus of protests against the "anti-Semitic attack". It turned out that the young woman had invented the whole story to attract the sympathy of her family.
As the truth came out, Dominique Strauss-Kahn commented that if the incident "turns out later not to have happened as alleged, in any case there have been 20 others that did take place before."
This was symptomatic of a "left" that abandoned the working class, while marketing itself as uniquely concerned with moral issues such as promoting feminism and combating racism and anti-Semitism. It would be fittingly ironic for this pretense to be exploded by the revolt of an abused African housekeeper.
Diana Johnstone is the author of Fools Crusade: Yugoslavia, NATO and Western Delusions. She can be reached at [email protected]
The original source of this article is Counterpunch
Copyright © Diana Johnstone, Counterpunch, 2011
Articles by: Diana Johnstone


Detailed product information: Find prices, reviews, specs, and more. Shopper is powered by Google Product Search.
Scan the covers of books and media: Find a product by simply pointing your camera phone at the cover art of a book, CD, DVD, or video game.
Barcode scanning: Scan the barcode of almost any product to quickly learn more about it.
Search by voice: Say the name of a product and find it easily in Shopper.
Save your history and favorites: Shopper saves your history and lets you star your favorites for later.
hare your finds with friends: Find something you want to share? Click on the share link to post to Gmail, Facebook, Twitter, Instant Messaging, etc.
My boyfriend uses Google Shopper all the time and I must say it's pretty impressive, especially the first couple times you see it in action. I'm stuck in the stone age with my lame cell phone that doesn't even have web access (pathetic considering I'm a blogger, but these things cost money!). Someday soon I hope to join the modern world and get a smartphone, too. I think it would be so helpful to take to stores like T.J. Maxx, Nordstrom Rack, outlet malls, etc. so you can comparison shop in real time and know if you're really getting a good deal or not.
How about you, do you use your smartphone to save money on fashion? Which apps are best?
There's an app. for the iPhone, too...it's called Red-something (I forget - my friend with an iPhone was telling me about it). I believe it allows you to scan the barcode on an individual item - let's say Bayer Aspirin at Target - and then searches the web for a better price (like if it's on sale at CVS that week).
Don't worry you're not the only one with a dinosaur phone! I too am too cheap to pay for a data plan and instead stare wistfully at everyone else's snazzy smart phones.
Wow! That would be so cool to have in my phone. Unfortunately my phone is also too old. As soon as I get a new one I want to have this little useful tool in it, shopping wouldn't be so stressful anymore!


BETHEL, Alaska — A man and his nephew claim they saw a Bigfoot while fishing along the Tarperrnaq River in the fall of 2011.
Dana Kopanuk says they were approaching their fishing net when they saw someone walking through the tall grass of the river's bank. At first, he said, he thought it was a person, but he then realized it was too tall and hairy to be a human being.
According to the witnesses, the creature wasn't wearing any clothes and it didn't act like a person.
"If he were from camp, he would wait for us," Kopanuk told KTUU.
They observed the animal for about 10 minutes before they moved to a different spot. The men admit they were not scared because they know the creature isn't known for hurting anybody.
"I say my name and I believe what I see, I don't know where they live. I don't know how they survive," he said.
The local network also reports that most witnesses don't like to provide their real names, which makes Kopanuk's sighting "different" from the others.
"Even the illustrator that creates drawings for the paper wants to be known only as 'AI'," Lacie Grosvold wrote.
The city of Bethel is located 400 miles west of Anchorage and is home to 5,000 people.


