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September 1, 2017 February 4, 2018 histhotties19th Century, African American history, African Canadian history, American history, Black American, Black American history, Black history, Black women's history, Canadian history, History of abolition, History of education, Print history, Publishing history, Women's historyLeave a comment
[A fantastic photograph of Mary Ann Shadd Cary that is in the public domain, and can also be found at the National Archives of Canada. Photographs like this are important at multiple levels, one of which being that they attest to the widespread popularity of Victorian styles of dress and hair outside of whitewashed images of the Victorian Era]
While a name that perhaps many Canadians do not recognize, Mary Ann Shadd Cary (née Mary Ann Shadd) was an important woman to the intertwined histories of abolitionism and Black publishing in 19th c Canada and the USA. Born in Delaware, USA in 1823, Mary Ann Shadd and her family moved to Pennsylvania when the education of African American children was made illegal in the state of Delaware. After attending a Quaker school in Pennsylvania, the Shadd family again moved – this time north to what would become confederated in 1867 as the settler state of Canada – following the passage of the 1850 Fugitive Slave Act. The Shadds moved to famed North Baxton, ON, a town founded in 1849 by African Americans escaping enslavement in the United States. Mary Ann and her brother Isaac, however, moved to Windsor, ON, where she went on to found a racially integrated school.
While her brother Isaac most certainly deserves a blog post on his own (he helped host planning parties for the raid on Harper's Ferry led by John Brown), it is Mary Ann Shadd Cary who we wish to praise today on the blog. Beginning in March 1853, Shadd began publishing The Provincial Freeman, making her the first Black woman publisher in North America and the first woman publisher in Canada (you can even see her featured in the National Museum of African American History and Culture, NMAAHC, in Washington, DC!). Through both her newspaper (co-published with Rev. Samuel Ringgold Ward) and the school she helped found, Mary Ann Shadd was a fierce advocate for the self-education of Black people in North America. The Provincial Freeman, as with other Black owned and operated newspapers of this era, was essential in developing and strengthening transnational, diasporic community ties. Shadd, along with other Black activist abolitionists such as Frederick Douglass, was a fierce advocate of racially integrated schooling. She was also an essential proponent of moral uplift which, while at times problematic, was a pivotal movement of Black activism amongst middle class Black women during the 19th and early 20th centuries.
Mary Ann Shadd eventually went on to marry Thomas F. Cary, a barber in Toronto, whom she had two children with. After Thomas's death, she and her children moved to the USA, where she helped recruit Black soldiers for the Union Army during the Civil War. After the end of the Civil War, Mary Ann Shadd Cary became the second Black woman in the United States to earn a law degree – which she achieved at the age of 60! Shadd Cary continued her activism until old age, working alongside other suffragettes to earn the right to vote for women. She, amongst countless other Black women in Canada and the United States during the 19th c, fought for the rights of Black people in multiple spheres of engagement. By doing so, she demonstrated a keen and astute political awareness of how each sphere of inequality and injustice is intertwined and must be addressed in conjunction with one another.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Brooklyn: Verso Books, 2016 [Revised edition].
Conaway, Carol B. "Racially Integrated Education: The Antebellum Thought of Mary Ann Shadd Cary and Frederick Douglass." Vitae Scholasticae Vol. 27 Issue 2 (2010): 86-104.
"The Provincial Freeman." Last modified January 25, 2012. Accessed August 29, 2017. https://web.archive.org/web/20120126000215/http://www.archives.gov.on.ca/english/archival-records/interloan/provincial-freeman.aspx
July 7, 2017 July 8, 2017 histhotties20th Century, American history, Black American history, Black history, Black women's history, Gender, History of science fiction, Intersectional feminism, Literary history, Popular culture, Science fictionLeave a comment
[A photograph of Octavia E. Butler looking absolutely resplendent, found on the blog http://www.winnovating.com/octaviabutlerwinnovatingsciencefiction/]
Here at the HHBlog, we like to highlight people from both the distant and not-so-distant past who have inspired us in their radical, rabble-rousing, or otherwise rebellious ways. The fantastically-talented science fiction writer Octavia E. Butler is one such person, who has remained a captivating literary powerhouse for generations.
Octavia Estelle Butler was born in 1947 in Pasadena, California to a domestic working mother (Octavia Margaret Guy) and shoe-shining father (Laurence James Butler) and was raised predominantly by her mother and maternal family after her father's untimely death. In 1968 she earned an Associate of Arts degree from Pasadena's Community College, and later attended California State University in Los Angeles and UCLA. For the next several years, she studied at the Screenwriter's Guild Open Door Program and the Clarion Science Fiction Writers' Workshop where she took a class with her soon-to-be-mentor, Harlan Ellison in science fiction. In 1971, she published her first science fiction short story, beginning a long and successful career as a science fiction and speculative fiction writer.
Although she published many works of science fiction during the 1970s, it was not until the publication of her absolutely brilliant 1979 novel Kindred that she was able to support herself solely off of her work as a writer. While Kindred is one of her most well-known literary works outside of the science fiction literary community, she also published the Xenogenesis trilogy, Earthseed series, and many other novels and short stories. Throughout her career, she won the Hugo Award multiple times, the Nebula Award, the Locus Award, and in 1995 was the first science fiction writer to be awarded the MacArthur Foundation Fellowship (aka 'the Genius Grant'). Butler continued to win awards for her work even after her death in 2006, including being inducted into the Science Fiction Hall of Fame in 2010.
Today, we highlight Octavia E. Butler on the Blog for many, many reasons. Butler was an incredibly prolific and talented writer who created multiple immersive worlds out of her use of language. She infused all of her writing with important feminist social commentaries born out of her experiences as a Black woman born into the mid-20th c United States. Butler is an important literary figure in 20th and 21st c science fiction writing for the ways in which her talents and identity were bound up in each other. Rarely are Black women visualized by popular mainstream media when they represent what science fiction writers or science fiction fans look like, despite the fact that Butler is one amongst countless Black writers and fans of science fiction. For these reasons, we here at the Blog wanted to celebrate the genius that was Octavia E. Butler. We also wanted to acknowledge that Black women and other women of colour have been science fiction and speculative fiction writers for the entire history of these genres; women of colour have been creating fictional worlds out of our words for much longer than these genres have been named. Today, we here at the HHBlog give many thanks to Octavia E. Butler and all of the Black women who have written, continue to write, and will write science fiction!
"About." The official site of the Pen Lifetime Achievement and MacArthur award winning writer Octavia E. Butler. http://octaviabutler.org/bio/. Accessed July 7, 2017.
"Octavia E. Butler." Octavia E. Butler Literary Society. https://oebsociety.wordpress.com/octavia-e-butler/. Accessed July 7, 2017.
May 19, 2017 May 19, 2017 histhotties19th Century, American history, Bleeding Kansas, Calvinism, History of abolition, History of Connecticut, History of enslavement, History of Kansas, History of Missouri, History of New England, History of Ohio, History of resistance, History of West VirginiaLeave a comment
[A daguerreotype photograph taken by the Black photographer Augustus Washington in Massachusetts during the years 1846-1847. This photograph is in the public domain. This daguerreotype was later reproduced under the title "John Brown from a daguerreotype loaned me by Annie Brown" by Levin C. Handy between 1890-1910 over 40 years after Brown's death. The Handy photograph's original caption reads "Regarded as the best picture by the family" – and we certainly can see why!]
Today's post (coming just a little over a week after his 217th birthday!) is dedicated to the controversial radical, by-any-means-necessary white American abolitionist John Brown. Born in the year 1800 in Torrington, Connecticut, Brown was descended from some of the earliest English Puritan settlers, tracing his family lineage back to 17th c England. After marrying Dianthe Lusk, Brown and his family – including several children – moved to Pennsylvania. After Lusk passed away, he remarried a young woman named Mary Ann Day and moved to Ohio, where he worked as a hide tanner and sheep breeder (as he had earlier in life). In 1846, he moved yet again (after declaring bankruptcy several years earlier) – this time to Springfield, Massachusetts, which would prove a central turning point in his path towards becoming a radical and violent abolitionist.
Prior to his move to Massachusetts, when abolitionist journalist Elijah P. Lovejoy was murdered, Brown had reportedly declared that "before God, in the presence of these witnesses, from this time, I consecrate my life to the destruction of slavery" (as quoted in War and Reconciliation: The Mid-Missouri Civil War Project); however, it would be several years before this sentiment would be put into action. This is not, though, to suggest that Brown had been pro-enslavement previous to 1837. As a devoutly religious man (Calvinist), Brown's abolitionism was deeply intertwined with his religiosity, especially in relation to how he understood enslavement to be a sin. Nonetheless, his time spent living in Massachusetts was pivotal to his developing abolitionism as he became a parishioner at the famed Sanford Street Free Church, where he encountered Black radical abolitionists such as Sojourner Truth and Frederick Douglass, and became involved in the Underground Railroad. It was his time spent with Douglass that led him to believe that he was "less hopeful for [enslavement's] peaceful abolition" (as quoted in Carvalho III, 2012). In 1850, because the Fugitive Slave Act had been passed, Brown helped to found the League of Gileadites (in reference to the Biblical Mount Gilead), a militia-style group that prevented the recapture of fugitive slaves. Shortly thereafter, he left Massachusetts for North Elba, New York.
