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Thomas Morris Chester: First Black War Reporter on the Frontlines
Gerald S. Henig
Thomas Morris Chester spent his life on the frontlines of the fight for racial equality.
Thomas Morris Chester never picked up a gun during the Civil War, but he fought as vigorously for black rights as any soldier who stormed an enemy stronghold. A pathbreaker for his race throughout his life, he faced real danger as an African American war correspondent serving at the Virginia front. Chester knew full well that if Confederates captured him they might shoot him outright, or even worse, sell him into slavery.
Despite those risks, Chester had readily accepted the offer of the Philadelphia Press to cover the Union Army's campaign against the Confederate capital of Richmond during the last months of the war. His decision to put himself in harm's way did not come as a surprise to those who knew him well.
Thomas Morris Chester (in later years he preferred to be referred to as T. Morris) was born in Harrisburg, Pa., on May 11, 1834. He surely inherited some of his bravery and gumption from his mother, Jane, a fugitive slave who escaped from her owners at age 19. She eventually met and married George Chester, who earned a living by selling oysters.
The Chesters had 12 children, six of whom would live to adulthood. They operated a restaurant in the heart of Harrisburg, the state capital, that gained a reputation for serving up good food as well as radical thought. Patrons could buy a steak and also read a copy of abolitionist William Lloyd Garrison's Liberator while they enjoyed their meal.
Unlike most free African American children, North or South, Thomas had it comparatively easy as a youngster. As successful restaurateurs, his parents had the means to educate their children, enabling 16-year-old Thomas to enter the Allegheny Institute, not far from Pittsburgh. He spent two years at the institute—which had been founded as a school, later a college—"for the education of colored Americans." The time Chester spent at this "fountain of learning," as he put it, left him with an unquenchable thirst for knowledge.
Throughout his life, Chester would continue to improve his education, earning a law degree in England, for example, when he was 36. For a time, however, his formal schooling in the United States was put on hold as he found himself caught up in the divisive issues that were pitting the Northern and Southern states against each other during the years leading up to the war.
Life for Chester, a free black man in mid-19th century America, was far from ideal. The economic and social restrictions imposed on free people of color in the North were less severe than those in the slaveholding states, but that was not the case when it came to political rights. In Pennsylvania, Chester's home state, free African Americans were denied the right to cast a ballot.
The federal government's policies were even more unsettling regarding black rights. In 1850, Congress passed the Fugitive Slave Law, which gave broad powers to U.S. marshals and special commissioners to capture and return runaway slaves. The law prevented African Americans from testifying while providing every advantage to white slave catchers. Even free blacks feared for their safety. After all, what prevented an overzealous federal agent from seizing any black person on the charge of being a runaway, based on trumped-up charges? The accused, having no right to a defense, could then be taken south and sold into lifetime bondage.
Chester must have witnessed firsthand the devastating impact of this legislation on the African American community. Not far from where he was attending school in the Pittsburgh area, hundreds of blacks fled and made their way to Canada rather than live in a perpetual state of uneasiness.
The Fugitive Slave Law resulted in great anxiety much closer to Chester's home. Although his own mother had fled slavery some 25 years before, she was still at risk for being hauled back to the South.
All the concern about the Fugitive Slave Act radicalized Chester's thoughts about black life in America. He became convinced that the United States would remain a white man's country and nothing was going to change that. Defiant, self-confident and passionate about his views, Chester refused to submit, as he said, to the "insolent indignities" suffered by his people. There was only one course of action he thought made sense—leaving the United States. His destination: Liberia.
Located on the west-central coast of Africa, Liberia was founded by the American Colonization Society in the early 1820s as a refuge for freed slaves. The first African Americans to settle there, initially in a colony, encountered extreme hostility on the part of the native population, yet somehow survived. But the experiment itself never really got off the ground. Pre–Civil War blacks, the vast majority of whom were born in the United States, had no intention of migrating if freed from bondage. America, not Africa, was their homeland. The handful of African Americans who had relocated, however, made a go of it, and in 1848 they proclaimed Liberia an independent republic. Great Britain extended diplomatic relations that same year, France four years later.
In late April 1853, 19-year-old Chester took passage for Liberia on the ship Banshee. Upon arrival, he enrolled in Alexander High School, located in Monrovia, the country's capital. Hoping to complete his high school education, he was soon disappointed to find that the curriculum was very limited, offering courses that he already taken in one form or another. With no opportunity for advancement, after a year or so Thomas left Liberia and returned to the United States.
Over the next decade, 1854-1864, Chester was in constant motion. Determined to graduate from high school, he attended an academy in Vermont and earned his diploma. Afterward he went back to Liberia, stayed briefly, came home and then sailed twice more to Africa. On his first return trip to Liberia, he served as a teacher of newly arrived immigrants; the second time he established a newspaper in Monrovia; and on his third trip he got involved in Liberian politics, but his candidate lost.
Thomas returned to the United States in 1861, while the country was engulfed in the Civil War. Yet for African Americans, nothing seemed to have changed. President Lincoln had made it clear at the outset that his administration would not interfere with slavery; its objective was solely to preserve the Union. Convinced more than ever before that black colonization was the only solution to racial injustice in America, Chester spoke at a number of meetings to persuade free African Americans to migrate to Liberia.
Although he was a highly effective speaker and was physically impressive on the podium—a tall, muscular, "splendid looking man, with manners highly cultivated"—his audiences remained unreceptive. Most black Americans were still opposed to colonization, had no desire to migrate and firmly believed that the United States was their country, too.
Once President Lincoln announced his Emancipation Proclamation on January 1, 1863, the colonization movement, never popular to begin with, lost whatever momentum it still had. The administration had reversed itself; this was going to be a war not only to preserve the Union but to liberate those in bondage.
Not one to speak highly of the leadership in Washington, Chester had to concede that the issuance of the Emancipation Proclamation was truly a momentous event. It was, as he put it, "more glorious in its consequences than any since Plymouth Rock became the cornerstone of American liberty."
On February 20, 1863, in a speech to a capacity audience at Cooper Institute in New York City, the hall where only three years before Lincoln had delivered a campaign address that helped win him the nomination, Chester warned his mostly black listeners that their enemies would say and do whatever necessary to bring discredit upon the proclamation. "You will hear," he predicted, "in more frightful phrases than ever, that the Negroes are coming north to take the bread out of the white man's mouth… and that black men will be satisfied with nothing else but white wives….We have neither preached nor practiced amalgamation," Chester reminded his audience. Ironically, he pointed out, "Those very persons who preach so loudly against amalgamation have been practicing it from their earliest recollections"—a reference to the mixed-race children found on numerous plantations.
