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Taking a Moment: Embodying Temporality and Finding a 'Queer Sense of Belonging' through Live Performance
Biography | Notes
Keywords: Chrononormativity, Queercore, Live Performance, Queer Belonging, Queer Embodiment
Despite what appears to be the contemporary burgeoning of mainstreamed queerness, I find myself, as a queer subject, searching for a moment in time and space that allows my embodied tension to dissipate. I contend that queer subjects feel an embodied discordance in the face of chrononormativity. I borrow the term "chrononormativity" from queer temporal theorist Elizabeth Freeman, to explain how temporality is valued in our Western context[1]. This definition undergirds my claim that a capitalist and heteronormative society can manifest in queer embodiment through the extra work required by queer subjects in order to adhere to these expectations. Following this, I reflect upon a personal encounter at a "queercore"[2] concert of the band Hunx and His Punx in Brooklyn, New York, in 2019.[3] During this live performance, I felt a queer moment of ease and comfort. Through an unpacking of the multifaceted components of the performance, I argue that the concert fostered a temporal space to allow the embodied tension and discordance of queerness to dissipate: thus offering what I call a 'queer sense of belonging.' The performance achieved this sense of belonging through the illumination of components that revalue our notions of temporality by eschewing Western chrononormativity. I use this experience as a case study to show how live performance has the capacity to become a space that revalues temporality in a way that can be coherent and meaningful to queer subjects. This paper begins by unpacking the notion of temporality as valued in North American as heteronormative and capitalist and how this is uniquely embodied by queer subjects. An autoethnographic description of my encounter shows that through DIY (do-it-yourself) punk aesthetics, the temporality of live performance, 'inefficient' body language, and narration of past trauma, this particular performance was an opportunity to rid participants' bodies of the bind of chrononormativity and momentarily feel at ease: to take a moment for a queer sense of belonging.
Embodying Temporality
My discussion rests on the notion of queer bodies feeling the visceral implications of temporality. When I use the terms 'queer bodies' or 'queer subjects,' I am referring to an identity or mode of being that can be described as non-normative with particular reference to gender and sexuality.[4] I posit that queer subjects experience embodied discomfort due to the prevalence of contextual chrononormativity and thus show how chrononormativity has an embodied valence. Freeman's text Time Binds: Queer Histories, Queer Temporalities conceptualizes chrononormativity as the dominant temporal measurements within which our social and political contexts are structured, giving value to specific temporal rhythms. Weekdays and weekends, the calendar year, prescribed holidays, and the amount of work scheduled in a day are all organized through temporal rhythms. Chrononormativity encompasses the socially reinforced expectations and norms of how we spend our time.[5] In a North American capitalist context, for example, an individual is expected to work at least forty hours per week. Any time spent outside of these work hours is time to rest in order to return to work. I concede alongside Freeman that chrononormativity has visceral profundity as it binds our very flesh.[6] Bodies in this temporal structure are expected to adhere to these rhythms; rhythms that prioritize the capitalist work schedule and thus their capacity for labour. Through this chrononormative context, subjects must spend their time in ways that continue to value production, and thus, I argue, a linear and forward-looking timeline. Subjects are constantly expected to produce, signifying that there is no reachable end at which point goals of production are definitively met. Perhaps the imagined end of this work is, like Lauren Berlant suggests, a cluster of promises that we never achieve in order to keep workers as docile citizens,[7] in a capitalist time of "not stopping".[8]
The incessant expectations of forward-looking capitalism continue to increase rapidly, binding bodies to a hyperproductive context. Freeman writes "in the eyes of the state, this sequence of socioeconomically 'productive' moments is what it means to have a life at all.[9]"Value is attached to bodies that move through time efficiently to maximize production. This expectation is heavily related to productivity in labour forces, but is also expected through many, if not all, of the capitalist subject's activities outside of work. We are expected and encouraged to have a teleology of something we can achieve or overcome: the ideal body, the perfect family, the job promotion.[10] Our respectability and participation in society is framed by how much we are contributing economically. North American time, then, is always forward-reaching and goal oriented. As the gap of economic distribution widens and the cost of living continues to rise, not only are we valued by how much we can contribute economically through our labour, but our survival is often dependent on it. As the North American capitalist context is inextricably cisnormative and heteromasculine, any negation of this temporal valuation, then, is undeniably queer. Furthermore, to work to adhere to the illusory "natural" temporality in order to survive in this context is then a site of visceral discordance for the queer subject.
In order to analyse how the Hunx concert performance offered a 'queer sense of belonging,' I take how bodies are bound by chrononormativity alongside Jose Esteban Muñoz's discussions of the "utopian performative." Particularly relevant is Muñoz's discussion and usage of the "ornamental" in aesthetic modes[11] as the ornamental "has an indeterminate use value that challenges the protocols of capitalism."[12] Unlike maximizing bodily efficiency for production and contribution to capitalism, ornamental aesthetics challenge "use" and "efficiency." A body moving through time without an explicit capital goal is queer. Freeman also follows how chrononormativity deeply affects queer subjects to the point of asynchronicity. When these temporal rhythms are expected to feel "natural" through social discipline,[13] queers tend to fail[14] when attempting to fit into gender/heterosexual/capitalist expectations. While the queer does not often line oneself up for traditional familial linearity, they start to veer away from the expectation of maximum labour and maximum efficiency in a capital context. My point, along with Freeman, is that queers still tend to stutter in the face of chrononormativity. Persistent chrononormativity such as this was challenged directly through the live performance, providing a queer reprieve, which I refer to as a 'sense of belonging.'
Like Freeman, Sara Ahmed references the linearity of a heteronormative world. This is echoed through the use of the term "straight," as it refers to sexual orientation by evoking the embodiment of a straight line. Ahmed writes that the spatiality of the term is not coincidental: "bodies are sexualized through how they inhabit space. The body orientates itself in space, for instance, by differentiating between 'left' and 'right,' 'up' and 'down,' and 'near' and 'far,' and this orientation is crucial to the sexualization of bodies"[15] [emphasis in original]. A straight line is a straight path. For Ahmed, a body on this straight path does not take any detours; it does not stumble away or stutter here and there, ideally it does not look backward either. This path dovetails with the linearity of chrononormativity, as Ahmed also writes, "In other words, to be 'in line' is to direct one's desires toward marriage and reproduction; to direct one's desires toward the reproduction of the family line."[16] Both capitalism and heteronormativity, then, encompass future-oriented temporal rhythms.
To emphasize the embodiment and physicality of this straight path, Ahmed argues that by virtue of living in a heteronormative context, heterosexual objects and pathways are made readily available to us.[17] Continuing down this straight path is made accessible and easy. The world is curated in such a way where we do not have to search for straightness. Yet, queerness necessitates looking elsewhere.[18] For Ahmed, this is a "turning away" from the straight path, finding things oblique or aslant from the linearity we are taught is the only option.[19] Queers must seek out options that are sometimes hidden, sometimes ephemeral. Nonetheless, I suggest that trying to adhere to a chrono- and heteronormative path when you no longer are attuned to it, by virtue of a consistent stepping "offline" into queerness, becomes a physical moment. Working to orientate yourself toward heteronormativity when you tend to veer off into queerness is a physical effort. Many queer theorists reflect on this idea by addressing the stuttering or stumbling, or even failure associated with being queer, the moment we try to return to the norm, we have lost our skill of adapting to it.[20]
In my view, this visceral discordance is further exacerbated when being queer in a labour-centric world of hyperproductivity and capitalism. The intertwining of these forces strains the queer body. I think of this when queers must take on the world of customer service. Customer service positions in the hospitality field exemplify the multilayered experience of a queer subject stumbling throughout chrononormativity. Emma Dowling provides an analysis of her embodied experiences working as a server through a methodological use of affect theory.[21] She accounts for the various ways that working in customer service requires a certain type of performance—the balancing act of the expectations from her managers, the level of personal attention and authenticity expected from the customers—with the reality that her paycheck is very much dependent upon how smoothly she manages these elements. Describing a trial shift at a new restaurant she writes, "I feel the multiple gazes of management, of the male and of the guest, fall upon me and bring me into existence, validating my body and its affective resonances."[22] Her level of success rests upon how she manages her embodied actions under the scrutiny of a fast-paced business. Much of these expectations as a server include performing femininity through flirtation and possessing awareness of the femininity of her affective labour. She provides sympathy and care to the demands of the customer, but as a strong server, also works to cultivate a certain experience: "I perform for you, yet I am not simply on display. I create in you not just a state of mind, I create a feeling in your body, invoking or suppressing my own feelings in order to do so."[23] The server works beyond moving through the appropriate steps of service by attending to the affective moments in order to create a comfortable atmosphere or feeling for the customers. She is also hyperaware of the realities of employment in the hospitality industry, especially under the demands of capitalism, as being in a position where she is dispensable to her employers.[24] If the server fails to provide the comfortability to the guest, efficiency to the managers, and comradery with co-workers, then the server is of no use to the company. Her performance is constructed to fulfill these criteria, because as she concedes, she is there for the paycheck.
Under the threat of capitalism, there are particular and heteronormative ways queer workers must act in order to keep "stuttering off-courseness"[25] to a minimum. For example, workers will often feign friendliness in the face of queerphobia at the risk of being reprimanded by a supervisor. When the other option is being unable to survive due to income loss, the worker's power is deeply compromised. Contorting one's body in order to fit into capitalism's—and the greater public's—expectation of normativity has an added layer of labour for queers or people who tend to deviate from the linear path of capitalism and heteronormativity. The worker must provide a smiling face to a customer, alongside presenting as non-controversial, or perhaps even neutral. I consider here Muñoz's discussion of "Gesture, Ephemera, and Queer Feeling" in Cruising Utopia. He writes about growing up queer as a constant policing of his own actions and states: "I was a spy in the house of gender normativity, and like any spy, I was extremely careful and worried that my cover would be blown."[26] For a queer proletarian subject, this is not an easy task. When a fellow server makes a homophobic comment, the queer server is expected to ignore this (or perhaps respond in agreement) and continue to bring the table of hetero couples their desserts, and revel in their engagement celebration, or baby announcement, or job promotion.
I argue, then, that the pressures of trying to maintain this supposed "natural" temporal rhythm is unique extra work for those of us who are queer. This might be evidenced through the reality of social stigma and minority stress that further exacerbates mental illness in LGBTQIA folks, and that barriers for us to seek help are often greater.[27] We spend a great deal of time trying to keep up with everyone and everything under the threat of cisnormative and hyperproductive capitalism. I yearn for the possibilities to exist in a queer time of our own, to feel rather than straining and discomfort, a sense of belonging.
A 'Queer Sense of Belonging' in A Queer(core) Time
Muñoz reflects on a punk show he attended whilst discussing the queer potentialities of stage performances and art. Expecting to feel as though he was not a part of the 'proper' crowd gathering at the shows, he was moved by another feeling. Muñoz writes:
I remember the Cat's Cradle in Chapel Hill, North Carolina, and seeing my favorite bands there during the relentless social tedium of graduate school. That is where I started to feel too old to go to shows yet nevertheless felt the show and stage, the transformation of time and space offered by the performance, as forgiving and still permitting me access to this network of queer belongings.[28] [emphasis added]
Rather than feeling too old, Muñoz felt that he belonged in this setting. He credits his ability to access this "network" as a result of the performances' shifting of temporalities. I suggest that this feeling of "belonging" is the possible reprieve for which I, as a queer subject, have been searching, and ultimately found through attending and participating the live performance of Hunx and His Punx. In this quote, Muñoz mentions that the performance transformed "time and space," and as a result, not allowing his age to become a barrier for participation.[29] A traditional temporal measurement, such as age, was not a hindrance to his inclusion in the space. Rather, this space was "forgiving."[30] Through art, members of the audience had access to a different value of time, likely outside of the chrononormative ideal. Freeman argues that "the discipline of 'timing' engenders a sense of being and belonging that feels natural."[31] In his expectations of the performance, Muñoz was expecting to feel out of place, unnatural in that time and space. Muñoz's experience was made comfortable by reframing his relationship with time. Had this not occurred, he might have indeed felt "too old." But this queer time offered him a comfortable fit. A queer sense of belonging is thus connected to existing on a different timeline where we do not value time for a linear futurity through heteronormativity or through maximizing our labour and efficiency. In these spaces, perhaps we feel our bodies—always at the mercy of trying to "keep up" with chrononormativity—ease a little.
I suggest that I was a participant of a similar queer space-time as that of Muñoz's through my attendance of a "queercore" concert. Hunx and His Punx played a sold-out show at "Elsewhere" concert space in Brooklyn, New York in the summer of 2019. Multiple elements of the concert reflected Muñoz' discussion of ornamental aesthetic forms,[32] thus directly challenging north American chrononormativity and fostering a 'queer sense of belonging.' These elements, however, were apprehended through my own embodied subjectivity as a queer participant and researcher. My perspective is singular and incomplete. As such, I provide an autoethnographic retelling of my encounter through my own embodiment as a queer academic whose whiteness allows me to move through many spaces with ease.[33] Consequently, I outline aesthetic and performance elements that fostered a temporal experience that defied any chrononormative logics and linearity for my own personal subjectivity. Reflecting on these moments allows me to use my experience to "engage with [myself], others, culture(s), politics and social research,"[34] while allowing room for shifting perspectives and reinterpretations.
