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O'KIWI
For New Zealanders of Irish descent
About O'Kiwi
Shane MacGowan and a Martin headstone
It's over eight years since I've posted anything on this site and it took Shane MacGowan to get the words flowing. I've just watched a brilliant film festival documentary, 'Crock of Gold: A Few Rounds with Shane MacGowan 2020', in which the former Pogues frontman and songwriter opens up about his life and Ireland's tumultuous history.
'Opens up' probably overstates it because after a lifetime thrashing himself with drugs and alcohol, MacGowan is bloated and barely audible. His words are sub-titled. But the spark still glows inside the man Clash leader Joe Strummer described as 'Ireland's greatest songwriter of the 20th century'.
Under the influence of punk, MacGowan sought to 'kick Irish music up the arse', as he put it, and drag it into the twentieth century. But Crock of Gold's most striking section is MacGowan talking about childhood holidays running wild at his extended family's Tipperary farm, not far from where my Martin forebears come from. I wrote about this in an earlier blog after reading his biography but the doco with its animated graphics, old video and film clips, photos and music brings it alive.
At age five, his Aunty Nora showed him how to place a bet and introduced him to cigarettes, Guinness and stout. All of which were fine so long as he went to Mass. From his big clan MacGowan gained a love of music and a mystical sense of his Irish heritage. He loved the old people, the ritual of the Mass and tales of faeries and Irish folk heroes. Family stories included his great-grandparents in the Land League in the late 1800s and sheltering IRA men from the Black and Tans in the 1920s.
In the Pogues' song, 'Broad Majestic Shannon', MacGowan writes about Glenaviegh and Finnoe and hearing 'the men coming home from the fair at Shinrone, their hearts in Tipperary wherever they go'. It could be an anthem for the Martin diaspora. These places are down the road from the village of Terryglass where our Irish great-great grandparents, Michael and Mary Martin (nee Boland), once lived. Had they never left, I may have shared an upbringing as poor and riotous as MacGowan's.
At the time Michael and Mary sailed for New Zealand, Catholics—that is, most of the Irish—were forbidden to own the land they had inhabited for centuries. English settlers had begun clearing Tipperary's woods, filling the bogs and building farms after Cromwell's conquest. Catholics had to rent. Michael was a tenant on George Cornwall's farm. Mary's father, Gabriel Boland, was a tenant on the Saurin brothers' four-acre farm.
Ireland's population had exploded to over eight million in 1853 from 2.5 million a century before. Landholdings were tiny and tenancies short with Tipperary known for the ruinous system of conacre, the renting of farmland for just one season or less than a year. Farmers who resisted and tried to consolidate scraps of land into viable plots were tossed out of their homes.
Landless labourers and small tenant farmers banded in secret societies to fight evictions, tithe gathering and excessive rents: the Whiteboys, Rockites, Oakboys, Houghers, Rightboys, Defenders, Threshers, Caravat Whiteboys, Ribbonmen. The Rockites were named after 'Captain Rock' and his skill at hurling rocks at bailiffs; the Whiteboys wore ghostly white smocks on night time raids to attack homes and beat or kill the occupiers. Catholic farmers were sometimes targets, usually for taking land from an occupying tenant at the end of a lease.
In 1822, a farmer named Boland in Terryglass, most likely a relation, had his cattle driven out under an eviction decree: 'The constables were attacked by the peasantry, the cattle rescued, and one of the men named Larkin was killed!' reported the London Times. In 1844, 254 cases of rural violence were reported across Tipperary. Michael and Mary lived amid this chaos for 50 years, through the Famine and beyond.
Their eldest son, Anthony, was the first to go, making his way to Yorkshire and working as a farm labourer. In March 1863, aged 21, he boarded the Metropolis in London, along with his sister, Ellen, 19, and his aunty, also Ellen, 31. They arrived in Lyttelton on 16 June 1863, the first of the Martin clan to step ashore in New Zealand.
From the passenger list of the Metropolis, 1863.
They saved, sent money home and wrote urging the rest of the family to join them. A year later, Michael and Mary and their five other children, John, Julia, James—my great-grandfather, then 10-years-old—Michael junior and Mary, arrived in Lyttelton and walked the steep Bridle Path over the Port Hills to their new home in Christchurch.
On the ancestral trail in 2004, I easily found Michael and Mary's plot at Linwood Cemetery from cemetery records. But there was no marker, just a patch of dry grass and weeds. I later heard that a headstone had been placed on the site and, sure enough, when I visited again early in 2021, a simple plaque sat on a fresh concrete base among crumbling old gravesites. I don't know who put the plaque there but, on behalf of Martin descendants around the country, thanks.
Michael and Mary gave the clan a flying start—when Mary died in 1890, she had 23 grandchildren. One was my grandfather, Bill Martin. He helped pass on the name of the trailblazer, Anthony[1]. Dad was John Anthony, Bill having named him in classic Irish fashion after two of his own father's brothers, including the eldest. 'Anthony' was handed on to me and is also my middle name.
According to a Press obituary on 3 May 1890, Mary was 'an old identity of a kind and amiable disposition'. She lived in Caledonian Road on the corner of Keoghs Lane in St Albans for over 26 years. The Caledonian Hotel was two minutes' walk away and Michael nicknamed their home 'The Cal'. After the cemetery visit I decided to look at the old street. Apart from a few renovated cottages, houses from that era are gone. Post-quake apartments and townhouses, all grey and black boxes, are crammed everywhere. New builds sit on the corner of Keoghs Lane and townhouses occupy the site of the old pub which was pulled down in 2010.
The Martin name lives in Canterbury electoral rolls, records and newspaper snippets but except for the new cemetery plaque, no physical markers of the family remain. It's the same in northern Tipperary where the landscape reveals little trace of the Martins ever living there. Twelve years ago in fields around Terryglass I peered into old abandoned cottages wondering if the Martins or Bolands lived in this one or that. There's a paddock known as 'Jimmy Martin's field' but otherwise, of the Martins and thousands of other families who fled after the Famine, only old Irish records tell the story.
Except for mystics and poets like Shane MacGowan. They tell stories too. Something in that doco made me think again of the Martin family, their Irish origins and what they'd lived through, and their new memorial in Linwood Cemetery. MacGowan's gift as a story teller is to rekindle deep memories that get passed on, and on.
[1] Anthony also put in a sterling effort to build clan numbers. He moved to Wellington, married 16-year-old Margaret (Harrington) and produced 18 children. He was a bootmaker and his shop, Martins shoe store, operated in Courtenay Place then Mercer Street for many years.
3 Comments | Heritage | Tagged: Boland Tipperary, Broad Majestic Shannon, Martin family Ireland, Martin family new zealand, Shane Macgowan, Terryglass | Permalink
Posted by Pat Martin
The darkness of an Irish morning
John Patrick Shanley's superb column in the New York Times about meeting his Irish relations (see below) reminded me of my grandfather, Bill Martin. A tradesman painter at Moera's railway workshops, Bill was the son of a piano-playing Irishman from Co Tipperary, and an Irishwoman from Co Armagh.
He practised his storytelling skills in Lower Hutt's Bellevue Hotel, a handy bike ride from the workshops. Today the pub is a smart establishment but back in the 1930s and 40s, its public bar had a sawdust floor and Bill would spin his yarns to the men standing about with their beer perched on wooden barrels.
Today is March 17 and people of Irish descent all over the world are celebrating their heritage. Shanley brilliantly captures a sense of that heritage and why we remember stories about our grandparents.
By JOHN PATRICK SHANLEY
MY father came from Ireland and he had the gift of the gab. Part of the reason the Irish developed the gift of the gab was simple. They lived on an island. They had to get along. Not that they did get along. But they had to try. So a style of speaking developed that allowed them to say awful things. With charm. Read more >
Leave a Comment » | Heritage | Tagged: Bellevue Hotel, Bill Martin, John Patrick Shanley, Moera railway workshops | Permalink
Dave Gallaher: an outstanding Irishman and a great Kiwi
by Emmett Devlin
Dave Gallaher: The Original All Black Captain. Matt Elliott. HarperCollins 2012. 259pp.
Any Kiwi with an interest in rugby and connections with Ireland will enjoy this biography of one of New Zealand's most famous sportsmen and one of the great – if not the all-time greatest – All Blacks.
The book begins with Gallaher's birth in 1873 into a shop-owning middle class family in a tiny seaside village in Donegal called Ramelton. His father James was 62 and his mother Anna Maria Hardy McCloskie, James' second wife, was just 29. Dave was James and Anna Maria's seventh child, born seven years after they married. Three of their children had died in infancy. Three more were born in Ramelton after Dave. Read the rest of this entry »
Leave a Comment » | Books, Heritage, Profiles, Sport | Tagged: 1905 All Blacks, Dave Gallaher, Emmett Devlin, Letterkenny rugby club, Matt Elliott, Premier Seddon, Ramelton, William Steward Vessey | Permalink
Gathering of the clans
Throughout 2013, Ireland will call home hundreds of thousands of friends and family from all over the world to gatherings in villages, towns and cities.
Anyone with an Irish connection is being urged to visit and rediscover their history. 'There will be clan gatherings, festivals, special sporting events, music and concerts taking place all across the country, all year long,' says the official Gathering Ireland website.
Over 70 million people worldwide claim Irish ancestry and, for anyone who went to a Catholic school in New Zealand, reading through the list of Irish clans who are planning reunions (below) is like looking through the names on old school photos. Read the rest of this entry »
Leave a Comment » | Heritage, Visiting Ireland | Tagged: A Simpler Time, Gallagher, Gathering Ireland, McMenamin, Murphy, O'Doherty, O'Donnell, O'Neill, Peter Fitzsimons, The Gathering | Permalink
In search of a living wage
Record levels of inequality in New Zealand would shock Irish immigrants who came to this country to make a better life.
'This is a good country for working men as some men have from ten to twelve shillings per day,' wrote Manawatu farmer's wife Catherine Sullivan in 1905. 'It is not like home. The worst men here won't come to work for less than 7/- per day, and only work from 8 to 5pm.'
Catherine, an Irish immigrant, was writing to her brother-in-law in Ballingarry, Co Limerick, describing what he might find should he decide to follow her(1).
Many Irish, Scots and English came here to create a better life and to escape the poverty of their homelands. In recent decades, Pacific migrants have been doing the same. Read the rest of this entry »
Leave a Comment » | Heritage, Politics | Tagged: Closing the Gap, Inequality, Living Wage Campaign, National standards, Samuel Duncan Parnell | Permalink
On the Martin trail
Six generations of Martins had worked in his Galway pub, he said, adding that his grandfather's name was John, his father was Billy, and he had a son named Liam. 'Well, Billy,' I replied, 'I don't know if we're related, but my grandfather was Billy, my father's name was John, and I too have a son named Liam.'
'Be prepared for setbacks' is one of the first pieces of advice you'll get from experienced family researchers. How true, I discovered, as I started to delve into my Martin family history.
In 2004, I went to Christchurch's Linwood Cemetery where my Irish great-great-grandparents, Michael and Mary Martin (nee Boland), are buried. Thanks to the council's excellent records, the plot was easy to find in the Catholic section where Michael had been buried in 1895 and Mary five years earlier.
A welcoming sign, but I was looking in the wrong place
I approached the grave site expecting at least a national monument in honour of my forebears. Instead, all I found was an unmarked patch of dry grass and weeds. It seems that on the voyage to New Zealand in 1864, Michael had carved himself a big wooden Celtic cross. His pride and joy had been placed as his headstone. The weather, or vandals, had long since destroyed it. [Happy to say that on a return visit in 2021, I discovered someone has placed a new headstone]. Read the rest of this entry »
Leave a Comment » | Heritage, Visiting Ireland | Tagged: Billy Martin's pub, Boland, James Martin, Martin, Portumna, Terryglass, Tipperary | Permalink
Irish fighting for New Zealand
Paul Kelly writes about his Irish great uncle, Robert Edward Kelly, an Irish immigrant who fought in World War 1. Family members back in Ireland couldn't understand why their New Zealand kin were so keen to fight for the British in the Great War.
A recent O'Kiwi blog had some notes about my Kelly family from Boyle in Co. Roscommon. The story of my great-uncle, Robert Edward Kelly, provides some more insights into the fortunes of New Zealand's Irish migrants.
Robert Edward Kelly fought at Gallipoli
Robert was the third son of my great-grandparents, John Kelly and Elizabeth Catherine Kelly (nee McCann) from Boyle. They had their children in quick succession – my grandfather John William Kelly was born in January 1886 and Robert was born in December the same year.
Leave a Comment » | Heritage | Tagged: Boyle Kellys, Francis (Frank) Kelly, Gallipoli, Irish Invercargill, Irish soldiers, Robert Kelly, Roscommon | Permalink
The Kelly clan from Boyle in Roscommon
The Kelly home in Green Street, Boyle
Researching family history can be a frustrating business, but Tawa resident Paul Kelly was delighted to come across a heritage site which is a goldmine for descendants of families from the town of Boyle in Co Roscommon.
Paul's grandfather, John, grew up at No. 7 Green Street in Boyle. The site allowed people to click on a house number and add photographs of family members who had lived there. Paul added family photos which can be viewed under 'People' on the homepage. Read the rest of this entry »
6 Comments | Heritage | Tagged: Boyle, Green Street, Irish Invercargill, John Kelly, Patrick Joseph Kelly, Paul Kelly, Roscommon | Permalink
On the O'Neill ancestral trail
There's an echo, generations on, that leads us back to Ireland. It called around 19,000 New Zealanders in 2002. I was among them and, like many, I was on the ancestral trail.
On a sunny June afternoon, I found myself standing among the weathered Celtic crosses in the graveyard at St Mary's Church in Ballymacpeake, Co Derry, not far from the River Bann. Mum's grandfather grew up there.
I had her O'Neill family tree with me, but I wasn't quite sure what I was looking for, or even what had drawn me.
A few yards away, a woman was putting fresh flowers on a grave. I asked if she knew any O'Neills in the district. 'Well, I'm an O'Neill. I'm Mary,' she said in a precise Irish lilt. She sized me up while I talked, then said unexpectedly, 'Follow me.'
Me with long-lost relation Mary McErlean in my great-grandfather's old cottage, now used to store turf
Off she went in a little red car down lanes and byways, stopping to walk across a field to a farmer on a tractor harvesting hay. Soon she beckoned me over. Read the rest of this entry »
15 Comments | Heritage, Visiting Ireland | Tagged: Ballymacpeake, Bernard O'Neill, Margaret O'Neill, Mary McErlean, O'Neill family, Paddy O'Neill, Patrick O'Neill, St Mary's Church, Stafford O'Neill | Permalink
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Q: How to fit a standardized generalized hyperbolic distribution to my data using optim? I want to fit a standardized generalized hyperbolid distribution to my data using the optim command.
Regarding my post here, I think I have to try it manually, by using the optim command.
My problem is, that the optimization command leads to parameter values, which are not defined, so I get the error message:
Fehler in if (delta <= 0) stop("delta must be greater than zero")