The State Assembly Committee on Health heard testimony from 48 people on Thursday regarding a bill allowing medical aid in dying, or physician-assisted suicide.
The bill would allow for terminally ill patients with a prognosis of six months-or-less to live to take a "cocktail" of drugs to end their life. It would also allow them to pick up the "cocktail" up from their pharmacy once approved by two doctors and confirmed by two independent witnesses.
New York's proposed legislation is modeled on Oregon's medical aid in dying bill, which has been in place since 1994. The legislation is known as "assisted suicide" by its opponents, and is currently legal in seven total states and the District of Columbia.
Opponents of the bill have expressed concerns for the disabled community and what they say is a tendency for medical professionals to underestimate their will to live. Opponents also say medical professionals assume that the patient would rather die than incur debt.
"Doctors tend to devalue our lives, tend to feel that we don't have quality of life when we feel that we do," said Anita Cameron, director of minority outreach for Not Dead Yet, a disability rights group fighting against assisted suicide. Cameron suffers from multiple sclerosis, congenital cerebellar ataxia, and diabetes. She said she knows one of her diseases "is going to take her life" and lives in pain, but can't see herself ending her own life. "I don't want to die, I have way too much to live for," said Cameron.
Another concern is that a doctor's word on how long a patient has left is often not correct. Multiple people, including Cameron, testified Thursday that their loved ones far outlived their doctor's expectations.


To start, you need a haircut. Maybe you have a wedding to go to or the third date this week.
Might be a big meeting with the executives. Or, it is just your routine of always looking sharp at the office or in the field.
Next, you also want your barbers to care about what is on your head. Have experience with the hairstyles you like and modern styles. And in general you want your barbers to be friendly people.


But in a twist that could alter the dynamics of the next Congress, these anti-establishment Republicans, known as the House Freedom Caucus, could find their influence crippled by the ascension of an anti-establishment figure to the White House.
.. The earliest and most ardent backers of Mr. Trump, like Representatives Chris Collins and Lee Zeldin of New York, and Tom Marino and Lou Barletta of Pennsylvania, are not Freedom Caucus members. They come from the kind of Rust Belt districts that buoyed Mr. Trump to victory last week.
.. But legislation has never been the group's primary focus. It has instead been united in what it sees as a Robin Hood-like mission to seize power from their party's leaders on behalf of House members.
.. discussed whether to press for rules changes that would allow committee members to choose their own chairmen, an idea that the leadership would be certain to reject.
.. Mr. Trump's victory defanged the Freedom Caucus's most serious threat: a challenge to the speakership of Paul D. Ryanof Wisconsin, which could have been used as leverage toward other goals.
.. "Paul Ryan raised incredible sums of money to help our folks withstand a barrage coming from the other side," Mr. Collins said in an interview with CNN.
.. But there is one force Republicans do not want to cross, Mr. Cole, who is not a member of the Freedom Caucus, said: their constituents, who supported Mr. Trump in large numbers.


text:
Q: Error while importing from github in android studio 2.3.3 I listed the person's name in recycler view from the data I got from Firebase real-time database.
How can I show the details of the person when the user clicks the name of each person?
The description of each person stored in given image format:

A: Since there can be many user with the same name, I suggest you to fetch the details of your user by id. May be you can store your user Id in some view that is hidden.
You can follow below steps to fetch the detail your user by Id.

*

*Make a class corresponding to your user fields in the Firebase database.
public class UserDetail {
    private String uId;
    private String name;
    private String phoneNo;
    private String address;
    private String product;
    private String spinner;
    private String quantity;

    // Empty constructor
    // Getters and setters
}

*Make a DAO class corresponding to above class to fetch records from your database.
public class UserDetailDao {

    private final FirebaseDatabase mDatabase;

    public UserDetailDao() {
        mDatabase = FirebaseDatabase.getInstance();
    }
    public void getUserById(String id, OnResultFetched onResultFetched) {
        final UserDetail userDetail = null;

        mDatabase.getReference()
                .child("users")
                .child(id)
                .addListenerForSingleValueEvent(new ValueEventListener() {
                    @Override
                    public void onDataChange(DataSnapshot dataSnapshot) {
                        userDetail = dataSnapshot.getValue(UserDetail.class);
                        onResultFetched.onResult(userDetail);
                    }

                    @Override
                    public void onCancelled(DatabaseError databaseError) {
                        onResultFetched.onResult(null);
                    }
                });
    }

    // Callback interface
     public interface OnResultFetched {
         public void onResult(UserDetail userDetail);
     }
}