It would be remiss not to acknowledge the ways in which enjoying a concert space in a heavily gentrified area is relevant to my experience. The performance, while showcasing a DIY, punk, ethos, also consisted of a band with white members taking up space in a venue in Brooklyn, New York notoriously known for displacing People of Colour.[35] Gentrification is a capitalist and colonialist tool that is not negated by virtue of the space being 'queer.' Dereka Rushbrook argues that cities will flaunt their "diverse" neighbourhoods in order to attract tourists by prioritizing 'queerness' as an example of diversity.[36] Scholar Rae Rosenberg also notes how queer spaces can often be unsafe and explicitly exclusionary for LGBTQ People of Colour.[37] White queers become objects of consumption for tourists further vilifying and displacing racialized LGBTQ populations. Thus, my whiteness indeed plays a role in my feeling of comfort in this time and space. Nonetheless, I want to emphasize the importance of shifting temporalities in the face of capitalism. Perhaps the modes of doing so at this time were not resonant with all subjects in attendance present, yet I am showing that live performance has the potential to do so in important ways for deviant and queer bodies. In response to Lee Edelman's "No Future,"[38] Muñoz argues for the importance of futurity for queerness. Queer utopia is futurity, according to Muñoz, because the present moment of racist colonial heteropatriarchy creates a framework within which utopia cannot exist, and that a future for queers of colour is resistant to the status quo.[39] As such, I do not claim that this instant encapsulated a moment of utopic anticipatory illumination for futurity, but rather a momentary reprieve for particular bodies (namely, my own). Like Muñoz, the time and space contexts were shuffled, but they are imperfect and partial, not offering a prescriptive ideal for queer utopian performance, but an analysis of elements that allowed me to 'take a moment.'
As a member of a sweaty and animated crowd, I absorbed the live performance of the band fronted by queer multimedia artist, Seth Bogart.[40] We watched Bogart make his way to the stage in full pleather and black sunglasses. His jacket had been hand-painted: a large emblem of a wildcat and the words "man-eater" covered his back. His "Punx" were in similar outfits that also included lots of p/leather, patches, and refashioned garments with painted-on anarchy symbols. Bassist Shannon Shaw was crowned with an extravagant platinum bouffant updo and bold winged eyeliner visible from the back of the venue. Erin Emslie drummed to the fast-paced instrumentals in a patched vest with Winehouse-esque beehive hair. Audience participants screamed alongside one another, singing along to the campy lyrics. Between songs, we cheered for Bogart as he finished a can of beer and stripped off his pleather pants to reveal a leopard-print thong. Feeding off of the excitement materializing between the audience and performers, Bogart yelled to the crowd: "who here is queer?" which was met with uproarious and affirmative hollers. Seth effeminately floated and danced around the stage in his thong singing and showcasing his bandmates. The set-list included the simple yet queerly poignant hit: "Everyone's a Pussy, Fuck You Dude," in which the lyrics only contain the title scream-sung multiple times. Although this is but a fraction of the event, I engage with these elements of the performance as I personally found them to be especially resonant. In my view, these facets facilitated stepping outside of the friction felt by queer bodies in the face of chrononormativity.
I consider the genre of music to be pertinent to this temporal discussion and to provide a foundation for many of the relevant threads I reflect upon. Queercore developed as a reaction to the evolution of the punk music movement in the late 1980s.[41] Punk began as a movement against any type of establishment, including gender, capitalism, normativity, and corrupt governing bodies, but eventually became saturated with white heterosexual men who quickly took the message of punk for their own gains. Further subcultures of punk diverted into white nationalist and masculinist movements making certain streams unsafe for women and queer people. As a result, 'riot grrrl' feminist punk bands emerged, such as Bikini Kill and L7. Concurrently, an intersecting but different project took form: queercore.[42] Much like "punk" more broadly, queercore scorned industrialism, capitalism, authority and mainstream success. However, queercore artists and their projects specifically targeted heteronormativity and normative gender roles. They prided themselves on DIY (do-it-yourself) culture, "regardless of skill and resources,"[43] making the means of creation and publishing available to the masses. Music was self-produced and visual art and writing were distributed through homemade zines. Queercore clothing and art embraced the "salvaging and repurposing refuse of the working class" to reuse the waste of capitalism and create modes of "low-barrier participation."[44] Thus, the aesthetic of queercore reaches beyond barriers of accessibility to wealth and skill to pointedly defy capitalist elitism. During the concert I attended, Hunx and His Punx encompassed many of these values through both their visual presentation and their music. This specified genre also plays a role in uniting a crowd containing many subjective threads of experience; indeed, these attributes of a queercore band likely attracted the attendance of the concert goers. This suggest a personal resonance to many audience members as well, a point to which I will return.
A live performance offers a unique embodied experience in the interaction with other participants as well as a visual spectacle. The band's DIY and "punk" aesthetic, I argue, is not only anti-capitalist in its message, but in the nature of its production. Handmade decorated pieces, such as those worn by Hunx and His Punx, discourage buying everything brand-new, the logic often touted in this hyperproductive capitalist world. Simultaneously, valuing a DIY aesthetic, such as brandishing hand-painted, stitched, patched garments, encourage spending more time on a single item than ought to be allotted in a chrononormative context. Rather, the performers are repurposing old items. Unethical fashion production is practiced for the purpose of turning over as many items as possible. An original design, however, painstakingly done by oneself or a friend is defiant against the forward march of hyperproductivity. The audience, then, has the opportunity to savour in taking "too much time" to create something. This is an example of how the performance challenged a traditional temporal framework, therefore, the deviant queer might find a little wiggle-room to pause in this moment and space. Not only is time not capitalized, but enormous wealth is not necessary. Creating these outfits and art does not hinge on one's social status or monetary ability to buy one-of-a-kind pieces. Rather, you are making these pieces yourself with the materials you already have. This aesthetic requires little money or skill.[45] Thus, the queercore fashion flaunted by the band in the particular live performance created a space that valued a timeline outside of chrononormativity; defying the linearity that so often causes embodied tension in the queer subject.
The genre of music also converges queerly with the unique temporality of a live performance. Perhaps all members of the audience identified with queerness in some way and were attracted to the 'queercore' potential of the concert. Although I can infer this might be likely, I cannot say this with certainty. Jill Dolan writes of "Utopian Performatives" arguing "that live performance provides a place where people come, embodied and passionate, to share experiences of meaning-making and imagination."[46] In these moments, whether we are all "queer" or have a shared history or intent, in our participation, our interactions with one another and the performers indicates and forms what is valuable at the time. While we all come from undoubtedly different subjectivities, there is kernel of connection bringing us together. Through the embodied and physical excitement performed by the crowd, I felt at this time that the participants were valuing a time and space that makes room for the extravagance of a queercore band. The concert is occurring immediately, and all the present members of the performance—both the performers and the audience members—are participating at once from various perspectives. There is also an emphasis of audience participation as part of the art form; this is seen as the performers engage with the crowd, by asking questions like "Who here is queer?" In the venue of the concert, the bodies present are converging on one timeline, coming from various threads and places. Discussing queer subjectivities and live performance, Lisa Blackman highlights this unique element to performance, "the shows are live and take on characteristics of liveness, which might include their immediacy, their ephemerality and irreproducibility." [47] The concert is immediate. I suggest that this situates all participants in the same time, a specific time that is queer. That is, we are all immediately absorbing the band's performance through the music and sights, and our bodies are relating to one another as we dance and sing along to the vibrations.[48] The art is subjective, but we all become participants in its co-creation and work to create a meaning together at this time. Grounding and connecting participants in the ephemerality of a moment resists the ever-forward march of linear chrononormativity again. Live performance allows participants to pause and take a moment; in this moment participants create new meanings and new values.
As the audience and performers bring forth their subjectivity to the live experience and converge to create new meaning, we are bodies that interrelate to one another creating a new meaning from a shared history. I argue that this was emblematic during the performance of the Punx's song "Everyone's A Pussy, Fuck You Dude." I am interpreting its meaning through my own partial lens, but this was not a meaning I created alone. Blackman also writes that "the performer is not simply expressing their own 'symptoms' but is connected to a shared history or counter-memory that exists inter-generationally and is felt inter-corporeally.[49] The art produced by the band and co-created with the audience members, while working to form different webs of temporalities, is still a 'symptom' of lived experiences. Bodies valuing queerness at this time are still emerging from a queer history, whether or not it is personally shared between attendees. The music and the visual aesthetics work together to create a feeling within the present bodies, or, perhaps, an affective moment. Siegworth and Gregg write: "At once intimate and impersonal, affect accumulates across both relatedness and interruptions in relatedness, becoming a palimpsest of force-encounters traversing the ebbs and swells of intensities that pass between "bodies."[50] As the participants sang along and laugh defiantly to the "in-your-face" music and lyrics, I interpret this encounter to be a re-imagining of a past moment of queerphobia, presently being enacted on a different timeline with a different valuation.
I attach a meaning to the performing of this song that comes from my own relational knowing and experience as a queer person. I understand and have felt the monitoring of gender-non-conformity on a visceral plane, all too frequently in our chrononormative context. I can imagine Bogart walking in a queer manner, speaking with a feminine lilt, being the object of bullies, at any age. He walks similarly across the stage but instead, he is screaming in the foreground of a punk song claiming a queerphobic slur in the imagined face of his bullies whilst embodying effeminate body language to a crowd of queers delighting in this moment. Embodying this movement in a space where it is valued by participants works to reconstitute a relationship with our bodies and one another. As we create this new meaning, we might feel at ease. We realize that we can strut in a way that defies expectations of gender or sexuality. This embodiment also has a temporal valence, in that when we stutter and flit around, we do not walk on a straight line.[51] Thus, Bogart is also challenging bodily efficiency along with challenging gender norms. Again, this is a step defiant to chrononormativity, but also mirrors Ahmed's image of deviating from the "straight" path.[52] To move excessively and with exaggeration is to deviate from the norm of straightness and onto another queer path. This, again, provides for the participants a new opportunity to where our bodies do not feel contorted into heteronormativity.
To further reflect on the temporal nature of the content of this song, I want to bring forth the work of Heather Love. Discussing "camp" Heather Love writes:
Many negative or stereotypical representations from the past have been reappropriated through the mode of camp…images that have been reclaimed tend be those that reflect, in an excessive or ambivalent way, values that are acceptable or even desirable in a contemporary context.[53]
As we can imagine a time of marginalization for being too effeminate, this same characteristic has become celebrated in an excessive way as Bogart himself sings those words, dancing across the stage in only a thong. In the context of this concert, a venue full of queers embraces an effeminate man prancing around the stage. Therefore, by recreating these characteristics of the past in this moment through this exaggeration, effeminacy is being reclaimed and a new narrative occurs presently. Acknowledging the "present" moment in opposition to reflecting on the past or looking to a future, means to dally or linger.[54] Not only do we connect to one another by being on the same timeline, but we are recreating a moment for now, one that does not have an expectation for our future productivity. Dolan further writes, that the performance-based "performative is not a metaphor, it's a doing" that "construct[s] a temporary public."[55]. In this specific moment amongst one another, we are working to co-create a moment of meaning, where performing this effeminacy is real and valued in a way that is not done within the constraints of chrononormativity.
Throughout this paper, I have argued that elements of the live performance that I experienced as resonant worked to revalue and reshape our embodied relationship with temporality. As such, the discomfort felt by virtue of working to keep up with capitalist and heteronormative time was given a moment to dissipate. By valuing "taking too much time," defying the forward-march of productivity, and dwelling by looking backward and inward, I argue that this performance palpably concocted a queer timeline outside of chrononormativity. Rather than contorting to fit into the constraints of conventional temporality, this sense of relief through the celebration of these elements provides for its queer participants a potential sense of belonging. We are enacting a shared history by taking part in and relating to the band's attire, and Bogart's songs and body language. Therefore, we are all participating, and despite our differing subjective threads, there are symptoms that we share and meanings that we create in that moment. An embodied sense of ease was palpable, and queer bodies belonged. As I have also stated, I acknowledge that this perspective is derived from my partial subjectivity and is open to being revisited through the affective and temporal experiences of others.
[1] Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories (Durham: Duke University Press, 2010).
[2] Curran Nault, Queercore: Queer Punk Media and Subculture, (London: Routledge. 2018).
[3] Seth Bogart, Erin Emslie, Shannon Shaw and Nik Johnson, Hunx and His Punx (Live Performance, Elswhere Concert Venue, Brooklyn. August 15, 2019).
[4] Annamarie Jagose, Queer Theory: An Introduction (New York: New York University Press, 1996), 3.
[5] Freeman, Time Binds, 51.
[6] Ibid, 3.
[7] Lauren Berlant, Cruel Optimism (Durham: Duke University Press, 2011), 31.
[8] Ibid, 169.
[9] Freeman, Time Binds, 4-5.
[10] Ibid, 51.
[11] José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity. (New York: New York University Press, 2009), 104.
[12] Ibid, 104.
[13] Freeman, Time Binds, 18.
[14] Jack Halberstam, The Queer Art of Failure (Durham: Duke University Press, 2011); Muñoz, Cruising Utopia.
[15] Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham: Duke University Press, 2006), 67.
[20] Freeman, Time Binds; Jack Halberstam, The Queer Art of Failure.
[21] Emma Dowling, "The Waitress: On Affect, Method, and (Re)presentation." Cultural Studies, Critical Methodologies 12, no. 2 (2012): 109-117.
[25] Muñoz, Cruising Utopia, 151.
[27] Michael Mink, Lisa Lindley, and Ali Weinstein, "Stress, Stigma, and Sexual Minority Status: The Intersectional Ecology Model of LGBTQ Health," Journal of Gay and Lesbian Social Services 26, no. 4 (2014): 502-521.
[31] Freeman, Time Binds,18.
[33] Sara Ahmed, "A phenomenology of whiteness," Feminist Theory 149, no 8 (2007): 149–168.
[34] Tony E. Adams, Stacy Linn Holman Jones, and Carolyn Ellis, eds., "Introduction to Autoethnography," in Autoethnography (New York: Oxford University Press, 2015), 1.
[35] Themis Chronopoulos, "African Americans, Gentrification, and Neoliiberal Urbanization: the Case of Fort Greene, Brooklyn," Journal of African American Studies 20, (2016): 294–322.
[36] Dereka Rushbrook, "Cities, Queer Space, and the Cosmopolitan Tourist," GLQ: A Journal of Lesbian and Gay Studies 8, no. 1-2 (2002): 183–206.
[37] Rae Rosenberg, "The whiteness of gay urban belonging: criminalizing LGBTQ youth of color in queer spaces of care," Urban Geography, (2016).
[38] Lee Edelman, No Future: Queer Theory and the Death Drive (Durham: Duke University Press, 2004).
[40] Bogart, et al. Hunx and His Punx.
[41] Nault, Queercore.
[44] Ibid, x.
[46] Jill Dolan, "Utopia in Performance," Theatre Research International 31, no. 2 (2006): X.
[47] Lisa Blackman, "Affect, Performance and Queer Subjectivities," Cultural Studies 25, no. 2 (2011): 194.
[50] Melissa Gregg and Gregory J. Seigworth, eds., "An Inventory of Shimmers," in The Affect Theory Reader (Durham: Duke University Press, 2010), 2.
[51] Muñoz, Cruising Utopia; Ahmed, Queer Phenomenology.
[53] Heather Love, Feeling Backward: Loss and the Politics of Queer History (Cambridge, Mass: Harvard University Press, 2007), 170.
[54] Freeman, Time Binds, xvi-xvii.
[55] Dolan, "Utopia in Performance," 170.
Amy Keating is a PhD Candidate at Western University in the Gender, Sexuality, and Women's Studies Department. They explore various queer communities that surround art and aesthetics, working to uncover how art can foster spaces of belonging for queer identified folks through theories of queer time and aesthetics.


