text:
Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line
Melinda M. Mortenson, Michael G. Schlieman, Subbulakshmi Virudachalam, Richard J Bold
Background: Non-small-cell lung cancer (NSCLC) has a poor prognosis. Despite advances in therapy, survival has improved only slightly. The 26S proteasome regulates multiple cellular processes through degradation of ubiquitin-tagged proteins. The proteasome inhibitor, bortezomib (Velcade, formerly PS-341), has been shown to be an active anticancer agent both in vitro and in vivo in multiple tumor types. Purpose: To determine the molecular and cellular effects of the proteasome inhibitor in NSCLC as well as to evaluate the effectiveness of sequential treatment with bortezomib and gemcitabine/ carboplatin (G/C) chemotherapy both in vitro and in vivo. Methods: All experiments were performed in the A549 NSCLC cell line. MTT assays were used to evaluate cytotoxicity. Western blotting evaluated protein levels. Measures of apoptosis included FACS analysis, DAPI staining and caspase-3 cleavage. Long-term cell viability was determined using an anchorage-dependent clonogenic assay. Sequential studies were performed in vitro and in vivo. Results: Bortezomib increased p21waf1/cip1, induced G2/M arrest, and triggered a small amount of apoptosis. The apoptotic effect of G/C chemotherapy was eliminated when bortezomib was administered prior to the chemotherapy; however, it was accentuated when the bortezomib was given simultaneously or after the chemotherapy. Conclusions: Bortezomib improves efficacy in combination with gemcitabine and carboplatin in NSCLC, but sequential effects are important and must be considered when developing therapeutic regimens.
Cancer Chemotherapy and Pharmacology
Combination Drug Therapy
Proteasome inhibitor
Mortenson, M. M., Schlieman, M. G., Virudachalam, S., & Bold, R. J. (2004). Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line. Cancer Chemotherapy and Pharmacology, 54(4), 343-353. https://doi.org/10.1007/s00280-004-0811-4
Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line. / Mortenson, Melinda M.; Schlieman, Michael G.; Virudachalam, Subbulakshmi; Bold, Richard J.
In: Cancer Chemotherapy and Pharmacology, Vol. 54, No. 4, 10.2004, p. 343-353.
Mortenson, MM, Schlieman, MG, Virudachalam, S & Bold, RJ 2004, 'Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line', Cancer Chemotherapy and Pharmacology, vol. 54, no. 4, pp. 343-353. https://doi.org/10.1007/s00280-004-0811-4
Mortenson MM, Schlieman MG, Virudachalam S, Bold RJ. Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line. Cancer Chemotherapy and Pharmacology. 2004 Oct;54(4):343-353. https://doi.org/10.1007/s00280-004-0811-4
Mortenson, Melinda M. ; Schlieman, Michael G. ; Virudachalam, Subbulakshmi ; Bold, Richard J. / Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line. In: Cancer Chemotherapy and Pharmacology. 2004 ; Vol. 54, No. 4. pp. 343-353.
@article{e1119b11fcfd4f42a624e24251369758,
title = "Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line",
abstract = "Background: Non-small-cell lung cancer (NSCLC) has a poor prognosis. Despite advances in therapy, survival has improved only slightly. The 26S proteasome regulates multiple cellular processes through degradation of ubiquitin-tagged proteins. The proteasome inhibitor, bortezomib (Velcade, formerly PS-341), has been shown to be an active anticancer agent both in vitro and in vivo in multiple tumor types. Purpose: To determine the molecular and cellular effects of the proteasome inhibitor in NSCLC as well as to evaluate the effectiveness of sequential treatment with bortezomib and gemcitabine/ carboplatin (G/C) chemotherapy both in vitro and in vivo. Methods: All experiments were performed in the A549 NSCLC cell line. MTT assays were used to evaluate cytotoxicity. Western blotting evaluated protein levels. Measures of apoptosis included FACS analysis, DAPI staining and caspase-3 cleavage. Long-term cell viability was determined using an anchorage-dependent clonogenic assay. Sequential studies were performed in vitro and in vivo. Results: Bortezomib increased p21waf1/cip1, induced G2/M arrest, and triggered a small amount of apoptosis. The apoptotic effect of G/C chemotherapy was eliminated when bortezomib was administered prior to the chemotherapy; however, it was accentuated when the bortezomib was given simultaneously or after the chemotherapy. Conclusions: Bortezomib improves efficacy in combination with gemcitabine and carboplatin in NSCLC, but sequential effects are important and must be considered when developing therapeutic regimens.",
keywords = "Apoptosis, Bortezomib, Lung cancer, p21, Proteasome inhibitor",
author = "Mortenson, {Melinda M.} and Schlieman, {Michael G.} and Subbulakshmi Virudachalam and Bold, {Richard J}",
journal = "Cancer Chemotherapy and Pharmacology",
T1 - Effects of the proteasome inhibitor bortezomib alone and in combination with chemotherapy in the A549 non-small-cell lung cancer cell line
AU - Mortenson, Melinda M.
AU - Schlieman, Michael G.
AU - Virudachalam, Subbulakshmi
AU - Bold, Richard J
N2 - Background: Non-small-cell lung cancer (NSCLC) has a poor prognosis. Despite advances in therapy, survival has improved only slightly. The 26S proteasome regulates multiple cellular processes through degradation of ubiquitin-tagged proteins. The proteasome inhibitor, bortezomib (Velcade, formerly PS-341), has been shown to be an active anticancer agent both in vitro and in vivo in multiple tumor types. Purpose: To determine the molecular and cellular effects of the proteasome inhibitor in NSCLC as well as to evaluate the effectiveness of sequential treatment with bortezomib and gemcitabine/ carboplatin (G/C) chemotherapy both in vitro and in vivo. Methods: All experiments were performed in the A549 NSCLC cell line. MTT assays were used to evaluate cytotoxicity. Western blotting evaluated protein levels. Measures of apoptosis included FACS analysis, DAPI staining and caspase-3 cleavage. Long-term cell viability was determined using an anchorage-dependent clonogenic assay. Sequential studies were performed in vitro and in vivo. Results: Bortezomib increased p21waf1/cip1, induced G2/M arrest, and triggered a small amount of apoptosis. The apoptotic effect of G/C chemotherapy was eliminated when bortezomib was administered prior to the chemotherapy; however, it was accentuated when the bortezomib was given simultaneously or after the chemotherapy. Conclusions: Bortezomib improves efficacy in combination with gemcitabine and carboplatin in NSCLC, but sequential effects are important and must be considered when developing therapeutic regimens.
AB - Background: Non-small-cell lung cancer (NSCLC) has a poor prognosis. Despite advances in therapy, survival has improved only slightly. The 26S proteasome regulates multiple cellular processes through degradation of ubiquitin-tagged proteins. The proteasome inhibitor, bortezomib (Velcade, formerly PS-341), has been shown to be an active anticancer agent both in vitro and in vivo in multiple tumor types. Purpose: To determine the molecular and cellular effects of the proteasome inhibitor in NSCLC as well as to evaluate the effectiveness of sequential treatment with bortezomib and gemcitabine/ carboplatin (G/C) chemotherapy both in vitro and in vivo. Methods: All experiments were performed in the A549 NSCLC cell line. MTT assays were used to evaluate cytotoxicity. Western blotting evaluated protein levels. Measures of apoptosis included FACS analysis, DAPI staining and caspase-3 cleavage. Long-term cell viability was determined using an anchorage-dependent clonogenic assay. Sequential studies were performed in vitro and in vivo. Results: Bortezomib increased p21waf1/cip1, induced G2/M arrest, and triggered a small amount of apoptosis. The apoptotic effect of G/C chemotherapy was eliminated when bortezomib was administered prior to the chemotherapy; however, it was accentuated when the bortezomib was given simultaneously or after the chemotherapy. Conclusions: Bortezomib improves efficacy in combination with gemcitabine and carboplatin in NSCLC, but sequential effects are important and must be considered when developing therapeutic regimens.
KW - Bortezomib
KW - Lung cancer
KW - p21
KW - Proteasome inhibitor
JO - Cancer Chemotherapy and Pharmacology
JF - Cancer Chemotherapy and Pharmacology