*Now from any activity, you can get list of all users by:
 new UserDetailDao().getUserById(id_of_your_user, new UserDetailDao.OnResultFetched() {
            @Override
            public void onResult(UserDetail userDetail) {

                // **** HERE IS YOUR USER ****

            }
        });

redpajama_set_name: RedPajamaStackExchange


I require a programmer for an app available on Iphone and Android.
My company has just recently been set up and i am requiring an app for the business. The app must be available on apple and android and the job i am looking to get done here, will be my first version. The app must be able to use information from specific set of questions, in order to give restaurants/bars and other places within a drop down list. The idea is to create a night out/date for couples within a specific area i have chosen. I would be willing to explain in more detail via phone or face to face meeting preferably.
Hi, I'm senior mobile app developer as well as good analysis. Can we discuss more detail to make sure of workflow? thanks.


text:
Locals reflect as newly sworn-in vice president makes history
Hijab-wearing Somali-US model takes step back from industry
by: COLLEEN BARRY, Associated Press
Posted: Nov 26, 2020 / 08:57 AM MST / Updated: Nov 26, 2020 / 09:40 AM MST
FILE – In this Feb. 23, 2017 file photo, Somali-American model Halima Aden wears a creation part of the Max Mara women's Fall-Winter 2017-18 collection, that was presented in Milan, Italy. Somali-American model Halima Aden has announced that she is taking a step back from the fashion industry, saying that the pandemic slowdown has given her time to see instances when her desire to maintain a hijab was not properly respected. (AP Photo/Luca Bruno).
MILAN (AP) — Somali-American model Halima Aden has announced that she is taking a step back from the fashion industry, saying the pandemic slowdown has allowed her to see instances when her desire to maintain a hijab was not properly respected.
In a detailed Instagram story, Aden wrote this week that she was "not rushing back to the fashion industry" and that she had finally heard her mother's pleas "to open my eyes."
"My mom asked me to quit modeling a LONG time ago. I wish I wasn't so defensive,'' the 23-year-old model wrote. "Thanks to COVID and the breakaway from the industry I have finally realized where I went wrong on my hijab journey.''
Aden became the first hijab-wearing model on the runways of Milan and New York, and has appeared on numerous magazine covers and in print campaigns.
Born in a refugee camp in Kenya, she moved to the United States with her family at age 7 and was the first Muslim homecoming queen at her high school in Minnesota, the first Somali student senator at her college and the first hijab-wearing woman in the Miss USA Minnesota pageant.
In her Instagram posts, Aden detailed where she felt the religious covering hijab had been respected — for example in a campaign for Rihanna's Fenty beauty line — and where it had gone astray, showing an instance when her head had been wrapped in jeans.
"I was just so desperate back then for any 'representation,' that I lost touch with who I was,'' she wrote on one post, and on another, wearing a crystal-encrusted headscarf, she said ""I should have walked off the set because clearly the stylist didn't have a hijab wearing woman in mind."
She said her acceptance of situations that showed a lack of respect for her beliefs was due to a mixture of rebellion and naivete. "What I blame the industry for is the lack of MUSLIM stylists," she wrote.
by DAVID BAUDER, Associated Press / Jan 20, 2021
NEW YORK (AP) — If there's one thing clear after White House press secretary Jen Psaki's first session with reporters on Wednesday, it's that she's determined to minimize drama in the briefing room.
Her 31-minute news conference stood in stark contrast to Sean Spicer's first time before reporters four years earlier. Spicer made the plainly false claim that President Donald Trump's inauguration crowd was the largest in history, which he later said he regretted.
Inaugural poet Amanda Gorman: 'Even as we grieved, we grew.'
by HILLEL ITALIE, Associated Press / Jan 20, 2021
NEW YORK (AP) — The country has a new president and a new literary star. In one of the inauguration's most talked about moments, poet Amanda Gorman summoned images dire and triumphant Wednesday as she called out to the world "even as we grieved, we grew."
The 22-year-old Gorman referenced everything from Biblical scripture to "Hamilton," and at times echoed the oratory of John F. Kennedy and the Rev. Martin Luther King Jr. With urgency and assertion she began by asking "Where can we find light/In this never-ending shade?" and used her own poetry and life story as an answer. The poem's very title, "The Hill We Climb," suggested both labor and transcendence.