During this time, several of Brown's adult children were living in the newly established settler territory of Kansas, from whom he learned that there were mounting fears that pro-enslavement settler forces were growing in militancy. Newly founded settler territories such as Kansas proved critical points of contention in a nation built on enslavement, but divided between states who allowed enslavement to operate within their borders (for ex. the Plantation South), and states who profited from enslavement via commerce and indirect trade but viewed themselves to be 'outside' of enslavement (for ex. New England). Each new settler territory therefore proved a point of contention – would enslavement be legal or not within its borders? In response to his adult children's' concerns regarding growing pro-enslavement militarism, Brown made his way to Kansas in 1855 in attempts to help Kansas go from a territory to a free state. The following years (particularly a set of several months) would come to be known as "Bleeding Kansas" because of the violence that ensued between abolitionists and other anti-enslavement militias, and pro-enslavement militias. During the ensuing violence, one of Brown's sons was killed by a pro-enslavement militant; Brown and several of his adult sons later fled Kansas in order to raise money amongst abolitionists and their supporters.
John Brown is perhaps most (in)famous in American history for the final years of his life, wherein he and a dedicated few radical abolitionists (including Harriet Tubman and former enslaved Black people living in Ontario) took it upon themselves to plan and lead an insurrection against enslavement, specifically against a federal armoury, hoping that this would set off a domino of other insurrections. In July 1859, Brown began to put his plan into action at Harpers Ferry, West Virginia. Unfortunately, far fewer people joined him than he anticipated (under 25 altogether, all men under the age of 50 including several Black men). In September of 1859, Brown led the attack on Harpers Ferry which quickly failed, beginning with the first death of the attack accidentally being a free Black man named Hayward Shepherd on an incoming train. Several of the radical abolitionists died, including two of Brown's sons, in the violence that followed. Brown was eventually captured, put on trial, and found guilty, sentenced to hang in December. On December 2, 1859 Brown was killed by hanging, dying (in his words) "a martyr" for abolitionism. Brown's raid on Harpers Ferry would come to be understood as one of many, many initial catalysts for the American Civil War.
Brown, as other revolutionary figures in history, is often demonized in mainstream white American histories because he resorted to fighting the inhuman violence of enslavement with his own forms of violence. Writing histories of violence can be difficult, especially when confronted with figures such as John Brown who has both been vilified and romanticized for his actions. As there is no such thing as an objective or neutral history, I have not attempted here to hide my biases and subjectivity when writing about John Brown's commitment to the lives of enslaved Black people in the United States. For me as for many others, the intertwined horrors of enslavement, colonialism, and capitalism far outweigh the moral arguments against John Brown's use of violence at Harpers Ferry. Brown was a contentious figure during his time – contemporary abolitionists such as Frederick Douglass disagreed with his use of violence to fight enslavement, while others viewed this as the only way out of enslavement – and he has remained a contentious figure to this day. In my view, John Brown was a radical and revolutionary man not without his idiosyncrasies and questionable actions who was willing to lay down his life in order to fight one of the founding violences (enslavement) of the United States. Although a settler and the father of settlers who participated in displacing Indigenous peoples off of their lands, John Brown understood the enmeshed violence of capitalism and enslavement. He and his abolitionist sons were willing to fight by any means necessary against the enslavement of Black people in the United States and the capitalist structures of power that rested upon their stolen labour.
For those who have not always viewed John Brown as anything other than an "unhinged" or "crazy" violent man, it is important to begin to read other accounts of his life. When we remember John Brown, we may recall the words of the late historian Howard Zinn, who wrote that although it was "Abraham Lincoln who freed the slaves, not John Brown," Brown was "hanged, with federal complicity, for attempting to do by small-scale violence what Lincoln would do by large-scale violence several years later – end slavery." If you are someone who has valourized Lincoln, but demonized Brown, these are important words to jump off from into asking yourself why one form of violence (large-scale war) creates an historical hero of one man, and another form of violence (small-scale rebellion) creates an historical villain in another.
With this, I leave you with the words of John Brown, specifically a dramatic reading of his last speech originally delivered on November 2, 1859 and performed here by actor Josh Brolin. I encourage all of you to go out and search for critical histories of John Brown, whether academic texts or popular ones, books or blogpost, as this short post is just one condensed sliver of the many histories of John Brown.
"Had I interfered in the manner which I admit, and which I admit has been fairly proved (for I admire the truthfulness and candor of the greater portion of the witnesses who have testified in this case), had I so interfered in behalf of the rich, the powerful, the intelligent, the so-called great, or in behalf of any of their friends, either father, mother, brother, sister, wife, or children, or any of that class, and suffered and sacrificed what I have in this interference, it would have been all right; and every man in this court would have deemed it an act worthy of reward rather than punishment.
I believe that to have interfered as I have done, as I have always freely admitted that I have done in behalf of His despised poor was not wrong but right. Now, if it is deemed necessary that I should forfeit my life for the furtherance of the ends of justice and mingle my blood further with the blood of my children and with the blood of millions in this slave country whose rights are disregarded by wicked, cruel, and unjust enactments I submit. So let it be done." – John Brown, November 2, 1859.
"Biography of John Brown." : War and Reconciliation: The Mid-Missouri Civil War Project. Accessed May 10, 2017. http://law.missouri.edu/bowman/hatts/john_brown/biography.html
"John Brown's Last Speech." Teaching A People's History: Zinn Education Project. Accessed May 10, 2017. https://zinnedproject.org/materials/john-brown/
Zinn, Howard. A People's History of the United States. New York: HarperCollins, 1980.
February 3, 2017 February 3, 2017 histhotties20th Century, American history, Black American, Black American history, Black history, Black History Month, Black women's history, Harlem RenaissanceLeave a comment
[A fabulous photograph of Zora Neale Hurston in Eatonville, Florida. Found at https://www.floridamemory.com/items/show/33048 ]
In celebration of the start of Black History Month here in the United States, today's HHBlog post is dedicated to the poet, fiction writer, anthropologist, and folklorist Zora Neale Hurston. Hurston was born in Notasulga, Alabama in 1891 and spent the majority of her early life in Eatonville, Florida, the first incorporated Black township in the United States. Raised by her mother Lucy Potts Hurston and her father John Hurston until Lucy's untimely death when Zora was thirteen years old, Zora Neale Hurston remembered her childhood as a relatively peaceful time where she was surrounded by Black success, inspiration, and support. After her mother's death and her father's remarriage, Zora struggled through school. Eventually Zora ended up, at age twenty-six, in Baltimore with no complete high school education. She enrolled in public school, claiming to be sixteen years old in order to receive her education for free; from this moment onward, her publicly-stated age was always to be ten years younger than her real age.
After living for a time in Baltimore, Zora made her way to Harlem, New York and became an integral part of the Harlem Renaissance, becoming friends with the likes of Langston Hughes, Ethel Waters, and Sterling Brown. In 1928, she graduated from Barnard College (the women's college attached to Columbia University). Throughout the 1930s and 1940s she wrote several short stories, novels (Jonah's Gourd Vine published in 1934), and folklore collections (Mules and Men published in 1935). Perhaps her most famous work was 1937's Their Eyes Were Watching God – a must-read novel for anyone and everyone, in our opinion here at the Blog. It was not until the publication of her autobiography in 1942, however, that she gained more prominent recognition. Even then, though, she received little compensation for her writing, as demonstrated by the fact that when she passed away in 1960 from a stroke, her neighbours in Florida had to cobble together money for her funeral. From 1960 until 1973, her grave remained unmarked – something that Zora had foretold in a letter she wrote to W.E.B. Du Bois regarding how often Black people's graves went unmarked in the United States. It was not until 1973 when Alice Walker, a then-young Black author, made a pilgrimage to the segregated Florida cemetery Garden of Heavenly Rest that Zora's grave received a tombstone, reading "Zora Neale Hurston: A Genius of the South."
In honour of Zora Neale Hurston and all the Black women artists, writers, and cultural workers who came before and after her, we ask our readers to seek out, listen to, or watch the work of Black artists who dedicated themselves to displaying Black joy, complexity, and nuance in a world that affords little space for complicated understandings of Blackness.
If you haven't read anything by her, check out this wonderful reading by Alice Walker of an excerpt from Their Eyes Were Watching God:
Boyd, Valerie. Wrapped in Rainbows:The Life of Zora Neale Hurston. New York: Lisa Drew Books, 2004.
Boyd, Valerie. "About Zora Neal Hurston." Accessed February 3, 2017. http://www.zoranealehurston.com/about/index.html
Ella Cara Deloria
December 9, 2016 December 9, 2016 histhotties19th Century, 20th Century, American history, Dakota history, History of anthropology, History of leisure, Indigenous historyLeave a comment
[A wonderful photo of Ella Cara Deloria, found on the website for the Akta Lakota Museum & Cultural Center]
Ella Cara Deloria (Anpetu Wastéwin "Beautiful Day Woman") was born in 1889 on the Standing Rock Reservation in what is known as the state of South Dakota, USA. Deloria was born to a prominent Christian Dakota family, with famous Dakota activist academics such as Vine Deloria Jr. (her nephew) and Philip J. Deloria (Vine Deloria Jr.'s son) making up part of her familial relations.
In 1915, Deloria received a Bachelor's degree from Columbia Teacher's College. During her time at Columbia, she met the famous anthropologist Franz Boaz with whom she began to collaborate with. Her knowledge of both Dakota and Lakota Sioux dialects became an asset within the early twentieth century world of anthropology, a discipline which was born of colonial, exploitative inquiry into the lives of Indigenous peoples by mostly white men. With her introduction to Boaz, Deloria began to become involved in anthropological work as a key translator and critical analyzer of Sioux texts.
Her work in the academy demonstrates some of the ways marginalized people navigated early twentieth century academia, and specifically how Indigenous women were intrinsic in the development of anthropology as a field of academic inquiry. While anthropology is embedded within a colonial history of exploitation, figures like Ella Deloria complicate what can often be painted as a one-dimensional narrative of academics exploiting Indigenous communities. Deloria demonstrates, quite literally, how Indigenous peoples spoke back with and against anthropologists during the twentieth century, often making space for themselves to work in helping their own people.