But this was not a time to ridicule and chastise, Chester went on, this was an occasion for "rejoicing and exultation." With uncharacteristic optimism, he declared, "The dark days of the republic are ended, and on the indestructible foundations of virtue, justice, and liberty, the future prosperity and splendor of this nation will be erected." To enthusiastic applause, Chester concluded his speech by praising "the wise and just administration of Father Abraham."
The proclamation also included a call for the enlistment of black soldiers. Here was an opportunity for African Americans to achieve some sense of equality, even if it meant risking their lives. Along with other prominent black leaders, Chester took part in the drive to recruit men of color for the Union Army. He himself was made a captain in the Pennsylvania State Militia when his hometown, Harrisburg, was threatened by a Confederate attack. But once the emergency passed, his appointment was withdrawn. Even in matters of soldiering, it became clear that despite the expectations raised by the Emancipation Proclamation, blacks were to be kept in an inferior position. Only a minuscule number of African Americans were appointed as officers on a permanent basis. And as for those serving in the ranks, there was no question that they were considered (and in many cases treated) second-rate compared to white soldiers. Sometimes abused by their white officers, supplied with substandard weapons and equipment, denied adequate medical care, provided with insufficient rations and even paid less than white soldiers until Congress—prodded by Lincoln—rectified the matter in mid-June 1864, black soldiers often found themselves in sorry situations.
Not surprisingly, when Chester was offered the opportunity by the Philadelphia Press in August 1864 to serve as a reporter on the frontlines, focusing especially on black troops, he took the assignment immediately. He was the first African American to serve as a war correspondent for a major daily newspaper, but whether he realized it or not is impossible to determine. Whether he considered the danger involved is also unknown. What was probably uppermost in his mind was the chance to tell a large white audience the truth about black men in combat. And he wasn't about to let that opportunity slip by.
Assigned to the frontlines, Chester spent most of his time with the Army of the James, which had large numbers of black troops, fighting near the cities of Petersburg and the Confederate capital, Richmond. His numerous dispatches covered in detail the clashes between both armies, the extraordinary bravery of the Union soldiers, white and black, and the names of the men killed and wounded.
As for those who had expressed concerns about the abilities of African Americans on the battlefield, Chester made it clear their reservations were not justified. In combat "the colored soldiers had done handsomely. There was neither wavering nor straggling." They stood their ground and presented "a fearless front to the enemy."
"It would not be extravagant to predict that they will yet accomplish more brilliant achievements," Chester told his readers. Yet much depended upon how black soldiers were treated by their white officers. There were those in command of African American troops who refused to treat "a negro patriot as a man." But if shown respect and kindness, Chester emphasized, "they will follow wherever their superiors may lead."
In another set of reports, Chester made his readers aware of the grave danger black combatants faced if they fell into the hands of the Rebels. "Between the negroes and the enemy it is a war to the death" the reporter maintained. He had spoken to numerous and reliable witnesses, and there was no question that the Confederates "slaughtered" wounded and surrendering black soldiers. In one of the charges launched against Petersburg, for example, Chester reported that a Rebel officer killed five wounded soldiers of color by placing the muzzle of his pistol to each of their heads and shooting them point-blank.
At least these incidents of "racial barbarity" would soon come to an end. On April 3, 1865, Richmond surrendered. This was the high point of Chester's journalistic career, as he accompanied the triumphant Union Army—with a black regiment serving as one of its lead units—into the fallen capital. The reporter made his way to the Virginia State House where the Confederate Congress had met, entered a room formerly occupied by its House of Representatives, and sat at the speaker's desk to start writing his dispatch. Chester must have relished the moment. Here was a black man seated in the legislative chamber of the Confederacy, a nation that had defended slavery and racial inequality to the last.
As Chester began writing, a paroled Confederate officer passed the doorway and noticed the reporter was seated in the speaker's chair. "Come out of there, you black cuss," the Rebel shouted. Chester refused to acknowledge him and kept on writing, prompting the Southerner to yell once again, "Get out of there or I'll knock your brains out." Still ignored, the Confederate rushed up to Chester, intending to pull him from the chair. Chester stood up and punched the officer so hard that it sent him sprawling on the floor.
Just then a Union captain appeared, and the Southerner recovered enough to ask him for his sword so that he could cut the black reporter's heart out. "I can't let you have my sword for any such purpose," replied the Northern officer, but he added,"If you want to fight, I will clear a space here, and see that you have fair play." After taking a closer look at the size of Chester, the Yankee captain turned to the Rebel and added: "Let me tell you that you will get a tremendous thrashing." Humiliated and now frightened, the Confederate stormed off, and Chester went back to finishing his dispatch.
After the war came to an end, Chester became disenchanted with the racist policies of Lincoln's successor, Andrew Johnson. The former reporter sailed to England, where he studied law, earned his degree and served for two years in Europe as a diplomatic representative of Liberia. When that country's leadership, whom he supported, failed to win reelection, Chester vacated the post.
Returning to the United States, he got involved in the postwar reconstruction of Louisiana, where in his capacity as an attorney (he was the first African American to practice law in that state) Chester vigorously defended equal rights for blacks. For a brief period he also served as a brigadier general of the Louisiana State Militia. But neither his legal nor his military efforts proved fruitful. The federal government was far more interested in advancing the interests of big business, and white racists resumed control of Louisiana.
In the late 1870s and early 1880s Chester briefly held two minor federal positions. He ended his career as head of a railroad construction company that, lacking adequate funds and suffering from stiff competition, went out of business within a year. On September 30, 1892, at age 58, Thomas Morris Chester died, deeply disappointed that America was a country still steeped in racial injustice.
The people of Harrisburg have not forgotten their hometown hero. On October 13, 2004, Riverside Elementary School in the Harrisburg School District was renamed the Thomas Morris Chester School. Speaking at the dedication ceremony, Harrisburg's Mayor Stephen R. Reed noted that Chester was "one of the founders of America's civil rights movement, and today his legacy of accomplishment and contribution is forever memorialized at a location where this city's, state's, and nation's future leaders and citizens will be taught."
Originally published in the January 2008 issue of Civil War Times. To subscribe, click here.