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The original Celestar 8 telescope is a very light weight and economical 8" Schmidt-Cassegrain telescope (SCT) that has become a great success for Celestron, and for that telescopes' purchasers. And then in March 1997 Celestron responded to requests from consumers who desired a more sophisticated 8" SCT, better suited to astrophotography and CCD imaging. The result is the "Celestar 8 Deluxe".
Company Seven generally recommends that adults interested in astronomy acquire nothing less than an 8 inch aperture in a mirror telescope design. The Celestron 8 provides a good value for astronomy. With more than 635 times the effective light gathering power of the human eye (to observe the faint deep sky objects), and with the clear magnification capability (up to about 450-480x usable depending on accessories quality and local seeing conditions) that is particularly desirable for views of the changing major features of the larger planets (Venus, Mars, Jupiter, Saturn in particular).
The Celestar 8 Deluxe features the exact same quality of view as its other Celestron cousins, with a more rigid and adjustable height field tripod and equatorial wedge mount, advanced electronic drive corrector, and a more desireable accessories package for the astronomer. This design is sophisticated yet it does remain simple and fun to use. Set up is quick leaving you time to enjoy yourself and your observing.
The Fastar concept was introduced in 1997 by Celestron (working with Santa Barbara Instruments Group): the "Fastar" telescope concept. Since July of 1998 all C-8 optical tubes provided with the "Celestar 8 Deluxe" and "Ultima 2000" series models have a secondary mirror holder that be interchanged with an optional lens set and CCD camera holder for imaging with either the Celestron Pixcel 255 or Pixcel 237, SBIG ST-5 or ST-237 series CCD cameras - at a very fast f1.95. The post July 1998 C-14 telescopes are similarly equipped to operate at f2.1. This can produce extremely short exposure times of about 25 times faster than was otherwise possible at prime focus. Covering fields of view with a Fastar 8 of as wide as 0.5 x 0.7 degrees - the equivalent of shooting the telescope as a 400mm f1.95 lens! The telescope can also accommodate a variety of optional telecompressor lenses at the axial port to vary the effective focal length and f ratio down to as fast as f3.3.
This "Fastar" concept is now available with orders for C-8 optical tube assemblies as well.
The telescope optical tube assembly weighs only about 10 lbs, and with the attached fork mount and drive base it weighs just 30 lbs. Add the furnished equatorial wedge and tripod and it then weighs 40 lbs. This remains an ideal telescope for the youngster, or elderly astronomer or astrophotographer on the go who can not manage the more substantial or complicated telescopes.
The wedge tilt plate facilitates polar alignment at any latitude between 28 to 90 degrees; by adjusting tripod leveling this can be extended further using caution not to tilt the telescope so far that it becomes unstable. This equatorial wedge accepts an optional "Deluxe Latitude Adjuster" with fine elevation and azimuth adjusting mechanisms and a "no tool knob set" this completely frees one from having to use any wrench at all to set up and polar align the telescope. The telescope fork mount could also be attached to the field tripod directly, thereby using it as an "Altitude-Azimuth" mount; this renders the Celestar 8 Deluxe a choice for those who wish to employ the telescope for applications such as an ultra telephoto or video lens, or as a terrestrial telescope for long distance observing of birds.
The Celestar 8 Deluxe telescope employs a precise "clock drive" tracking system (the early telescope drives were based on modified clocks - these drives rotate a telescope once every 24 hours or so). When properly set up, this mechanism will compensate for the apparent motion of celestial objects across the sky as the Earth rotates. Such a drive system allows you to find and object and precisely center it; there are manual fine motion controls on the fork mount. Find and maintain the object in an eyepiece, where it will remain there permitting you and your friends or family to enjoy the views completly free of any distractions. Furthermore, the setting circles provided on the fork mount allow one to find their way across the sky to find the faint otherwise difficult to find objects using the two dimensional coordinate system employed by professional and amateur astronomers. We highly encourage tracking mounts as this for use by those with young children, or especially if sharing a telescope for astronomy with others. Such a tracking drive system equipped as this is a necessity for astrophotography of most celestial objects.
The electromechanical system incorporates a more rigid fork mount than the Celestar 8 telescope, with a precise worm gear drive system. The electronics control system includes a totally cordless stepper motor drive system with PEC (Periodic Error Correction), an easy recording cycle, four tracking rates including: King, Sidereal, Lunar and Solar, fine correction speed of 0.5X and a slewing speed of 8X sidereal rate. A Declination Control Motor, and Hand Control are furnished. The Hand Control allows fast and slow manual override of the R.A. tracking speed and operation of the optional Declination motor thereby facilitating time exposure astrophotography, and compensating for any errors of Polar Alignment or periodic worm drive errors. The electronic drive corrector is compatible with autoguide CCD systems.
The power-efficient Celestar 8 Deluxe telescope runs off two 9V alkaline batteries so the operation is totally cordless and independent of local power world wide. The Right Ascension drive motor is reversible and so it can operate in either Northern or Southern hemispheres. AC current or 12V operation of the Celestrar 8 Deluxe is possible with the included power adapter cables.
The Celestar 8 Deluxe telescope can be furnished with optional encoders and computer aids to celestial navigation including the Company Seven installed and tested Celestron "Advanced Astro Master" (AAM). This pointing system contains a data base of over 10,000 objects. Once aligned, it will guide you to any one of these objects. Only a simple two star alignment method is needed to get started with your computer assisted telescope - no leveling, longitude or time input needed. The AAM operates from a single 9 volt battery (we sugegst Alkaline or Lithium) for over 30 hours; and it contains an RS-232 serial interface to connect to a personal computer. Other optional systems and interface able planetarium software packages are available. Even though we have some reservations about it and prefer to discuss it in detail with potential buyers, the "Computerised Celestar 8 Deluxe" model with the computer aid to celestial navigation is fun to use, and makes it easy to enjoy our Universe. You can find hundreds or thousands of objects easily. However, we those who wish such performance should seriously consider the better integrated 8" Ultima 2000 computer controlled telescope which also includes features and an accessories package well suited for deep sky astronomy.
Standard accessories of the Celestar 8 Deluxe telescope include: a 9 x 50 Achromatic Finder scope (straight through view), 90 degree Prism Star Diagonal 1-1/4", Visual Back 1-1/4" and a 26mm Plossl Eyepiece 1-1/4" (78x), Declination Motor, Hand Control, AC Adapter (115 v. AC), car battery Adapter (12 v DC), Wedge, Tripod (32" high to the platform, about 39" to the center of the tilt plate).
The Celestron International company of Torrance, California introduced to the world the first successful mass-production Schmidt Cassegrain telescopes (SCT). In 1970 their 8" aperture model (the original "C-8") telescope was introduced. While the original fork mount has changed over the years and incorporates electronic innovations, and some optical design and manufacture improvements have been incorporated, the Celestron "C-8" remains the most popular and optically acclaimed production 8" SCT in the world.
Light entering from the right, passes through the Corrector Lens (1). The light then reflects from the Primary Mirror (2) at the rear of the telescope tube forward to the Secondary Mirror (3). The light then is then reflected back into the Primary Baffle Tube(4), and out of the Rear Cell (5). In this illustration the Rear Cell is shown attached a 90 degree Zenith Prism (6) (or Mirror) diagonal, and an Eyepiece (7).
The Focus Control Knob (8) is rotated clockwise or counter clockwise to move the Primary Mirror forward towards, or to the rear away from the Corrector Lens and Secondary Mirror; this will adjust the position of the focal plane beyond the rear cell of the telescope optical tube assembly where an eyepiece for viewing or a camera for imaging are attached.
The Fastar concept provides for the easy thread off removal of the Secondary Mirror (3) and its holder. In its place is put an optional "Fastar" Field Flattening Lens and CCD camera holder assembly in order to accept any of a number of optional CCD cameras.
Optical Tube Dimension Length 16", Diameter 9", Front Cell Diameter 9-1/8"
*The telescope can accommodate a variety of Telecompressor lenses to vary the effective focal length and f ratio. And beginning in May 1998 all worm driven Celestron 8 telescopes will be equipped with an interchangeable secondary mirror holder to permit the installation of an optional "Fastar 8" CCD camera holder. This permits users of several of our popular CCD cameras to run the cameras at the secondary mirror holder position at f1.95 with the 8", or f2.1 with the C-14. This results in incredibly wide fields of view, and very short exposure times. This is an option available only for the new 8" and 14" Celestron optical tube assemblies; the "Fastar" logo is affixed to those optical tubes that can accommodate the option.
Download the publication Celestron C-8 Telescope, the complete instruction manual which we include with the Celestar 8 and the Celestar 8 Deluxe telescopes. A very good overview about the use of 8 inch Schmidt-Cassegrain fork equatorial telescopes, set up and operation, by Celestron International (in Acrobat Reader ".pdf" format).