Outside of her work as an anthropologist, linguist, and ethnographer, Deloria was also a novelist and – interestingly – an advisor to the Camp Fire Girls, an early version of a settler girls "back to nature" style camp. Although camps such as the Camp Fire Girls utilized stereotypes of Indigenous peoples as "noble savages," people like Deloria hoped to change these harmful stereotypes by working from within. From 1929 to 1931, Deloria taught Camp Fire Girls about different Indigenous philosophies, songs, and dances, advancing what Philip J. Deloria has referred to as "her own cultural mission – constructing positive images of Indians around the primitivist foundation laid by the Camp Fire Girls. Just as the Camp Fire Girls used a universal Indianness to reproduce specific ideals of middle-class womanhood, so too did Deloria seek access to American cultural institutions in order to reshape popular conceptions of Indianness" (122).
Deloria's work spanned not only the academy, but everyday middle-class settler contexts such as summer camps for children. She worked tirelessly within institutions that were not meant to accommodate the voices of Indigenous people in general, and specifically not Indigenous women. Ella Deloria was of a generation of middle-class Indigenous activists who gained entry into settler academic institutions, albeit in often marginal forms, and attempted to work towards change from the inside out. Deloria, like many other members of her family, paved the way for later generations of Indigenous activists. As the recent and ongoing defense of Indigenous land, water, and treaty rights at Standing Rock demonstrates, the fight for justice continues. We here at the HHBlog tip our proverbial hats to Indigenous women such as Ella Deloria who fought – and continue to fight – in myriad ways for their respective peoples.
Deloria, Philip J. Playing Indian. New Haven: Yale University Press, 1998.
"Ella Cara Deloria, Anpetu Wastéwin (Beautiful Day Woman)." Akta Lakota Museum & Cultural Center. Accessed December 9, 2016. http://aktalakota.stjo.org/site/News2?page=NewsArticle&id=9006
November 18, 2016 November 20, 2016 histhotties20th Century, American history, American political history, Black American history, Black history, Gender, Gender history, New York history, Political historyLeave a comment
[An absolutely fantastic photo of the brilliant (and one of my personal fashion inspirations, I mean the severity of a tightly buttoned, bright collared shirt with a big necklace?! Hello!) Shirley Chisholm, announcing her candidacy for Presidential nomination on January 25th, 1972 in Brooklyn, NYC. "Congresswoman Shirley Chisholm announcing her candidacy for presidential nomination," Library of Congress Prints & Photographs Online Catalog, http://loc.gov/pictures/resource/ds.07135/ ]
We here at the Blog pride ourselves on taking the time and care to curate accessible snapshots of lives lived in search of justice, with a strident political commitment to paying tribute to the voices of rabble rousers, radicals, and all around historical badasses who challenged injustice, marginalization, and oppression in a myriad of ways while celebrating the beauty (sans fetishization) of historically subjugated and denigrated communities. The last several weeks have quieted us, however, at least in our writing at the Blog as we have taken time to reflect, discuss, and heal in light of the outcome of the recent American Presidential election. In tribute to the countless communities across the United States who are continuing the multilayered fights for justice amidst emboldened white supremacy, patriarchy, settler colonialism, and capitalism, today's HHBlog post is dedicated to none other than Shirley Chisholm, the first Black congresswoman elected in the United States.
Chisholm was born in Brooklyn, NYC in 1924 to a Barbadian mother and a Guyanese father, and was raised between Barbados by her maternal grandparents and Bed-Stuy, Brooklyn by her parents. After graduating high school in the 1940s, she went on to attend Brooklyn College and earned a degree in sociology. Following her graduation, she worked in childcare and, after marrying Conrad Q. Chisholm, returned to post-secondary education, this time for a Master of Arts in early childhood education from Columbia University.
In 1964, she was elected to the New York state legislature, only the second Black woman at that point to have done so. According to the U.S. House of Representatives biography of Chisholm, it was a "court–ordered redistricting that carved a new Brooklyn congressional district out of Chisholm's Bedford–Stuyvesant neighborhood [that] convinced her to run for Congress." After defeating several other Black candidates in the Democratic primary election of 1968, she went on to face off against Civil Rights activist and Republican-Liberal James Farmer, utilizing the argument (in her words) that "women [had] been in the driver's seat" for too long in Black communities. Chisholm handily won her Congressional seat, gaining 67% of the vote in her district.
Chisholm served in Congress from 1969 until 1983 (91st to 97th Congresses), sitting on several important committees throughout her time as a congresswoman. While a congresswoman, Chisholm championed the causes she had fought for in her own community, including the right of domestic workers to receive benefits, federal funding for education, and immigrant rights. In 1972 she announced her candidacy for the Democratic Presidential ticket, the first woman to run for the Democratic Party's President nomination and the first Black person to run for President in the history of the United States. At the Democratic National Convention (DNC), she received roughly 10% of the delegate votes, which was rather sizeable considering the lack of access to large funding sources she had. Unfortunately, she was unsuccessful in her bid, due to a combination of factors including a division in the Congressional Black Caucus (which she helped found, no less).
Chisholm was a luminary in American politics and embodied many "firsts" in the political history of the United States. While she was a champion of Black rights, she never once flinched at criticizing Black patriarchal practices and norms alongside white patriarchy – something that garnered her both respect and incredible amounts of criticism. Chisholm, who once said that "[i]f they don't give you a seat at the table, bring a folding chair," continues to be an inspiration to communities of colour, especially Black communities, across the United States despite often being ignored in white American mainstream history.
Although it is difficult to see how a political system built on stolen land and the labour of enslaved Africans and their descendants can ever deliver true justice to the most marginalized people in this society, Shirley Chisholm continues to be a shining ray of inspiration. Thank you Shirley Chisholm, and all the other Black women and non-Black women of colour who continue to fight oppression and injustice. Today, we pay tribute to Shirley Chisholm, who remained "unbought and unbothered" (her campaign slogan) until her passing in 2005.
"CHISHOLM, Shirley Anita." History, Art & Archives, U.S. House of Representatives. Accessed November 18, 2016. http://history.house.gov/People/Detail/10918
Vaidyanathan, Rajini. "Before Hillary Clinton, there was Shirley Chisholm." BBC News, January 26, 2016. Accessed November 18, 2016. http://www.bbc.com/news/magazine-35057641
Américo Paredes
October 15, 2016 October 15, 2016 histhotties20th Century, American history, American Studies, Chicano Studies, Cultural Studies, México, Mexican history, Mexican-American history, Popular cultureLeave a comment
[A rather handsome photograph of Américo Paredes – with his guitar in his hand – in later life. Photo found on the University of Houston's Houston Public Media Obituary https://www.houstonpublicmedia.org/articles/shows/2015/09/26/127130/writer-and-folklorist-amrico-paredes/ ]
Born in the fronteriza city of Brownsville, Texas in 1915, Américo Paredes was one of the foundational figures in the development of Chicano Studies. Working first as a newspaper delivery person, and later as a reporter for the Brownsville Herald during the Great Depression, Paredes served in the Second World War in the Pacific and only returned to the United States in 1950. Upon his return, he enrolled at the University of Texas and became the first Mexican-American to obtain a PhD from the university.
His first book, "With His Pistol in His Hand": A Border Ballad and Its Hero (1958) is considered to be one of *the* foundational books in Chicano Studies and has proven to be a classic folkloric text in the historiography of the borderlands/frontera. This book helped pave the way for his career, which spanned decades and always focused on what he referred to as the "Lower Border" region. His work concentrated on cultural creations like corridos (popular Mexican ballads), fronteriza humour, and folktales. He helped to inspire countless people after him, ranging from historians within the academy to working class people interested in reconnecting with their cultura.
Although it has been several years since Paredes passed away in 1999, his work continues to inspire both already established scholars and those of us like myself who are just beginning our academic careers. His work outside of the academy as a singer-songwriter was just as influential as his work as a scholar taking pride in studying his own culture. It is through the diversity of his passions that his work helped to create the modern discipline of Chicano Studies as it stands today.
Holley, Joe. "Americo Paredes, a Pioneer In Chicano Studies, Dies at 83." New York Times, May 7, 1999. Accessed October 13, 2016. http://www.nytimes.com/1999/05/07/arts/americo-paredes-a-pioneer-in-chicano-studies-dies-at-83.html.
Medrano, Manuel F. Américo Paredes: In His Own Words, an Authorized Biography. Denton: University of North Texas Press, 2010.
September 16, 2016 September 16, 2016 histhotties20th Century, American history, Asian American history, Chinese American history, Chinese diaspora history, Film history, Gender histroy, History of California, History of Yellow Peril FearsLeave a comment
[A black and white photograph of Anna May Wong looking glamorous as all hell circa 1935. Her gaze is focused somewhere behind her and to her right, creating the illusion of ignoring the camera and her onlookers. This photograph is in the public domain, and was found at https://commons.wikimedia.org/wiki/File:Anna_May_Wong_-_portrait.jpg ]
Today's post is dedicated to the talented and absolutely fabulous actress known as Anna May Wong. Born Wong Liu Tsong (Yellow Frosted Willow) in Los Angeles early in 1905 to Chinese-American parents who ran a laundry, Wong went on to become one of the only Asian-American actresses of the early to mid-twentieth century in American cinema (Hodges, 1). Beginning her career at a young age, first in silent film and moving into talkies, she worked in the film industry as a renowned actress until her untimely death in 1961.
Her films ranged from 1922's The Toll of the Sea, 1929's Piccadilly, 1931's Daughter of the Dragon, and 1943's anti-Japanese propaganda film Bombs Over Burma, with her being cast in different "ethnic" roles ranging from Inuit to Mongolian throughout her career. As scholar Anthony B. Chan notes in Perpetually Cool: The Many Lives of Anna May Wong (1905-1961), Wong's varied roles were "designed to reveal an exotic, stern, and mysterious Asian being rather than a matter-of-fact person who relished the art of repartee. Her films served to create an aura of aloofness that seemed to encourage a sexual encounter but at the same time pushed aside the possibility of touching and intimacy" (Chan, 193).