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Gov Akinwunmi Ambode Abandons Official Residence, Moves Into Alausa Quarters.
New Governor of Lagos state, Akinwunmi Ambode doesn't want to reside in the residence used by his predecessor, Babatunde Raji Fashola
Determined to surpass his predecessor, the new Lagos State Governor, Mr. Akinwunmi Ambode, yesterday said he would vacate his official residence to reside at Alausa, in Ikeja in order to serve the state better and attend to the state's matters as early as possible. Ambode also promised to return some agencies to their original supervising ministries to ensure the control which used to be in place in those agencies.
The governor said that unlike his predecessor, Mr. Babatunde Fashola, he would not live in his official residence in Marina, so that he could get to the office as early as 8am daily to attend to some files and other state functions. Ambode said he expect every worker in the state public service to also be at their desk by 8am so that if he had cause to get in touch with anyone, they would be readily available.
Speaking at his inaugural meeting with the Body of Permanent Secretaries in the State Public Service, he said that the state civil service would drive the change and continuity which he intended to put in place in the next four years. At the meeting were the Deputy Governor, Dr (Mrs.) Oluranti Adebule, the Secretary to the State Government, Mr. Tunji Bello; Chief of Staff, Mr. Olukunle Ojo and all the Permanent Secretaries and Tutors General in the State Public service.
He reaffirmed his commitment to strengthen the civil service and continue with the reforms through which he would carry out his policies, urging the permanent secretaries, who are the administrative heads of the ministries, to see themselves as front runners of the present administration.
Noting that he would take advantage of the experience he had gathered as a retired public servant to improve on the service delivery, he reiterated that new offices would be created just as some present ones would be streamlined in order to ensure that cost of governance was reduced while ensuring greater efficiency.
He said: "Part of my speech at my inauguration ceremony yesterday dwelt on the creation of a Ministry of Wealth Creation which would ensure that not only do we create wealth but ensure that when investments from foreign sources drop, a pro-active situation is in place to take care of them.
According to him, since the APC has already formed a government at the centre, investments are also bound to drop from the centre and that when such investments come, the state should have a front desk office that will attend to such people bringing in the investments or people with interest to bring them in. Governor Ambode stressed that he would saddle the Body of Permanent Secretary with the task of taking a look at the draft which the administration of Fashola could not conclude work on and which he had gone through but streamlined according to his vision.
The governor, who also spoke on a revisitation of ministerial responsibilities of all ministries, departments, and agencies, said that the ministerial responsibilities were last reviewed in 2001. He explained that he would ensure that Permanent Secretaries exercise the authority that comes with their positions efficiently and ensure that each officer works for the position he has attained.
Posted by MAN ABOUT TOWN at 11:43 AM
Labels: akinwunmi ambode, apc, lagos state, politics