See the following code (my data can be found here):
library(fBasics)
startvalue<-c(1,0,1)
loglikstandghyp <-function(zetapar,rhopar,lambdapar){
if(par>0) return(-sum(log(dsgh(mydata,zeta=zetapar,rho=rhopar,lambda=lambdapar))))
else return(Inf)
}

#shape parameter zeta is positive, skewness parameter rho is in the range (-1, 1).
optim(startvalue, fn=loglikstandghyp, method="BFGS")
param = optim(startvalue,loglikstandghyp, method="BFGS")$par

This leads to the result, that optim sets the parameters to a value, which are not allowed. So my question is, how can I to this correctly?
R says: shape parameter zeta is positive, skewness parameter rho is in the range (-1, 1).
I cannot use Brent-method to give the range allowed for the parameters, because Brent is only for one-dimensional problems.
So the problem is to use the optim command, but I have to give some restrictions, how can I do this?
Afterwards, I would use the .paramGH(zeta,rho,lambda) command to change the parametrization into the desired alpha, beta, delta, mu, lambda parametrization.
Do you think what I am doing is correct?
EDIT: Even if I use other starting values and the L-BFGS-B method like in the following, I still get the error message:
startvalue<-c(20,0,1)
optim(startvalue, fn=loglikstandghyp, method="L-
BFGS-B",lower=c(0.00000001,-1,-Inf),upper=c(Inf,1,Inf))

EDIT: Ok, I now tried the following:
optim(startvalue, fn=loglikstandghyp, method="L-
BFGS-B",lower=c(0.00000001,-0.999999999,-Inf),upper=c(Inf,0.99999999,Inf))

This seems to be better, but my problem now is, that the solution is highly dependent on the startingvalues and I don't know, what starting values are appropriate?
E.g. If I set the starting values to startvalue<-c(100,-0.5,90) I get:
> optim(startvalue, fn=loglikstandghyp, method="L-BFGS-B",lower=c(0.00000001,-0.999999999,-Inf),upper=c(Inf,0.99999999,Inf))
$par
[1] 100.0189990   0.3125539  90.0142759

And If I set them to startvalue<-c(50,0.5,1):
> optim(startvalue, fn=loglikstandghyp, method="L-BFGS-B",lower=c(0.00000001,-0.999999999,-Inf),upper=c(Inf,0.99999999,Inf))
$par
[1] 0.00000001 0.09105067 8.27463528

Totally different, so what should I do?

redpajama_set_name: RedPajamaStackExchange


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Protest held against India in occupied Kashmir
Today (Oct 11), Kashmiris have held forceful anti-India protest across different parts of the occupied Kashmir and revoked for the special status of the valley by India.
According to Kashmir Media Service. as the Juma congregational prayers culminated, people took to the streets in Srinagar, Badgam, Ganderbal, Islamabad, Pulwama, Kulgam, Shopian, Bandipora, Baramulla, Kupwara and other areas of the occupied territory and raised high-pitched pro-freedom and anti-India slogans.
The protesters at several places were subjected to brute force by Indian police and troops. Many protestors sustained injuries in the brutal actions of forces' personnel. For the 10th consecutive week, the Indian authorities did not allow people to offer Juma prayers at Srinagar's historic Jamia Masjid and many other major mosques or shrines in the Kashmir Valley.
While talking to the media, the protesters told that they will continue their freedom struggle despite all odds. They thanked Pakistani people and Prime Minister, Imran Khan, for supporting their cause and expressing solidarity with the people of occupied Kashmir.
The Prime Minister of Pakistan, Imran Khan led a human chain today in Islamabad in solidarity with Kashmiris and told the world that Pakistan will always support Kashmir.
Read More: World has more value for market of one billion people than human lives: Imran Khan
Naegleria takes another life in Karachi
Whole country is going through crisis: Fazalur Rehman
PM Imran to meet exporters, other members of business community in Faisalabad today
Pakistani social entrepreneur makes it to Forbes 30 under 30 Asia

redpajama_set_name: RedPajamaCommonCrawl


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Q: Plane passing through 3 vectors I came across a demo that asks for the following.
Prove that the plane passing for $$\vec{u}, \vec{v}, \vec{w}$$ has for normal vector a $$\vec{n}=(\vec{u} \times \vec{v}) + (\vec{v} \times \vec{w})+(\vec{u} \times \vec{w})$$
My idea is to make a dot product of each of the vectors $\vec{u}, \vec{v}, \vec{w}$ , with the normal vector, however I do not get any results.
I would appreciate any attempt at guidance.

A: $\vec u, \vec v, \vec w$ are three points that define a plane. To get the normal, you need two vectors in that plane. You can choose $\vec v-\vec u$ and $\vec w-\vec u$. Then the direction of the normal is given by the cross product:
$$\vec n=(\vec v-\vec u)\times(\vec w-\vec u)\\=\vec v\times \vec w-\vec u\times \vec w-\vec v\times\vec u+\vec u\times \vec u$$
Now using $\vec a\times\vec a=0$ and $\vec a\times\vec b=-\vec b\times\vec a$ you get $$\vec n=\vec u\times\vec v+\vec v\times\vec w+\vec w\times\vec u$$
Note that the last term is opposite of what you have in your problem (I think you have a mistake).

A: I hope that this question will be more specific: What is $\vec u, \vec v, \vec w$?
Sometimes, this means a oriented segment with the origin as the starting point(Some people deliberately confuse oriented segment and vectors for convenience.).
If then, the plane is not a hyperplane in $\mathbb R^4$ but a plane in $\mathbb R^3$ that is used to us(this is likely because the cross product appears in the process of solving it), such a plane generally does not exist.
If not, does it mean a point in $\mathbb R^3$(Of course, $\mathbb R^3$ is $\mathbb R$-vector space, this notation is not illegal.)? Then, since the plane passing through the three points is unique, you can create a vector equation of the plane you mentioned. This is not difficult.
So, let me ask you again. What is $\vec u, \vec v, \vec w$?