text:
An Aesthetics of Earliness
By Deryn Rees-Jones
AT THE BEGINNING of On Late Style, Edward Said writes with melancholy eloquence of the paradox by which "late evenings, late blossoms, and late autumns are perfectly punctual — there isn't another clock or calendar they are supposed to match." "[W]hat difficult temporal longing," he continues to ask, "lurks in our calling them 'late?'". Written towards the end of Said's own life, and in part a counterpoint to his early book on beginnings, the lateness of his own style is one infused with his own proximity to death: "The quality of time alters," he writes, "like a change in the light, because the present is so thoroughly shadowed by other seasons: the revived or receding past, the newly unmeasurable future, the unimaginable time beyond time."
Harold Bloom's recent anthology, Till I End my Song talks of the "fiction of duration" that the late poem represents as it sets itself against up against both the envisioned end and the desire of the poem to progress into perpetuity. Elsewhere, Helen Vendler has written of the "last looks," which a poet might take at "the interface at which death meets life," describing what she calls "the strange binocular style" as life and death are presented as "mutually, and demandingly, real within a single poem's symbolic system." But for Said, of course, lateness is much more than this: lateness is, with Adorno working as his touchstone, also a shift in style, "a sort of deliberately unproductive productiveness going against." Whereas early work (and it is Beethoven he is thinking of specifically here) is "vigorous and organically whole," late style is all "process," marking "a moment when the artist who is fully in command of his medium nevertheless abandons communication with the established social order […] and achieves a contradictory, alienated relationship to it."
While the idea of late style must necessarily be a generalization of creative progress, the teleology and timekeeping of which we might also want to resist, it is nevertheless an extraordinarily seductive one precisely because of its impulse towards a kind of a letting-go-nothing-to-lose-wisdom in the face of the void. Is it simply contrariness amongst such critical preoccupations to wonder, then, what late style's opposite might be, and its relevance as a concept for reading first collections, were we inclined to look for such an opposite, if even for a few shorthand rhetorical moments?
Words and phrases such as "herald," "presage," "maturity of vision,"' "promise," and "youthful energy" surge to the fore when reviewers discuss first books. More negatively, earliness suggests other words such as "immature," "rough," "unpolished," "inconsistent," terms, which imply not just that the art form is unwieldy (earliness as not being fully in control), but that a certain lack of self-consciousness is born of a lack of weight of poetic responsibility. And although we can sometimes be fed a publishing cliché in the expression "long-awaited first collection," very often a new volume builds on no expectation; it is responsible only to itself until the moment it is succeeded. So while it is necessary to be aware of the significant nuances there might be between first and last books, earliness and lateness, beginnings and ends, I am curious as to whether first books might also carry in them an aesthetic of earliness that can be usefully explored, and which, in deconstructive mode, one might want to see alongside lateness as mutually dependent and redefining.
First thoughts. First volumes are not always the containers of first poems, but they are the result of the rejection of early poems, and the anticipation of later ones. Further, a first book sets its shoulder against the lintel of "juvenilia" in ridding itself of the poems, which do not sit in a perceived unity of beginnings or accomplishment. At the center of the first collection is the negotiation of influence that the first book must take on. Whether or not we follow Bloom and Oedipus, or more gender-aware object-relations theorists, this might mean: imitation, invention, reinvention, connection, assimilation. If it is true that first books set the psychic and aesthetic blue print of the work to come, presenting a cluster of ideas and ways of thinking and feeling that will get endlessly worked through during a poet's life, first books are also concentrations which hold within them all the pitfalls of style and the dangers of self-parody the poet might then meet in middle style of the third or fourth book. Perhaps most of all, though, the intrinsic nature of the first volume, like youth, is its refusal of its own mortality, its ability to connect a poetic past forwards into the unbounded future. In other words, a first book sets its store towards posterity while cheerfully refusing to imagine what such posterity must inevitably mean. Early style, with its sense of "measurable future, imaginable time," might therefore potentially be monocular, vital, and perhaps even more compellingly if we are theorizing earliness, more connected with the established social order. If late style sets the work of the aging poet up as difficult and austere, stripped back and broken down to something essential, early style might surely suggest a poetry of the social rather than the individual, not of conformity necessarily, or conservatism, but offering a poetics that prioritizes speaking with and for. If late style breaks down all that has been learned into a new beginning, and disconnects, might it be then that early style establishes and builds, accrues and connects in its becoming?
In the introduction to his recent anthology of contemporary British poetry, Dear World & Everyone In It: New Poetry in the UK, Nathan Hamilton suggests that in the 21st century
the Young Poet is less likely than previously to be concerned with the construction of a coherent assertive character/persona or self with reference to a presumed world of common knowledge. They are more likely to be engaged in conducting linguistic dramatisations or ironisations of the tensions between a notional self and the world. This is a reflexive response to the media-rich world in which they live; its exerted social/corporate pressures
Hamilton's anthology suggests that there is a new though homogenous movement in British poetry, and a reading of the anthology would suggest that the main divide between mainstream and experimental poetries has become less severe or politically contested through a renegotiation of modernism, and an assimilation of postmodernist and poststructuralist theories that have filtered into the mainstream of contemporary culture.
A few lines from Heather Philipson's anthologized poem "Jesus Christ" suggests such ironizing territory, which asks us, amongst so many other things, to question exactly how we might locate the "I" who replies in Philipson's poem, (Jesus Christ, we might well exclaim!):
You could say he had the veneer of a ladies' man in the smash-up of his career.
A man, or a desolate landscape. A trampled-on forest. Yet still, strangely
attractive. Death overwhelms even mediocrity.
Why must it always end this way? 'the face is the only avant garde we have',
I replied. 'And the name. A good name is promotable.'
Here by way of comparison is the end of Frances Leviston's poem, "The Historical Voice," which appeared in her collection Public Dream (Picador, 2007). Although stylistically coming from a different place, and carrying no direct reference to an I at all, it also asks us to wonder who that I might be, and to question the grand narrative of its title:
Knowing the worst, it speaks from that shadow. We,
it says, including itself, we are like this. What has occurred
cannot be hidden, perhaps not understood. It tends to be
more kindly than severe, less grave than good-humoured,
as if in exhausted agreement that we now comprehend
the long half-life of cruelty
Does such a new wariness of the univocal self in British poetry set itself also against mythologies of creation and the unavoidably gendered paradigm of genius? How far might Hamilton's assertion extend across the Anglophone world, and apply in particular to American poetry? Is the relationship between subjectivity and the world so mediated and overloaded by technology that changing constructions of the self also become enacted within a poem? Does this suggest that in the plethora of first collections to be published in any year something new and distinctive is happening that is the hallmark of a new poetic generation emerging? And how might this sense of the self in the modern world impact aesthetically on the idea of what early means to these young writers?
I am asking a lot of questions, and ones to which within the space of a review only the books themselves might attempt to provide a provisional answer. Sam Riviere's 81 Austerities (Faber, 2012) began, so the book cover tells us, as a response to the austerity measures which were implemented by the newly elected British coalition government in 2011; the poems "cut" themselves "on levels of sentiment, structure and even subject matter." Thus the volume ambitiously attempts to set crises of personal economies in the context of the economic crisis, and to transform the idea of austerity into a contemporary aesthetic which simultaneously mimics the transitory, disposable, information-laden world the poems construct/inhabit. The volume is conceptual in its layout, whereby each is poem is glossed and categorized in an index. "Crisis Poem," for example, which begins the volume, is described flatly in the notes as one that "sets out stall as critique of poetry and arts institutions." The poem ends:
capital is the index of meaning
anything is better than stealing
from the Co-op with a clotted heart
without it you don't survive
But how do we locate the ironies that are established in this poem? Riviere, who was born in 1981, apparently offers a critique of capitalism's commodification of art, as well as writing, and drawing up an arbitrary structure that makes connections between the poems, the self, and history (81 poems arising from the 81st year). But crucial to this poem is the word "it" in this final line. Without what do we not survive? Capital? Or the heart? In crisis it seems that choice is not one Riviere is willing to make. Meetings of reflections and eyes, dominate the book. There is a constant anxiety about the self's existence and realm in the context of the social media revolution, an anxiety brought most cogently and painfully alive in "When it Came" (glossed "yep" in the index and listed under category heading "The modern" in the back of the book):
as if everything on earth were texting
Furiously everything else I could feel
Their texts arriving in my body
This has been a blue / green message
exiting the social world
Perhaps when David Morley in a recent Guardian review described Dear World as "the friendliest poetry anthology ever," he also put his finger on what, despite its engagement with notions of subjectivity and the avant-garde, the new British mainstream does not do, which is alienate. Elsewhere, for Morley, in Riviere's work "the apoetical becomes apolitical […] a kind of purified inaction." The big question that raises itself for me is whether Riviere's poems have at the book's end also reached a creative and political impasse, and whether their earliness, as manifested in a resignation to the apolitical, is an end in itself. If Riviere enacts a generation's exhaustion, it is in its surrender to the disembodied society that to some extent is an inevitable consequence of engagement with social media, pushing the self into a partial inhabitation of a disembodied world. Whether Riviere abnegates poetic responsibility, is descriptive or prescriptive, it is hard always to tell. Shinning up or smashing down the wall of that impasse is surely the obligation of his second collection.
Born in 1986, Oli Hazzard prefaces Between Two Windows (Carcanet, 2012) with a quote from "Maentwrog," Gerard Manley Hopkins' early poem: "The sun on falling waters writes the text / Which yet is in the eye or in the thought. / It was a hard thing to undo this knot." The book separates then into two clear halves, leaving us a notable textual "between"that becomes dramatized in individual poems. This second section is prefaced by John Ashbery's lines, "But as the days and years sped by it became apparent that the naming of all the new things we now possessed had become our chief occupation." The idea of between-ness, between word and expression, is the preoccupation that announces itself in the early pages, and the rather careful and beautiful first poem in the book "Moving In" is also a first announcement of aesthetic intent, and of the ongoing relationship between human understanding and the natural world:
Convinced that night is simply the folding over
Of fingers, leaned into a steeple — we hunt
For some burrow, some hood of earth
Where the sound of the sea is as unbroken
As it is within a coiled shell and build
A fire whose voice, like chicks-being-
Incessantly-hatched, will make our
Own seem all the more improbable
Hazzard is currently writing a thesis on the work of Ashbery, and reviewing him recently in the Times Literary Supplement referred to Ashbery's habit of "turning the contingencies of telling into that which is told." Like Ashbery, and unlike Riviere, Hazzard has retained a lyrical impulse; there is more of an embrace of the undamaged music of what happens that can arise in the practice of formal constraint (mirror poem, sonnet, and sestina). But a poem like "Four Landscapes"seeks also to highlight the dangers of the information age:
I am learning about the history of Libya
the inbox choking itself with charity junk
thick miles of sunlight unrolled
an abandoned blueprint curling up on its tube
I am terrific and unable to concentrate
on the calibre of hesitation that characterises
what I imagine to be the space across which I
distinguish between thinking and speaking
If Riviere's "cut" self includes a refusal of the "terrific" I, Hazzard's, it seems, finds in poetic form a place whereby that I can be interrogated and held in language.
Rose McLarney was born in 1982, and The Always Broken Plates of Mountains (Four Way Books 2012) seems light years away from the work of these two young British contemporaries in terms of its negotiation with an embodiment of a social self in a community. McLarney has cited C.D. Wright as an important influence, but to a British eye not wholly attuned or nuanced to what can seem from afar the almost impossible breadth and variety of American poetries, there is an obvious association to be made with Frost through her negotiation of the idioms of farming and in this case her inhabitation of the Appalachian landscape: the word "apple" recurs like a little post-edenic Frostian memento mori. In fact this book is brimming with animals and fruits, as McLarney's engagement with the modern world is posed through the setting up of dialogues with landscape as a way of self-interrogation. These interrogations are rooted in the history of the inhabitation of the landscape and as she tells other peoples' stories, the I of the poem moves in its identifications and understandings. This is a self under construction as it views and mediates and understands. The Always Broken Plates of Mountains is also a book where time is slow, and this slow time is also a deeply social as well as a psychic time. Where Riviere and Hazzard are engaged with surface, McLarney plumbs the depths. In the poem "Poet" she scrutinizes the very act of seeing alongside that of telling:
Now he has cataracts, and squints
at moving things, as I do when I want to understand
and wonder. Symbol? Metaphor?
Another poet would not have added those final qualifying questions, but such self-questioning is also intrinsic to McLarney's honesty of poetic vision. Like Hazzard, though, there is a preoccupation with the telling of stories, stories, "like explosions of elderberries / arrayed on stems, pawpaws leather / swelling with creamy meat" ("Jubilation, Then"):
I pass horses on a steep slope
standing apart in what looks like an argument for being alone forever
because love is when the track of your talk comes undone
and you spill your stories into each other and these animals are still,
breathing fog but certain, certain of singularity, this morning.
This is country for the ones who have stayed
true to self-sufficiency and silence
and speak of family land, kin, our kind, where you come from,
and will not come too close to you
Like McLarney, Laura Cronk (born 1977) is also a love poet, but whereas McLarney's poetic method is often to set up a triangle between a male and female relationship, in a landscape into which there often emerges a more threatening male other, Cronk writes about the self as emergence, a self engaging with the world in an act of composition, often under the lurking threat of death. The opening poem of Cronk's collection begins by asking, "Would I be able to stand / a horse charging past? / Stand still if it approached?" and compares this with the ability to know another, once the horse had gone "coming close / enough to graze me." Closeness, intimacy, the ways in which we know difference and experience in the world see her sharing poetic ground with McLarney. In interviews Cronk has spoken of the three emotional poetic centers of her work: Rilke, Neruda, Tsvetaeva. The notes at the end of the volume flag up intertextual connection to the work of Mary Jo Bang, to Mayakovsky, to Donne, to Pound, to Shakespeare, Whitman, to the King James Bible and Hélène Cixous and Catherine Clement and in particular Cixous' Three Steps on the Ladder of Writing. As much as this list is worn at the book's end like a testament to all that has been assimilated and read ("maturity"), such closeness to a literary and theoretical context perhaps also speaks to a youthful anxiety. Avoiding all risks of either bravado or parody, however, the extraordinary and sometimes disorienting and perplexing title sequence "Having Been an Accomplice" is a sustained and serious attempt to know the self and its motivations in relation to action and intention. In "Having at Least Dressed Appropriately" Cronk writes: "I want to forge the self with the darkness, with the dead, with the/ language that cracks out of study" only to return to these lines later in the poem with "but that must have / been a century ago. How could I say such a thing?" In some ways this title poem reminds me of Rimbaud, whose own late works were written so early in his life, and who describes the function of poetry, age 17, as an attempt to "arrive at the unknown." Cronk writes her own Season in Hell:
I want to walk deeply into the darkness, nude as a god, through the
self into the darkness.
I want to blow up the Law with Language, having run my tongue
around my mouth ten thousand times. Instead of not speaking, I
want to speak.
Such questioning by the authors of these first collections suggests that the act of making can only be meaningful when the I who speaks in a poem is embodied, nuanced, and able to engage in a physical landscape. It is perhaps not a surprise that the poetic inheritors of Whitman are so attuned to the I that can contain multitudes. If Riviere's poems sit at the other end of the spectrum, they do so with a kind of careless knowing of the perils of replicating the seductions of the "cut" self that the new technologies and the social media can represent. Such a socialization offers connection, dialogue, and exchange at the same time as disturbing the boundaries between public and private, and is one that is always in danger of offering false intimacy and a commodification of both the social and the poetic.
What, though, of the shifts of light that happen at the day's start? Of what the poet Edward Thomas might refer to as "Spring all along the road"? Would I have guessed that any of these collections were first books, written by poets in their early 30s? Might I assign to their writing the nomenclature "early" in any meaningful way?
What will continue to resonate as I reread them is the question they foreground of the relationship between the individual and the world that poetry asks us to question and to find a way in language to inhabit. Such questioning is not totally unrelated to the idea of an early style's ability to speak for and of the social world, and what is noticeable here is that such questioning has become part of a generational preoccupation that has segued into an aesthetic of seeing. At their best these poets know instinctively to keep the self in process, to push death away, realizing that when confronted with meaninglessness the only meaning we have as humans is the meaning that we allow ourselves to make; and that in the light days of our imagined futures our only selves are the ones we allow ourselves to imagine and become.
Deryn Rees-Jones is Professor of Poetry at the University of Liverpool.
Answers on a Postcard: Departures, or Some Accidental British Debuts
By Lytton Smith
Publishers on a Mission
By Rigoberto González
Writing in Place: A Poetry of the Gulfstream
The Cuban Novels of Pablo Medina
We Can Be Heroes: Poetry at the 2012 Summer Games
By Lynn Melnick
Romeo Byron Is Dead: Jessica Hagedorn's "Toxicology"