Wong was constantly cast as the "ultimate cinematic tease" in Hollywood films (Chan, 193), as a stereotypical "Dragon Lady" in her early years, leading her to leave for Europe in search of more fulfilling roles that did not rely on her playing a supporting "exotic" character. By leaving the United States film industry for the industries flourishing in Europe, she was able to escape being constantly typecast as an exotic supporting role, which came out of a combination of anti-miscegenation laws that disallowed her from having on-screen romances with anyone who was not Asian and from Euro-American actresses constantly being cast in yellow-faced leading Asian roles. Eventually, she was signed on to Paramount in the 1930s and returned to the United States after starring in several European films of varying success. As her fame grew in the United States during the 1930s, she began to advocate on behalf of the Chinese-American community and new Chinese refugees during a time of extreme anti-Asian racism and hostility in the United States that had begun with the California Gold Rush in the mid-nineteenth century and continued on throughout the next century.
Wong's career spanned a breadth of roles, from stereotypical and offensive to witty and empowering, that constantly subverted Euro-American expectations of (East) Asian-American women. She was an "icon to the people of Chinese North America" who wrote tongue-in-cheek signatures on publicity photos destined for Euro-Americans, such as "Orientally yours" (Chan, xii; Hodges, xvii). Anna May Wong's life leads us to interrogate the ways that rebellion and subversion often co-exist with what, at times, appear to be the upholding of oppressive norms. Furthermore, Wong's "exoticized" beauty forces us to grapple with the ways in which beauty is often weaponized against particular gendered and racialized historical subjects, leading to a forced simplification of an individual's complexity and humanity. Wong's sexualized appeal as a racialized subject of White fetishes regarding East Asian women is an essential aspect in understanding the complicated history of media portrayals of Asian women that reverberate into the present day.
We here at the HHBlog have the utmost respect for trail-blazing women like Anna May Wong and hope that in detailing a little bit of her life in all of its intricacies, we have inspired you to think critically about the way women living at the intersections of fetishized and sexualized racism resist, rebel, and survive.
Chan, Anthony B. Perpetually Cool: The Many Lives of Anna May Wong (1905-1961). Lanham: Scarecrow Press, 2007.
Hodges, Graham Russell Gao. Anna May Wong: From Laundryman's Daughter to Hollywood Legend. Hong Kong: Hong Kong University Press, 2012.
Tiana (Thi Thanh Nga). "THE LONG MARCH: From Wong to Woo: Asians in Hollywood." Cinéaste 21, no. 4 (1995): 38-40. http://www.jstor.org/stable/41687420.
The Amistad Africans
September 10, 2016 September 10, 2016 histhotties19th Century, African History, American history, Black American history, Black history, History of abolition, History of Connecticut, History of enslavement, History of New England, History of New Haven, History of Sierra Leone, Legal history, Mende history, Spanish historyLeave a comment
We here at the Blog dedicate ourselves each week to writing a post on a person (or set of people) that has been in some way marginalized, written out of mainstream historical narratives, or dismissed as unimportant for various reasons. We spend a lot of our time for each post researching the person/people in question, writing up a short but still informative post, and editing to make sure there aren't too many glaring mistakes, inaccuracies, or problems with what we choose to present our readers with each week. Some posts come easier than others, not because of an assumed superficiality of the historical subject we are writing about but for various other reasons. Other posts – at least for myself – take on a fourth step in my "research-write-edit" (repeat) process. That fourth step often includes a self-critical (re)evaluation of the entire post and the Blog.
The responsibility that comes with running a blog named Historical Hotties weighs heavily when you are trying to both bring attention to oft-overlooked historical figures or their communities without simultaneously fetishizing or bringing unwanted bigotry to their descendants or present-day communities. Today's post grapples more clearly with those issues than perhaps other posts, specifically because the subjects were a group of Black men and four Black children who were captured, enslaved, and brought across the Middle Passage to the Americas (Turtle Island). The present-day issues of how to commemorate and celebrate their resilience without romanticizing or fetishizing suffering and oppression are key questions that we must deal with here at the Blog, and that historians working both within and outside of the academy must be held accountable to. These issues are also layered with the larger questions of who has claims to what history. These questions present themselves differently to those of us who write about our own people's histories versus those of us who write about the histories of peoples who we do not come from.
With these questions in mind, for today's post we present to you the history of the Amistad Africans (as they are commonly and presently referred to). The story of the Amistad Africans is one that many historians of enslavement will be familiar with, or fans of Steven Spielberg films will be at least vaguely familiar with. The Amistad Africans were a group of forty-nine adult men and four children who were originally from interior Mende country in what is present-day southern Sierra Leone (Osagie, 4). These fifty-three people were kidnapped in 1836 and sold into enslavement to two Spanish slavers, Pedro Montes and José Ruiz, who then proceeded to force them across the Atlantic Ocean along the Middle Passage until they reached the Caribbean. Stopping in La Habana and switching ships to La Amistad, their ultimate destination was Puerto Príncipe.
On the third night en route from La Habana to Puerto Príncipe, the forty-nine Mende men revolted after the ship's cook Celestino taunted them with cannibalism. Senbge Pieh (one of the Mende men) incited the other men to action: "We may as well die trying to be free, as to be killed and eaten" (as quoted in Osagie, 5). Senbge with the help of another man, Grabeau, broke out of his chains and once all of the men were freed from their iron collars, proceeded to grab cane knives and kill the captain and the cook. In the ensuing rebellion, two of the Mende men were killed and two Spanish seamen managed to escape by boat. Ruiz and Montes – the men who were to hold the Amistad Africans in enslavement – were captured and became prisoners on the ship. However, as none of the Mende men knew how to navigate La Amistad, they depended on their prisoners Ruiz and Montes to aid them back to Africa.
Ruiz and Montes by day travelled east, and by night steered La Amistad west and north, hoping to land in the United States. After two months, eight people dying of various illnesses, and a quickly depleting food supply, they eventually reached Long Island, New York. The Amistad Africans, after attempting to negotiate with local captains, were captured by the navy and taken prisoner where they would spend the next twenty-seven months in captivity. On August 27th, 1836, La Amistad was towed to New London, Connecticut and the story soon turned into an international incident as the enslaved people's worth exceeded an estimated $70,000, leading the case to be taken up by the American court system. The case was presided over by pro-enslavement judges where the adult Amistad Africans were tried with murder and piracy.
While the case developed in Connecticut, abolitionists began to take notice, including Dwight Janes who went to the August 29th hearing and learned that the Mende men and four children had been brought to La Habana directly from Mende country despite the Atlantic Slave Trade being legally "over" (although, of course, in practice this was not the case). The editor of the Emancipator Rev. Joshua Leavitt and Simeon Jocelyn (a White minister in New Haven's first Black church) along with the businessman and abolitionist Lewis Tappan soon rallied in support with Janes, hoping to meet the needs of the Amistad Africans in regards to their legal defense (Osagie, 7). The group of abolitionists who took it upon themselves to provide legal counsel eventually found John Ferry, a free Black Mende man living in New York, who served as the initial interpreter in the early stages of the case. Eventually another free Black Mende man, James Covey, took on the role of interpreter for the duration of the case.
The case proceeded to gain more attention not only within the United States but in Cuba, Spain, and Great Britain. However, it was not the attention of other imperial powers that swayed the former President John Quincy Adams to eventually take on the case in front of the Supreme Court. It was instead the words of two of the Amistad Africans, Kali and Kinna (sometimes spelled Kenna) who wrote to him, pleading for his legal aid. Adams took on the case, with the Supreme Court upholding the rulings of lower courts stating that the Amistad Africans (only thirty-five of whom were still alive at this point) were not enslaved but instead free men illegally kidnapped from Africa, pointing to the Atlantic Slave Trade's illegal status in 1836 as proof of their freedom. The Amistad Africans and the Amistad Committee (comprising the many abolitionists who came to their aid) raised money to return to Mende country by various means including going on church speaking tours and making crafts (Osagie, 18). Eventually, the thirty-five remaining Amistad Africans made it back to their homeland by sailing with a group of White and Black American missionaries.
We here at the Blog tip our proverbial hats to the resistance the Amistad Africans enacted against their enslavement, both the violent aspects of their rebellion and the non-violent ones such as the letters Kali and Kinna wrote to John Quincy Adams. The histories of these fifty-three Mende people point us in various directions, including being cognizant of the history we are literally living on top of. As a student at Yale University, an institution built on stolen Indigenous land and with the funds of enslavement as its source of original wealth, in New Haven, it is important for me to engage with the history of the place I live in, and this includes situating myself in relation to this history that partly took place in New Haven, Connecticut (located on Quinnipiac Territory). Alongside the familiarity with the history of particular places that academic spaces are found in, the histories of the Amistad Africans also forces us to recon with questions regarding the limits of utilizing the (il)legality of settler colonial and imperial states in seeking justice; of how piracy was often depicted as a specifically racialized threat; and of how transnational histories of enslavement and resistance engage with one another across and along the Atlantic.
We hope our readers take it upon themselves to seek out histories of resistance such as those of the Amistad Africans, or at least in learning a little bit about the places we variously call "home."
Osagie, Iyunolu Folayan. The Amistad Revolt: Memory, Slavery, and the Politics of Identity in the United States. Athens: University of Georgia Press, 2000.