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Yudo Sports
All you need to know about Yudo
9 Asian martial arts In Asian sports Marcia Art Games
yudosports September 12, 2020 0 Comments
Thailand is the host.
Thai boxing
Muay Thai is a martial art that can be used both in sports and Real fighting, this art has been around since ancient times. Teach the young men to protect themselves and protect the nation; the powerful men of Thailand are
Practicing Muay Thai, almost everyone All famous warriors must be trained in this type of art clearly because the use of combat weapons in ancient times such as swords, sword, halberd, thaw, etc. If they have knowledge of Muay Thai, it will cause
Very useful Most especially when engaging in close combat, they will use some of their organs to help, such as knees, feet, elbows, etc. Originally, the art of Muay Thai with a high level of tactic is often practiced among the master class. Adults or only kings and nobles
Military only Later became widespread to the common people Which has been the technology from the teachers Which was originally the top of the military Or a warrior has arrived Therefore technology has been widespread and continues to this day.
Samart VS Phanom Thuan Lek – see all videos, click here
The best legendary muay thai A jade-faced tiger who has a unique voice, he is able to tiger Arun.
Kickboxing is a sport that uses a typical boxing style but can Can also kick your feet Kickboxing is a boxing sport that uses all organs. Athletes focus on organ protection and wearing equipment when competing, such as male athletes wearing boxer shorts.
Does not wear a shirt, but has protective equipment that wraps his hands, boxing gloves, headgear. For example, there is often confusion between kickboxing and Thai boxing. Both sports are boxing as well, but there is a difference in how Thai boxing can kick under the belt. Can use elbows and knees to defeat opponents. But kickboxing Not available
Kurash
It is a folk sport of Uzbekistan. That has improved the style of play to be a universal, basic principles of sports. This is characterized by a combination of wrestling and judo. By dividing the contestants into two sides, fighting each other on a square 15 x 15 m stage, the opponent must throw the other opponent down to the ground within 4 minutes for men and 3 minutes for women.
Kalal throws his opponent completely against the ground. Those who do it will win immediately.
Yon Boss throws and then the opponent's side or the side of the opponent's body is completely ground to the ground. 1 point. If you score 2 times as a Yon Boss, it is equal to 1 kalal.
Shala throws and hits the bottom or back or stomach or flanks on the ground, but not completely. Shala points do not stop the game. But will be used to judge when the time expires
Judo is a type of martial art that originated in Japan. Ancient Today it is widely practiced by practicing around the world. Judo, as a form of self defense, is a part of the Japanese art of bending. Convert, update, update In addition to training to protect yourself, it is also
Exercising to achieve strength Steady meditation The trainer will benefit both the body. And fully concentrate on the mind Whether it will attack the opponent Or defending Judo, whose full name is Kodokan Judo, was originally called Jiujitsu. It is a subject that can fight opponents armed with their bare hands and is a practice of fighting against opponents with arms. Destroy your opponent's weaknesses
The Taekwondo Association of the Republic of Korea originally supported Taekwondo. All over the world Taekwondo associations have been established in various countries. Many training styles have been developed to make it uneven until
1972 The World Taekwondo Federation (WTF) is established, which is headquartered at the Kyionon Prison Office, Seoul, Republic of Korea. The first president of the federation is Dr. Yoon Young Kim.
1973, the first World Taekwondo Games And is held regularly every 2 years, 2529 B.E., containing Taekwondo in the Asian Games
1988: Contains Taekwondo at the 1967 Olympics, taekwondo training in Thailand at the YMCA. The Royal Bangkok Sports Club In the US military bases at Takhli, Nakhon Ratchasima, Udon Thani, Ubon Ratchathani and Sattahip
1973: Taekwondo was opened at the Royal Bangkok Sports Club, 1976 opened at Apassa School of Martial Arts, Ploenchit Road.
1978, established the Taekwondo Martial Arts Association at Apassa School With Mr. Sorayut Pattamin Wiroj Was the first president of the association, later the association changed its name to Taekwondo Association of Thailand
Karate Do
Karate is a martial art developed from the Japanese martial arts. Ryugua Islands And from the Chinese martial skills Or boxing. Karate is a way of drawing power from different parts. His body was combined into one in a combat attack such as fists, knees, elbows using hands.
It is unarmed, but it is a technique for creating power with bare hands instead of weapons and shields Some karate practice may have different basic, fighting or dance moves, such as retention, wrestling, pushing, grasping.
7.Ju Jitsu
Jujitsu in Japanese means The art of softness It is the name of the Japanese martial arts. It is sometimes referred to by other names such as yawara, taijutsu.
The history of the origin of Jujitsu is not clear It is often said to have been developed during the period of the war. Between the 8th and 16th centuries
Since it was a time of war, many new subjects were created. In the past, Japan had hundreds of Jujitsu schools. Each school has its own practice guidelines. Most of them will be influenced by art.
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text:
LEADERSHIP COMMITTEES
PRESS RELEASE: Hurricane Katrina 13th Anniversary March & Second Line
by Hip Hop Caucus | Aug 27, 2018 | Press, Think 100
Hurricane Katrina 13th Anniversary March & Second Line
Largest annual commemoration brings together New Orleans community, cultural leaders, and activists, with demands for remembrance, righting wrongs of an unjust recovery, and preventing future disasters
New Orleans, LA – Yesterday New Orleans Katrina Commemoration Foundation, Hip Hop Caucus, Nuthin' But Fire Records, Q93 FM, and several other community partners hosted the 13th Annual Hurricane Katrina March and Second Line.
The day's events began with a healing ceremony next to the breached levee in the Lower Ninth Ward, followed by a march through the streets with hundreds of people which fed into a second line. The second line ended with a rally at Hunter's Field hosted by Wild Wayne of Q93 and featured remarks and performances by a variety of prominent community and cultural leaders, including Rev Yearwood, Mia X, Sess 4-5, Hustlaz, Roi Anthony, Ms. Tee, Bobby Jean, Shorty World, Dmann, DJ Rabbit and DJ7.
This annual event serves as the largest annual community based commemoration of the anniversary of Hurricane Katrina and shows first-hand the consequences of climate disasters on our communities. Each year this event honors the resiliency of the people, remembers the lives lost, and encourages further support for the communities most devastated by Hurricane Katrina.
"We will never forget Katrina and what it did to our people," said Sess 4-5, CEO of Nuthin' But Fire Records, event organizer, leader of Hip Hop Caucus New Orleans, and recording artist and community activist. "We also want to shine a light on the fact that our communities still have not returned to what they were prior to the storm, in terms of access to good schools, public safety, jobs, and housing. We will keep on marching every year to remember those lost, bring our community closer together, and hold our elected leaders accountable so that they can right the wrongs of the past and create a better future for all."
Participants throughout the day highlighted the ongoing struggle of families to live and thrive in post-Katrina New Orleans. They also called on leaders to do more to better prepare all communities to withstand future natural disasters by investing in smarter infrastructure and addressing climate change.
"The people of New Orleans will not forget those who were lost 13 years ago and it is incredibly powerful to march in the same streets where your relatives died," said Rev Yearwood, President & CEO, Hip Hop Caucus. "This anniversary is also a moment when leaders of our country are taking steps backwards on climate action. Their inaction leaves communities on the frontlines of climate change, like those across the Gulf Coast, more at risk from stronger storms and rising oceans. We stand in solidarity with our communities, Hurricane Katrina showed us these issues are life and death for our people."
Organizers asked participants, supporters, and leaders to:
Remember: by calling on the state of Louisiana to make August 29 a holiday commemorating the lives lost in Katrina.
Right the wrongs: by calling for racial and economic justice so that in the face of disaster, the poor and people of color are not left without the ability to rebuild communities with good schools, good jobs, and good public health and safety.
Say never again: by calling for action on climate change from our world's leaders, otherwise we will only see more of these extreme weather events like Hurricane Katrina and Harvey around the world.
About Hip Hop Caucus: Formed in 2004, the Hip Hop Caucus (HHC) is a non-profit, non-partisan organization that leverages Hip Hop culture to encourage young people to participate in the democratic process. Through a collaborative leadership network, HHC addresses core issues affecting underserved communities. HHC programs and campaigns support solution-driven community organizing led by today's young leaders. Learn more at HipHopCaucus.org.
About New Orleans Katrina Commemoration Foundation: New Orleans Katrina Commemoration Foundation annually organizes the largest community-led remembrance event on the anniversary of Hurricane Katrina, August 29th.
FOR MORE INFORMATION: Media@hiphopcaucus.org
Community and cultural leaders during the healing ceremony where the levees broke in the Lower Ninth Ward – Photo Courtesy of Mia X (IG: @themamamiax)
Rev Yearwood, President & CEO of Hip Hop Caucus, standing where the levees broke in the Lower Ninth Ward


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SHOWZ
All About The Guyz
Jimmy Tang
Jimmy Bio coming soon.
Sam Weulander
Quite simply put, Sam Weulander IS Rock Godz. Original creator and owner of the band, Sam embodies the rock and roll spirit: Work hard and take no prisoners. Sam started at 16 and cut his musical teeth on the likes of Randy Rhoads, George Lynch, Eddie Van Halen, Zakk Wydle, Prince and Marty Friedman. When Sam straps on his axe, he means business. Sam's played in well known acts such as Mortal Chaos, Shameless Desire, Jonah and the Whales and original project, Plaid. Sam's dedication to the gospel of arena rock has led him to share the stage with acts such as Tesla, Firehouse, Ratt, Steelheart, Survivor, Dokken, Great White, Autograph Skid Row, Slaughter, Vince Neil and many more. Spandex,hairspray and killer skills! What more do you want? Turn it up!
Johnny Strutt
Hard hitting drummer Johnny Strutt has performed for the past 15 years with a myriad of successful artists including Mazarati, Tony Christian, Radio Playboys, Sonny Vincent, Tattooed Millionaires, Chase and Ovation, Monsters of Mock, Wild Side and Mark Stone and The Dirty Country Band. Johnny's diverse musical background gives him the ability to lay it down solid while adding his own personal mojo to Rock Godz sonic assault. Tats and hats and sticks like bats! Johnny's the road the rest of the band drives on.
Dishonorable Mention : Russ "Sleazy" Lund
As a veteran of the local scene, Hairball alumnus and co-creator of the original "Jerk Jam", Russ understands rock and roll bass. His motto is: "Beat the shit out of it and leave some blood on the stage." He doesn't smile very much, but that usually means a killer Lemmy impersonation is just around the bend. "Ace of Spades" anyone? When Russ isn't with us or subbing for any number of bands, he actually cleans up real nice and goes out on tour with his main gig, Free Fallin: A Tribute to the Legacy of Tom Petty. Check them out!
Russ is also a part-time graphic designer who has recently been handling Rock Godz promo and has done album covers for artists such as itis!, Karl Swartz's "The Minstrels Bazaar", Kris Vox and Outlaw Saint.
Teres
Teres bio coming soon


09 February 2019 , .
💃 Think brights and lights, white shirts and frilled skirts!
Fedora hats and white slacks - eeekkk!!
🤭Remember in Havana the locals are always ready to Rhumba, Samba or JIVE till late into the night!
Join Us! Bring your Friends,Tell your friends, or send your friends! Share and BE THERE!