Yikes! According to a report from TMZ, former 'American Idol' contestant and season eleven winner, Phillip Phillips, wants to end his current contract with the show. He is reportedly claiming that his career is being stifled by the company's unfair contract.
The report goes on to say that Phillip feels 19 Entertainment has too much control over his career for his own liking. He cites a specific concert as an example, in which he had to perform a free show for JetBlue and was allegedly not allowed to decline as it benefited the live concert tour for 'American Idol.' He also goes to say that their control over his career eventually reached the point where he had no say over the title of one of his albums and didn't even find out what it was until he heard it from someone else.
Phillip is asking to be let out of his contract, reportedly claiming it's "illegal." A rep for 19 Entertainment released a statement to TMZ saying, "We have always acted in the best interest of Phillip. We will vigorously defend ourselves from any baseless claims to the contrary and from any attempt to interfere with our rights and relationships."


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AAMU cancels upcoming women's basketball games
by: Maxie Gardner
Posted: Dec 9, 2020 / 09:21 AM CST / Updated: Dec 9, 2020 / 09:21 AM CST
Image: AAMUsports.com
NORMAL, Ala. – Alabama A&M University announced the cancellation of two upcoming women's basketball games because of COVID-19 protocols.
As a result of the program's quarantine procedures, the Bulldogs upcoming games at Dayton (12/13) and Eastern Kentucky (12/15) have been cancelled. There has been no determination on how the pause in activities will affect games beyond December 15.
Urban Hire: Meyer returns to sidelines with NFL's Jaguars
JACKSONVILLE, Fla. (AP) — Urban Meyer has won everywhere he's coached. Small colleges. Big-time programs. He's been a difference maker at each stop during his storied career.
He's ready to try something new: the NFL.
Cooper dominant again as Auburn beats Georgia 95-77
ATHENS, Ga. (AP) — Freshman Sharife Cooper had 28 points, five rebounds, 12 assists and two steals and Auburn never trailed in its 95-77 win over Georgia. Cooper, a five-star recruit who was cleared to play by the NCAA about 90 minute's before Saturday's 94-90 loss to Alabama, is averaging 27.0 points, 4.5 rebounds, 10.5 assists and 2.5 steals in two games. Freshman K.D. Johnson had 21 points, seven rebounds, two blocks and four steals for the Bulldogs. The 6-foot-1 guard, who was Georgia's top-rated recruit in the class of 2020, did not play in the first 10 games of the season due to academic issues. Georgia has lost four in row.