text:
El Nielsen Pro Tennis Championships 2013 fue un torneo de tenis profesional que se jugó en pistas duras. Se trató de la 22.ª edición del torneo que forma parte del ATP Challenger Tour 2013 . Tuvo lugar en Winnetka , Estados Unidos entre el 1 y el 6 de julio de 2013.

Jugadores participantes del cuadro de individuales

Cabezas de serie

 1 Se ha tomado en cuenta el ranking del día 24 de junio de 2013.

Otros participantes
Los siguientes jugadores recibieron una invitación (wild card), por lo tanto ingresan directamente al cuadro principal:
  Evan King
  Jarmere Jenkins
  Jack Sock
  Dennis Nevolo

Los siguientes jugadores ingresan al cuadro principal tras disputar el cuadro clasificatorio:
  Sekou Bangoura
  Jeff Dadamo
  Kevin King
  Martins Podzus

Los siguientes jugadores ingresan al cuadro principal como alternativos:
  Eric Quigley
  Michael McClune
  Ante Pavić

Campeones

Individual Masculino

  Jack Sock derrotó en la final a  Bradley Klahn 6–4, 6–2

Dobles Masculino

  Yuki Bhambri /  Michael Venus  derrotaron en la final a  Somdev Devvarman /  Jack Sock 2–6, 6–2, [10–8]

Enlaces externos
Sitio oficial

ATP Challenger Tour 2013
Tenis en 2013
Torneos de tenis en pista dura
Challenger de Winnetka 2013

redpajama_set_name: RedPajamaWikipedia


How we think of success often determines just how successful we become. As in most areas of life, the thing that limits us the most is often ourselves. See if you have any of the hang-ups below that might be blocking you from achieving all the success that awaits you.
1. Some people can't be successful.
Anybody can be a "success." It's a matter of having the desire and doing what's necessary to achieve it.
Wrong, they make plenty of mistakes. They just don't repeat them.
3. You've got to work 60 (70, 80, 90…) hours a week.
Working 70 hours a week means nothing if you're not doing the right things. Focus on doing what's right not just on doing a lot.
Sometimes you do, sometimes you don't. Successful people often make up their own rules.
Success rarely occurs in a vacuum. Recognize the people who help you become successful, there are plenty of them.
Maybe, but it takes so much more hard work, diligence, and knowledge — who needs luck?.
Define success however you like, but there are plenty of successful people who aren't rich.
Again, if that's part of your definition, then fine. But the truth is, you can be a success and be the only one who knows it.
You may be successful, but you'll still have the ups and downs that you had before. Enjoy what success you achieve and live each day as it comes.


text:
Californian cities take first steps towards implementing its 'smart city' infrastructures
Published: Wednesday, 30 August 2017 11:33
The Californian cities of Berkeley and Palm Springs have announced that it will take its first steps towards implementing its 'smart city' infrastructures after reaching an agreement with 5 Bars Communities, which is a dba of XG Communities.
XG will manage the wireless coverage in both sun kissed cities and will oversee the construction of its respective 'smart city' infrastructures. XG's overall objective in Berkeley and Palm Springs is to leverage existing city assets in order to provide excellent wireless coverage and connectivity through its neighborhoods, roads and public places.
XG has established a stellar reputation for itself all across the United Sates for its ability to provide wireless master plans, asset marketing and engineering services for cities and municipalities in North America.
It's 'master plan' provides every community with a strategic roadmap that is designed to help cities implement a smart wireless infrastructure whilst retaining local control. The wireless marketing plan will optimize new city revenue sources from wireless infrastructure and carrier investments by establishing a predictable and repeatable process with local authority and control.
It has been projected that the wireless industry will deploy hundreds of thousands of small cells as wireless carriers densify existing networks across the US. However, this inevitably makes it difficult for cities to manage the application process. However, it has been disclosed that 5 Bars will act as an advocate for both Palm Springs and Berkeley.
n addition to this, it has been disclosed that 5 Bars has reached a multi-year agreement with both cities. Berkeley has a tradition for being a progressive city and has been previously ranked as one of the best places in the US to live. It's famous for being open to and introducing 'creative change' and that is evidenced by its leadership towards implementing 'smart city' infrastructures. Public representatives in Palm Springs, which is a hugely popular holiday resort, have stressed their desire to increase connectivity for both businesses and citizens.
5 Bars Communities
Strategic Roadmap

redpajama_set_name: RedPajamaCommonCrawl


Pay-per-click (PPC) advertising allows you to pay for a position at the top of the search engines, like Google, to have the highest rankings. We are able to effectively manage your budget and allocate a price for each keyword. In addition, we utilize many settings to convert searches into sales such as targeting a location to testing business models. We are skilled in determining which keywords are lucrative and will result in sales as opposed to an expensive campaign that will just waste your money. We have special expertise in working with GoogleAds.
We can transform your vision and create an online presence that is uniquely your own.


text:
'I Am Easy to Find:' Mike Mills Reimagines the Music Video
Mills and band The National developed a new kind of collaboration for both their film and album.
"Developed in secret over 18 months of radically free-form collaboration, this beautiful experiment suggests that a video doesn't have to be made after the fact of its music; that film can be as much a part of an album as an album is a part of a film," writes David Ehrlich about the 25-minute "I Am Easy to Find," directed by Mike Mills for and with The National.
Read more: Mike Mills, Alicia Vikander and The National Made the Most Beautiful Visual Album of All Time
Though the National's album, also titled I Am Easy to Find, and the film reflect each other, Mills describes them as "playfully hostile siblings that love to steal from each other—they share music and words and DNA and impulses and a vision about what it means to be a human in 2019, but don't necessarily need one another."
"Shot in five days but edited across eight months," explains Randall Colburn, "I Am Easy to Find" is a "25-minute narrative comprised of 164 scenes. These short snapshots are subtitled with moments big and small, and, when paired with the album's searching lyrics and flurry of vocals, the granular nature of it all snowballs into something big, profound, and deeply melancholic." To read the full article, click here.
Mike MillsThe National


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De naam Jose is gebruikt voor 4 tropische cyclonen in de Atlantische Oceaan.

Atlantische Oceaan:
Tropische storm Jose (1981)
Orkaan Jose (1999)
Tropische storm Jose (2005)
Tropische storm Jose (2011)


I gather that breed number is very important but Im still confused about it. From what I gather a pet can be common, uncommon, or rare. In addition to that it can have a breed number that determines how stats are allocated. Some can be faster, some hit harder, some more health, and some more rounded. So how do I tell which one my pet is? Is it possible they would be none of those? Could I have a rare pet that has no extra boost? What are generally the most desirable? Please help.
There are many users here that are very knowledgeable about breeds and breed IDs, so hopefully they will provide you with detailed information, but in the meantime you can learn about breeds [url=http://www.warcraftpets.com/wow-pet-battles/#breeds]here[/url]!
Ok, I'm going to take a stab at the basics of Breed ID's.
Breed ID is basically a number representing the stat allocation. All wild pets* have a set of breed ID's that they can have, based on their specific type. The breed ID's are divided into two sets, that are exactly the same, EXCEPT that one set indicates male, and the other indicates female.
You also mentioned quality (as in poor, common, uncommon and rare). Think of the quality as a multiplier on the stats of the pet. The higher the quality of the pet, the better multiplier you get.
The stat allocation for the pet is determined by the Breed ID and the quality acts as a multiplier.
*Wild pets will (to my knowledge) have the same stats if they have the same breed ID and quality. However, pets obtained by other means are not consistent. For example, [pet]Lil' Ragnaros[/pet] has a higher attack than wild pets who share his Breed ID 4.
To answer the second part of your question, "How can I tell which breed ID my pet has?" you can use this site as a tool.
If the stats generated match the stats of your pet, that's the right breed ID. You can turn the level all the way up to 25 to see what stats your pet will have at that level.
If the stats don't match, arrow over on the little green graph and recheck until you find your breed ID.
This can also be used while you are battling a pet, if there is a specific breed ID you want.
Overall stats are modified by the pet and family, as well.
Some pets that are type 4 will have much higher atk than another type 4 pet.
You have the "base" pet (say, a rabbit). The breed then adds modifiers- 2 to one stat for a 4/5/6 pet, 0.9 to two stats for a 7/8/9, or 0.4 to two stats and 0.9 to one stat for a 10/11/12, 0.5 to each stat for a 3 pet.
Then the rarity acts as a multiplier on a per-level basis.
So if you want, say, a faster-than-average pet, you could either look for a "speed" breed of a pet, or you might be able to get the HP/power breed from a faster pet type.
As an example, I have a type 5 roach, and a type 5 golden beetle. The roach has 8.5/7/8.5 as starting stats, vs the beetle with 8/8.5/7.5 starting stats, giving the beetle less speed and a little less health in exchange for more attack.
Thanks for all the info guys, very complete!
Holy crap guys that really helped a lot. Can we make a stickied guide on this? Im sure im not the only one that didnt understand all that before.
Some of the info noted by other members above may help clarify what we already have in this guide. If so, please let us know what you found most useful and we'd be happy to add it and/or update this section of our guide.
Now that I know how to check my breed IDs and fully realize the differences /potential of each Breed... I feel the need to release a bunch of my 25's and get myself different breeds of them and relevel them! I knew this would happen.. lol!
I hadn't actually looked at that guide before Breanni, and the information and graphics you have in there are the best guide I've seen so far! It is DEFINITELY worth reading/bookmarking if anybody has questions concerning the mechanics.
I really didn't answer your third question Onska, but this board has a lot of great ideas and strategies on pet battling, ability combos, and the pets that make the best use of these abilities. Some posts focus on battling pet trainers and using them to level, while others focus on the pvp side of things. It's not a bad place to just start exploring, figuring out strategies, experimenting, etc. The community here is very friendly and will often reply with feedback and suggestions. Good luck!


"Plays" was orginally released as a 7" vinyl by Mego in 1998 and a CD single by Moikai in 1999. Its seen by many as the 'turning point' between early Fennesz electronic abstract works such as the "Instrument" 12" and "Hotel Paral.lel" CD, and the more guitar based works such as "Endless Summer" and "Venice". The two tracks featured; "Paint It Black" and "Don't Talk (Put Your Head On My Shoulder)" were intially released as cover versions of songs by The Rolling Stones and The Beach Boys respectively. Since then, the relevant mechanical and publishing rights societies have ruled that these tracks are so far removed the originals, that they should be considered as homages written by Christian Fennesz.