redpajama_set_name: RedPajamaCommonCrawl


text:
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use GeneaLabs\LaravelGovernor\Entity;
use Illuminate\Foundation\Http\FormRequest as Request;
use Illuminate\Support\Facades\Gate;

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{
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     *
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     */
    public function authorize()
    {
        return Gate::allows('edit', (new Entity()));
    }

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        return [
            'name' => 'required',
        ];
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}

redpajama_set_name: RedPajamaGithub


Aberystwyth University welcomes businesses and external organisations interested in working with academic departments and specific research groups to undertake collaborative research work, using University knowledge and facilities. We also offer a range of contract research services tailored to the needs of client companies.
There are a variety of specialist financial support schemes available for organisations working with universities and RB&I can advise on the possible sources of funding for such projects.
In many cases grants of up to 50% of the total cost are available - some of these programmes are just available to specific types, sizes and locations of businesses.


text:
Llanigon War Memorial
Home » Other Welsh Counties » Breconshire Memorials » Llanigon War Memorial
Llanigon is a village and community in the ancient county of Breconshire, situated on the edge of the Brecon Beacons National Park, north of the Black Mountains, Wales. Its nearest town is Hay-on-Wye, some 1.5 miles to the east. The village contains an ancient parish church, which is dedicated to St. Eigon, and is also the home to the remains of a Norman motte and bailey castle. The local manor, Llanthomas Mansion, was part of the lordship of Hay, but it was demolished in the 20th century. The eight men of Llanigon who fell during the Great War are commemorated on a simple brass memorial plaque which is situated inside the parish church. There is reportedly another plaque which commemorates damage done to the church by a German bomb in 1941.
The Great War, 1914-1918
Wilfrid Price Beavan, Gunner, 220670, Royal Field Artillery. Wilfrid was born in 1898, the son of Price Goodwin Beavan and Mary Jane Beavan (nee Gittoes). His father was a farm labourer who was left a fortune when Wilfrid was young, so the family embarked upon a grand tour of the Americas, including a bequeathed estate in Mexico, before returning home and purchasing Plas Celyn, Llanigon. Wilfred gained a place at Cardiff University just prior to the war, but in the winter of 1916 left Cardiff to enlist into the Royal Field Artillery. He was drafted to France in September 1917 and was posted to D Battery, 124th Brigade, Royal Field Artillery, which was attached to the 37th Division and was in the Ypres Salient. The division was holding a sector of the line at Wytschaete when Wilfred arrived, and his new unit had set up its HQ at Lankhoff Farm. Much of October was spent bombarding German positions along the Menin Road, supporting the almost constant infantry attacks to try and capture Passchendaele Ridge. Wilfrid's battery, under the command of Captain G. Farrant, was in action as usual on the morning of 12 October 1917 when a German shell crashed into their gun-pit, wounding Farrant and six men, and killing two outright. Wilfrid was among the wounded. He was evacuated back behind the line to a Field Ambulance where he died of his wounds that same day. The 19-year-old was buried in Voormezeele Enclosures No.1 And No.2, Belgium.
William Austin Hamer, Private, 46813, South Wales Borderers. William was the son of John and Sara Hamer, of Old Mill, Llanigon. He worked as a collier in Glynneath prior to enlisting at Neath into the army and was posted to France, joining the 1st Battalion, South Wales Borderers, which was attached to 3 Brigade, 1st Division. He was working at Llawllan Farm in May 1916, so possibly joined the battalion early in 1917 and would then have taken part in the Battle of Arras that spring. Later that year the division took part in the Passchendaele offensive, before moving to the Cambrai sector and taking part in another offensive there. The division was still in the area when the Germans launched their Spring Offensive on 21 March 1918 and took part in desperate fighting before being moved to Flanders to rest. However, on 9 April 1918 the Germans launched a fresh offensive along the Lys valley and the division became caught up in heavy fighting once more. William was taken prisoner by the Germans on 18 April 1918, during the Battle of the Lys. He was taken to a prison camp, where he remained incarcerated until after the Armistice when he was released. Too ill to return home, William was sent to the 42nd Stationary Hospital, Courban, where he died of pneumonia on 4 December 1918, aged 19. William is buried in Charmes Military Cemetery, France. William is commemorated at Glasbury, but not at Llanigon.
William Henry Sidney Perkins, Private, 27276, South Wales Borderers. William, known as Sidney, was born at Farnham, Surrey in 1876, the son of William Partridge Perkins and Mary Jane Perkins (nee Clark). He came to Wales with his work as a gamekeeper and by 1911 was lodging at Woodgate, Cascob. Sidney was residing at Llanigon when war broke out and enlisted at Brecon into the South Wales Borderers in the summer of 1915. He was drafted to France early in 1916, joining the 1st Battalion, South Wales Borderers, which was attached to 3 Brigade, 1st Division, but was then attached to the 177th Tunnelling Company, Royal Engineers for a while, which was hard at work digging tunnels and dugouts in the Ypres Salient. William was then posted to the 2nd Battalion, South Wales Borderers, which was attached to 87 Brigade, 29th Division and was rebuilding following severe losses during the opening day of the Somme offensive. The Division had been pulled out of the line to rest and rebuild in the Ypres Salient and William would have joined the battalion during this period at Ypres. On 4 October the division was relieved and began entraining for the Somme again from 7 October, before taking over positions near Gueudecourt. Sidney was killed in action here on 22 October 1916, during what was probably his first action. The 39-year-old is buried in A.I.F. Burial Ground, Flers, France.
Ivor Thomas Price, Private, 355153, Royal Welsh Fusiliers. Ivor was born in 1894, the son of Thomas Price and Elizabeth Annie Price (nee Price), of Llwynberried, Llanigon. He enlisted at Hay into the Montgomeryshire Yeomanry. On 5 August 1914 the Montgomeryshire Yeomanry was mobilised at Welshpool, as part of the South Wales Mounted Brigade, before moving via Hereford to Thetford, to join the 1st Mounted Division. On 4 March 1916 the 1st Mounted Division sailed for Egypt to join the EEF. On 4 March 1917 the battalion merged with the Welsh Horse Yeomanry to form the 25th (Montgomery & Welsh Horse Yeomanry) Battalion, Royal Welsh Fusiliers, as part of the newly formed 231 Brigade, 74th (Yeomanry) Division. The Division assembled in Egypt as part of the EEF, before crossing the Suez Canal into the Sinai, and saw its first major action during the Second Battle of Gaza. The battle was a failure, and the EEF was re-organised under a new commander, Sir Edmund Allenby, before launching the Third Battle of Gaza on the night of 31 October 1917. This assault was launched along a winder front, running from Gaza to Beersheba, and this time the EEF prevailed, opening the door to Jerusalem. On 30 November 1917 the 25th RWF attacked and captured a village called El Sireh, but the Turks made a strong counterattack in the afternoon and drove them back. Ivor was originally posted as missing, but when the village was recaptured twelve days later, his body was found. The 23-year-old is buried in Jerusalem War Cemetery, Israel.
Robert Price, Private, 15081, King's Shropshire Light Infantry. Robert was born in about 1886, the son of Edward Price and Arabella Price (nee Thomas), of 2, Barn Cottages, Llowes. He enlisted at Presteign into the King's Shropshire Light Infantry soon after the outbreak of war. Upon completing his training, he was drafted out to France, disembarking on 7 July 1915, and was posted to the 1st Battalion, King's Shropshire Light Infantry, which was attached to 16 Brigade, 6th Division. The division was rebuilding following heavy losses at Hooge the previous month and Robert joined the battalion at Poperinghe, where the men were enjoying a brief rest. On the following day, 9 July, the battalion moved back into the trenches at La Brique, to begin a routine tour in the line, before moving back to Poperinghe at the end of the month. The battalion then moved to Vlamertinghe on 31 July and on 6 August took over positions at Hooge, taking part in a successful attack three days later, which saw heavy casualties incurred. This 'routine' trench warfare continued over the coming weeks, in terrible conditions. On 17 December the 1st KSLI moved into the front line at La Brique, to begin another routine tour. Robert was wounded when the Germans launched a gas attack upon the battalion on 19 December and was evacuated to the hospital at Remy Sidings, where he died of his wounds the following day, 20 December 1915. The 29-year-old is buried in Lijssenthoek Military Cemetery, Belgium.