redpajama_set_name: RedPajamaCommonCrawl


text:
What The Super Eagles Tell Us About Nigeria
By nehijesu
When the Super Eagles play good football, we are one nation. We forget who leads the country or where anyone is from. It is really sad that the National Orientation Agency is ever aloof as to using this national past time to forge a more perfect union. For 90 minutes as we played Cameroon this Friday, the woes of flooding in Makurdi, terrorism in Borno, corruption in Abuja and agitations in Eastern Nigeria were staunched by the victory in Uyo. It is as though Nigeria finds her best self when we are integrative, rather than distributive; when merit rather than ethno-religious considerations guide our national consciousness. Nigeria's best team was what united the country. It was as though our footballers were telling all Nigerians to work as a team; to restructure Nigeria into a country where the federating units work for the common goal of making Nigeria great again. It is often said that all truth is parallel. And if being integrative worked to beat Cameroon on Friday, then, it can work with the way Nigeria is run. Mikel and his team also told Nigeria to play her first eleven in 2019. Nothing will unite Nigeria like encouraging and supporting competent people to run at the next general elections. Four unreplied goals to the Indomitable Lions of Cameroon on this beautiful Eid El Kabir celebrations is a poignant way to say congratulations to every Nigerian.
Gender Based Violence: What We Must Do
Anthony Joshua Leads Anti-Racism Movement
The Silent Nigerian Class Struggle: A Recipe for Socio-Economic Discomfort
Controversy Lingers Over Federal Government's Palliatives Disbursements
This article was first published on 4th September 2017
nehijesu
Nehikhare Omotayo Igbinijesu is an Economist, Poet, and Social Entrepreneur. 'He is the author of The Code: A Simple Story About Raising Great Women' and 'Marriage: 12 Questions You Need To Ask Before You Say, "I Do"'. He lives in Lagos with his wife, Akudo and two sons. He is Co-founder of Stuffsilos.com, a motivational resources company based in Lagos. You can email him via nehijesu [at] yahoo.co.uk
Men People Personal Development Society Women
Gender-Based Violence (GBV) is any violence directed against a person because of their gender. It is also any violence that affects a particular gender disproportionately. It is a phenomenon entrenched in gender inequality and the most notable human rights violation in all societies worldwide. Read more about International Women's Day It infringes on people's … Continue reading Gender Based Violence: What We Must Do
By ann
Society SPORTS
World heavyweight boxing champion, Anthony Joshua, has joined the global #BlackLivesMatter protest, while also insisting that demonstrations about the rights of blacks globally should not be for selfish reasons. The world in the past few weeks have been greeted with series of protests on and off social media, condemning maltreatment meted out against blacks. Sports … Continue reading Anthony Joshua Leads Anti-Racism Movement
By ugo-chinedu
There is a disconcerting silent class struggle in Nigeria amongst the different social strata of her citizens in the country which the novel Corona Virus pandemic has exposed to us in the most glaring terms ever. Nigerians first, have been informed repeatedly to maintain social distancing this period to avoid a possible spread of the … Continue reading The Silent Nigerian Class Struggle: A Recipe for Socio-Economic Discomfort
By evans-ufeli
Politics Society
As Nigerians are beginning to look forward to the much-expected government relief for the Coronavirus pandemic shutdown, the new parameters stipulated by the Federal Government (FG) for palliatives distribution has continued to generate an outcry by the public. Initially, when the Social Investment Programme (SIP) was criticized by the National Assembly last week, the Office … Continue reading Controversy Lingers Over Federal Government's Palliatives Disbursements
By adedoyin