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Home / Press / Interviews and other Articles / Weaving cross-dressing cop in latest role – YahooTV (30oct15)
Weaving cross-dressing cop in latest role – YahooTV (30oct15)
30 Oct 2015 /
Tags: Interviews and other Articles, Movie News and Reviews, The Dressmaker
YahooTV
Melissa Ilaria
Veteran actor Hugo Weaving plays a small town police sergeant with a secret in his latest film, set in a fictional outback Australian town.
In a tiny dusty outback town in the 1950s, everyone harbours a secret – even the police sergeant, played by Hugo Weaving, who likes to cross-dress.
The town of Dungatar in new Australian film The Dressmaker is filled with eccentrics, gossips and nasty characters. It may be fictional and over the top, but Weaving says the small town experience is universal.
"I think everyone understands the classic small town mentality," Weaving told AAP.
"We head up to Dungog, which is three hours north of Sydney. We've got a place up there, just outside town.
"Dungog's not a very big town and you get a strong sense of community there, and people help out and help each other. But also everyone knows what everyone's doing.
"You get that small-mindedness as well in those sort of communities."
Weaving, best known for playing Agent Smith in The Matrix trilogy and Elrond in The Lord of the Rings trilogy, reunites for this film with director Jocelyn Moorhouse, who he worked with on his breakthrough movie, Proof.
He says he is drawn to Moorhouse's quirky humour and the dark quality in her writing and characters.
"They're not sweetness and light; there's something else in there as well which she hints at."
The Dressmaker, based on Rosalie Ham's novel, has won 12 Australian Academy of Cinema and Television Arts nominations, including Best Lead Actress (Kate Winslet) and Best Direction.
The film follows Tilly (Winslet), who returns to Dungatar after being sent away as a 10-year-old, when she was blamed for a boy's death. Armed with the transformative power of a sewing machine, she is bent on getting revenge for past wrongs.
As Sergeant Farrat, Weaving plays a good, kind man who feels guilty about sending Tilly away. He also secretly loves to cross-dress.
"He's a man who doesn't judge too harshly, he understands that everyone has failings and foibles," Weaving said.
"He feels guilty about what he did to Tilly when she was younger and so he has to kind of atone for what he's done."
Over a three-decade career, Weaving has built great skills – the thrilling but hairy experience of driving a massive coach pulled by 12 horses among them.
But it was playing has-been rugby star Lionel in Australian film Little Fish, a heroin addict and gay man living off his fame that he relished most.
"The character was a huge challenge for me – a very sad, wasted tragic figure, but it was a great role to play."
When choosing roles, Weaving says he looks for complexity and contradiction.
"Life is complex and a mixture of dark and light. I don't necessarily favour darkness over light, but I get much more interested in pieces that reflect something of the more difficult aspects of our lives as well as the hopeful and more sunnier aspects of our lives."
It was the art-house films the actor began watching at about 12 years old that introduced him to an adult world he had not been privy to before, and Lindsay Anderson's seminal 1968 film, If, struck a chord.
"It's a revolutionary film set in a boy's school. It's about these three boys who end up in quite a surreal way sort of having a bloody revolution with their school," he said. "It had a huge effect on me because I was at a school like that."
The Dressmaker is out in Australian cinemas.
Interviews and other ArticlesMovie News and ReviewsThe Dressmaker