Regional Plan Association, in partnership with Moule & Polyzoides and Sustainable Long Island, has produced a draft master plan for the North Main Street Corridor and LIRR station area of the Village of Freeport, NY, that envisions walkable, vibrant and well-connected communities in the heart of the village. Driven by residents through various public participation forums and guided by a stakeholder committee, the vision was formed by focusing on opportunity areas for redevelopment, while highlighting improvements in landscape and circulation. To assist the village in achieving the plan's vision, RPA also produced proposed overlay district zoning regulations and design guidelines.


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Home » Newspaper Articles • Original Articles • Urdu Articles » Frankenstein's Monster and General Zia-ul-Haq's jihadis
Frankenstein's Monster and General Zia-ul-Haq's jihadis
Frankenstein's Monster revisited —William B Milam
I was struck that the Pakistani government seemed unable to formulate or articulate a public argument for a bill clearly meant to strengthen Pakistan's democracy and foster the many common goals that should unite the two countries
A couple of months ago, I wrote in this space of my intention to make my travels in various parts of the world over the upcoming months the subject of these columns. I meant to eschew Pakistani politics, as I think that there are many more prescient political writers appearing regularly in the pages of the Daily Times and that, on a monthly schedule, my writings on politics would become even more repetitive and unimaginative than they had been.
Alas, I haven't travelled in the past five weeks, and have run out of topics to write about from my annual summer excursion in Europe and my August drive across the United States. I depart soon for Africa, and from that trip, I plan two columns. One will be on the experience of seeing, at close proximity, the lowland gorillas and other forest animals now protected in a nature preserve in the Republic of the Congo; and the second on my impressions of Liberia, a state that is trying to come back from real, and complete, failure.
In the meantime, the momentous events of the past several weeks in Pakistan have inspired me to try my hand again at a metaphorical treatment of a part of Pakistani political history. This is not an entirely new thing for me, as some readers will recognise. In fact, in an article published in the Daily Times almost two years ago, on December 12, 2007, I pointed out the striking parallel between the celebrated legend of Frankenstein's Monster and the drama then beginning to play out in Pakistan.
This has now come to the front and centre of our attention. The Pakistani state, through its army, is intent, or says it is, on extirpating the extremists who have become enemies of the state that created them. I gave that piece the title "Frankenstein's Monster Finds a Name and a Face", but you will find it in the paper's archives under a shorter title.
No need to repeat the Frankenstein legend to the Daily Times readers. As we all know, the good doctor created life from death — a monster he sewed together from parts of dead bodies (in the movie version, at least) — for what he thought were good reasons. But this amalgam of unnatural parts consolidated and became a threat to the doctor and to the society he was part of. Eventually it was kill or be killed.
This metaphor leaps out at me again because the big news in Pakistan — news I can't refrain from writing about — is that the army has invaded South Waziristan to gain back from the Pakistani Taliban the writ the Pakistani state had lost there. This is bigger news even than the earlier decision to take back Swat because it now involves the entire extremist nexus, not just the Pakistani Taliban and a few lonely allies, as was the case in Swat. In South Waziristan, as in the rest of FATA, the entire panoply of extremist groups will be on display and in the fight. Al Qaeda and Pakistani jihadi groups are much more solidly entrenched there and, thus, will be much more difficult to dislodge.
"Invaded" may not be the word that the army or the government choose to use, but since the Minister of Interior, among others, has been quoted as saying that Pakistan is now "at war" the word "invade" seems quite appropriate, even though South Waziristan is a part of Pakistan. In other words, Pakistan is now at war with its immediate enemies, those who have attacked the state and eroded its writ, not only in South Waziristan and other parts of FATA, but in other, settled, parts of Pakistan.
For the few that didn't already understand it, or preferred to ignore it, the military campaign in South Waziristan has and will continue to demonstrate the tight links among these organisations by highlighting both their resistance on the ground and their response in the rest of Pakistan — the spreading and escalating attacks against military and civilian targets throughout the country. This will bring home to the Pakistani people, as even the Swat campaign did not, the tightening nexus between these various groups all of which now probably view themselves as at war with the state.
Besides the Pakistani Taliban, the army will certainly run up against seasoned Al Qaeda fighters. I have heard, for example, estimates of perhaps 3,000 Uzbek Al Qaeda fighters in South Waziristan, who have nowhere else to go. And if anybody has an interest is making sure the army is not successful in South Waziristan, it is Al Qaeda. They will call on their other allies. There will likely be some (perhaps reluctant) Afghan Taliban fighters who will come to the aid Pakistani Pashtun homologues. And Punjabi jihadis, lusting to fight the army of the government they hate, will join their Taliban allies.
Clearly, just as Dr Frankenstein lost control of his monster, those who created the jihads as proxies to advance Pakistan's interests in South Asia have lost control of their creations. The inexorable logic is that if the Pakistani Taliban go down, other extremists' turn will come. They won't miss the opportunity to turn what seems an inevitable fate around by ganging up now on the army. These jihadis will also be motivated to stop the steady, and one can hope, accelerating decline in Indiaphobia which led to their creation, and which keeps them going.
If the logic of their ultimate elimination prevails, it will be a long and difficult period for Pakistan, its people, and its army. There are many more "ifs" between the invasion of South Waziristan, the end of extremism in Pakistan, and the full return of control of all its territory to the state.
First must come success in South Waziristan, which will be difficult and take possibly more time than now estimated. This will have to be followed by the same kind of success and, importantly, the very difficult but vital tasks of economic development and political integration in all of FATA. I am not ignorant of the all-important effect US policy — President Obama's decisions — regarding our military and counter-insurgency effort in Afghanistan will have on the willingness and ability of the Pakistan Army to continue to the struggle extremism after it completes its mission in South Waziristan.
It is all one big interlocking, interdependent puzzle, the eventual outcome of which is quite impossible to predict under the best of circumstances. However, we can be sure that, in large part, the outcome depends on the quality of political leadership, the vision and foresight of Pakistani civilian and military leaders, as well as their dedication to the task at hand, and importantly, their definition of the task at hand.
It also depends on vision and understanding of Pakistan's allies, in particular US leaders. In that regard, the public debate over the war in Afghanistan as well as President Obama's decision on sending additional American troops to give the proposed improved COIN strategy a better chance of succeeding will be important signals to Pakistanis of US determination to stay the course in Afghanistan, and not repeat the mistakes of 1989-90.
Of course, it works two ways. Pakistani actions and political rhetoric will also influence US policy and behaviour, not perhaps in the immediate future, but down the road that the two governments should be travelling together. The brouhaha over the Kerry-Lugar bill showed, I think, an unfortunate lack of insight and foresight on both sides. How shameful it would be for the leadership of both countries to miss this important turning point in the relationship because of misunderstanding and lack of thought, and because hyperbolic misinformation and political vindictiveness exacerbated already bruised feelings. The lessons both sides learned must be taken to heart and internalised.
I was struck that the Pakistani government seemed unable to formulate or articulate a public argument for a bill clearly meant to strengthen Pakistan's democracy and foster the many common goals that should unite the two countries. The government allowed itself to be caught on the wrong foot and seemed unprepared to deal with the hyperbolic nationalism over language that has been in previous bills over several past years. (In this regard, see the insightful column by Najmuddin Shaikh in the Daily Times of October 23). I write this even as I acknowledge that, on the US side, the good intentions of the drafters and the administration miscarried in fits of absent-mindedness and careless drafting.
Better leadership is needed on both sides if Pakistan is to come through this struggle against extremism with the strength to rebuild its society and modernise its economy. These overarching goals are, I believe, the common goals of Americans and Pakistanis of all stripes and opinions. Somehow, this has to be made the bedrock of the relationship. (Source: Daily Times)
William B Milam is a senior policy scholar at the Woodrow Wilson Centre in Washington and a former US Ambassador to Pakistan and Bangladesh
Zia-ul-Haq aur Ishq ka beej – Aghar Nadeem Syed
Tags: Diplomacy, General Zia-ul-Haq, ISI, Jihadi and Jihadi Camps, Pakistan Army's Support to Deobandi ASWJ & Taliban & other militants
Tiffany Rinck
Independence Country wide Standard bank, later Lender One, currently JPMorgan Run after, is recognized because the earliest standard bank nonetheless within The state of kentucky. Chartered inside 1854 since the The german language Insurer, your banking capabilities split up inside 1872 and also grew to become called the German Insurance plan Standard bank. During the first Globe Battle, the lender joined additional localized corporations expressing his or her patriotism via a good identify adjust : Independence.