text:
Fallen Part 1
In a classic battle of good vs. evil, Fallen chronicles the journey of an 18-year-old, who struggles to com... more
In a classic battle of good vs. evil, Fallen chronicles the journey of an 18-year-old, who struggles to come to terms with his newly discovered identity as he is drawn into a world where angels — good and evil — walk among us. less
1h 23min - 2006 - TV-14 - Drama
Cast: Paul Wesley, Rick Worthy
Lucy suspects she's about to get dumped.
Fallen Part 2: The Journey
Aaron tries to rescue Vilma without drawing attention to his location.
Fallen Part 3: The Destiny
Aaron and Vilma continue their quest to find the Light Bringer.
Ghosting: The Spirit of Christmas
Jess "ghosts" Ben when she dies in a car accident.
What Happens in Vegas
Two strangers awake together and find they are married.
An armored-truck driver takes the fall for a big heist.
Star Wars: Galaxy's Edge - Adventure Awaits
Celebrating Disney's new land that brings Star Wars to life!
Dracula invites famous monsters to a birthday party.
The animals try to fly back to NYC but crash in Africa.
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If your output is the wrong size, and you've checked that it's not due to the ministrations of Adobe Reader, the problem is probably that your (La)TeX system is producing output that specifies the wrong paper size. Paper sizes can be a pain: they're a forgotten backwater — Knuth seems not to have considered paper size as something the TeX engine needs to know about. As a result, there is no DVI command to specify the paper on which the document should be printed, which has led a dichotomy where macros shape the text according to the needs of the author's chosen paper size, and device drivers" choice happens independently of the macros" ideas.
In practice, one usually finds that macro packages (such as Plain TeX and LaTeX) assume American "letter" paper size, by default; and since most distributions nowadays originate in Europe, the drivers usually default to ISO "A4" paper size.
This is (of course) pretty unsatisfactory. Users may select a different paper size for their document (current LaTeX offers a range of sizes as options in the standard classes), pretty easily. Nevertheless, the user also has to be sure that each time xdvi, dvips (or whatever) runs, it uses the paper size the document was designed for.
The default paper size for DVI drivers may be changed by a distribution management command (texconfig for TeX Live, the Options application for MiKTeX), but this still doesn't provide for people using the "wrong" sort of paper for some reason.
A different issue arises for users of pdfTeX — the PDF format does have the means of expressing paper size and pdfTeX has system variables \pdfpagewidth and \pdfpageheight, that are written into the output PDF file. Unfortunately, most of the core software predates pdfTeX, so not even pdfLaTeX sets the correct values into those variables, to match the paper size specified in a \documentclass option.
The DVI drivers dvips, dvipdfm and its extensions (dvipdfmx and xdvipdfmx) define \special commands for the document to specify its own paper size; so in those cases, as when pdfTeX is being used, the paper size can be programmed by the document. Users who wish to, may of course consult the manuals of the various programs to write the necessary code.
Where processor-option tells the package what will produce your (PostScript or PDF output — geometry knows about dvips and dvipdfm (dvipdfm also serves for the extension dvipdfmx and xdvipdfmx).
where program-option is pdftex, xetex.
(permissible ‹values› are pdftex, xetex and dvips; the default value is unknown).
Needless to say, both the "big" classes (koma-script and memoir) provide their own ways to get the paper size "right".
The typearea package is the Koma-script distribution's way of providing page layout functionality. Load it with the pagesize option and it will ensure the correct paper is selected, for PDF output from pdfLaTeX, and for PostScript output from LaTeX via dvips.
Memoir has the standard classes' paper-size selections (a4paper, letterpaper and so on), but also permits the user to choose an arbitrary paper size, by setting the length registers \stockheight and \stockwidth. The commands \fixdvipslayout (for LaTeX processing), and \fixpdflayout (for pdfLaTeX processing) then instruct the processor to produce output that specifies the necessary paper size.


First grade is a big year for students! Continuing in our philosophy to make children feel valued and unique, Mrs. Lowell teaches to students' individual needs and learning styles. Children work in a caring and respectful learning environment where they will grow spiritually, socially, emotionally and intellectually. First grade focuses on student strengths in all aspects of learning. We believe that by modeling positive decision-making, we can guide children in making their own positive choices.
Students learn about the amazing gifts that God has given us, and how we take care of these gifts. Children will learn to treat others with kindness and compassion, and to understand the difference they make as they interact in the world around them.
Children develop understanding and insight of the patterns of mathematics through the use of manipulatives. Problem solving skills are taught with all math topics, which include: patterns, sorting, classifying and graphing, counting, learning place value, counting money, addition and subtraction, fractions and geometry.
Students learn to read using various strategies: decoding words phonetically; using picture clues; and using context clues. Children strengthen comprehension skills with group discussion and individual reading response activities. They work daily with first grade phonics skills and use various leveled books to meet their individual needs. We make reading fun!
Students will learn to read and spell high-frequency words and learn phonetically the patterns which allow them to decode and spell many words. Spelling lists will be composed of ten words (four high frequency words and six phonetically patterned words). Children will receive a weekly spelling list on Mondays to practice at home and in school. A spelling test is given weekly. The goal is for students to begin using more conventional spelling as the year progresses.
Writing in first grade is fun, as students draw from personal experiences! Children use "invented" spelling and progress toward conventional spelling. Writing to communicate is integrated throughout the curriculum. Students have the opportunity to share their writing with teachers and classmates. We use the "Handwriting Without Tears" curriculum where children will progress to learn correct letter formation habits.
Students learn to make observations and predictions as they are involved in experience-based lessons. We bring abstract concepts to a concrete level with experiments and activities. First and second graders cycle through a two-year science curriculum. Included in the two- year cycle are: Life cycles, Five Senses, Electricity, Simple Machines, Plants, Animals, Magnets, Solar System and Weather.
Students learn about the following topics and connect what they learn to their own personal experiences: Careers/Community, Holidays, Map/Globe Skills, State of Maine, and Cultures around the World.
First graders are encouraged to trust their instincts, and we role-play ways to stay safe in various situations by participating in the Child Lures Safety Program. By the end of the program, children will have practiced and role-played ways to remain safe in situations that relate to the assistance, bribery, pet, name recognition and emergency lures.
Grade 1 students also participate in weekly French and Computer instruction, as well as Physical Education, Art, Music, school-wide service projects and special events.


text:
Understanding post-WWII German peace process is not simple
09/16/15 12:45am Christopher Carlson
In the Sept. 4 letter to the editor, George Pieczenik falsely claims that Germany "never even signed a peace treaty, just an armistice" following their defeat in the Second World War. George is incorrect, and overlooks the complex and important history of the German state following their loss in 1945.
Pieczenik has failed, in his historical and political analysis, to look beyond the German Instrument of Surrender (GIS), signed on May 8, 1945, which brings about an official ceasefire and official end to armed German resistance. Pieczenik seems to believe that the armistice that ended the Second World War also brought about the end of the German peace process — he is incorrect.
Following the signing of the GIS, the victorious allied powers, chiefly the United States, Soviet Union, United Kingdom and provisional French government, took steps to legally dissolve the German state and bring about the legal grounds in which a formal occupation and partition of Germany could be undertaken. On June 5, 1945 the Berlin Declaration was signed.
The Declaration, along with further detailing the logistics of the German surrender, officially dissolves all of Germany's governing bodies, laying the groundwork for denazification and a restructuring of the German state. To quote the second paragraph of the Declaration: "There is no central Government or authority in Germany capable of accepting responsibility for the maintenance of order, the administration of the country and compliance with the requirements of the victorious Powers."
With this declaration, Germany lost its sovereignty and was partitioned on the grounds that the German people could not govern themselves. This declaration, along with the occupation of Germany and the stunted sovereignty of the German state, remained the status quo until Sept. 12, 1990, when the governments of East and West Germany, as well as Germany's "Plus Four" (plus-Vier, the Allied states that partitioned the German state) signed the Treaty on the Final Settlement with Respect to Germany.
This treaty laid the groundwork for German unification, and is the peace treaty that ends Germany's Second World War. For Germany, the Second World War does not end in 1945 with the GIS. Germany, despite the Marshall Plan, and despite the advent of pro-NATO (West Germany) and pro- Moscow (East Germany) governments, remained partitioned until 1991, when the Final Settlement went into effect, and remained occupied until the Allied forces were withdrawn in 1994.
Pieczenik's view of Germany's peace process is shortsighted and overlooks the complex nature of devolution, occupation, peace and unification. This lack of depth and analysis undermines the heart of Pieczenik's letter, and unnecessarily deducts from his credibility. He must understand that the victorious powers did sign a peace treaty with the German state.
Christopher Carlson is a graduate of the State University of New York at New Paltz.
Christopher Carlson
5/3/2019 9:26pm
JAWED: All-nighters for finals are counterproductive
Malaika Jawed
GUVERCIN: Social media influencers need to promote positive change
Dilara Guvercin
EDITORIAL: Insensitive tuition increase reflects U.'s decline


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text:
Q: How to search a value from array of objects in DynamoDB in node js For suppose the item is like
{
'EventType': 'git/push'
'EventTime': 1416251010,
'Commits': [
    {
        'id': '29d02aff...',
        'subject': 'Add the thing to the place'
    },
    {
        'id': '9d888fec...',
        'subject': 'Spelling errors'
    },
    ...
]

}
then I want the output like
{
'EventType': 'git/push'
'EventTime': 1416251010,
'Commits': [
    {
        'id': '29d02aff...',
        'subject': 'Add the thing to the place'
    }
 ]
}

can you please suggest me the DynamoDB filter.
Thanks in advance.

A: CONTAINS function can be used to filter or find the data in DynamoDB list. However, please note that you need to have both the attributes (i.e. id and subject) of the object (complex object in terms of DynamoDB) to find the data in List.

CONTAINS is supported for lists: When evaluating "a CONTAINS b", "a"
  can be a list; however, "b" cannot be a set, a map, or a list.

Sample code:-
var table = "eventtype";
var params = {
    TableName: table,
    KeyConditionExpression: "EventType = :eventType",
    FilterExpression: "contains(Commits, :commitVal )",
    ExpressionAttributeValues: {
        ":eventType": 'git/push',
        ":commitVal": {
            'id': '29d02aff',
            'subject': 'Add the thing to the place'
        }
    }
};

docClient.query(params, function (err, data) {
    if (err) {
        console.error("Unable to read item. Error JSON:", JSON.stringify(err,
            null, 2));
    } else {
        console.log("GetItem succeeded:", JSON.stringify(data, null, 2));
    }
});

redpajama_set_name: RedPajamaStackExchange


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Sermons from Christ Ascension Lutheran Church in Philadelphia, PA.
Sermons found here are property of their authors unless otherwise noted and may not be used without written consent. For more information, pastor@christascension.org.
The readings for the Nativity of John the Baptist are: Malachi 3:1-4, Psalm 141, Acts 13:13-26, Luke 1:57-80.
In the tender compassion of our God the dawn from on high shall break upon you.
Blessings to you, this week.
The Readings for Holy Trinity Sunday are: Genesis 1:1-2:4a; Psalm 8; II Corinthians 13:11-3; Matthew 28:16-20.
Holy Divine Majesty, Holy Incarnate Word, Holy Abiding Spirit bless you today.
The readings for The Day of Pentecost are: Acts 2:1-21; Psalm 104:24-34, 35b; I Corinthians 12:3b-13; John 7:37-39.