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Causal Relationship or Not? Nationalism, Patriotism, and Anti-immigration Attitudes in Germany
Despite broad research on the connection between in-group and out-group attitudes, empirical studies dealing with the relationship between nation-related and anti-immigration attitudes rarely provide a consistent theoretical framework. On one hand, it is assumed that if persons agree with nationalistic statements, they might develop an orientation against strangers. On the other hand, one might imagine the existence of simple factor correlations among nationalism, patriotism, and anti-immigration attitudes.
Location, Location, Location: Liberatory Pedagogy in a University Classroom
In this article, we explore the practice, promise, and contradictions of introducing liberatory practice into a higher education classroom. Freire introduced liberatory education in response to the hierarchical transfer of knowledge, "banking" concept of education that has dominated educational institutions. The banking approach to education demands that students memorize and repeat top-down "official" knowledge in order to achieve success.
Liberal Individualism and the Globalization of Education as a Human Right: The Worldwide Decline of Early Tracking, 1960–2010
This article examines global changes in tracking policies over the post–World War II period. Using a newly constructed quantitative panel data set of 139 countries from 1960 to 2010, I show that a majority of countries around the world have shifted away from sharply tracked institutions at the junior secondary level toward more formally "open" and "comprehensive" ones.
Exploring the Benefits and Drawbacks of Age Disclosure among Women Faculty of Color
This article is guided by two questions: How is age an important aspect of social location that, when forthcoming about it with students, can be beneficial for pedagogical purposes? and How can women faculty of color—particularly those who appear youthful and/or are younger than most of their colleagues—address the marginality of their actual and/or perceived age while simultaneously operating in a space that is contested for women of color?
Carving Out a Niche or Finding a Place at the Table? The Sociology of Transgender Studies
Over the last decade, transgender studies has benefited from an explosion of interest within academia. Sociology is not immune to these developments in a field of inquiry that has existed for some time. But what does it mean for sociologists to become immersed in a topic that claims no disciplinary boundaries, no agreed-upon methodological strategies, and even a lack of consensus on how to define "transgender"?
"He Explained It to Me and I Also Did It Myself": How Older Adults Get Support with Their Technology Uses
Given that older adults constitute a highly heterogeneous group that engages with digital media in varying ways, there is likely to be large variation in technology support needs, something heretofore unaddressed in the literature. Drawing on in-depth qualitative interviews with a multinational sample of older adults, the authors explore the support needs of older adults for using digital media, including their perceptions of whether the support they receive meets their needs.
Hegemonic Femininities and Intersectional Domination
We examine how two sociological traditions account for the role of femininities in social domination. The masculinities tradition theorizes gender as an independent structure of domination; consequently, femininities that complement hegemonic masculinities are treated as passively compliant in the reproduction of gender. In contrast, Patricia Hill Collins views cultural ideals of hegemonic femininity as simultaneously raced, classed, and gendered.
(-) Remove Immigrants filter Immigrants
(-) Remove Communication and Information Technologies filter Communication and Information Technologies
(-) Remove Sociological Theory filter Sociological Theory