Walter Jones Sandys-Thomas, Second Lieutenant, South Wales Borderers. Walter was born in Lindooler, Ceylon in 1892, the son of Walter Sandys-Thomas and Alice Violet Sandys Thomas (nee Cross-Buchanan). The family had a residence at Llanthomas Mansion, Llanigon. Walter was educated at Marlborough College prior to taking over his father's tea plantation in Ceylon. He then became a member of the Ceylon Planter's Rifle Corps, a local Militia unit. In February 1916 Walter returned home to take up a commission as Second Lieutenant into the 3rd Battalion, South Wales Borderers and in August 1916 he was drafted to France, joining the 2nd Battalion, South Wales Borderers. The battalion was attached to 87 Brigade, 29th Division and had suffered severe losses during the opening phase of the Somme offensive on 1 July 1916. On 24 July the battered division was relieved and marched to Daours before entraining for the Ypres Salient to rebuild and took over positions on the Canal Bank. On 4 October the division was relieved and began entraining for the Somme again from 7 October, before taking over positions near Gueudecourt, where it saw heavy fighting over the coming days. On 3 November the battalion was relieved again and entrained at Albert for Airaines to rest and rebuild, then eleven days later the battalion returned to the Somme, where the division would remain over the winter, in the Lesboeufs sector. Walter was wounded here around this time and was evacuated to England for treatment. Upon his recovery he was posted back out to France on 22 January 1917, re-joining the battalion, which was still in the Lesboeufs sector. Walter was supervising a working party here on 4 February 1917 when he was shot and killed by a German sniper. The 24-year-old was buried in A.I.F. Burial Ground, Flers, France. His younger brother Lieutenant Charles Ivor Sandys-Thomas, of the RFC, had been reported killed on 20 July 1916, although he had in fact been taken prisoner and survived the war.
Arthur Edward Stephens, Private, 267536, Monmouthshire Regiment. Arthur was born in 1896, the son of Lewis Stephens and Caroline Elizabeth Stephens (nee Evans), of Glancellyn, Llanigon. He worked as a cowman at Lodge Farm, Three Cocks prior to the war. Arthur enlisted at Brecon into the 3/1st Brecknockshire Battalion, South Wales Borderers on 26 January 1915 and was posted to the 2/1st Brecknocks soon afterwards. The battalion left Brecon for Dale, in Pembrokeshire in April 1915 to join the Milford Haven garrison, then at the end of 1915 moved to Bedford to join the 68th (2nd Welsh) Division. On 30 July 1916 Arthur was drafted to France and was posted from the Infantry Base Depot to the 2nd Battalion, Monmouthshire Regiment, which was the Pioneer Battalion to the 29th Division. The Division had suffered terrible casualties at Beaumont Hamel, during its assault on Y-Ravine on 1 July 1916 and, although severely depleted, the Division remained in the line here over the coming weeks, in trying conditions. On 27 July the Division entrained for Flanders, detraining at Proven before relieving the 6th Division at Ypres. The Division held the line here over the coming weeks as it rebuilt its strength and the 2nd Monmouth's worked hard on improving trenches and digging new communications trenches. The battalion then worked on the Menin Road, erecting elephant shelters, then on 4 October the Division was relieved and entrained south for the Somme once more, moving to Trônes Wood, before joining the latter stages of the Somme offensive at Gueudecourt. The Division wintered on the Somme, with the 2nd Monmouth's working on road repairs around Montauban, Ginchy, Flers and Morval over the winter. In the Spring of 1917 the Division fought at the Battle of the Scarpe, which was part of the Arras Offensive, seeing heavy fighting around Monchy-le-Preux, and then moved further north to Ypres, initially to hold the line whilst other units had been withdrawn for specialist training, in readiness for the Third Battle of Ypres, which opened on 31 July 1917. The 29th Division went into reserve whilst the first attacks, the Battle of Pilckem Ridge, took place, then took part in a costly assault on Langemarck. The Division then had another period out of the line to rest and refit before taking part in further fighting near Poelcapelle. Arthur was badly wounded whilst working on light railways near Elverdinghe on 22 October 1917, suffering a gunshot wound to his back, which had penetrated his chest. He was evacuated to the nearby Casualty Clearing Station at Dozinghem, where he died of his wounds that same day. The 20-year-old was buried in Dozinghem Military Cemetery, Belgium.
James Travers, Private, 53980, Royal Welsh Fusiliers. James was born in 1894, the son of James Travers and Mary Ann Travers (nee Jones), of Allt, Llanigon. Prior to the war he worked as a farm labourer at Erwood. James enlisted at Brecon into the Brecknockshire Battalion, South Wales Borderers early in 1915, and was posted to the 2/1st Brecknocks. The battalion left Brecon for Dale, in Pembrokeshire in April 1915 to join the Milford Haven garrison, then at the end of 1915 moved to Bedford to join the 68th (2nd Welsh) Division. In the summer of 1916 James was drafted to France and was posted from the Infantry Base Depot to the 1st Battalion, Royal Welsh Fusiliers, which was attached to 22 Brigade, 7th Division. The Division had taken part in the opening assault of the Somme offensive on 1 July 1916, advancing from positions near Bois Francais, near Fricourt, and capturing the village of Mametz, one of the few successes of 1 July 1916. The battalion then took part in further attacks to push forwards, to the south of Mametz Wood, and upon being relieved, witnessed the troops of the 38th (Welsh) Division moving forward to launch its assault on Mametz Wood. On 14 July, with the wood taken, the 7th Division moved back into the line, with orders to capture Bazentin-le-Petit, before taking part in the terrible attacks on High Wood over the coming days. On 22 July the 1st RWF was relieved, moving back into reserve to rest and rebuild at La Chaussee. By 12 August the battalion had moved forwards to Dernancourt, and on 26 August marched further forward, to take part in the Divisions assault on Ginchy. The Division saw heavy fighting over the coming days, before the 1st RWF had another short break, but on 1 September the battalion received orders to push forwards again to launch a fresh assault on Ginchy from Montauban Alley. On 3 September 1916 the 1st RWF launched its assault, but suffered severe casualties, with over 200 officers and men killed, wounded or missing. The division remained on the Somme over the winter, in abysmal conditions, then in March 1917 began following up the German withdrawal to the Hindenburg Line, reaching Croisilles by 30 March. James was wounded during the advance during the preceding days, and was evacuated to a hospital at Colincamps, where he died of his wounds on 31 March 1917. The 23-year-old is buried in Euston Road Cemetery, Colincamps, France.
Thomas John Watkins, Private, 38583, Gloucestershire Regiment. Thomas was born in 1897, the son of John Watkins and Mary Anne Watkins (nee Probert), of the Old Vicarage, Llanigon. He enlisted at Brecon into the South Wales Borderers during the spring of 1916 and after completing his training was drafted to France, before being posted to the 8th Battalion, Gloucestershire Regiment. The battalion was attached to 57 Brigade, 19th (Western) Division and Thomas probably joined it during the summer of 1916, on the Somme. The Division wintered on the Somme and in February followed the German withdrawal to the Hindenburg Line. During the middle of March 1917, the Division was relieved from the line and began to move north, taking over positions in the Ypres Salient, and on 7 June took part in the assault on Messines Ridge, which was famously preceded by the blowing of a series of 19 huge underground mines. The 19th Division saw heavy fighting during the battle, then enjoyed a short spell in reserve before moving back into the line on 11 September, taking over a section of trenches running from the Ypres-Comines Canal to Belgian Wood and on 20 September launched a costly attack past Hollebeke Chateau, to Hessian Wood. The Division wintered in the Cambrai sector, following the closure of the Battle of Cambrai, and held a section of the line in the Flesquières Salient. Thomas was badly wounded by shrapnel whilst the 8th Gloucester's were in the line near Havrincourt Wood on 19 January 1918 and died of his wounds that same day. The 20-year-old was most probably buried nearby, but on 21 March 1918 the battalion was hit by the German spring offensive, the preceding artillery barrage of which devastated the area. As a result, he has no known grave and is commemorated on the Thiepval Memorial, France.
World War Two, 1939-1945
George Evans, Private, 1832833, Royal Electrical and Mechanical Engineers. George was the son of William Oliver Evans and Eliza Evans. He married Agnes May Stephens, of Pengenhill Common House, Llanigon in 1924. George enlisted into the Royal Electrical and Mechanical Engineers following the outbreak of war and probably embarked for North Africa. Following the fall of the Afrika Korps in 1943, the Allies launched attacks on the Italian mainland that year. George was killed in Italy on 24 August 1945, aged 41. Little else is known of him, as no unit is shown by the CWGC, but he was buried in Bari War Cemetery, Italy.


Is there a really dark night for the soul?
Before Alice go to Wonderland, she had to fall.
Today you have 100% of your life left.
Adversity does not build character, it reveals it.
Bring your awareness to resilience and say goodbye to any dark night of the soul.
Allow yourself to let your light shine.