text:
10/9/2018, 8:32pm
Ward 2 City Councilman Ron Anders elected Auburn mayor
Anders received 4,522 votes, or 54.2 percent, to Hill's 3,822 votes, or 45.8 percent.
By Chip Brownlee | Editor-in-chief and Elizabeth Hurley | Community Editor
Ron Anders is elected mayor of Auburn on Oct. 9, 2018.
Full results are available here.
Ward 2 City Councilman Ron Anders will be Auburn's next mayor.
Voters went to the polls on Tuesday to decide between Anders and local consultant David Hill after neither of the two candidates received 50 percent of the vote in an Aug. 28 general election.
"I'm very proud, and I'm very humbled," Anders said.
"What a great community and an awesome opportunity to serve this community," Anders said Tuesday night. "The first thing we want to do is plan some orientation and some goal-setting for the Council. We've got about a month before we're sworn in and take over."
Anders will continue serving as Ward 2 councilman until that time.
"We want to hit the ground running," Anders said. "I want to get on the student-housing issue immediately, and form a student-housing task force to immediately begin to look at all of the issue running into student housing and the potential saturation of that. We'll begin to move Auburn forward."
Anders has served six years on Auburn's City Council, spending his last term as mayor pro tempore under 20-year Mayor Bill Ham, who announced earlier this year he wouldn't seek re-election.
Ham, who is 64, decided that 32 years on the City Council — two decades of which he spent as mayor — was where he would cap what he called his "civic rent." He later endorsed Anders.
Anders said Tuesday night that he views students as Auburn's greatest untapped resource.
"You have my invitation right now to join this, and be a part of this community, and help us make decisions, and guide the kind of town that you want to reside in and go to school in, and guide the kind of town that you want to come back to and go to a ball game and be an alumni," Anders said. "It's your opportunity. I care about you. I respect you immensely. You're invited to be a part of the process."
Anders was appointed the City Council in 2012, when he replaced longtime Councilwoman Sheila Eckman.
Mayoral Runoff
Anders benefitted from a history in Auburn city government and a high-profile family name. His family founded and owned Anders Bookstore on Magnolia Avenue before selling it in 2005.
Hill, who is an Auburn graduate but spent much of his professional and academic career away from Auburn, campaigned largely as an anti-establishment candidate.
The City Council faced massive turnover this year.
Only two incumbents, Ward 3 Councilwoman Beth Witten, who ran unopposed, and Ward 8 Councilman Tommy Dawson, who won back his seat on the City Council during the Aug. 28 election, will remain.
"It's going to be great to hear what they have to say, and how they make decisions, and what's important to them," Anders said. "We'll do all we can to get them as ready as possible for that first meeting so they feel as prepared as they need to be."
Two others won their seats outright without a runoff: Jay Hovey, who now represents Ward 7, and Connie Fitch Taylor, who unseated Ward 1 Councilwoman Verlinda White.
In the runoff for Ward 4, local attorney Brett Smith defeated Auburn English professor Jim Ryan, defeating him with 63.5 percent, or 420 votes, to Ryan's 36.5 percent, or 241 votes.
"This is exciting," Smith said. Part of Smith's campaign was to "Visit Every Door in 4," promising to speak with every resident in his ward during the campaign.
"Every neighborhood is different. Ward 4 is unique in that we have newer developments and we've got older developers, and everyone has an idea of what they need. And that to me is what's important. Good representation is listening to everyone."
In Ward 2, Kelley Griswold defeated Todd D. Scholl. Griswold carried 63.6 percent of the vote to Scholl's 36.4 percent. In Ward 5, Steven Dixon defeated Walter M. Northcutt. Dixon carried 59.3 percent of the vote to Northcutt's 40.7 percent. In Ward 6, Bob Parsons defeated Sarah Brown. Parsons carried 50.8 percent to Brown's 49.2 percent.
"It's exciting," Anders said. "New blood. New ideas. New enthusiasm. I'm excited about those six new people, and I look forward to working with them. They took the time to run for this office because they're passionate about Auburn as well."
As the Auburn 2020 plan becomes outdated, the city will soon start compiling a new Auburn 2040 comprehensive plan for how the city should grow. Anders said the city would immediately begin planning and organizing the leadership of the team that will compile that plan.
"Tomorrow I will be the mayor-elect of this entire town, and it doesn't matter who you voted for up to this point, I'm your mayor moving forward," Anders said. "I want to hear from you and I want to work with you. This is your time. And Auburn will be your community moving forward, and your opinion matter."
Anders asked Auburn residents to give him feedback.
Elizabeth Hurley, community editor, and Olivia Wilkes, community reporter, reported from Auburn City Hall.
Chip Brownlee | Editor-in-chief
Chip Brownlee, senior in journalism and political science, is the editor-in-chief of The Auburn Plainsman.
@byChipBrownlee
@chpbrownlee
editor@theplainsman.com