"As this generation pays down its student debt, inherits money and builds wealth, responsible investing will continue to become more mainstream," said Dustyn Lanz, senior director of communications and member affairs at the RIA.
Mr. Lanz said he's getting a growing number of calls from the investment community, including advisers looking for more information on responsible investing.
"They say they're learning more about responsible investing because their clients' kids are asking about it," says Mr. Lanz.


Gideon, Barak, Samson, Jephthah, David, Samuel and the prophets – these were men who through faith conquered kingdoms, did what is right and earned the promises. They could keep a lion's mouth shut, put out blazing fires and emerge unscathed from battle. They were weak people who were given strength, to be brave in war and drive back foreign invaders.
Some came back to their wives from the dead, by resurrection; and others submitted to torture, refusing release so that they would rise again to a better life. Some had to bear being pilloried and flogged, or even chained up in prison. They were stoned, or sawn in half, or beheaded; they were homeless, and dressed in the skins of sheep and goats; they were penniless and were given nothing but ill-treatment.
They were too good for the world and they went out to live in deserts and mountains and in caves and ravines. These are all heroes of faith, but they did not receive what was promised, since God had made provision for us to have something better, and they were not to reach perfection except with us.
Jesus and his disciples reached the country of the Gerasenes on the other side of the lake, and no sooner had Jesus left the boat than a man with an unclean spirit came out from the tombs towards him. The man lived in the tombs and no one could secure him any more, even with a chain; because he had often been secured with fetters and chains but had snapped the chains and broken the fetters, and no one had the strength to control him. All night and all day, among the tombs and in the mountains, he would howl and gash himself with stones. Catching sight of Jesus from a distance, he ran up and fell at his feet and shouted at the top of his voice, 'What do you want with me, Jesus, son of the Most High God? Swear by God you will not torture me!' – For Jesus had been saying to him, 'Come out of the man, unclean spirit.' 'What is your name?' Jesus asked. 'My name is legion,' he answered 'for there are many of us.' And he begged him earnestly not to send them out of the district.
Now there was there on the mountainside a great herd of pigs feeding, and the unclean spirits begged him, 'Send us to the pigs, let us go into them.' So he gave them leave. With that, the unclean spirits came out and went into the pigs, and the herd of about two thousand pigs charged down the cliff into the lake, and there they were drowned. The swineherds ran off and told their story in the town and in the country round about; and the people came to see what had really happened. They came to Jesus and saw the demoniac sitting there, clothed and in his full senses – the very man who had had the legion in him before – and they were afraid. And those who had witnessed it reported what had happened to the demoniac and what had become of the pigs. Then they began to implore Jesus to leave the neighbourhood. As he was getting into the boat, the man who had been possessed begged to be allowed to stay with him. Jesus would not let him but said to him, 'Go home to your people and tell them all that the Lord in his mercy has done for you.' So the man went off and proceeded to spread throughout the Decapolis all that Jesus had done for him. And everyone was amazed.
My cousin, Evelyn, had serious bouts of epilepsy when she was a child. It was so bad that it hampered her development. So Evelyn, in her old age, still behaves as she did when she was 6. In those days, not a lot was understood about her condition. The family whispered amongst themselves, shaking their heads, wringing their hands. How could this have happened? People searched for ways to explain it. My grandmother blamed it on my aunt. Not everyone was kind.
Despite all this, Evelyn grew to know Christ and embraced Him as her saviour. Evelyn went to church. She understood happiness and sorrow. She had a deep sense of moral justice. And she was filled with joy, always laughing or smiling. She also prayed a lot. She told me once that she asked God something and He responded to her and it made me think, "…God has chosen what the world considers foolish, to shame the wise; he has chosen what the world considers weak to shame the strong…" (1 Cor 1:27-28). Evelyn likely had a closer relationship with God than any of us. She may even have tried to communicate that, but we dismissed her because we all thought she was 'slow'.
I wonder what kind of resistance the man in today's gospel faced from his family. Would they have dismissed his testimony as the chatter of an unsound mind? Or would their faith have allowed them to see that he had been touched by God? How we view life speaks to what we hold in our hearts. Are we cynical? We will view everything with skepticism. Are we resentful? We will try to compete with everyone. Are we proud? We will look down our noses at everything. Evelyn's simpler life saved her from the illnesses of the 'sound mind' like pride, selfishness, greed, prejudice. Evelyn was wholly open to God because what else was she going to do? Seek affirmation from her mean-girl cousins? Those who love us are the ones most capable of hurting us. Evelyn might have seemed unaware but I think she knew what we were saying all those times we were sharp to her. And she would have been hurting even if she was smiling. In our suffering, we can all think of Christ on the cross – singular in his focus, hopeful in the worst of circumstances, faithful till the end. Perhaps that was the source of Evelyn's joy – Christ – and he was enough to make her forget how hard life was. I sometimes wonder why she never said anything. But perhaps it is I that never really heard her in the first place.
Prayer: We pray for the ability to discern Christ even in the most unlikely of individuals.
Thanksgiving: We give thanks for His grace and mercy, that despite our past wrongdoings, He is merciful in His forgiveness.


text:
Hausbay is an Ortsgemeinde – a municipality belonging to a Verbandsgemeinde, a kind of collective municipality – in the Rhein-Hunsrück-Kreis (district) in Rhineland-Palatinate, Germany. It belongs to the Verbandsgemeinde Hunsrück-Mittelrhein, whose seat is in Emmelshausen. It is also the location of a large wind farm featuring currently the world's highest wind energy tower.

Geography

Location
The municipality lies in the Hunsrück between Emmelshausen (8 km) and Kastellaun (10 km). The Autobahn A 61 (3 km) and Bundesstraße 327 (2 km) are also nearby. Hausbay lies at the forks of two streams, the Lingerhahner Bach and the Kelsiter Bach, whose combined flow is known thereafter as the Baybach.

History
In 1275, Hausbay had its first documentary mention. The name is believed to go back to a single house that once stood on the Baybach. In the Middle Ages, the village was shared by two lordships. One half belonged to the Gallenscheider Gericht ("Gallenscheid Court"), and thereby as of 1314 to the Electorate of Trier, while the other half belonged to the County of Katzenelnbogen. Beginning in 1794, Hausbay lay under French rule. In 1815 it was assigned to the Kingdom of Prussia at the Congress of Vienna. Since 1946, it has been part of the then newly founded state of Rhineland-Palatinate.

Politics

Municipal council
The council is made up of 6 council members, who were elected by majority vote at the municipal election held on 7 June 2009, and the honorary mayor as chairman.

Mayor
Hausbay's mayor is Thomas Stroschein.

Coat of arms
The German blazon reads: Durch einen gewellten blauen Göpel geteilt; vorne in Silber ein rotes Balkenkreuz; hinten in Gold ein blaugekrönter, -bewehrter und -gezungter, herschauender roter Löwe; unten in Gold eine rote Waage.

The municipality's arms might in English heraldic language be described thus: A pall wavy reversed azure between argent a cross gules and Or a lion rampant guardant of the second armed, langued and crowned of the first, in base Or balances of the third.

The pall (Y-shaped element) stands for the three brooks that flow through the municipality, the Lingerhahnerbach, the Kilsiterbach and the Baybach, which rises where the other two meet. The red cross on the silver field on the dexter (armsbearer's right, viewer's left) side refers to the village's former allegiance to the Electorate of Trier, while the lion rampant guardant (that is, with his head turned to face the viewer) recalls the Lower County of Katzenelnbogen, Vogtei of Pfalzfeld. The brook formed the border. The balances in base stand as a symbol of justice for the Gallenscheid Court, to which the Electoral-Trier part of the village belonged, and take the tinctures Or and gules (gold and red), as these were also the court's colours.