2021 Mercedes-Maybach G650 Landaulet Review - WaBenzi, in the Bantu language from Swahili, represents politicians; it actually suggests "individuals which drive in a Benz." When was the last time a cars and truck made you think upper-crusty? Our team've only possessed that experience while using in the rear seat of the absolute most extraordinary lorry possible, gave you by the great folks at Mercedes-Benz, that had their renowned G-class as well as changed this right into the Mercedes-Maybach G650 Landaulet.
You check out that version classification appropriately: The crew functioning under PHYSICIAN Gunnar Güthenke, CEO from Mercedes-Benz G (yep, the Geländewagen system has its own Chief Executive Officer), started out with a standard G-wagen, had the portal axles of the ultra-aggressive 4 × 4 ² model, crammed the G65 AMG's twin-turbocharged V-12 under the blocky bonnet, extended the wheelbase by 22.8 ins, and also added the "top-notch" rear backsides from the Mercedes-Maybach S-class. For good solution, the rear part from the standard fixed rooftop has actually been actually substituted through a power-operated material best (last accessible almost four years ago). Certain, this's a parts-bin production-- yet utilizing only drop the shelve over the top shelf. Cars don't get much more excessive. Daimler Chief Executive Officer Dieter Zetsche reacted with excitement when he first found the task and also jacked up the creation target, actually prepared to become small, to 99 devices.
There must be actually no worry offering that a lot of, as our impacts from the rear seats this leviathan were actually mainly desirable. Settled on refined 22-inch light weight aluminum wheels shod with 325/55R -22 tires, this flashy beast looks as if it could dominate just about anything-- and it certainly possesses the mechanicals to cash the inspection the designing writes. Hardly ever possess our company experienced a car that tackles off-road obstacles with such simplicity. Craggy rocks, unpleasant holes, and sloppy boggy bogs are simply nonissues, as well as there is a lot ground authorization-- 17.7 ins-- that odds are actually any sort of plant you steer above will certainly surface unscathed. Just like every G-class, a low-range transfer case is conventional, as are latching face, facility, and rear differents.
The hiss of the AMG-sourced 621-hp V-12 is actually muted as well as refined for this Maybach application, yet this is actually still plainly distinct. It serves as an appropriate red flag from the efficiency abilities: The G650 Landaulet are going to credit 60 miles per hour in properly under six seconds by Mercedes' reckoning, and also the provider says that can cover 150 miles per hour if it weren't overseen at 112 mph (great idea, that). Rate is actually not the key goal of the G-wagen, yet if the purchase shows up off the rear seat, the chauffeur can hurl this forward with gusto.
The G650 Landaulet forward log cabin is actually pretty the same from that of a frequent and completely optioned G-wagen; the instruments and buttons have been drawn from different Mercedes autos, and the surroundings are charmingly outdated, elemental, and also an unlike other modern SUV.
The back area tells a completely different story. Those "first-class" Maybach seats can easily lounge almost standard, they feature an energetic massage body, and also they are actually alonged with fold-out folding table, and also sterling silver bubbly flutes, provided by Robbe & Berking, hidden in a different area. To underscore the style from the G650-- as well as the 2021 Mercedes-Maybach G650 Landaulet language-- the back additionally has a close to duplicate from the G's main center console as well as pair of handwear cover chambers along with covers similar to the ones in advance. There are eight grab deals with, and the electrically functioned dividing goes coming from crystal clear to opaque along with a flip of a switch. Pair of affectionate Maybach pillows finish the best lush passenger chamber our team've experienced because, properly, ever before.
The nicely cushioned material top could be decreased electrically in approximately 20 few seconds and just through demand from the back backside. Among the great allures of this particular automobile is actually doing precisely that, the better to stand up as well as check the surroundings, to delight in a breath of fresh air, or even simply to be seen through adoring throngs.
The 2021 Mercedes-Maybach G650 Landaulet will not be sold in the United States, formally, although we make sure that those along with the correct plutocratic inclinations and also the best links could find a means to get one below via semiofficial stations. What good is actually cash or electrical power if this doesn't lessen such problems along with a wave from your hand? The cost continues to be a key, however we're supposing a G650 Landaulet could be all yours for around half a thousand euros, or even about $550,000 at today's exchange rates. And while that is actually incredibly prodding as a Maybach, this sure made our company seem like among the WaBenzi.
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The Canon Digital Learning Center Provides Helpful Resources on the Use of the EOS 7D Mark II DSLR
Last Updated: November 17, 2014 9:13 pm GMT
(November 17, 2014) To help photographers better understand the features of the new EOS 7D Mark II, the Canon Digital Learning Center has posted several educational resources including articles, videos, and a downloadable guidebook that help provide insight and teach how a cutting-edge camera can bring new possibilities into your photography.
EOS 7D Mark II Tutorial Series
This video series provides EOS 7D Mark II users with a behind the scenes exclusive with Canon Education Technical Advisor Rudy Winston. Rudy explains how to use new features and functions of the camera such as AF settings, video features, custom functions, and more.
To learn more please visit:
http://learn.usa.canon.com/galleries/galleries/tutorials/eos7dmarkii_tutorials.shtml
EOS 7D Mark II AF-Setting Guidebook
To provide more detailed insight on the outstanding AF features of the new EOS 7D Mark II camera, the Canon Digital Learning Center has released a guidebook for setting up the 65-point all cross type AF system. This document includes detailed explanations of how to master the AF features, as well as going into considerable detail about using additional features, such as the extensive Custom Controls, and even describes totally new features like the camera's Anti-flicker shooting function.
http://learn.usa.canon.com/resources/articles/2014/eos7dmk2_afGuidebook.shtml
Helpful EOS 7D Mark II articles
Read our series of helpful articles made exclusively for the EOS 7D Mark II Digital camera. Each piece offers an in-depth explanation of features or functions of the camera, including the new Intelligent Viewfinder, Auto ISO operation, HD video features, and more. These articles provide the material needed to educate users on the exciting possibilities the EOS 7D Mark II can bring to your photography.
To learn more please visit: http://learn.usa.canon.com/dlc/tags/eos_7d_markii_tag/tagItemsListing.spr
More News From Canon »


Blac Chyna is heading to trial with the Kardashian and Jenner family over claims they damaged her career. This comes a year after the mother of two and ex-fiancee of Rob Kardashian filed a lawsuit against the Keeping Up With The Kardashian stars in October 2017 for damaging her career by canceling her hit TV series Rob & Chyna with her then-fiance Rob Kardashian.
'Today the court rejected the Kardashian family's request to strike Chyna's entire lawsuit,' she added.
'Instead, the court struck only portions of six paragraphs out of a 317-paragraph complaint,' it was added.


text:
amplification rate in a sentence
"amplification rate" in Chinese
Because the quantification of the results are analyzed by comparing the linear range of the target and control amplification, it is crucial to take into consideration the starting target molecules concentration and their amplification rate prior to starting the analysis.
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Q: Blank screen after sleeping: hotplug event: connector link-state is BAD In the past my laptop worked well, but for the past months I have had issues with the laptop screen not being able to wake up after certain events. Basically, after I suspend the laptop there is an estimated 15% of the time that the screen will not turn on after I wake the machine. A similar percentage of blank screens appears when the screen goes black after a period of non-activity. When I move the mouse, it may or may not wake up again.
I reviewed one of those instances in which the screen doesn't turn on after it has gone black due to non-activity (because there are less log entries than with a suspend). During the period that the screen went black and I moved the mouse again there were no journalctl entries. However, in the xorg log I found this (I can't decipher the timestamps but this is the end of the log file):
[    45.238] (II) event0  - AT Translated Set 2 keyboard: is tagged by udev as: Keyboard
[    45.238] (II) event0  - AT Translated Set 2 keyboard: device is a keyboard
[    45.239] (II) event0  - AT Translated Set 2 keyboard: device removed
[    45.239] (**) Option "config_info" "udev:/sys/devices/platform/i8042/serio0/input/input0/event0"
[    45.239] (II) XINPUT: Adding extended input device "AT Translated Set 2 keyboard" (type: KEYBOARD, id 11)
[    45.239] (**) Option "xkb_layout" "us"
[    45.239] (**) Option "xkb_variant" "intl"
[    45.240] (II) event0  - AT Translated Set 2 keyboard: is tagged by udev as: Keyboard
[    45.240] (II) event0  - AT Translated Set 2 keyboard: device is a keyboard
[    45.241] (II) config/udev: Adding input device PC Speaker (/dev/input/event4)
[    45.241] (II) No input driver specified, ignoring this device.
[    45.241] (II) This device may have been added with another device file.
[  6116.285] (WW) modeset(0): hotplug event: connector 58's link-state is BAD, tried resetting the current mode. You may be leftwith a black screen if this fails...
[  6116.296] (II) modeset(0): EDID vendor "CMN", prod id 4963
[  6116.296] (II) modeset(0): Printing DDC gathered Modelines:
[  6116.296] (II) modeset(0): Modeline "1920x1080"x0.0  138.78  1920 1966 1996 2080  1080 1082 1086 1112 +hsync -vsync (66.7 kHz eP)
[  6116.296] (II) modeset(0): Modeline "1920x1080"x0.0  111.02  1920 1966 1996 2080  1080 1082 1086 1112 +hsync -vsync (53.4 kHz e)
[  7335.277] (II) event10 - Genius USB Optical Mouse: Enabling spurious button debouncing, see https://wayland.freedesktop.org/libinput/doc/1.11.1/button_debouncing.html for details
[ 12686.324] (WW) modeset(0): hotplug event: connector 58's link-state is BAD, tried resetting the current mode. You may be leftwith a black screen if this fails...
[ 12686.335] (II) modeset(0): EDID vendor "CMN", prod id 4963
[ 12686.335] (II) modeset(0): Printing DDC gathered Modelines:
[ 12686.335] (II) modeset(0): Modeline "1920x1080"x0.0  138.78  1920 1966 1996 2080  1080 1082 1086 1112 +hsync -vsync (66.7 kHz eP)
[ 12686.335] (II) modeset(0): Modeline "1920x1080"x0.0  111.02  1920 1966 1996 2080  1080 1082 1086 1112 +hsync -vsync (53.4 kHz e)
[ 13421.811] (EE)
Fatal server error:
[ 13421.811] (EE) systemd-logind disappeared (stopped/restarted?)
[ 13421.811] (EE)
[ 13421.811] (EE)
Please consult the The X.Org Foundation support
     at http://wiki.x.org
 for help.
[ 13421.811] (EE) Please also check the log file at "/home/george/.local/share/xorg/Xorg.0.log" for additional information.
[ 13421.811] (EE)
[ 13421.811] (II) AIGLX: Suspending AIGLX clients for VT switch
[ 13421.811] (WW) xf86CloseConsole: KDSETMODE failed: Input/output error
[ 13421.811] (WW) xf86CloseConsole: VT_GETMODE failed: Input/output error
[ 13421.811] (WW) xf86CloseConsole: VT_ACTIVATE failed: Input/output error
[ 13421.813] (EE) systemd-logind: ReleaseControl failed: Connection was disconnected before a reply was received
[ 13421.813] (EE) Server terminated with error (1). Closing log file.

What stands out is:
[ 12686.324] (WW) modeset(0): hotplug event: connector 58's link-state is BAD, tried resetting the current mode. You may be leftwith a black screen if this fails...