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text:
In modular arithmetic, Thue's lemma roughly states that every modular integer may be represented by a "modular fraction" such that the numerator and the denominator have absolute values not greater than the square root of the modulus.

More precisely, for every pair of integers  with , given two positive integers  and  such that , there are two integers  and  such that

and

Usually, one takes  and  equal to the smallest integer greater than the square root of , but the general form is sometimes useful, and makes the uniqueness theorem (below) easier to state.

The first known proof is attributed to  who used a pigeonhole argument. It can be used to prove Fermat's theorem on sums of two squares by taking m to be a prime p that is congruent to 1 modulo 4 and taking a to satisfy a2 + 1 = 0 mod p.  (Such an "a" is guaranteed for "p" by Wilson's theorem.)

Uniqueness

In general, the solution whose existence is asserted by Thue's lemma is not unique. For example, when  there are usually several solutions , provided that  and  are not too small. Therefore, one may only hope for uniqueness for the rational number , to which  is congruent modulo  if y and m are coprime. Nevertheless, this rational number need not be unique; for example, if ,  and , one has the two solutions
.

However, for  and  small enough, if a solution exists, it is unique. More precisely, with above notation, if

and
,
with

and

then

This result is the basis for rational reconstruction, which allows using modular arithmetic for computing rational numbers for which one knows bounds for numerators and denominators.

The proof is rather easy: by multiplying each congruence by the other  and subtracting, one gets

The hypotheses imply that each term has an absolute value lower than , and thus that the absolute value of their difference is lower than . This implies that , hence the result.

Computing solutions
The original proof of Thue's lemma is not efficient, in the sense that it does not provide any fast method for computing the solution.
The extended Euclidean algorithm, allows us to provide a proof that leads to an efficient algorithm that has the same computational complexity of the Euclidean algorithm.

More precisely, given the two integers  and  appearing in Thue's lemma, the extended Euclidean algorithm computes three sequences of integers ,   and  such that

where the  are non-negative and strictly decreasing. The desired solution is, up to the sign, the first pair  such that .

See also
 Padé approximant, a similar theory, for approximating Taylor series by rational functions

References

Lemmas in number theory
Modular arithmetic


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We are here now at the Semi-Finals of Asia Championship Winter 2019. The representatives have fought hard after four rounds of Swiss to make it to the Top Cut. Lunch break have just ended and it is time to resume the games.
Sherwyn Lim (SG) faces off against Espiritu Angelino (PH).
Sherwyn is piloting a Thunder Dragon deck and is notable for being the only player at the event to pilot the deck without the Dinosaur engine.
Espiritu Angelino (PH) also pilots a unique deck for the event, being the only out of the twelve to bring Burning Abyss for the event.
Angelino started things of by bringing Scarm and Cir to the field, to Xyz Summon Dante, Traveler of the Burning Abyss. Fiendish Rhino Warrior was milled among the three cards, which in turn milled Graff, allowing Angelino to tutor out Rubic.
Rubic and Dante were used to Link Summon Cryston Glassfibre, which brought out Ghost Belle & Haunted Mansion.
Hydralander the Orbital Shadowlite Weapon special summoned itself from hand. Angelino wanted to proceed further, activating Gallis the Star Beast, but things didn't go his way when Gallis milled a spell. Beatrice was the summoned out, leaving Angelino an established board to start the duel.
Sherwyn attempted to tear apart the board with Thousand-Eyes Restrict. He summoned it out with Instant Fusion. Beatrice's effect was used in response to mill Fairy Tail – Snow, but Snow gets hit by Call by the Grave. Hydralander uses it effect to compensate for the situation, managing to destroy Thousand-Eyes Restrict.
The Lone Wolf was then Normal Summoned, banishing Thunder Dragonmatrix and Thunder Dragonroar. Angelino proceeds to activate Glassfibre's effect and replaced it with T.G. Wonder Magician, which was immediately used for a Synchro Summon to bring out PSY-Framelord Omega.
Thunder Dragonmatrix and Thunder Dragonroar activates; Thunder Dragondark was summoned onto the field, but the search copy of Thunder Dragonmatrix was sniped by Omega.
Angelino's constant disruptions have earned a comment from Sherwyn.
Sherwyn considered for a while before making his next move. He called the judge to find out the full effect of Dante, Pilgrim of the Burning Abyss, fully aware of the incoming threat if Beatrice were to be destroyed.
Thunder Dragonhawk was discarded to special summon Thunder Dragonmatrix, and used to Link Summon Linkuriboh; Thunder Dragonroar and Lone Wolf were sent to the grave to Link Summon Security Dragon too.
Thunder Dragonroar's effect was triggered, but stopped by Angelino's Ash Blossom. However, being Co-linked, Security Dragon's effect was used to bring Beatrice back to the Extra Deck harmlessly.
An impressive board built by Angelino delayed Sherwyn's plans to make his plays. Attempts to dismantle the threats were promptly answered by Angelino.
Sherwyn entered the second game and proceeded to build his field. Allure of Darkness allowed him to dig into his deck and add Thunder Dragon(s) to his hand via Thunder Dragondark. The Lone Wolf helped too, banishing Thunder Dragonroar and Thunder Dragonmatrix. Ultimately, Sherwyn summoned out Thunder Dragon Colossus and set two cards in the backrow to end his turn.
Angelino brings Calcab and Cir onto the field to Link Summon Cherubini which milled Graff to bring out Scarm. Scarm, Calcab (revived by Cir) and Cherubini were used to Link Summon Borrelord Dragon.
Borrelord attacked and stole Thunder Dragon Colossus from Sherwyn's field. After that, it used its effect to weaken The Lone Wolf. Borrelord Dragon wasn't able to due damage, but Sherwyn is now locked down by Colossus's effect.
Tour Guide was added by Scarm during the End Phase.
Sherwyn activates Instant Fusion. Thousand-Eyes reclaimed Sherwyn's Colossus. Linkuriboh was Link Summoned using Thousand-Eyes Restrict.
Having cleared the lockdown, Sherwyn proceeded to make his plays, starting off with Dragonhawk reviving Dragondark. Confidently utilised his Thunder Dragons' effects one after another, he re-restablished his board and managed to clear Borrelsword Dragon with Thunder Dragon Titan.
With that, Angelino's field was empty for Sherwyn to launch into a devastating direct attack, pushing for 8000LP worth of damage to end the second game.
Sherwyn displayed mastery of his own deck, and was able to activate his effects uninterrupted. Recognising that he had an answer to Borreload in the form of his fusion monster non-targeting removal effect, he was able to work towards it and pave his road to victory in this second game.
The players reaches out for their side decks, as the Semi-Finals heads towards the final game.
Angelino starts off the game, assembling two Burning Abyss monsters on the field again, this time Alich and Graff. Dante was brought out, and it managed to mill Fiendish Rhino Warrior!
PSY-Frame Lambda was summoned out using Cir and Dante.
Cir revived Dante, and Beatrice was summoned. Sherwyn nod his head at the play, expecting it.
Angelino committed another card to the board – Hydralander reappears. Tour Guide was added by Scarm at the End Phase.
Sherwyn started his turn with the effect of Thunder Dragon, fetching one copy for one twice. This allowed him to fill his grave with two Thunder Dragon monsters, setting the stage for his Thunder Dragon Fusion. Colossus was brought out and it declared an attack on Lambda.
Beatrice attempted to protect Lambda. It milled Farfa by detaching Dante (which effect retrieved Cir). Unfortunately, Call to the Grave rejected that notion and the attack went through, destroying Lambda.
Colossus became Titan in Main Phase 2 and since Dragonroar was used for the fusion, Dragondark was special summoned. Sensing a threat, Angelino used Hydralander to destroy Dragonroar. Sherwyn passed with no response, but the destroyed Dragonroar searched Dragonmatrix.
Cir which was milled by Hydralander revived Dante.
Thunder Dragon's effect was activated from hand, allowing Sherwyn to use Titan 's effect to destroy Hydralander.
At this point, time was called. Players entered into the 'Time Call' procedure. The game, and duel, would end in four turns, with Sherwyn's turn being Turn 0. The clock is ticking!
Sherwyn considered destroying Beatrice, but is worried about the appearance of Dante Philgrm. After considering the effect of Dante Philgrm, he ended his turn.
Angelino summoned Tour Guide, having it in his hand from last turn. But before he could usher out a monster, Null Nun and Blooming Dogwood is activated in response! Sherwyn's LP shoots up to 8800LP upon Scarm's summon.
Angelino continued his turn, understanding the implication of the situation, but continued with Cherubini. Sherwyn's LP continued to climb. It is now at 9300LP!
Sherwyn dropped Dragonmatrix to trigger a destruction from Titan, opting to destroy Cherubini, but Dante was used to substitute destruction, catching Sherwyn by surprise. He had seemingly forgot about the protection effect of Cherubini.
Cherubini + Cir + Beatrice were all sent to the grave, a triple material Link Summon to bring out Borrelsword Dragon! Cir revives Dante . From the summons, Sherwyn gained another 4000LP. At 149000LP, it almost double of Angelino's !
Battle! Angelino is determined to race forward to reduce the LP difference. Borreload Dragon and Dante attacks, with the former dealing massive damage and clearing Titan from the field.
He was facing Borreload and Dante. Considering both their effects, this would be a tough battle for Sherwyn to have for his final turn. With the help of Dragonroar and Dragondark, Sherwyn managed to summon both Colossus and Ttian out again, clearing Borrelsword Dragon. Borrelsword changed Titan to Defense Position, but Sherwyn remained aggresive in his goal to push for damage, Tributing Summon Thunder Dragon and summoning a second copy of Titan.
The lifepoints table-chart has turned once more.
into Sekka's Light! Angelino gets a clutch two-card draw. He proceeded to swap Speedroid Terrortop for a shuffle-and-draw.
Another copy of Terrortop was special summoned from the hand, and Fairy Tail – Snow was Normal Summoned. Both were used for summoning Knightmare Phoenix. Its effect was traded with Sherwyn's remaining face-down card – Infinite Impereance from Sherwyn, but Angelino manages to discard Libic to summon Cir. The plays continues.
Farfa was discarded to turn Dante into Beatrice. Farfa cleared a Titan and Borreload stole the other. Angelino reached for his grave, not forgetting about Fairy Tail – Snow. Reviving itself from the grave, it gave the final push of 1250ATK, ending the game, lowering Sherywn's LP to a complete zero.
Despite the massive odds, Angelino turned the tables. Sekka's Light proved itself useful and provided Angelino with sufficient pluses at the right time. Angelino also pulled through with no misplays, understanding the capcity and capabilities of his Burning Abyss deck.
For the decklists, please check out our Top 4 Decklist Article.
For the Feature Match video, please checkout our Youtube Channel.