text:
'Dancing With The Stars' Partners Bill Engvall and Emma Slater Talk About Making It to The Semi-Final Rounds
by: Grace Mendoza, Sam Rubin
Posted: Nov 13, 2013 / 10:26 AM PST / Updated: Nov 13, 2013 / 10:26 AM PST
Comedian Bill Engvall and his professional dance partner Emma Slater talk about making it to the semi-final rounds Monday night on 'Dancing With The Stars'. Actress Elizabeth Berkley and her partner Valentin Chmerkovskiy were eliminated. Sam Rubin reports.
by Sam Rubin / Jan 15, 2021
Don't miss the season two premiere of 'Snowpiercer' January 25th at 9 p.m. on TNT.This segment aired on the KTLA 5 Morning News, Jan. 15, 2021.
Catch the season 2 premiere of 'Batwoman' Monday, January 17th at 8 p.m. right here on KTLA.This segment aired on the KTLA 5 Morning News, Jan. 15, 2021.
KTLA Entertainment on YouTube
Watch more interviews on YouTube.


THE CONVERTORUM: "The Borg? Hmmm. Sounds swedish..."
Here's the painted servitor. I like this guy - he's got a nice Borg-thing going on.
"Resistance is futile" etc. etc.
Great work mate - looks very 40K.
I like the look of the smith ad little blokes are always fine fare, but not sure on the Eldar - I think its the stave on the back- looks unnatural. If I could offer an alternative suggestion, it would be to have it upright in one of the arms as if he is leaning on it in rest.
It might look better if I remove the lower blade - the balance would be better methinks.
I´ll give it some thought - thanks for the feedback!


although, if we have to be active all the time, i may not be able to get on the computer sometimes..
i'm glad there may be another option for me and other fans, but CR and TV Tokyo could catch wind and blow your house down. be careful, you may not want to be so public about recruiting for another site.
How do you go on the Next Page? And can you upload pictures from file, not from URL?
However, in order to have access to them, you'll have to be an MS active member and you will not be allowed to distribute the subs.
MS will also be releasing SC manga translations (property of MS only) and again, you will also be able to have access to them if you are an active member and have at least 50 posts.
You guys are free to join.
this stinks... i joined... :3 but how can i get 50 posts in time to watch it subbed?
The 50 posts are for the manga translations. You don't need them for the subbed ep.