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ASCENSION - A man is behind bars after driving recklessly through Ascension Parish Wednesday night. Officials say 33-year-old Steven O'Neill was driving a 2011 Subaru...
BATON ROUGE - A child was hit by...
TUSCALOOSA - The unfortunate events didn't stop on...
Watch the 2 Your Health report for Tuesday, Jan. 18, 2022.
Friday's Health Report
Watch the 2 Your Health report for Friday,...
$9M roadwork project near Tiger Stadium nearing finish line
1 year 5 months 3 weeks ago Tuesday, July 28 2020 Jul 28, 2020 July 28, 2020 7:15 PM July 28, 2020 in News
Source: WBRZ
By: Tristen Land
BATON ROUGE- After two long years of construction and gridlocked traffic, the nine million dollar road project On Nicholson Drive at the intersection of Brightside and Lee is nearing the finish line.
It's a long-awaited promise to ease traffic and reduce commute times.
But, the construction's been a pain for drivers. Kaleb Duncan lives nearby and chooses to walk instead.
"It's always backed up. If I'm coming to go over to Rouses Market, it takes about 10 or 15 minutes longer than it should," Duncan said.
The work to improve the railroad crossing and traffic signals is already done.
There are also new left-turn lanes along the intersection. DOTD only has a few things left to do. Spokesperson Rodney Mallet says the upgrades will improve safety in the area to support the growth of businesses.
"We're going to have to pour some driveways. We have some asphalt work to complete, and the permanent striping we have to do as well. As you know it rains almost every day, and that's causing us some delays," Duncan said.
1st for Louisiana: Drug-resistant fungus found at hospital
Though the weather has been the cause for project delays, manager Josh Jones at Mike Anderson restaurant says it'll be worth the wait.
"It's going to be beneficial once it's open and flowing. With the new turn lanes and the widening, it'll benefit us once they finish," Jones said.
There have been 87 car crashes at the intersection from 2016 to 2018. DOTD says the upgrades should decrease that number.
The project is expected to wrap up by the end of summer.
Woman identified, arrested for shooting boyfriend in...
Woman identified, arrested for shooting boyfriend in hotel room off Airline Highway Monday


A German mathematician (1777 - 1855), one of all time greatest. Gauss discovered the method of least squares and Gaussian elimination.
Gauss was something of a child prodigy; the most commonly told story relates that when he was 10 his teacher, wanting a rest, told his class to add up all the numbers from 1 to 100. Gauss did it in seconds, having noticed that 1+...+100 = 100+...+1 = (101+...+101)/2.
He did important work in almost every area of mathematics. Such eclecticism is probably impossible today, since further progress in most areas of mathematics requires much hard background study.
Some idea of the range of his work can be obtained by noting the many mathematical terms with "Gauss" in their names. E.g. Gaussian elimination (linear algebra); Gaussian primes (number theory); Gaussian distribution (statistics); Gauss [unit] (electromagnetism); Gaussian curvature (differential geometry); Gaussian quadrature (numerical analysis); Gauss-Bonnet formula (differential geometry); Gauss's identity (hypergeometric functions); Gauss sums (number theory).
His favourite area of mathematics was number theory. He conjectured the Prime Number Theorem, pioneered the theory of quadratic forms, proved the quadratic reciprocity theorem, and much more.
He was "the first mathematician to use complex numbers in a really confident and scientific way" (Hardy & Wright, chapter 12).
He nearly went into architecture rather than mathematics; what decided him on mathematics was his proof, at age 18, of the startling theorem that a regular N-sided polygon can be constructed with ruler and compasses if and only if N is a power of 2 times a product of distinct Fermat primes.


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"Охрид" е български вестник, издание на Охридската общоградска фондация "Св. Климент Охридски".

Излиза в единствен брой на 8 декември 1943 година в Охрид, тогава анексиран от България. Печата се в печатница "България" в 20000 тираж и цена 5 лева. Редактор е Богомил Шаренков. Вестникът е паметен лист, посветен на Свети Климент Охридски, по случай честването на празника му на 8 декември. Стои на националистически позиции. Сред авторите му са Иван Снегаров, Кирил Пърличев, Кирил Мирчев, Димитър Друмев.