My new Fuji X-T3 just arrived. I am so excited. The camera was only just released last week. I have barely used it and I am already "in love." Of course I am a tried and true Fuji fan, having walked away from my Nikon D800 a few years back. So I am probably biased. Time will tell if the camera truly lives up to its hype.
I am clueless what the upgrade to the sensor actually means in technical terms. The sensor is now back-illuminated — I read that a back-illuminated sensor provides greater image quality throughout the sensitivity range. That means it should perform better in lower light, of great significance to me. The Fuji X-T3 also has a slight increase in resolution, 26.1 MP, and a lower base ISO of 160. Any tweaks in those numbers is a good thing, even small tweaks.
Yikes! One image, no bracketing. Low light. Incredible dynamic range. Edge to edge histogram with no clipping. ISO 160. 1.5s at f/11. 6 stop neutral density filter.
allows for a more diverse range of video functions.
The specs tell it all. When photographing in burst mode I should be able to shoot at 11 fps with the mechanical shutter, 20 fps with the electronic shutter, and 30 fps with the electronic shutter in the new 1.25x crop "Sports Finder" mode.
Shot at 30 fps, with no blackout in the viewfinder as I clicked the shutter. All frames shot were in focus. The tracking worked like a charm. Yeah!
Edge to edge phase detection coverage, with over two million points in the autofocus phase detection system. Focusing can be achieved down to -3 EV (the X-T2 is at -1 EV), again important to me when I am photographing in low light.
Very low light, interior hallway. No flash. ISO 5000. The focus is dead on. Noise very manageable — slight noise reduction applied. I converted this to black and white so you can easily see the gradation of tones captured in such a low light, high ISO image. The histogram is a nearly perfect bell-curve with no clipping of shadows or highlights.
3.69 million dot high-resolution EVF, with 0.75x magnification. Greater resolution and good magnification is important to me as my eyesight through the progressive lenses of my eyeglasses isn't always great.
This is the "cool" new feature I am having fun with. The Fuji X-T3 screen can be set up as function keys. A swipe in each different direction, or up or down, can bring up a different screen overlay, depending on the function I have assigned to the swipe. For example, I can swipe top to bottom and large RGB histograms appear on my screen or left to right to see settings for my flash. I can also focus or shoot an image by touching the screen.
Since I shoot a lot of black and white JPG images (together with RAW for the same image), I am looking forward to experimenting with this new option. It should mimic some of the effects that can be achieved with film when using specific photographic papers and developers.
Acros film simulation with a yellow filter and the monochrome warming effect at +3.
Acros film simulation with a yellow filter and the monochrome cooling effect at -5.
This new effect is useful when photographing brightly saturated subjects such as vivid flowers. It provides enhanced color gradation. I hope a bright sun comes out soon so I can check this out. Photographing vividly saturated flowers has always been frustrating as the color gradation can be difficult to reproduce.
I sure hope so!! I haven't shot through a full battery yet.
I read that the video capabilities of this camera are quite impressive. It's time for me to learn something new, as I have never shot movies.
There are lots of features to explore in the Fuji X-T3. Now I just need more time in my day to do so!
Thank you! I am still loving my camera.


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ASU President Michael Crow approves sexual violence task force recommendations
Philosophy sophomore and Devils in the Bedroom member Cody Curran helped educate students about sexual health and violence during national AIDS week on Hayden Lawn on Wednesday, Dec. 3, 2014. This is Cody's third semester as an active member of the organization. (Photo by Carly Traxler)
By Corina Vanek | December 4, 2014 | 4:15pm MST
ASU president Michael Crow addresses The State Press editorial board during a meeting on Tuesday, Nov. 25, 2014. Crow approved a set of recommendations from a sexual safety task force on Nov. 21. (Photo by Andrew Ybanez)
The U.S. Department of Education announced in May that ASU, along with colleges across the nation, was under investigation for the way it handled reported sexual violence.
The inquiry was sparked by a complaint filed in 2012 and augmented by other complaints filed against the University.
Jasmine Lester, an ASU alumna, was one of the complainants named in the investigation. Lester said she filed her complaint last summer on behalf of herself and several other students against teachers in Barrett, the Honors College.
Read more about complaints in Barrett, the Honors College.
In August, ASU President Michael Crow named a task force designed to combat sexual violence on campus and grow a "culture of respect" at ASU. The task force is comprised of faculty, staff, students, police officers and community members.
The task force came up with a list of goals and recommendations, which Crow approved Nov. 21.
ASU spokeswoman Julie Newberg said while ASU cannot comment on the federal investigation in progress, ASU is working to implement new regulations to keep students safe.
"The task force recommendations, some of which have already been implemented, focus on ways to strengthen education and awareness efforts, enhancements to support services and resources for victims of sexual misconduct, and ideas on enhancing existing and develop new partnerships with key organizations and agencies working on issues of sexual violence," Newberg said in an email.
According to a report released by the task force, the group decided the University will undergo cultural and structural changes. These changes include the way sexual violence on campus is reported, as well as identify national examples to follow when handling the case's repercussions.
The task force also recommended employing a single official who would be in charge of reporting the cases on behalf of the entire university.
Among other recommendations were: create a class where students could receive university credit, commission an artist to render an interpretation of sexual violence to be displayed on campus, create a simpler way of reporting sexual violence, host a TED talk, cross-train all employees who deal face-to-face with students about sexual violence and increase university communication about alcohol and drugs and their interplay with sexual violence.
In a meeting with The State Press editorial board, ASU President Michael Crow acknowledged the need for improvement in handling sexual assault cases and keeping the campus safe for students.
Crow touted the newly approved recommendations done by the task force, in addition to voicing his support for "yes means yes" legislation, which requires a person to affirmatively consent to sexual conduct, rather than the perception that an absence of a "no" means the conduct is consensual.
However, Lester, the founder of Sun Devils Against Sexual Assault, said the task force is more reactive than proactive.
"I think the task force is damage control," Lester said. "When the federal government comes around, it will be a way for administration to say it is doing something about the issue. I have a hard time believing anything until I see some real action."
Lester said she is familiar with complaints dating back to 2001, so she is skeptical about reform that comes 13 years too late for some.
One of the early results from the task force is a mandatory online course called "Consent and Respect," which students can find on the myASU page.
"The module is designed to enhance awareness of sexual violence, intimate partner violence and stalking and their impact on college students, the importance of consent and respect in sexual situations, prevention and risk reduction strategies, as well as critical information on how to help a friend if she or he is a victim," Newberg said.
Lester said while starting a conversation on campus about sexual violence is always a good step, there is too much information to learn about consent and sexual violence than can be retained from an online seminar.
However, the task force also recommended incoming freshmen in ASU 101 style classes will also receive training as part of the freshman curriculum.
"If we really want to solve the problem of rape culture on campus, there needs to be awareness, accountability and enforcement," Lester said. "It should be like plagiarism. If you plagiarize, you get expelled. People need to know if you rape someone, you will be expelled if you're a student and fired if you're a teacher."
Reach the reporter at cvanek@asu.edu or follow her on Twitter @CorinaVanek
Like The State Press on Facebook and follow @statepress on Twitter
Emily White's journey into success with the Sun Devil gymnastics team
By Katrina Michalak


A member of the Cambridge crew revealed yesterday how close they came to disaster only two days before the closest Boat Race in the 149th staging of the event.
Describing their collision with the harbourmaster's launch on Friday, James Livingstone said: "For a couple of seconds I thought I was going to die.
"We were going flat out and all of a sudden I heard Jim's [cox James Omartian] voice. I've never heard so much fear in anybody's voice before. I looked round and saw this huge bulk and thought it was the end."
Although the only injury sustained was a fractured wrist for the Cambridge bow Wayne Pommen, Livingstone believed it was a miracle that nobody had been killed.
The shock to the crew left the Cambridge coach Robin Williams with a difficult task in motivating and preparing them for the race. But no one on the Light Blues' side sought to use the incident as an excuse for the narrowest of defeats at the hands of a lighter Oxford crew.
Cambridge have indicated that Omartian was still suffering the effects of shock going into the race.
He held his line against the Oxford crew, even managing to push them into the bank round the final bend in a manoeuvre which almost won his crew the race.
Cambridge were also hampered by the late change forced on them by Pommen's injury. He was replaced by Ben Smith, brother of the Oxford stroke Matt, who until the day before the race had been rowing at stroke for the Cambridge reserve boat Goldie.
It is one of the most demanding changes in rowing to move from the stroke seat of an eight to row in the bow position. Though Smith coped remarkably well, there is little doubt that an uninjured Pommen would have provided the extra bit of sharpness that Cambridge needed.
What the race did provide was a thrilling finish and renewed interest from the public, having been switched from its regular Saturday slot to Sunday afternoon.
Oxford's victory was the closest ever. Officially there was one closer - the recorded dead heat of 1877. But Boat Race legend has it that there was anything up to a six-foot winning margin that year, only for the finish-line judge to declare a tie after missing the end of the race because he was otherwise engaged in a riverside hostelry.
With the Boat Race out of the way for another year, the thoughts of several of the Oxford and Cambridge rowers are turning towards the British team trials in Belgium this month.
Livingstone, Cambridge's No7, is expected to team up with the No6 Tom James, and the fastest Oxford combination should be Robin Bourne-Taylor and Basil Dixon.