Shull will advocate we offer him a contract now !!!
but when did the sun all of a sudden become a reliable source, and what happened to 2 sides to every story ?
It its true, he's a bigger scumbag than I thought but I'd wait until facts become available not what a rag like the sun reports.
If he is guilty then serves his sentence and seems to be rehabilitated I would have no problem employing him for St Mirren if he is good enough.
Presently he is innocent and should play now for Partick Thistle.
In fact, we could offer him a Contract now as he is presently innocent.
The Super Soaraway Scottish Sun haven't arrested and charged him.
The newspaper have reportit the story.
He knows I am correct but cannae bring himself to acknowledge it.
Because I quite rightly gave him an emoji he didn't like.
And and that mattman is part of the reason why you have about a dozen posts and he has about 75,000. .
Having a go at the Super Soaraway Scottish Sun was very confusing, that's why you got the wee confused emoji.
I'm not the one getting upset, posting numerous posts.
Oh dear sound like another case of wee man syndrome, can only pick on women.
Yep. Agree with this. Never thought you'd hear me say that eh?
Regardless of what source has published this, he is innocent until proven guilty in a court of law.
It's incredible how many people don't understand that and are quite ready to presume guilt at the slightest thing.
However, I do find myself wondering how many completely innocent men find themselves wrongly accused of beating up women.
I don't know but I would bet my mortgage it happens more often than most people think.
Which is why we have a legal system to get to the bottom of it.
A man has been charged with assaulting his partner to such a degree that she has been hospitalised.
What made you think this was a helpful post?
I'm not sure what you're getting at. What was unhelpful about my post?
Edit: I suspect you may have mis-interpreted what I meant. I was getting at the fact that I don't believe many people who have done nothing wrong, get accused of this sort of thing. No smoke without fire, etc.
It's becoming noticeably more common for footballers to be accused of various types of assault. Always liked the guy as a player, can't imagine him doing something like that, got to trust the police to get to the bottom of it.
I think, until we know the full story here we should reserve judgement, reflect, then lock the wee fracker in a room with four Marines for half an hour.
He's going for the B&W army record for most shite post !!


BFF | Things Engraved Inc.
With the holidays upon us, shoppers everywhere are once again agonizing over what to get their family and friends. While holiday shopping once consisted of a necktie for Dad, a comfy robe for Mom and some toys for the kids, today's holiday shopping list is much more complicated than that. What gifts to buy people is certainly a #FirstWorldProblem!
Each and every family or circle of friends has its own unique identity, and each member within those groups is his or her own individual. For those with a holiday shopping list on which no two people are the same, consider the following gift ideas to ensure everyone on your list enjoys a happy holiday season.
What do you get your gadget-obsessed friend or relative this year? Oftentimes, when it comes to gifting a tech-savvy relative, it helps to go with something new. Technology is ever-changing so don't fall behind the times. Check out the latest in tech gift ideas from Tom's Guide. I'll take the Apple Watch, please.
Subscriptions are SO popular right now. For someone who loves cats or dogs – check out BarkBox and for cat lovers, check out CatLadyBox or CatNipBox.
Today's woman is busier and more on-the-go than ever before. And "Fit Bits," or similar activity trackers, are on point. People become obsessed with keeping track of their steps-per-day, the activity, and even their sleep patterns on these little devices that can be worn 24-7. Check out the designs and options of the most popular brand: Fit Bit.
Few hobbies taste as good as developing an affinity and knowledge of the wines of the world. With their masses growing, wine connoisseurs have now infiltrated families everywhere. This holiday season, you could give your wine loving family or friend a gift certificate to a "make-your-wine" place. An LCBO gift-card is always a great option which would pair nicely with an engraved set of wine glasses! AND a wine lovers Christmas ornament – sounds like a great wine-themed gift basket in the making!
Everyone is a food critic but some people are serious at-home chefs. Maybe you know one? What do you get the chef-de-cuisine foodie gourmand? Do they need another recipe book? Probably not! Don't we all get our recipes from Pinterest now anyway? What about some fun kitchen gadgets?!? Things that no everyone has, unique items like a spiral slicer or a micoplane. These are not essential kitchen tools but they can make cooking even more fun for the foodie! Get some more inspiration from Amazon here.
Of course, no holiday shopping list is complete without customers and clients. The holiday season is a time for businesses to show just how much they appreciate their customers and clients, and how much they look forward to working with them in the year ahead.
When it comes to holiday shopping, finding the right fit is never as easy as it should be. But when steered in the right direction, holiday shoppers can ensure the important people in their lives remember this holiday season for years to come. We're here to help. Contact us today (in store or online) and we'll help you find the perfect gift for everyone on your holiday shopping list.