Using intel915 graphics card
$ lcpci

00:00.0 Host bridge: Intel Corporation Broadwell-U Host Bridge -OPI (rev 08)
00:02.0 VGA compatible controller: Intel Corporation HD Graphics (rev 08)
00:03.0 Audio device: Intel Corporation Broadwell-U Audio Controller (rev 08)
00:14.0 USB controller: Intel Corporation Wildcat Point-LP USB xHCI Controller (rev 03)
00:1b.0 Audio device: Intel Corporation Wildcat Point-LP High Definition Audio Controller (rev 03)
00:1c.0 PCI bridge: Intel Corporation Wildcat Point-LP PCI Express Root Port #1 (rev e3)
00:1f.0 ISA bridge: Intel Corporation Wildcat Point-LP LPC Controller (rev 03)
00:1f.2 SATA controller: Intel Corporation Wildcat Point-LP SATA Controller [AHCI Mode] (rev 03)
00:1f.6 Signal processing controller: Intel Corporation Wildcat Point-LP Thermal Management Controller (rev 03)
01:00.0 Network controller: Intel Corporation Wireless 7260 (rev bb)

# systool -m i915 -av
Module = "i915"

  Attributes:
    coresize            = "1941504"
    initsize            = "0"
    initstate           = "live"
    refcnt              = "5"
    srcversion          = "49ACDCA7EE082E3C46EE9EB"
    taint               = ""
    uevent              = <store method only>

  Parameters:
    alpha_support       = "Y"
    disable_display     = "N"
    disable_power_well  = "1"
    edp_vswing          = "0"
    enable_cmd_parser   = "Y"
    enable_dc           = "-1"
    enable_dp_mst       = "Y"
    enable_dpcd_backlight= "N"
    enable_execlists    = "1"
    enable_fbc          = "1"
    enable_guc_loading  = "0"
    enable_guc_submission= "0"
    enable_gvt          = "N"
    enable_hangcheck    = "Y"
    enable_ips          = "1"
    enable_ppgtt        = "3"
    enable_psr          = "0"
    enable_rc6          = "1"
    error_capture       = "Y"
    fastboot            = "N"
    force_reset_modeset_test= "N"
    guc_firmware_path   = "(null)"
    guc_log_level       = "-1"
    huc_firmware_path   = "(null)"
    inject_load_failure = "0"
    invert_brightness   = "0"
    load_detect_test    = "N"
    lvds_channel_mode   = "0"
    lvds_use_ssc        = "-1"
    mmio_debug          = "0"
    modeset             = "-1"
    nuclear_pageflip    = "N"
    panel_ignore_lid    = "1"
    prefault_disable    = "N"
    reset               = "2"
    semaphores          = "0"
    use_mmio_flip       = "0"
    vbt_firmware        = "(null)"
    vbt_sdvo_panel_type = "-1"
    verbose_state_checks= "Y"

  Sections:
    .altinstr_aux       = "0xffffffffc0c126ae"
    .altinstr_replacement= "0xffffffffc0c12135"
    .altinstructions    = "0xffffffffc0c55678"
    .bss                = "0xffffffffc0cbe680"
    .data..cacheline_aligned= "0xffffffffc0cbdc80"
    .data..read_mostly  = "0xffffffffc0cbb980"
    .data.unlikely      = "0xffffffffc0cbb918"
    .data               = "0xffffffffc0cb0b40"
    .exit.text          = "0xffffffffc0c126f6"
    .fixup              = "0xffffffffc0c1270d"
    .gnu.linkonce.this_module= "0xffffffffc0cbe340"
    .init.text          = "0xffffffffc0a9f000"
    .note.gnu.build-id  = "0xffffffffc0c13000"
    .orc_unwind         = "0xffffffffc0c76c14"
    .orc_unwind_ip      = "0xffffffffc0c55b58"
    .parainstructions   = "0xffffffffc0c47a30"
    .ref.data           = "0xffffffffc0cbbbe0"
    .rodata             = "0xffffffffc0c130a0"
    .rodata.str1.1      = "0xffffffffc0c48c7c"
    .rodata.str1.8      = "0xffffffffc0c2bb00"
    .smp_locks          = "0xffffffffc0c54f88"
    .strtab             = "0xffffffffc0ac5e28"
    .symtab             = "0xffffffffc0aa1000"
    .text..refcount     = "0xffffffffc0c122a5"
    .text               = "0xffffffffc0b1f000"
    .text.unlikely      = "0xffffffffc0c0abbc"
    __bug_table         = "0xffffffffc0cb8e10"
    __ex_table          = "0xffffffffc0cadbf0"
    __jump_table        = "0xffffffffc0cb0000"
    __kcrctab_gpl       = "0xffffffffc0c13080"
    __ksymtab_gpl       = "0xffffffffc0c13030"
    __ksymtab_strings   = "0xffffffffc0caeb78"
    __mcount_loc        = "0xffffffffc0ca8530"
    __param             = "0xffffffffc0cae538"
    __tracepoints_ptrs  = "0xffffffffc0caebd0"
    __tracepoints_strings= "0xffffffffc0caed90"
    __tracepoints       = "0xffffffffc0cbcea0"
    _ftrace_events      = "0xffffffffc0cbba10"

The only relevant topic I could find was this: https://bbs.archlinux.org/viewtopic.php?id=236359 -- but no solution in there. I've kept my system up to date. Running Arch Linux with i3 as window manager. My kernel is 4.14.52-1-lts. Any thoughts what could be the cause of this?

redpajama_set_name: RedPajamaStackExchange


Captain Jonathan Archer proudly commanded the Enterprise NX-01, and soon you can, too. QMx will offer an NX-01 built to the exact dimensions and specifications of the CG studio model used for Star Trek: Enterprise. The screen-accurate Artisan replicas will be 1:350 scale pieces that measure 23.5 inches long by 16 inches wide by 5 inches high. Further, each ship will come with a dedication plaque signed by Doug Drexler, who created it.
Other highlights will include an intricate lighting system that features 150-plus LEDs, including torpedoes and phaser arrays with sound effects. Additional LEDs will illuminate anti-collision and formation signals, interiors, warp and impulse engines, and navigational and deflector arrays. The NX-01 Replica will also boast superior construction, as it has a welded steel armature that provides strength and shape, while other materials include top-of-the-line epoxies, polyester resins, fiberglass, acrylic and styrene. And, the replica is painstakingly finished and hand painted with several layers of metallic automotive-quality paint to deliver a textured and layered Aztec pattern. Fans ordering the NX-01 Replica can request customization options that include a center insert (gloss black or white, or mirrored), change of color and custom engraving for the base.
It should be noted that each handmade NX-01 Replica takes approximately 115 hours to create, and that's with six artisans working in tandem at the QMx shop. QMx will limit production of the Enterprise NX-01 Artisan Replica to 100 ships, priced at $3,995 a piece. Keep an eye on StarTrek.com for additional news about the NX-01 Replica and click HERE to be added to be added to QMx's pre-order waiting list.


text:
An Interview With A St. Jude Mother From Acadiana
Sam Stokes
Sam Stokes Published: March 1, 2012
St. Jude Children's Research Hospital is a godsend for the cancer stricken families across the country and South Louisiana is no exception. Few people realize how many families from the Acadiana area have benefited from help from St. Jude. Here is one story of a mother from Acadiana who had her life changed by love from St. Jude.
Chris Reed: How did you learn about St. Jude?
Rebecca Vidrine: I had no clue what St. Jude was about until our doctors in Lafayette sent our son's information over to St. Jude. I unfortunately remember hearing the radiothons and a lot of times I'd end up changing the station because I'd get so upset.
Chris Reed: How surprised were you to find out that you could go to St. Jude and there would be no cost for your family?
Rebecca Vidrine: I was in shock. I thought there must be some catch. All the treatments are free, they pay for patient travel, housing, and they'd actually give us a $100 gift card for groceries every week. You don't have to pay for anything.
Chris Reed: How comforting was St. Jude when you got there?
Rebecca Vidrine: It was very scary at first because we knew my son James had a tumor and it was cancerous, but we had no clue what he had. The doctors reassured us that they'd do everything they could for us while we waited on his test results.
Chris Reed: Unfortunately the story doesn't end successfully for you son, but the fight itself was a success because of what St. Jude has to offer. Now that you look back on St. Jude what do you remember most?
Rebecca Vidrine: People assume St. Jude would be a depressing place, but really it was home for us for 10 months. James went through 10 months of chemotherapy, he had his right kidney removed, he had radiation therapy, and we were actually home for six months with him living a normal life before he relapsed. That was something St. Jude gave us. They told us he wouldn't live for six months when he was diagnosed and we had a year and a half with him.
Its an amazing place, the doctors are our family. They've always stayed in touch with us even after our son passed away. For us, St. Jude was home.
Chris Reed: What would you tell someone who's never been to St. Jude, or a parent that has a healthy child right now that is thinking about donating?
Rebecca Vidrine: They should donate because you never know when it's going to be your child, your niece, your nephew, your grandchild. I of course never thought it would happen to us when but it did. When you find out your child is going to die, you want hope. That's what St. Jude gave us. Hope.
Chris Reed: When I was at St. Jude they informed us how much Acadiana specifically relies on St. Jude more so than any other place in the country. How many people did you meet while you were there that were from where you're from?
Rebecca Vidrine: About 10 that were in treatment at the same time as us. I've met more since then that were in treatment before or after, but just in that 10 month span there were 10 that I knew personally. I know there were other families that we didn't get a chance to meet, but there were 10 that we knew personally.
Like Rebecca Vidrine, many families from South Louisiana's lives have been touched by St. Jude. Through the kindness and generosity of others St. Jude is able to help these families in need. Carry on the tradition of giving hope to others by becoming a Partner In Hope today.
Filed Under: radiothon, St Jude Children's Research Hospital
Categories: St. Jude
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Why Should You Support St. Jude? An Acadiana Mother Explains
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Thank You Acadiana, From the Kids at St Jude!
ST. JUDE RADIOTHON: Meet Patient Austin
Vintage Footage of Danny Thomas at St Jude Movie Benefit in 1962
ABCs of Cancer Give St. Jude Patients a Chance to Share Their Experience
It's The St. Jude T-Shirt That Everyone Wants—Here's How To Get Yours