Culture and sightseeing

Buildings
The following are listed buildings or sites in Rhineland-Palatinate's Directory of Cultural Monuments:
 Saint Lawrence's Catholic Church (branch church; Filialkirche St. Laurentius), Lingerhahner Straße 1 – Gothic Revival brick aisleless church, 1904-1908
 Lingerhahner Straße – graveyard; sandstone grave cross, tree cross, marked 1916

Regular events
The kermis on the last weekend in July and the village festival in early September are the most important festivals

References

External links
 Municipality's official webpage
 Brief portrait of Hausbay with film at SWR Fernsehen

Municipalities in Rhineland-Palatinate
Rhein-Hunsrück-Kreis

redpajama_set_name: RedPajamaWikipedia


Does your kitchen look just as it did when you bought your home 20 years ago? If so, it may be time for a complete makeover. Here at Leominster Building Supplies, we're always monitoring the latest in design trends to ensure we offer our customers nothing less than the best.
The new style is all about fun and colour! Forget those 'metro' square patterns that were so popular over 20 years ago. Choose ornate Turkish or Mexican designs with bold colours to make your splash back stand out. Keep the rest of the kitchen simple, using solid, neutral colours such as grey or white.
Textured stone, rich wood and soft hues all help create a kitchen that blurs the line between indoors and outdoors. Granite remains a popular choice for counters, but butcher-block style counter tops are also making a comeback this year, adding functionality to the design. For environmentally friendly materials, look at recycled materials for countertops, such as glass, wood or metal.
To create a geometric look that makes a bold statement, go for matching wall and floor tiles. Ceramic is still a must-have material for floor and makes excellent wall tiles as well. They come in a variety of colours and styles and if you keep the rest of your kitchen neutral and simple, will be the most eye-catching room in your home.
Families use the kitchen for more than just cooking and eating, so it makes sense to zone certain areas for other uses. The corner desk/office space is the most popular and is a great place to do homework, catch up with some work or just look up new recipe ideas. Use contrasting colours or separate lighting to 'zone' your separate space. Works great for breakfast bars too!
If your makeover budget motto is not 'the sky's the limit', then using copper for accessories and small appliances is a great way to go. It will give you the trendiest look for an affordable price. Copper tea kettles, cookware and faucets can transform any dull kitchen into a bright and colourful one.
At LBS, we have everything you need in order to complete your kitchen, whether you're doing it yourself or you are hiring professional contractors. Our deliveries to local areas are usually made the next day and our prices are the best you'll find anywhere.
Our team of experts can help you choose a kitchen design that suits your taste, needs and budget. We understand that the kitchen is the centre of your home and it must be functional, efficient and inviting; whether you have a small family or you entertain dozens of guests each weekend, we can find a kitchen design that works for you. Call us today and find out how we can help create your dream kitchen.


NEW DELHI: Prime Minister Narendra Modi raked up the anti-Sikh violence that followed the assassination of then Prime Minister Indira Gandhi this day 30 years ago and said it was a "dagger" in the centuries-old fabric of India's unity as he dedicated the birth anniversary of Sardar Vallabhbhai Patel as National Unity Day.
With the aim of according the 'Iron Man of India' his place in history, the government said the event was not an attempt to belittle the contribution of any other leader.
Flagging off the 'run for unity on the 139th birth anniversary of the first home minister of the country celebrated as "Rashtriya Ekta Divas", Modi noted that the day was also being commemorated as the death anniversary of Indira Gandhi but made a veiled reference to the anti-Sikh riots that followed her assassination.
Modi said Patel devoted his life for the unity of the nation and it was unfortunate that "our very own people" were killed on his birth anniversary 30 years ago. "...In the same country, 30 years ago, on the birth anniversary of the same leader something happened which cast a blow to the unity of the nation.
"Hamare apne logon ko maut ke ghaat utar diya gaya (our own people were killed on that day. That incident was not a wound in the heart of any community. It was a dagger in the centuries-old fabric of India's unity," he said.
"Patel never deviated from his vision of national unity despite facing obstacles in his political life. It is a misfortune of this country that 30 years ago on the birth anniversary of such a leader an incident which shook the unity of nation took place," Modi said.


Immigrant Children and Youth (IY) awards under Title III are currently based on a significant increase of identified IY students in the previous year as compared with the average of the two preceding fiscal years. A significant increase is defined as five or more students. Each division awarded IY funds receives a base amount of $2,000 and a Per Pupil Expenditure (PPE) amount based on the division's IY student enrollment.
Under the Every Student Succeeds Act of 2015, states must use current year student enrollment data as compared with the average of the two preceding fiscal years to calculate awards. The U. S. Department of Education has also encouraged states to define significant increase for the purposes of IY allocation calculations such that divisions receive awards that are substantial enough to make a meaningful difference to IY programs and services in those divisions.
Beginning with the Federal Fiscal Year 2017 (school year 2017-2018) awards, Virginia will base eligibility to receive IY funds on a significant increase of 20 or more students in the previous year as compared with the average of the two preceding fiscal years. Awards will be adjusted to reflect current year enrollment data after the fall student enrollment data as reported through the Student Record Collection are finalized. Divisions qualifying for IY funds will continue to receive a base amount of $2,000 and a PPE amount based on their IY student enrollment.
Questions about changes to the procedures for calculating IY awards should be directed to Dr. Lynn Sodat, Director, Office of Program Administration and Accountability, at Lynn.Sodat@doe.virginia.gov or (804) 225-2870.


text:
Cybernoid II: The Revenge ist ein Weltraum-Shooter, der 1988 vom Spieleentwickler Raffaele Cecco für den ZX Spectrum entwickelt und von Hewson Consultants veröffentlicht wurde. Es ist die Fortsetzung von Cybernoid.

Beschreibung
Der Spieler kämpft sich, wie im Vorgänger Cybernoid, mit seinem Raumschiff Cybernoid durch drei Level eines Höhlensystems voller Geschütze und feindlicher Flugobjekte, um Bonusgegenstände und Extrawaffen einzusammeln. Neu in Cybernoid II ist die Auswahl des Waffenarsenals, die der Spieler mit den Zifferntasten auswählen kann. Übernommen vom Vorgänger wurden die Smart-Bombs, Bomben für feste Ziele und Zeitbomben (verzögerte Auslösung).

Portierungen
Das Spiel wurde für die folgenden Systeme veröffentlicht: Amiga, Amstrad CPC, Atari ST und Commodore 64

Das Spiel ist auch auf dem C64 DTV enthalten.

Weblinks

 Spielbeschreibung auf worldofspectrum.org (englisch)
 Spielbericht auf gamebase64.com (englisch)

Computerspiel 1988
Shoot 'em up
Amiga-Spiel
Amstrad-CPC-Spiel
Atari-ST-Spiel
C64-Spiel
Sinclair-Spiel
Science-Fiction-Computerspiel


text:
InstagramTwitterFacebookSnapchatShop IconProfile overlay AvatarAddAirplayArrow LeftArrow RightArrow UpArrow DownAudioBack 5sBack
by | Jun 22, 2020 | Uncategorized | 0 comments
saying he hopes people can look into custom jerseys eyes and see how sorry he is for the comments he made.
The club got only three starts from ace Luis Severino, as he dealt with multiple injuries.
Really challenged him mentally and he did a great job of it.
Lionel Messi $104 million $72 million 432 million Soccer 4.
He's all about hockey, because he's dedicated all his life to that, Voracek said.
But it's not just Lawson who brings a strong mind for the game to the field every week.
A couple of years later they had an idea to race the cars, which became an annual event that ultimately turned into the Indianapolis 500.
We kind of have our identity a little bit now, in what we need to bring and in how we play, said , who led the Rangers with 22 on ice, including three full minutes shorthanded in the third period.
Kevin Durant https://www.amazon.com/dp/B0851V7PTP million $28 million $35 million NBA 8.
I have literally no idea about this tournament.
Louis never recovered and was rocked, 11, in Game 7.
Oh my God, we let Ariza get wide open.
Just yell the word Duval at any tailgate outside of a Jacksonville game, and you should be in good shape.
It's a great opportunity.
But enough about the national anthems.
Dante Exum, Agent Didn't Think He'd Fall To Jazz At No.
According to the USPS, The number of U.S.
Corliss Williamson is bigger, stronger and does his job quicker than Dantley did.
From the other side of the bracket I think the two guys to look at are McLxvinn and Top Shelf Cookie.
Warriors: 13 2.
Things were a little bit new; we had new guys on the staff, Billy was taking over full time .
That's not to say the Cowboys have it figured out how to replace Lee or Smith.
You don't replace him with one guy.
Related slideshow: Best of the 2019 MLB postseason.
Here are some highlights of that conversation from almost a half-century ago.
It did not take long in the second for Bergeron to make the game even once again.
You remember this Warriors team.
John also posted funny clips from their day at the wildlife park, one of which featured him singing along to Rolf Harris' 1960 track, Tie Me Kangaroo Down Sport while he visited with the kangaroos.


Dressed as gentleman, Demiurge is a floor guardian on the seventh floor of the Great Tomb of Nazarick and the Commander of the NPC Defenses. He was created by Ulbert Alain Odle.
As a member of the Demon race, Demiurge is one of the cruelest members in Nazarick, taking great joy in the suffering of other races. He enthusiastically performs magic experiments on the prisoners sent to him, viewing them as nothing but toys, and enjoys inciting hateful feelings and treacherous thoughts among them.
Demiurge works closely with the other servants of Nazarick and is loyal to the creators, thinking of them as important companions. However, due to their conflicting personalities, he and Sebas Tian do not appear to get along well.


text:
Q: Check which table each row is from I want to output data from multiple data, with different output for each table the item is from.
SELECT *
FROM subscriptions, albums, videos, pictures
WHERE subscriptions.site = '$user'
AND (subscriptions.site = albums.site
     OR subscriptions.site = videos.site
     OR subscriptions.site = pictures.site)

This is how I think it should be output.
while($item = $resultA->fetch_assoc()) {

  if(album){
    echo 'album';
  }
  if(videos){
    echo 'video';
  }
  if(pictures){
    echo 'picture';
  }
}

A: You need change your query a litle bit. Im assuming video, album and picture have same struct, other wise you need match the columns.
And check for column type in your php
SELECT *, 'album' as type
FROM subscriptions s
LEFT JOIN albums a
        on s.site = a.site
WHERE subscriptions.site = '$user'

union

SELECT *, 'videos' as type
FROM subscriptions s
LEFT JOIN videos v
        on s.site = v.site
WHERE subscriptions.site = '$user'

union

SELECT *, 'pictures' as type
FROM subscriptions s
LEFT JOIN pictures p
        on s.site = p.site
WHERE subscriptions.site = '$user'

But if you struct are very different you can bring all columns. Or choose the one relevant to you.
SELECT s.*, p.*, v.*, a.*
FROM subscriptions s
LEFT JOIN pictures p
        on s.site = p.site
LEFT JOIN videos v
        on s.site = v.site
LEFT JOIN albums a
        on s.site = a.site
WHERE subscriptions.site = '$user'

In this case you have to chain multiple check if column is null to detect which site type are you handling.
This is my guess
I would need to know your table schema to use right field members. You have to rename fields to be unique in the query.
in this case a.site as "a.site"
while($item = $resultA->fetch_assoc()) {
    if ($item."a.site" is not null) {
       echo 'album';
    }
    else if ($item."v.site" is not null) {
       echo 'video';
    }
    else
       echo 'picture';
    }
}


We are pleased to invite you to this year's Supper Evening on Friday, 7 December 2018 at Colets, Thames Ditton.
Old Paulines and their guests will be greeted by a drinks reception at 7.15pm which will be followed at 8pm by a traditional Christmas dinner with all the trimmings.
Tickets are £35 (£25 for under-25s).