This blog started because a) I'm a financial aid counselor and I talk with students every day who are making some of the biggest/most impactful decisions of their lives without good information. I wanted to bridge the gap and help those students find the resources, inspiration, and information they needed to make the best choice for them. And b) I paid for both undergrad and grad school with scholarships, even though my family didn't qualify for grant aid! It can be done! After this post I went on to write a series of posts on making the most of your scholarship applications so you get the best return on your time investment. Don't miss those practical tips!
Everybody has bad days (or weeks — or months — or years), but there is something you can do to preempt (or at least mitigate) disaster: Create an emergency fund! Our emergency fund has given us incredible peace of mind as stuff happens. While saving $1-2,000 might seem daunting at the moment, regardless of your current income, it's not nearly as hard to do as you might think!
On the other end of the spectrum, sometimes you just have a really good day, or week, or month. Last year we were able to pay off $14,000 (out of over $44,000) in just 44 days. For more info on how that happened, read on!
Sometimes "budget" feels like the death knell of all the fun things in life, but what we learned when we created our spending plan was that it actually freed us to have fun without the guilt! When we knew what we could spend without creating a train wreck in our finances, we actually went on more dates, spent more time with friends, and created some healthy (and fun) rhythms that have strengthened our marriage, all while helping us get out of debt! You'll also find our own free budget template linked in this post.
We believe that there needs to be massive changes in the education industry in America, but in the meantime, we also believe that it's time for students to rise up and take responsibility for our finances, making wise decisions and working hard to build the life we want. We're here to help, inspire, encourage, and connect people who are committed to getting and staying debt-free. Will you make the journey with us?


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Cryo-EM reveals "crown-like" structure of protein responsible for regulating blood flow
Tagscryo-EM, structural biology, VARI, Wei Lu
GRAND RAPIDS, Mich. (Dec. 6, 2017)—A team led by scientists at Van Andel Research Institute (VARI) has revealed for the first time the atomic-level structure of a promising drug target for conditions such as stroke and traumatic brain injury.
Called TRPM4, this protein is found in tissues throughout the body, including the brain, heart, kidney, colon and intestines, where it plays a major role in regulating blood flow via blood vessel constriction as well as setting the heart's rhythm and moderating immune responses.
"Understanding the role TRPM4 plays in regulating circulation is vital, but for years research has been limited by a lack of insight about its molecular architecture," said Wei Lü, Ph.D., an assistant professor at VARI and lead author on a study describing TRPM4's structure, published today in Nature. "Our findings not only provide a detailed, atomic-level map of this critical protein, but also reveal completely unexpected facets of its makeup."
TRPM4 is critically involved in regulating the blood supply to the brain, which comprises only about 2 percent of the body's total weight yet receives 15 to 20 percent of its blood supply. Conditions that disrupt blood flow in the brain, such as stroke, traumatic brain injury, cerebral edema and hypertension, can have devastating consequences and are significant public health problems.
"Many safeguards exist in the brain's circulatory system to protect against a sudden interruption in blood supply, one of which is TRPM4," Lü said. "We hope that a better understanding of what this protein looks like will give scientists a molecular blueprint on which to base the design of more effective medications with fewer side effects."
Human TRPM4 bound with the agonist Ca+ and modulator DVT at 3.8 Å. Courtesy of Wei Lü, Ph.D.
The structure of TRPM4 is markedly different from the other molecules in the TRP superfamily, a category of proteins that mediate responses to sensations and sensory stimuli, such as pain, pressure, vision, temperature and taste. Broadly known as ion channels, proteins like TRP nestle within cells' membranes, acting as gatekeepers for chemical signals passing into and out of the cell.
Even within its own subfamily, which comprises eight molecules in total, TRPM4 appears to be wholly unique. Today's publication represents the first atomic view of a member of the TRPM subfamily.
It reveals a crown-like structure, with the four peaks composing a large N-terminal domain—a hallmark of TRPM proteins. This region, found at the start of the molecule, is a major site of interaction with the cellular environment and other molecules in the body. On the opposite end of TRPM4, commonly called the C-terminal domain, Lü's team found an umbrella-like structure supported by a "pole" and four helical "ribs"—characteristics that have never before been observed.
The findings were made possible by VARI's state-of-the-art David Van Andel Advanced Cryo-Electron Microscopy Suite, which allows scientists to view some of life's smallest components in exquisite detail. VARI's largest microscope, the Titan Krios, is one of fewer than 120 in the world and is so powerful that it can visualize molecules 1/10,000th the width of a human hair.
Lü's structure is the second molecular structure determined on the Institute's Krios since completion of the suite's installation earlier this year.
In addition to Lü, VARI Assistant Professor Juan Du, Ph.D., also is an author on today's paper. Paige A. Winkler, Ph.D., and Yihe Huang, Ph.D., both postdoctoral fellows in Lü's lab, and Weinan Sun, Ph.D., a postdoctoral associate in the Spruston Lab at Howard Hughes Medical Institute Janelia Research Campus, are co-first authors.
ABOUT VAN ANDEL RESEARCH INSTITUTE
Van Andel Institute (VAI) is an independent nonprofit biomedical research and science education organization committed to improving the health and enhancing the lives of current and future generations. Established by Jay and Betty Van Andel in 1996 in Grand Rapids, Michigan, VAI has grown into a premier research and educational institution that supports the work of more than 360 scientists, educators and staff. Van Andel Research Institute (VARI), VAI's research division, is dedicated to determining the epigenetic, genetic, molecular and cellular origins of cancer, Parkinson's and other diseases and translating those findings into effective therapies. The Institute's scientists work in onsite laboratories and participate in collaborative partnerships that span the globe. Learn more about
Van Andel Institute or donate by visiting www.vai.org. 100% to Research, Discovery & Hope®
Cryo-EM expert joins Van Andel Research Institute
Cryo-EM reveals critical protein-modifying complex and potential drug target


I know I've mentioned that I recently started working at a second job, but I don't think I've talked about what I've been doing. I'm working, a couple days a week, in the cosmetics/bodycare section of a local health food store. I figure, while I'm working semi dead -end, low-paying jobs in this "figuring out what to do next" stage of life, I may as well work somewhere where I can at least get behind most of the products. One of the perks, aside from being surrounded by lovely green beauty goodies, is that occasionally companies will send along a few extra products for staff to try, which is how I was introduced to this gem.
Pretty is a brand I've consistently heard good things about, but never before tried for myself. The company was founded on the principle that "less is more" when it comes to your skin, and their products, contain only pure, natural ingredients. The line is free of the regular nasties like parabens, petrochemicals, and silicones and as an added bonus, they're also a local-to-me company, based right here in Toronto.
The facial cleansing grains are a dry powder, that when mixed with water (or another liquid) transform into a slightly gritty, milky cleanser. Pretty makes three types, all of which start with a base of oats and kaolin clay, with varying additions to suit different skin types. The Black Tea & Raw Cocoa grains are recommended for normal to combination skin and contain black tea and raw cocoa powder (obviously), as well as tiger lily flowers and orange and spearmint essential oils.
I've been enjoying using this product as a gentle morning cleanser. The grains do a great job removing any dirt and impurities and they're the complete opposite of stripping to your skin. The predominant scent is spearmint and the grains feel slightly cooling on my face, which has been especially lovely in the sticky, humid weather we've been having lately. After cleansing, my skin is left feeling soothed, incredibly soft, and even slightly plumped and hydrated.
I love the look of Pretty's signature cardboard tubes, but having the cleansing grains in just a plastic bag inside the tube isn't great in terms of practicality, so I've transferred some of mine into a small, plastic travel bottle. It's been working really well, since I can easily pour out what I need without having to be concerned about contaminating or wetting the rest. Also for the sake of convenience, I've started mixing the grains with my George's Always Active Aloe, since the spray top makes it super easy to wet the grains just enough, without drowning them or losing any down the sink. I imagine they would also be lovely mixed with a hydrosol or floral water, if you felt so inclined.
Pretty's cleansing grains are affordably priced and I only use about 3/4 tsp each time, so I'm expecting they will last me a good while. I'm not sure they would be the best cleanser to take on a full face of makeup, but they're perfect for a morning cleanse, when you're just looking to refresh your skin and wash off any sweat or oil that may have accumulated during the night. I'd definitely recommend them to anyone looking for a gentle cleanser that effectively cleans your face without drying or stripping your skin.
Ingredients: Organic oats, kaolin clay, orange oil, spearmint oil, organic raw cocoa powder, tiger lily flowers, black tea powder.
Disclosure: I received this product for free, but I was under no obligation to write about it. Pretty does not know who I am, let alone that I have a blog.
Ohhhh la la, a health food store?! I'm so jealous. I can only think of a few that carry that line. This was a great review! You must try their masks & floral waters, just beautiful.
Thanks! I have one of their moisturizers here also, but I'm trying to use up other stuff first :) Their masks and floral waters look fantastic too!
Thanks for the great tip about using toners or hydrosols to mix cleansing grains. I never thought of that! That's a much easier way of wetting the grains than my normal way, which is just to pour small amounts of water into my hand directly from a faucet or small cup. I suppose I could also just use plain water in a spray bottle, but I like the idea of occasionally getting the extra benefits of the toner, too.
I've been interested in cleansing grains but haven't tried them before. I'd love to mix some with some Heritage rosewater with glycerine I have since it comes in a spray bottle. I'll have to try some out sometime.
This was my first experience using cleansing grains too! I always sorta thought having to mix/wet them would be a hassle, but it's actually easy enough and only takes a minute :) Rosewater and glycerin sounds like it would be great to mix with them!
Very nice review! I only tried Dermatologica cleansing grains...and i really like the effect!
Will check a bit more on "Pretty" website.
Pretty is so great!!! Love the line!!


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States, consumer watchdogs keeping an eye on Google
by Jim Barthold |
The economy may be more sour than month-old milk but these are sweet times for lobbyists with connections to elected officials--and, dare we say it, the elected officials themselves--as major forces mount up to battle for control of the Internet. Add Google (Nasdaq: GOOG) to the list of players opening their coffers to the tune of $1.34 million in the second quarter alone to lobby federal lawmakers and regulators, according to a news release from Consumer Watchdog.
Most of Google's lobbyists have some connections with elected officials which means "Google has become one of the key political players by freely spending and taking advantage of Washington's revolving-door culture to hire its corporate messengers," John Simpson, consumer advocate with Consumer Watchdog said in the release. "Google has a definite Washington agenda and is willing to spend millions to further it."
Perhaps Google should also look outside the Beltway since it's running afoul of 37 states, which have asked for more information about how the search engine collected user data over WiFi networks--which included personal information--when developing information for its Google Street Views.
According to Google, it was "a mistake for us to include code in our software that collected payload data, but we believe we did nothing illegal." State authorities, led by Conn. Attorney General Richard Blumenthal aren't so sure about that, claiming if Google indeed tested its software before hitting the streets "it should have known all along that (it) snared and collected confidential data."
- see this news release
- and this story
Comcast spends $3.5 million more lobbying for NBC
Group says Google spied on members of Congress' unsecured wireless networks
Jim Barthold


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Q: how to list and kill processes accessing internet in linux How to kill the processes accessing Internet in background using terminal commands.
Command to stop (disconnect) the processes accessing Internet.
Command to kill the process accessing Internet.