text:
Chuck Todd Lambastes Ron Johnson on Election Sabotage: 'You're the Arsonist Here'
WE DIDN'T LIGHT THE FIRE
"Why didn't you hold hearings about the 9/11 truthers? ... How about the moon landing? Are you going to hold hearings on that?" Todd pressed Johnson at one point.
Published Jan. 03, 2021 10:40AM ET
Meet the Press host Chuck Todd repeatedly confronted Sen. Ron Johnson (R-WI) on Sunday morning over the latest futile plot to overthrow the election by Republicans, calling the pro-Trump Wisconsin lawmaker an "arsonist" and blasting him for "carrying a lot of this crazy conspiratorial water" for President Donald Trump.
Days ahead of Congress officially certifying the Electoral College vote, Johnson joined an effort led by Sen. Ted Cruz (R-TX) in which at least 12 GOP senators will oppose the certification of the results, citing baseless and unfounded allegations of widespread voter fraud. On top of the Senate's ploy, at least 140 House Republicans are also reportedly planning on objecting to the election results.
Todd, who invited Johnson on despite repeatedly clashing with the senator in the past for peddling conspiracies on-air, immediately kicked off Sunday's confrontation by noting that Johnson has seemingly gone back on his word over the election.
"Last month you told a newspaper in your home state you would not object to the Electoral College certification," the NBC News anchor said. "Quote, 'Unless something surfaced, there are 57 cases filed by the president or his allies. Not a single court has found a single instance of fraud or any of this evidence seen as legitimate.' So what has changed to have you question the results of this election, sir?"
The Homeland Security Committee chair insisted that he wasn't trying to "thwart the democratic process" but was rather "acting to protect it," claiming that it was an "unsustainable state of affairs" that tens of millions of voters don't believe the election results were legitimate. The conservative senator went on to complain that Democrats "refused to acknowledge the legitimacy of President Trump" to further justify their plan to subvert the will of the voters.
Todd, meanwhile, referenced GOP Sen. Ben Sasse's recent criticism of his fellow Republicans' "dangerous ploy" to overthrow the election before further calling out Johnson and Trump, adding that they have failed to provide any evidence of fraud while still demanding investigations into the unproven allegations.
"So essentially, you're the arsonist here," the Meet the Press moderator declared. "President Trump is the arsonist here. You started this fire and now you're saying whoa, look at this, oh my God, all these people believe what we told them because you didn't have the guts to tell the truth that this election was fair."
"This fire was started when you completely ignored, for example, our investigation of Hunter Biden," Johnson eventually retorted, prompting Todd to fire back: "Alright, I've had enough of hearing this. You've spent the last 2 years… carrying a lot of this crazy, conspiratorial water for President Trump!"
Todd followed up by noting that Johnson has used his Senate committee to "create the illusion of voter fraud" by amplifying unfounded allegations, pressing the lawmaker to explain his motivation.
"I'm trying to understand here—what are you doing it for?" Todd wondered aloud. "You're not trying to overturn the election, you just said. Are you simply trying to curry favor with constituents of the president's? Is that what this is about—a political ploy?"
After claiming he was just trying to be "transparent," Johnson once again began touting baseless claims of voter fraud before complaining that there was a "double standard" that Republicans' election conspiracies aren't being taken seriously by the media.
"Again, I didn't light this fire. This fire was lit over four years ago and we've destroyed the credibility, you have destroyed the credibility of the news media by your bias," he grumbled.
"Why didn't you hold hearings about the 9/11 truthers? There are plenty of people that thought 9/11 was an inside job," Todd shot back adding: "How about the moon landing? Are you going to hold hearings on that?"
The NBC host wrapped up the contentious interview by pointing out that Republican voters are going to think the election was unfair when "you tell people a million times that something was stolen," telling Johnson that he needs to "look in the mirror" over his conspiracy-mongering.
"You need to look in the mirror," Johnson shouted back. "That is what you did in the media. You carried that water for years. You destroyed the credibility of the press!"
"Sen. Johnson, other than crediting you for coming on, I appreciate that because only two of your colleagues had the guts to say yes this weekend about this conspiracy theory you're working on," Todd interjected, getting the final word. "Thanks for coming on. That I appreciate."


I believe I have mentioned before that Thanksgiving is my favorite holiday. It has also been a big holiday with my Dad's family. It is kind of a bummer that in the past few years we have not done something big as a family, but life changes. I am hanging out with my Dad today and running around to say hello to some other family members in town. Today's throwback is to Thanksgiving 1990. My Dad, his girlfriend and I drove up from Cincy to my Aunt Wen's house outside Cleveland in Medina, Ohio. My Uncle Bri, his boys and my Grandma Pat drove up from the South and we all spent a long holiday weekend at my Aunt Wen and Uncle John's farm.
I remember my cousin Jenna and I making feather beds on floor of the living room. We were at the age where we would split into boys versus girls. So Jenna and I would play Barbies and Mattie, Blake and Dane would try and drive us crazy. There was always singing and always some incident of me trying to boss my cousins around. That was always the fun of being the oldest 🙂 I totally remember finding a long wooden stick, putting string on it and adding a safety pin as a hook and fishing in the pond. Yep- didn't catch anything. But I do remember a fun Thanksgiving for a nine year old!
This was the first holiday after my Grandpa Bob had passed away that summer, so it was fun but a little sad.
Jenna, Blake and me. Ages 5, 5 and 9.
I love this picture for several reasons. 1- Dane's face. 2- Mattie's hair and outfit 3. The old school diet coke bottle 4. Why is my 3 year old cousin taking pliers to a coke bottle? What the heck?
Shockingly, I have no pictures of food. But we sure were a fun family that weekend.
I hope each of you out there have a wonderful holiday! I am going to enjoy my family, good food and reminders for all that I am thankful for! Happy Thanksgiving!


Welcome to 8tracks radio: free music streaming for any time, place, or mood. tagged with Jonas Brothers, Birdy, and Check Yes Juliet. You can also download one of our free apps to enjoy internet radio on your favorite device.
Umm.. I think l Like You..


What does it mean to dream of Mountains?
1. Dreaming that you see a mountain covered with forests, predicts that you will have hidden dangers and infidelity.
2. To dream to see many mountains, suggests that you will have trouble.
3. To dream of a mountain range, means you will find yourself in a situation with no exit and you will be covered with difficulties.
4. Dreaming that you sleep on top of the mountain, predicts that you will have serious achievements.
5. To dream that you see bare mountain ridges, signifies that you will worry.
6. To dream that you climb in the mountains, suggests that you will have constant success if you work.


text:
Q: jquery plugin - asRange / I want to vertical bar I want to vertical bar...
but this option not working
what i worte -->
$(".range-example-5").asRange({
step: 0.1,
range: false,
min: 0,
max: 10,
direction:'v'});

from api..
'direction' is an option that specifies the vertical and horizontal.
direction   : 'v'   Optional property, set the direction for the progress bar ,'v' for vertical and 'h' for horizontal

do you know anyone?

A: This options is not working.
This is issue for asRange
https://github.com/thecreation/jquery-asRange/issues/8
but i got a request...it will take time ^_^....


text:
Arts & Rec
Communities merge: national community impacts UW-Whitewater
Junior biology major Kaitlyn Mckay discovers the I Am That Girl table at the Involvement Fair held Sept. 9 on the Wyman Mall. I Am That Girl had 104 women show interest in their chapter at their first appearance at the fair. Photo by Amber Levenhagen
By Ashley McCallum
Hundreds of students join organizations and clubs to get involved on campus and in the community every semester, but few can say they took charge in starting something new.
Seniors Alex Wente and Hannah Lee are two of those few.
Roommates and gymnastics teammates, Wente and Lee started the University of Wisconsin-Whitewater's local chapter of I Am That Girl (IATG), an international community that spans across eight countries and has over 1,600 local chapter members empowering women to spread love to themselves and others, according to I Am That Girl's 2013 annual report.
"Myself and Hannah looked at the website and basically fell in love with the message it is teaching us about ourselves and how to spread that to other girls, so we were more than happy to start it here and see where it would go," Wente said.
I Am That Girl describes their vision as "shifting girl culture." The international community aims to "transform self-doubt into self-love" through open conversation and safe outlets for self-expression, according to iamthatgirl.com.
Allison Annala, assistant gymnastics coach, approached Wente and Lee about starting a chapter of IATG on campus in spring 2015. Annala already was involved with IATG as a blogger and intern and now is also the advisor for the UW-W chapter.
The chapter's co-founders worked with the university, as well as leaders from IATG headquarters, to get it started on campus at the end of the Spring 2015 semester. There were approximately 10 members coming to the meetings when it originated, according to Lee. The chapter took off after this semester's Involvement Fair, where 104 girls signed up to learn more about the chapter.
The meetings act as a gathering for women to engage in conversations about how women can empower each other. Wente and Lee say they lead by example by feeling confident in themselves and their emotions, and they aim to spread that to new members and women everywhere.
Meeting attendance has more than doubled this semester with approximately 20 women attending on average. The co-founders also started an online community on Facebook where women can openly discuss issues or successes in their life and share inspirational messages. The Facebook group has 40 women currently involved.
"It's not so much attendance at the meetings," Lee said. It's not so much how big of a student org we are, it's just getting the message to girls that there is a community of women that will support you and there is a community of women who want you to be who you truly are."
Starting the chapter not only allowed Wente and Lee to reach women on campus, it also gave them opportunities to meet women all over the world, including a woman who recently started her own chapter in Egypt.
Lee is an editorial intern for IATG, and was able to travel to Malibu, California for a retreat with 27 chapter leaders and interns to learn more about IATG and herself.
"It was the coolest thing because I don't know if there is anything scarier for a girl than to walk into a room with 27 other girls, and that's the way society has been built with this jealousy and competition," Lee said. "I learned that walking into a group of 27 other girls can be the most amazing, game-changing experience in your life."
Wente had the opportunity to sit in with Annala on a Skype call with a group of middle school girls to spread the message of IATG.
"That honestly brought tears to my eyes a little bit to see little girls in middle school sit around a circle and explain why they are that girl and what they love about themselves and others," Wente said. "It's so cool because the influence to start loving yourself so young was an amazing experience and I wish when I was younger I could have had something like that."
IATG meetings act as a safe place, where women are not competing, but empowering each other. Wente said that IATG helped her open up and be more vulnerable with her feelings, which then helped her lead by example and teach other women how to be more open; Lee believes that IATG helped her find happiness in being herself.
"The reason that I Am That Girl as a movement has been so successful is because there is a dire need for it," Lee said. "For girls to just be able to be themselves in a society who tells them who not to be."
IATG reaches out to girls through local chapters, but also through their website. Both men and women can take the pledge to be "that girl" or "that guy" and get on board with their mission. For more information, visit iamthatgirl.com.
UW-W's chapter of I Am That Girl meets Sundays at 1:55 p.m. with the location being announced on the group's Facebook page. For more information on the local chapter, visit connectUww.
Alexandra Wente
Allison Annala
Amber Levenhagen
Ashley Mccallum
connectUww
Hannah Lee
I Am That Girl
IATG
UW-Whitewater gymnastics
The Royal Purple encourages readers to voice their opinions via the online comments section. Comments may be monitored for appropriateness and viewer safety. If a comment is harassing, threatening or inappropriate in nature, it may be taken down with editor's discretion.
https://www.uww.edu/international/globalexperiences
http://www.brotolocsouth.com/
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