Vouchers can be purchased from Kings Beauty in person, or alternatively purchased over the phone and we can then post it onwards to you or the lucky recipient. Our new voucher system allows vouchers of any value, in the form of a prepaid voucher card, which is then beautifully packaged in one of our branded sleeves. You can either choose one or more treatments (maybe even make up a package?) or just give a set amount, it is entirely up to you.
If you'd like to personalise the voucher(s) please let us know via the notes section during check-out.
Tell us who the voucher is for and from.
Gift vouchers are available for any monetary value and are valid for 12 months from the date of purchase. They are not refundable and non transferable. Lost or stolen vouchers cannot be replaced. Vouchers must be presented at the time of treatment or an alternative payment method will be required. No change given.


A young nihilist questions the paradoxes of the world and is set to destroy all he does not understand. A mysterious gentleman pays him a visit on the eve of his terrible plot and a game of cat and mouse ensues. Wit, wisdom, philosophy and humor intertwine with original violin music in a seriocomic look at what happens when the Devil finds he's become superfluous in a world of hatred, intolerance and violence.
This play, inspired by Dostoyevsky's "The Brothers Karamazov" and "The Devils" is extraordinarily relevant today. It explores the nature of good and evil, free will versus predestination, the existence of God and the purpose of the Devil in a world gone mad. Accompanied by live violin and viola played by the actor and musicians, the play blurs the lines between theater and concert, creating a rich dialogue.
His Majesty, the Devil is a collaboration between acclaimed Broadway actor MacIntyre Dixon (currently appearing in the Fantasticks); his late wife Alexandra Devon who wrote the script; and their son Colin Pip Dixon who portrays the young man and performs original music that he composed for the play. It was presented to sold out audiences in New York City last July at 59E59 Theater's East to Edinburgh Festival and was included in the 2013 lineup at the Edinburgh Fringe Festival.
A LABOR OF LOVE INSPIRED BY A DEVIL This production is a tribute to Alexandra Devon, the playwright… and also my mother. It seems almost too personal and a little risky to admit that a professional, artistic project is based on family ties. But in the end, it is so much at the heart of this work that it would be a shame to keep it a secret. My mother passed away in 2010. And so, my father and I have come together to perform and bring new life and completion to this play which deals with questions of life and death, good and evil. I also realize now that I am very lucky to be able to share a professional and artistic relationship with my parents. In 1998 I left for Paris to find my own way. But as I grow older and life brings on difficult experiences, I feel more and more how important it is to come back to what's essential – to follow where the heart leads you. In 2012 I came back to New York, and back to my roots. Our director, Mathilde Schennen, was at a similar place in her life when we met and this drew us together. In the end, I've come to understand that every important artistic project that I have been a part of was based on work with family – not necessarily blood relatives, but a family of other artists with whom I felt that the invisible tie and trust that bound us together was that of family. This is essential. It is one thing for a father and son to perform and work together (and a great challenge too!), but it is another thing to extend those family ties out to include other artists and, eventually, one hopes, entire audiences. My hope is that through this experience we might all have the experience of belonging to the same family – the human family. Isn't that partly what art is about? My mother had a very unique and personal understanding of Dostoyevsky. She was able to bring out so much humor from his work and a vital sense of what it means to be alive and live to the fullest. May this work not only be a tribute to her and to Dostoyevsky, but also to the beauty of life and human ties even in moments of despair and darkness. As the "Devil" says in this play, we always have the choice… to destroy or to create, to add to life or to take away.


All water used during your building work needs to be paid for. We believe the fairest way is to use a water meter so you only pay for the water you actually use.
It's important that you contact us before you start using water in your building work. If you don't, we'll base your charges on 0.17 per cent of the contract value.
We're unable to accept 'B class' meters and their readings. They don't record the full flow rate, which is required for billing purposes.
It's illegal to use a neighbour's water supply for building work.
You'll need to apply for a new supply. We'll fit a meter to the supply as standard, to measure how much water is used.
Visit our new or replacement water connection section for everything you need to know about getting connected.
If it's a household supply, you just need to call us on 0800 980 8800 to either set up an account or update your existing account.
If it's a non-household supply, please contact your retailer.
To get you started, we need to fit an approved meter to your water supply, then inform the Market Operator. You'll need to appoint a retailer before we install ther meter. More information can be found in our News and Improvements section. It's important that this is done before you start work.
Complete the short online form and we'll arrange to fit a meter.
This means we've had no opportunity to fit an approved meter for you, or take a reading from an existing meter before your work started. Without a meter reading at the start, we have no way of knowing the amount of water already used and will have to base the water charges on the contract value of the build.
If the contract value is below £100,000 then the property will remain on the current domestic rate of water charges that you already pay. You don't need to do anything differently.
If the contract value is over £100,000 then the charge is 0.17 per cent of contract value plus VAT.
If you've got a quote, pay online now or discover other ways to pay.
If you're looking for an update on your application, please call us on 0800 009 3921.


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Knock It Off!
Category: D
Accelerator Suit Duke (Rise of Cobra)
April 13, 2019 Rob B Leave a comment
By KansasBrawler I've professed my love for the sci-fi elements of the G.I. Joe brand quite a few times before on this blog. With that context in mind, it should surprise no one here that I loved the ideas behind Rise of Cobra. While the execution of the film itself wasn't great, the idea of Cobra using nanobots to cause
Rise of Cobra
Enemy Weapons Supplier (Code Name: Destro)
February 28, 2019 Rob B 6 comments
When I got my first couple of Joe figures I was having fun with toys that were something new and fresh after years of Star Wars fanaticism. It took the addition of the 1983 series to totally bring me around to being a Joe fan first and foremost. At a time when early looks at new product just couldn't happen,
Medic (Code Name: Doc)
The new for 1983 Joes are one of the most cohesive looking assortments in all the Real American Hero year's. With sleek sculpts, an overall drab color scheme, and a wonderfully diverse group of specialties, Hasbro cemented what the previous year established, at least in this kid's mind. It was the year that hooked me and pulled my toy-collecting heart
Destro (25th Anniversary)
December 8, 2018 Rob B Leave a comment
By KansasBrawler While I've always loved Destro, I never felt the need to track down the original Destro. I thought the 1988 Iron Grenadiers version was perfect. However, it does make sense that when Hasbro started the 25th Anniversary line, they gave us the original Destro first. It's an iconic look and while it's not my cup of tea, I
Comic Packs
Deep Six (1984)
December 4, 2018 Rob B 4 comments
By Past Nastification There is a certain aesthetic beauty regulator that most people have in their brains. I lack it. I only know how to passably dress because of fundamentals learned by watching What Not to Wear. Guilty pleasures and all. My ability to decorate a room is lacking, if not non-existent. I have to find something nice and try
Dark Ninja Brawler (2012 Micro Force)
November 28, 2018 Rob B 2 comments
By Past Nastification GI Joe in alternate formats, like the Combat Heroes or even the 12" figures, usually doesn't catch my interest. The Micro Force figures were an exception. An exception with a twisted arm. Several years ago a friend bought them for me for Christmas. He knew damned well that I'd get a kick out them and then "collect
Micro Force
The Power of Packaging: 1983 Destro
October 8, 2018 Rob B 2 comments
What can I say about a card like this that isn't apparent just by looking at it. If I could narrow my list of favorite GI Joe package art down to a single piece (which would be incredibly difficult) Destro would vie for a top spot. There's just so much going on here that makes this a perfect example of
Power of Packaging
Dr. Mindbender (2003)
September 26, 2018 Rob B 4 comments
By Past Nastification GI Joe in 1:18th scale has had several eras. They are ARAH, New Sculpt, 25A/Modern. The 25A/Modern Era is currently in vogue, and the ARAH will always have its place in toy history. The NS era, though, was full of mistakes and missed opportunities. It never quite landed. It's widely disliked by collectors. As someone who liked
Spy Troops
Duke Micro Figure (1988)
August 28, 2018 Rob B 5 comments
The 1988 assortments included the unique pack-in premium micro figures, tiny representations of Joes and Cobras in a style and scale similar to the little green army men of old. A brilliant idea, and one that Hasbro might consider revisiting considering the current blind-bag fascination with kiddos these days. Wow, I sound like an old man. Two things strike me
Ultimate New Sculpt Duke
July 29, 2018 Rob B One comment
Back when the Built to Rule sets were released, I found many of the figures had some interesting parts that could be reused for customs. Hollow Point comes to mind first, as his head was a great stand-in for a modern Rock N' Roll. Many Joe fans modified the BTR guys in order to remove the LEGO-like studs from arms
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Founded in 1985 by filmmaker Richard Linklater, the Austin Film Society's mission is to empower our community to make, watch, and love film and creative media. AFS curates and screens hundreds of repertory, international and arthouse films annually at the AFS Cinema; delivers financial support to Texas filmmakers through the AFS Grant; operates Austin Studios, a 20-acre production facility, and Austin Public, a space for our city's diverse mediamakers to train and collaborate. Through its award-winning after school classes, intern training, and the Ed Lowry Student Film program, AFS encourages media literacy and provides a place for youth of all backgrounds to learn the craft of filmmaking and gain access to tools for media production. By hosting premieres, special events, local and international industry events, and the Texas Film Awards, AFS shines the national spotlight on Texas filmmakers while connecting Austin and Texas to the wider film community. AFS is a registered 501(c)(3) non-profit organization.