A: To find any processes making/listening for Internet connections run:
lsof -i

Output will be similar to this:
COMMAND     PID   USER   FD   TYPE  DEVICE SIZE/OFF NODE NAME
sshd       4236   root    3u  IPv4   13169      0t0  TCP *:ssh (LISTEN)
ntpd       4260    ntp   16u  IPv4   13192      0t0  UDP *:ntp
ntpd       4260    ntp   17u  IPv4   13196      0t0  UDP localhost:ntp
ntpd       4260    ntp   18u  IPv4   13197      0t0  UDP 127.0.0.2:ntp
master     4431   root   12u  IPv4   13397      0t0  TCP localhost:smtp (LISTEN)
httpd2-pr  4493   root    3u  IPv4   13542      0t0  TCP *:http (LISTEN)

Now use kill with the PID of the processes as listed above, for example, to kill ssh above, run:
sudo kill -15 4236

If that doesn't help, run:
sudo kill -9 4236

Option -15 sends a TERM signal, which kindly asks the process to quit. Option -9 sends a KILL signal, which forces the process to immediately quit. Try -15 first, then -9.

A: You can also have ss (iproute2 package). For e.g. ss -tup will show all TCP and UDP sockets including the corresponding processes.

ss is used to dump socket statistics. It allows showing
information similar to netstat.  It can display more TCP and
state information than other tools.


My two oldest daughters are born in the same month just 4 years apart. It is fun to go back and look at pictures and compare them at the same age. I was looking over the site and had the opportunity to go back and reflect on some of the first Fun On a Dime posts. I realized I did way more with my oldest daughter at the same age than with my 2nd daughter. Whoops! I decided it was time to step it up in the toddler fun department and just in time for Christmas!
For our first project I thought it would be fun to use the same recipe that we used to make Hand and Feet Molds and make something I have always meant to do but never got to…Salt Dough Ornaments. I actually looked around for a bit to see if I could find a better recipe, but kept finding complaints or bubbling and such, which I do not have issues with with our current recipe, so we will stick to what we know. I will admit, that I have no clue how long these will last and I really do not care. My main purpose was to have some fun with her and let her have some control over her creativity. If they last years, great! And if they crumble by next Christmas, I will not be heartbroken because I took some cute pics of them. Either way, I will let you know how they survive this upcoming holiday season!
Step 1: Follow the recipe for the Hand and Foot mold. Add all your ingredients together. I let her do as much as possible, even if she created a mess in the process. She has to learn some time. Plus, it wasn't too bad since there are only 3 ingredients. Boy, did she love this part!
TIP: To avoid large messes like above use a pan to contain the mess. Makes for an easy clean up!
And taste testing is all part of the learning process. She did not enjoy her sneaky taste and she didn't try to eat it again!
Step 2: Once the mix is made and you have a good ball, roll out the dough and cut your desired shapes. As you roll it, it may get dry. Adding a little water now and then helps (and I mean a little as in a spoonful 😉 ) We started with our handprint ornament, so we used a large yogurt lid to make our circle.
Since this is a fake cookie cutter, we used a butter knife to help us finish cutting it out.
Step 3: Help your child press their hand in it. We made ours a little thick to make sure we get a good handprint.
TIP: I will admit, having an older sibling to show you how to do it, like we did before was so much easier. All she wanted to do was grab and squeeze it once her hand was pressed. To attempt to avoid this, Try using the yogurt lid to demonstrate what you are going to do with their hand.
Step 5: Paint. She loved this part and would hardly look at me, I'm betting for fear I would take over!
TIP: Use yogurt lids to put paint in, tape down the news paper or other table protector so it doesn't move around and aprons are helpful on keeping their clothes clean…She kept wanting to wipe the paint off of her hands on her belly!
Step 6: Once dry, tie a ribbon or attach it somehow. Her little Gingerbread Man might turn into a faux Christmas cookie decoration on the counter!
For her hand print ornament I traced felt to fit on the back since we didn't paint it.
Then used a hot glue gun to attach it to the back of the hand mold. Makes sure to add a little bit of glue surrounding the whole where the ribbon will come through.
I plan on adding her picture from our picture session we took a couple weeks ago to show how old she was when she made this. If it lasts, this will be a definite added cuteness factor!