Welcoming a guest into your home to stay is a generous gesture that speaks volumes about who you are. So too, does the space you offer them. Offering your guests a considered, private and luxurious space will never go unnoticed but cramming them into a cluttered "spare" room is something they will always remember.
It's not necessary to spend endlessly on a guest room, however, spending in the right areas and putting some time, thought and love into the space will ensure that your guests remember their stay for all the right reasons.
When thinking about a guest room or space, design it with the same care you would your own bedroom. Take the time make it feel welcoming and integrated with the rest of the home by complimenting the style you have throughout. Decide on a colour scheme and overall style before you start. This makes purchasing or pulling items together much easier and ensures a considered end result.
Here are my tips to take your guest bedroom into the luxe category and to make your guest feel not only welcome, but truly wanted.
Firstly, consider the room itself. Is it clean, private and well ventilated? Ensure any windows operate so your guest can get fresh air and be sure to provide window treatments that offer appropriate privacy. Remove any unnecessary clutter, including any personal items of yours. Ensure there is no dust or mould hiding in corners or wardrobes. If the room needs heating or cooling, it's a lovely touch to have a small heater or fan available.
Even though it might not get continual use, buy the best bed you can afford. Nothing ruins a stay like an uncomfortable sleep. Likewise, buy the best bed linen you can afford; good linen makes everything feel better at the end of a long day. Ensure you have matching sets and keep a spare set in the room just in case of accidents, they do happen. Likewise, ensure pillows are clean and supportive. To really amp up the luxe feel, offer more than one type, after all nothing says luxury like a bed piled with pillows.
Consider the season and have appropriately weighted blankets or duvets. Always provide a spare blanket or throw so your guests can make themselves comfortable without having to leave the room.
If your guest room has an ensuite, perfect. Take the same care with the ensuite as you do with the room and don't forget to stock it with items like toilet paper, tissues, soap, shampoo, conditioner, toothpaste, a spare toothbrush and a glass for rinsing. Include a hairdryer if you can. Even if there is no ensuite, you can still offer these items to your guest leaving them in a pack or tray in the room. Consider allergies and if necessary offer items that are hypoallergenic.
Be sure to provide good quality towels and facecloths (2 per person).
Ensure your guest has somewhere to put their clothes. Both hanging space and drawer space is ideal. Provide a mix of coat hangers including shirt, pants and skirt hangers. Place additional hooks on the back of the bedroom door for coats and handbag storage. An iron and small foldaway ironing board (Ikea have great ones) will allow your guest to get ready in privacy.
Don't clutter the room, include only necessary items, but make it feel warm. Ideally, include a comfortable chair – it will serve many purposes. If you have the space, a desk or dressing area is a gorgeous touch. If your guest bedroom is multi-purpose and sometimes acts as a home office, clear the desk of your items so your guest can use this as themselves.
A folding luggage rack is great for suitcases and can be stored easily when not in use. Allocating your guest a full-length mirror in their room is a must. No one wants to traipse through someone else's house checking how he or she looks. A simple mirror on the inside of a wardrobe door will suffice, otherwise a floor standing mirror can be a feature in itself.
Not many people travel with their own dressing gown. But how gorgeous would it be to have one provided, especially if the stay is a long one. Amp it up with a set of slippers. Make sure they are clean!
A clean water jug and a drinking glass, along with a bowl for personal items that are removed overnight such as jewellery and watches will make your guest feel completely pampered.
Ensure there is decent lighting in the room including adequate bedside lighting to enable your guests to read once they get into bed.
Some form of table to place a lamp, reading material and jewellery is a must. You don't have to purchase costly bedside tables. A gorgeous side table will do the trick.
Most people travel with at least one device, so it's a good idea to have a power board located somewhere easy to reach so your guest can re-charge their items overnight in their own space.
There's no reason a guest room cant be a chic room. Give it some personality with framed posters or wall hangings. Frame prints using Ikea frames, they are really affordable and look great.
A small vase of fresh flowers or a healthy plant will bring the room to life and make anyone feel at home. Keep it simple and think quality, not quantity.
Once it's all done, try staying in it for a night and then you'll know if it hits the mark. Just remember to change the sheets before your guest arrives!
Special note. I realise its quite a luxury these days to have a room in your home you can dedicate to a guest bedroom. If your guest bedroom is a multi-purpose space, you can still follow the tips above. Just make sure before your guest stays that you clear out as many unnecessary items (following the guidelines) as possible, and ensure its ultra-clean.


Arguably at the heart of the affordable housing crisis is an access to lending for the most affordable homes built in America, manufactured homes. "The Enterprises" of Fannie Mae and Freddie Mac are mandated by the Housing and Economic Recovery Act (HERA 2008) to support manufactured home lending under the 'Duty to Serve,' or DTS for short.
The "Federal Home Loan Mortgage Corp. (FMCC) (Freddie Mac), a government-sponsored home mortgage lender, was delivering 23% returns on equity and trading for less than eight times estimated earnings when Buffett touted the investment to Fortune Magazine in 1988," writes Holly LaFon, an editor for GuruFocus.
The Fortune article cited factors why Berkshire Hathaway Chairman Buffett and Charlie Munger, the Vice Chairman of Berkshire, were particularly attracted to Freddie Mac. "I can't think of a more tangible compliment to the stock than to buy every damn share we are allowed to," Munger said.
Brad Bondi, deputy general counselor of the commission, asked if Buffett if he sold because the stocks were no longer good investments. Per GuruFocus, Buffett responded that he "didn't know they weren't going to be good investments" but became "concerned" about their management.
The Daily Business News reported recently on a related commentary by Forbes contributor, David Marotta, who said that in 2012, that the entire presidential race should come down to a single question. "Who caused the financial crisis of 2008?" By the sounds of Buffett's testimony, he didn't cause it, but he did apparently believe that there was a crisis coming.
That crash, combined with other maneuvers linked below, led to a historic drop in manufactured housing shipments.
Freddie Mac and Fannie Mae's stock prices did not begin to crash until seven years later in 2007 when mounting home foreclosures led to unsustainable losses. In 2008, Buffett passed when Freddie Mac approached him about participating in a capital infusion. See that related report later, at the link below.
"They're [the GSEs, Fannie and Freddie] looking for help, obviously. And the scale of help is such that I don't think it can come from the private sector," Buffett told CNBC. Fannie and Freddie are still under the supervision of the Federal Housing Finance Agency (FHFA).
As regular Daily Business News readers know, there's been a swirl of controversies around Mel Watt, FHFA, the GSEs, and the tepid way that the GSEs are meeting the decade old required Duty to Serve (DTS) manufactured housing. See related reports, further below.
Recall too that earlier this year, GuruFocus and Seattle Times, both did reports on Clayton Home and allegations of how Buffett's manufactured housing brands engaged in monopolistic practices.


text:
Q: How do you keep the whitespace and formatting in a textarea form post? I am trying to post a text area which I am storing into my database and I want to keep all of the white space so that I can query it out and display at a different place. The problem here is that when this form submits, the entire textarea is sent as a single line. I've looked into htmlspecialchar and urlencode but how can that be applied here if this is even the right place to use them?
<form name = "exam" action="takeTest.php" method="post">
    <textarea name="pa1" required rows=10 cols=55>public int add(int a, int b){

    }
    </textarea>
    <input type="submit">
</form>

EDIT
Tried pre tags but those just show up as the default text in addition to the code. I think adding the \n tags will mess up the code when it's put through unit testing but I'm going to try it.
This part of my form is the programming part which is trying to emulate what codingbat is doing.

A: Like @Danny said, the lines are separated, but not with the HTML line breaks, as you might expect.
To turn the newline characters (\n) into HTML line breaks (
), simply use nl2br; so you can use your string from the database in a proper HTML.
It converts:
Hey\nthere

into:
Hey
there

which browsers render like:
Hey
there

A: before insert in db,  php has a function nl2br().
then, if you'll echo the data on body just print else for editing this again in textarea use this
function br2nl($string)
{
    return preg_replace('/\
/i', "\n", $string);
}