Debates on the relationship of artistic practice to the sociopolitical sphere have gained momentum as the more immiserating effects of globalisation have extended 'states of emergency' beyond their apparent earlier containment in colonial geographies. My interest in this issue stems from a long engagement with artists emerging from a political history of colonial violence and cultural dispossession, whose work may be described as an 'aesthetics of resistance' against the 'truth' claims of repressive regimes. A constellation of questions presents itself, among them: Do these practices differ from 'social activism' in their affect? How might one characterise the tropes they employ? Do they offer a means of reclaiming political agency? This presentation focuses on a particular set of tropes associated with the Hermetic, or hermeneutic play of the 'trickster' and the 'troubadour': encountering, trespassing, vectoring and opportunism.
In his essay 'Theses on the Philosophy of History', Walter Benjamin states, 'the tradition of the oppressed teaches us that the "state of emergency" in which we live is not the exception but the rule'.1 I read this from the perspective of colonised peoples deprived of ancestral belonging, self-representation and political agency, and subjected to extra-ordinary repressive laws by the occupying power. This violence against the colonised 'other' diminishes its humanity by framing it within a reality not its own. It is also a betrayal by the law and language of dominance of its own Enlightenment promise of universal franchise – a violation of principle that could only be rationalised by reducing the colonised to the status of less-than-human. From the point of view of the disenfranchised, resistance to power – or, more accurately, force – implies agency, which demands a proactive subject. The problem is that, according to the Foucauldian schema, the subject is not only oppressed by power but is itself its product, suggesting that the subject is always somehow complicit in its subjugation. However, this says nothing about the potential for resistance. How could one imagine a politically viable agency capable of exiting from this impasse? Short of armed resistance, Frantz Fanon insisted it was impossible to do so by a melancholy retreat into some lost or fragmented past identity. One had to begin by recognising the dynamics of repression and reconfiguring social narratives from the conditions of the present, a role he assigned to the intellectual and storyteller.2 To reclaim agency means re-founding a place of dwelling in and against dominant language; to be 'at home' is first to be at home in a language capable of re-imagining a meaningful existence not defined by trauma and victimhood, only then could one turn a sceptical eye upon the truth claims of policing regimes. For Edward Said the intellectual had a responsibility to 'speak truth to power': to give voice to un-freedom and injustice.3 But how does one do that when power is deaf, indifferent or illiberal? If one alternative is to turn aside from power, is this also not an abdication of political agency, since agency requires taking a position, however contingent, in relation to power? So, is there such a thing as a position without complicity, or resistance without violent confrontation?
One way out of this impasse is to say that hegemonic power is not absolute. Neither is subjectivity. The distribution of power within the social sphere may be controlled by a hegemonic discourse, but this doesn't preclude pockets of resentment, latent counter-hegemonies, or wars of position. For instance, for the colonial subject dispossessed by force, resistance had, of necessity, to operate clandestinely at the micro-social level. An example is syncretism in santería, the Afro-Cuban plantation religion, where a Catholic saint was mapped over or merged with a prohibited Yoruban orisha: one might be looking at St Anthony of Padua but appealing to Eleggúa, keeper of the crossroads. This constituted a political gesture insofar as it was a tactic of apparent conformity while retaining some measure of self-empowerment; a means of working within the framework of power without fully subscribing to its 'truths'. At the same time, this opens onto the domain of ambivalence, where something cannot be determined as one thing or another, and whose value is firstly emotional. Naturally, it has been the drive of Western rationalism to eliminate such troublesome uncertainties.
What is notable in the santería example is that cultural resistance worked through a re-motivation of visual and material signs. (Incidentally, this has a bearing on debates over whether globalisation leads to the homogenisation of art, or whether the 'local' resignifies the 'global' on its own terms, as suggested by Gerardo Mosquera.4 It is this thought of re-motivation that I want to carry over into questions of art's affective capacity to challenge hegemonic truth claims, which presupposes: how and what does art communicate, if anything?
In a famous episode from the Winnebago narrative cycle,6 trickster sees some plums in a stream and dives in to get them, but only brings up stones. On the next attempt he knocks himself out on the rocky bottom. When he comes to, he is floating face-up in the water, from which position he then sees the real plums in the overhanging tree. That is, trickster discovers a new insight – the difference between a thing and its representation – through a momentary loss of consciousness and change in perspective. This is analogous to Catherine Clément's description of syncope – a suspended moment in time – as the condition for creative insight.7 That is, a suspension of everyday subjecthood triggered by an encounter with uncertainty (the 'otherness' of the situation), and a key to understanding how an event of art might provoke a new thought.
James Coleman's early work possessed a non-didactic political resonance that was difficult to pin down, although one might detect veiled allusions to the legacy of Anglo-Irish colonial relations. One particularly affective work, which induced an unaccountable sense of loss and uncertainty, was A-Kõan, 1976. It consisted of an 8mm looped colour film projection of the Irish tricolour flapping on a flagpole over a cluster of public address speakers. The accompanying soundtrack mixed a rumbling bass note with a child's voice calling plaintively: 'Mummy, I'm ready/ I've done a poo/ I'm calling you…' The title is a phonetic pun on two meanings of 'a koan'. One is the enigmatic or paradoxical Zen Buddhist saying that cannot be grasped by logical reasoning, but can be realised by sense; its purpose is to dislocate and free the mind from habitual ideas of reality according to the given laws of society.8 'Acoan' is a Gaelic word meaning 'keening' – a lament or lullaby. We are therefore given an audiovisual experience that oscillates across several undecidable registers between comedy and pathos. For Irish audiences at the time it suggested the celebration of Irish nationalism alongside its failure to deliver; at a deeper level it evoked the impotence of the embodied self and its betrayal by instrumentalised language.
There is an echo here of James Joyce, who exiled himself from Ireland because he could find no place as a speaking subject under conditions established by English colonial rule and a reactionary Irish identity founded in pre-Christian myth (precisely the 'lost' past that Fanon rejected). In A Portrait of the Artist as a Young Man, following a meeting with his English dean of studies, Stephen Dedalus says: 'My soul frets in the shadow of his language'.9 With Finnegans Wake Joyce conducted what Seamus Deane calls a 'Babelian act of war' against English,10 in which writing was not to be the foundation of a new subjectivity for this notoriously itinerant writer, but a re-founding of language itself through the ludic humour of phonetic puns, Gaelic syntax, polyglot neologisms, and above all embodied speech. Finnegans Wake is inscrutable unless read aloud, preferably with an Irish accent. Likewise, Coleman is very particular about what Roland Barthes called the 'grain of the voice' as a transmitter of the sensible, redeploying the visual with a material speech rooted in storytelling traditions.
Jimmie Durham's trajectory is uncannily similar. He exiled himself from the United States, a political entity to which, he says, as a Cherokee he never belonged anyway. When asked about his nomadic exile he said: "It's my ambition to become a homeless orphan. I don't want to be at home", where home means 'secure knowledge', 'mastery', 'lack of doubt'11 – in other words, freedom from those violent forms of identity and subjectivity to which the disenfranchised 'other' is subjected. Although speaking from a crisis in Native American subjectivity (in a persistent 'state of emergency'), Durham's work has never offered an illustrative or autobiographical account. Instead, it presents a provocation to the language codes and visual conventions by which the subject is constructed and subjected to forms of power. Much of his work in the US articulated around seriocomic commentaries on white America's representations of 'Indians': scripto-visual, faux-primitive drawings, and sculptures made from found junk. Typical of his style of mis-direction was On Loan from the Museum of the American Indian, 1985, a spoof on the ethnographic museum display and white presumptions of native 'primitiveness': a parasitisation of authoritative language that barely concealed a tragic human loss.
Emily Jacir's work seems close to Durham's insofar as she too, speaks from crisis without illustrating it, seeking to challenge the credibility of hegemonic 'truth'. Although the controversial project, Material for a Film – retracing Wael Zuaiter, 2003, has been accused of being partisan, its intent rather is to confront us with the violence of our own prejudices. Among these is the conflation of Arab (multi-faith) ethnicity with Islam, which turns a colonial dispute over territory into a religious conflict. This, I suspect, was the problem behind the fate of Jacir's project, stazione, for the Palestine c/o Venice event at the Venice Biennale 2009. The intention of stazione was to celebrate Venice's historic maritime relation with the East Mediterranean, notable as a station for Christian pilgrims on the way to the Holy Land. The idea, initially approved, was to add Arabic translations to the names of the vaporetto stops on Line 1, which runs through the Grand Canal past several palazzi displaying Arabic design influences. The project alluded to the often forgotten shared history of European and Arabic cultures, including the contribution of Arabic lyric poetry to the troubadour tradition. The canal provided a compelling metaphor: a neutral zone in which ideological positions are suspended. Each stop is a momentary pause in a journey where the traveller may change direction; analogously, at each stop, the Arabic script would create an unexpected interference prompting a different awareness of cultural space. In addition, the project reflected the nature of the Biennale itself as a temporary rendezvous of contemporary artist-troubadours: a site of exchange and migration of aesthetic ideas and experiences. stazione was an elegant secular project, whose political dimension resided in interpretative extrapolations from the relations to which it alludes. Alas, it was abruptly cancelled without explanation.
What I am attempting to present is an art that intervenes at the interface of subjects to ask whether there are not other truths of reality than those marketed by dominant ideologies. Herman Melville said, 'in this world of lies, Truth is forced to fly like a sacred white doe in the woodlands; and only by cunning glimpses will she reveal herself, as in Shakespeare and other masters of the great Art of Telling the Truth – even though it be covertly, and by snatches. 13 I am not concerned with some Platonic transcendental Truth, if this is what Melville meant, but with how we might think 'cunning glimpses' of truths that matter to lived reality. So we shall now turn to the hermeneutic figure of cunning, trickster, which is neither ethnic specific nor confined to some 'pre-modern' past.
Cultural anthropology frames trickster as a 'character', which misses the point that it is not a subject in Western narrative terms, but a tropic figure; and its world is not anthropocentric but cosmogonic – world-transforming – aimed not at individual but collective renewal. None of the artists quoted above either illustrate or personify trickster; but they reveal the bricoleur's re-articulation of material – words, images and objects – mobilised towards a critical interrogation of the languages of dominance typical of trickster tropes.
In narratives, the following cluster of ambivalent Hermetic traits is shared, to a greater or lesser extent, by traditional tricksters: opportunistic prankster, gambler, deceiver, glutton and thief; compulsive journeyer and trespasser; hinge, or keeper of the crossroads; interpreter and mediator between gods and humans, chaos and order, secrecy and revelation, life and death. 18 Through encounters, it attempts – not always successfully – to map itself into sites of authority in order to acquire their powers, but in the process discloses their limits. Tricky agency operates at sites of exchange: the feast, marketplace and crossroads. It acts not through force but by manipulating signs and meanings and therefore links agency to the acquisition and mastery of language. Opportunism is significant because it not only concerns chance and mischance, and therefore the immediate decision one has to make in response to an unexpected encounter, but etymologically is rooted in the Greek poros and aporia – passage and impasse. This relates to the function of the hinge, which is to articulate different pathways or angles of perception: moments of decision. This is literally figured in Marcel Duchamp's Door, 11 rue Larrey (to which Durham's video relates): the door that simultaneously opens and closes, articulates solid and void, inside and outside, but disappears into the 'ultrathin' at the mid-point of its movement, subverting the French proverb: A door must be either open or shut. These Hermetic traits are topological and tropological: they concern how we inhabit the world, but act by creating a swerve, or change in direction – a digression. They are less concerned with message contents than with communicability: generating new pathways through difference and transformation.
The troubadour, implied in Jacir's work, re-enters my narrative through the work of Sonia Boyce. Troubadours (men and women) were travelling composers assigned to courts – much like contemporary artists have residencies – whose songs often concerned the politics of the day. Their origins may lie in the transmission of Arabic song into Europe via Al-Andalus.22 The word troubadour or trouvère means both 'trope' and 'finder'. Serres describes it as the creator who does not seek but finds, linking knowledge and learning to travel, encountering, crossing frontiers and the 'felicitous use of language'.23 Like trickster – or Oscar Wilde's dandy – troubadour engages in unequal exchange: food for hot air, as Serres says – the measurable for the all-or-nothing of art.
The motet is a choral form in which each word syllable is given its own musical note – that is, a rigid structure incompatible with modern vocal styles. In effect, Boyce forced a syncopic moment, in which each performer had to modify its identity to accommodate the other's difference. Since 'authorship' was distributed across a range of collaborators, her role was invisible and ambiguous. One might say she functioned as the 'finder' and catalyst of a transforming signifying chain, relating to the relation itself not to the points of emission or reception. As Serres says, the producers play the contents, the para-site the position; but s/he who plays the position plays the relation between subjects, and is thus the master. Is this then the real space of political agency?
What I have outlined so far are artistic tactics that seek agency through resistance to hegemonic 'truth claims'. But I shall now turn to a paradox raised by Herman Melville's Bartleby the Scrivener 25 One might assume that in the present context the author's The Confidence-Man would be more appropriate, since it deliberately plays with Hermetic tropes and the discursive elaborations typical of oral storytelling. But Bartleby is the ghost haunting this text.
Bartleby the Scrivener has received considerable interpretative commentary, but from my point of view, it presents a kõan – a mote inside the eye of the law. I shall call this mote imagination, because the first thing that Bartleby 'would prefer not to' is his work as a law-copyist – a role that prohibits imaginative thought. Bartleby – about whom we are told next to nothing (he is another 'homeless orphan') – is not a character, subject, or hero, but a paradoxical tropic figure, whose primary trait (non-compliance, or suspension of communication) is always already embedded in Hermetic ambivalence. It presents an attenuated syncopic suspension of time. But is Bartleby's indifference to power a gesture of resignation that offers no hope of agency? Is doing nothing still doing something? As it happens, this question is presupposed in the reverse axiom, 'Sometimes making something leads to nothing' underlying Francis Alÿs's action, Paradox of Praxis1 (1997), where he pushed a block of ice round Mexico City until it melted away.
One can say that Bartleby's in-action prompts action by others: they are forced into decisions. Like other artistic tactics I've described, Bartleby presents a reproach to social demands for conformity: 'I know you', he says to the lawyer, 'and I want nothing to say to you'. Bartleby the Scrivener is a cautionary tale that exposes the duplicitous nature of power. Its significance lies in asking the reader to recognise subjectivity as an artifice of language that betrays the self's imaginative potential. As The Confidence-Man makes clear, Melville is concerned with the means by which understanding is transmitted, where the paradoxical and polysemous nature of language persistently threatens to undermine epistemic certainty: the obligation of meaning is deferred to the reader, who engages in an act of interpretation that is itself a part of the creative process.
Bartleby comes to mind in relation to Alÿs, another 'homeless' exile also known, like Durham, for absurdist gestures. And like Boyce, Alÿs has often deferred authorship to others, notably the copyist, as in his collection of found amateur paintings of Fabiola, where a collective sameness is revealed as a plurality of singularities. That Alÿs himself is concerned with art's relation to the political is clear in the walk he performed in Jerusalem (2004) designed to test the axioms, Sometimes doing something poetic can become political and sometimes doing something political can become poetic. Note his emphasis on 'doing', recalling the Hermetic as not signifying some thing but a way of doing. In Jerusalem Alÿs was faced with a divisive political situation that invited taking up partisan positions; but, in effect, he preferred not to.
He began with a map reference: the line drawn on a map of Jerusalem with a thick grease pencil by Moishe Dayan following the Arab border war in 1949. Known as the 'green line', it was intended to separate Israeli and Palestinian territories, and yet any boundary inexorably unites as it separates. But the map line represents a tract of land several metres wide – so who owned the wide of the line? Alÿs walked this line with green paint dribbled from a punctured can. The extended work is a DVD projection of his journey, reframed by audiotaped interviews that discuss the sociopolitical consequences of the 'green line' from Palestinian and Israeli perspectives, not all of which are favourably disposed towards Alÿs's gesture. Alÿs occupied no definable subjective position, literally withdrawing to the ambivalent, non-place of the boundary itself, where no one has the authority to speak: an aporia (a psychic and political impasse) but topographically porous. In parasitised this non-place of indeterminacy, Alÿs also parasitized the founding political gesture of its inscription, never established by law, disclosing the absurd but tragic paralysis of communication that this enforced. In other words, Alÿs's absurdist gesture avoided partisan politics, or 'contents', whilst opening a space to consider the contingent play of relations that constitute political power.
In sum, the Hermetic aspect in art works in and against the linguistic, material and emotional realities of the sociopolitical to disclose the extent to which we are framed and constrained by ideologies and representations that cripple our capacity to imagine other ways of being in and interpreting the world. It neither rejects power nor acquiesces to it, but parasitizes and interrupts its channels of communication to provoke encounters with difference. This provocation encourages a loss of subjective certitude from which we may acquire a different perception of reality. Such art practices present a profoundly ethical challenge, for they entreat the viewer to engage with the struggle for social justice in a political and economic landscape bereft of ethics and scarred by violence and dissimulation. My only – provisional – conclusion is that this ethical battle is best fought on the side of the victims not the victors of history.
Revised version of the Norma U Lifton Lecture, School of the Art Institute of Chicago, Nov 2009. Published in Fear, Alberto Balsima (ed), Madrid: Exit Publicaciones; and in Tricksters, Troubadours, In/sight, no 2, Dublin Institute of Technology, 2013.
1 Walter Benjamin, 'Theses on the Philosophy of History', in Illuminations, trans. Harry Zohn, New York: Schocken Books, p 257.
2 Frantz Fanon, The Wretched of the Earth, 1961, trans. Constance Farrington, Harmondsworth: Penguin, 1985, p 193.
3 Edward W. Said, 'Speaking truth to power' in Representations of the Intellectual, London: Vintage, 1994, p 65.
4 Gerardo Mosquera, 'Alien-Own/Own-Alien', in Nikos Papastergiadis ed, Complex Entanglements: Art, Globalisation and Cultural Difference, London: Rivers Oram, 2003, pp 18-29.
5 Theodor Adorno, Aesthetic Theory, trans. Robert Hullot-Kentor, London: Athlone Press, 1999, p 109.
6 Paul Radin, The Trickster: A Study in American Indian Mythology, New York: Schocken Books, 1972, p 28.
7 Catherine Clément, Syncope: The Philosophy of Rapture, trans. Sally O'Driscoll and Deirdre M. Mahoney, Minneapolis: Minnesota University Press, 1994, pp 5, 236-250.
8 Etymologically, a kõan is a judge's bench – a place of adjudication and decision, placing paradox at the heart of the law.
9 James Joyce, A Portrait of the Artist As a Young Man, 1916, London: Penguin, 1996, p 215.
10 Seamus Deane, 'Introduction' to James Joyce, Finnegans Wake, 1939, London: Penguin, 1992, pp vii-xlix.
11 Jimmie Durham, Jimmie Durham, Fondazione Antonio Ratti, Milan: Edizione Charta, pp 123-125.
12, in Freud 14: Art and Literature, trans. James Strachey, Harmondsworth: Penguin, 1988, pp 427-433.
14 For example, Melvin van Peebles' film Sweet Sweetback's Badaaaas Song; Patrick Chamoiseau's novels Solibo Magnificent and Texaco; Ishmael Reed's Mumbo Jumbo; and Amos Tutuola's The Palm-Wine Drinkard.
15 Henry Louis Gates Jr, Figures in Black: Words, Signs and the 'Racial' Self, Oxford: Oxford University Press, 1987, p 54.
16 Karl Kerényi, Mythology and Humanism, The Correspondence of Thomas Mann and Karl Kerényi, trans. Alexander Gelley, Ithaca and London: Cornell University Press, 1975, p 9.
17 Henry Louis Gates Jr, Figures in Black, p 239. See also Gates, The Signifying Monkey: A Theory of African-American Literary Criticism, Oxford: Oxford University Press, 1988.
18 Karl Kerényi, Hermes: Guide of Souls, trans. Murray Stein, Woodstock: Spring Publications, 1976, pp 140-145.
19 Michel Serres, Hermes: Literature, Science, Philosophy, (eds.) Josué V. Hari and David F. Bell, Baltimore & London: The Johns Hopkins University Press, 1982, pp xxv – xxvi and 66-67.
20 Michel Serres, The Parasite, trans Lawrence R Schehr, Baltimore and London: The Johns Hopkins University Press, 1982, pp187-88.
21 Michel Serres, The Troubadour of Knowledge, trans Sheila Faria Glaser with William Paulson, Ann Arbor: University of Michigan Press, 1997, p 12.
23 Michel Serres, The Troubadour of Knowledge, p 104.
24For you, only you: A project by Sonia Boyce, Oxford: Ruskin School of Drawing and Fine Art, 2007.
25 Herman Melville, Bartleby the Scrivener, 1853, Hoboken, NJ: Melville House Publishing, 2008.
26 Jacques Derrida, 'Whom to Give to (Knowing Not to Know)', in The Gift of Death, trans. David Wills, Chicago and London: University of Chicago Press, 1995, p 74.
27 Michel de Certeau, The Practice of Everyday Life, trans. Steven F Rendall, Berkeley and Los Angeles: University of California Press, 1984, pp 54-55. Transgression here means a crosswise movement, not rebellious shocks.


Today, a student walked into my office at Wichita State University and wanted to talk about sestinas. Yes, please! We got to this place from her interest in poems that channeled crime, noir, and sustained narrative, which had led me to suggest Jim and Dave Defeat the Masked Man, by David Lehman and James Cummins.
The sestina was a new form to her. She had looked up the basics of the history and patterning of end words. From there, we talked about organic modes to which the sestina might lend itself--poems of fixation, of worrying--and looked at a few favorite examples.
Since she seemed a bit nervous about the process, I offered to show her some drafting notes from way back when. I first scanned these to appear in Issue Two of Pelorus Press, a nifty resource for anyone interested in tracking the art of literary editing.
For more of Sandra's column, click here.


Status: offline Is there any limit how much finnish morale will drop when units are below no attack line?
morale reduction of one point for each hex row east of hex row X100 for Finnish units."
Status: offline I don't think the morale drops quite as quickly as the manual describes, possibly there is a check for each drop rather than automatic - am not sure.
Status: offline I have to admit I get the sense that Tyronec is right - when I have gone through this the Finns always end up in perfectly good shape compared to where I thought they would be. Even if you accept the morale reduction is fixed and automatic, there are still the normal morale boosters for units under national morale etc going the other way. And there is always the possibility of rotating units in and out of Finland to get their morale to recover to national morale more quickly too. But bottom line is, compared to the horror story the manual depicts of Finns operating a long way from home, usually moving them south of the no attack line seems to be no problem whatsoever.


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Ezequiel Matías Muñoz (born 8 October 1990) is an Argentine footballer who plays as a centre-back for Argentine club Estudiantes. His nickname is Il niño di Pergamino or El Chiquito.

Club career
At 18 years of age, Muñoz made his league debut with Boca Juniors during a 0–1 defeat to Estudiantes de La Plata during the 2009 Clausura tournament. He had, however, previously played with the team during the 2008 Copa Sudamericana. Subsequently, he suffered a cruciate ligament injury to his knee, which stalled his progression in the team. He returned to the field during the 2010 Clausura, during a 2–2 draw with Argentinos Juniors.

In August 2010, Serie A club Palermo announced the signing of Ezequiel Muñoz from Boca Juniors. He made his debut with the Sicilian club on 26 August 2010, when he was picked as a starter in the return leg of the 2010–11 UEFA Europa League play-off round against NK Maribor. He debuted in Serie A on 29 August 2010 against Cagliari.

On 2 February 2015, Sampdoria confirmed that they had taken Muñoz on loan. After only four matches, on 18 July 2015 he signed a 4-year contract as a free agent for Genoa.

On 8 August 2017, Muñoz switched teams and countries again, signing a three-year deal with La Liga side CD Leganés, for a rumoured fee of € 2 million. Ten days later he made his debut for the club, starting in a 1–0 home win against Deportivo Alavés.

On 12 June 2019, Munoz signed with Argentine side Lanús.

On 26 September, Munoz signed with Argentine side Independiente

International career
In 2009, Muñoz was called by the Argentina national team coach Diego Maradona for a friendly match against Panama in a squad exclusively formed with footballers based on the Argentine league. Nonetheless, he had to be left out after suffering the cruciate ligament injury to his knee.

Career statistics

References

External links

 Argentine Primera statistics at Fútbol XXI

1990 births
Living people
Sportspeople from Buenos Aires Province
Argentine footballers
Argentine expatriate footballers
Argentina youth international footballers
Argentina under-20 international footballers
Association football central defenders
Argentine Primera División players
Boca Juniors footballers
Serie A players
Serie B players
Palermo F.C. players
U.C. Sampdoria players
Genoa C.F.C. players
La Liga players
CD Leganés players
Club Atlético Lanús footballers
Club Atlético Independiente footballers
Estudiantes de La Plata footballers
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Spain
Expatriate footballers in Italy
Expatriate footballers in Spain

redpajama_set_name: RedPajamaWikipedia


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Iran admits it accidentally shot down airliner
WIB politics January 11, 2020 Elnur Baghishov 0
Elnur Baghishov Trend News Agency, Baku, Azerbaijan The plane of "International Airlines of Ukraine" was unintentionally shot down, reads the statement by the General...
Elnur Baghishov
Trend News Agency, Baku, Azerbaijan
The plane of "International Airlines of Ukraine" was unintentionally shot down, reads the statement by the General Staff of the Armed Forces of Iran, Trend reports.
The statement states that during the attack by Iran on the US air base in Iraq and in subsequent hours the number of flights by US military aircraft increased.
Iran's Air Defense System considered the sudden return of the plane after the takeoff from Imam Khomeini airport as an attack to Islamic Revolutionary Guard Corps important positions.
General Staff of the Armed Forces of Iran expressed regrets, apologies and condolences to Iranian people, to the families of all victims, and to other affected nations for the human error and assures that such incidents will never happen after carrying out reforms in Air Defense System.
The Ukrainian International Airlines (UIA) flight crashed just minutes after takeoff from Tehran on Jan.8, killing all 176 people on board.
The Boeing 737-800 was headed for Kiev, where 138 passengers were expected to take a connecting flight to Canada.
©2020 Trend News Agency (Baku, Azerbaijan)
Visit Trend News Agency (Baku, Azerbaijan) at en.trend.az