Бележки

Периодични издания, свързани с Македонския въпрос
Спрени вестници в Охрид
Вестници в България

redpajama_set_name: RedPajamaWikipedia


Groove and Twist your body to a healthy state!
MT Apparatus is a user-friendly exercise and body alignment workout system that uses engaged motor function for amazingly fast full body results. Great for the beginner or advanced enthusiast, MT Apparatus is incredibly easy to do, with over 150 exercises, and gives a heck of a workout from the core out. Using simple progressions to inspiring music, MT Apparatus will have you grooving and twisting your body to a healthy state. Created with the home doorway chin-up bar (sometimes identified as an "Iron Gym") movement expert Sean McLeod has taken an existing exercise tool to new heights.
MT Apparatus has an assortment of applications in a variety of movement systems from not only sports and athletics, but to dance techniques such as classical ballet and modern as well.
The MT Apparatus Application for Ballet is simply wondrous for the novice, advanced, and professional ballet dancer. Equally exciting, it is also good for a former professional dancer to keep the highest level of body range and access with the least amount of negative impact and joint pressure when trying to maintain an experts form. The MT Apparatus Application for the Ballet dancer works from a foundational approach of enhanced elongation, a mild isotonic interaction with the device, and an isometric muscular relationship that allows the body to gain and maintain impressive levels of strength while also increasing ones flexibility in the body, especially in the back (primarily the Thoracic and Cervical regions), in the chest, shoulders, full abdominal wall, and a wide range of effect in the oblique regions.
position, i.e. side to side. Also, the dancer will gain a greater understanding of how to better access both demi plié and grande plié positions, as well as healthily engaging the muscles to enter and exit these positions in a variety of manners.
any sport participant will experience. This simply designed high yield approach to athletic movement integration helps participants strengthen, impressively increase their flexibility, and expertly enhance the physical construction and understanding to move on a masterful level. Simply going to the gym and lifting is a stationary movement and static body memory, which doesn't allow your body to learn how to use the strength and range in everyday movement. MT Apparatus not only works on the key strength attributes you seek, but it keeps the body engaged and the mind alert and aware to the possibilities of movement the body is able to access with each exercise!
Bring the Groove of MT Apparatus to you today!
Book an MT Apparatus Workshop today and groove, twist, and sculpt the body you want!


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THE 'LEGEND' OF THE FLYING LEGENDS RETIRES
It was an emotional start to the recent 21st annual Flying Legends air show, hosted by the Fighter Collection at the Imperial War Museum (IWM) in Duxford, UK, as the man who started it all, Stephen Grey, founder of the Fighter Collection and the Flying Legends event, announced his retirement.
The show was opened with a solo display by the Fighter Collection's Grumman Bearcat piloted by Grey. This was the start for Europe's premiere historic military aviation event with an intense aerial display that ran nearly four hours and included nearly 60 flying Warbird aircraft.
The event marked the world debut of the Bremont Horsemen in three Supermarine Spitfires who put on a thrilling aerobatic display.
The Bremont Horsemen flight team, best known for their masterful handling of P-51 Mustangs which they flew at Flying Legends in 2009 and 2011
The next display featured a Battle of Britain-style dog fight with four Spitfires, two of which were rare Mark1 variants, which where up against two Luftwaffe HA-1112, the Hispano Buchon, (Spanish built Messerschmitt Bf109s).
The Fighter Collection's P-47 Thunderbolt was followed by Europe's only airworthy Boeing B-17 Flying Fortress, this getting the entire crowd on to its feet.
In salute to Curtiss aircraft, the Fighter Collection's Curtiss P-40F Warhawk and P40B Warhawk flew together with its Curtiss P-36 Hawk, and P-40N Warhawk. The Curtiss P-40B Warhawk, is the only remaining airworthy survivor of the Pearl Harbor attack on 7 December 1941, and their Curtiss P-40F Warhawk, one of only two airworthy examples of this variant in the world.
A Deutsche Lufthansa Berlin Stifutung Junkers JU-52 and Bucker BU 131 Jungmann represented Luftwaffe aircraft.
Next was a Hawker Sea Fury and the return of the Flying Bulls' Chance Vought F4U-4 Corsair, representing naval aviation followed by a stunning display of precision flying prowess by the Aerostars in their six Yakovlev YAK-50s whose routine was truly breathtaking.
In a world first, two very rare Gloster Gladiator biplanes did an aerial display which were followed by a four North American P-51 Mustangs.
A quartet of Hawker bi-planes performed after the P-51s. Which was made up of Two Hawker Nimrods, a hawker Demon and a Hawker Hind. These glorious aircraft are instantly reminiscent of the golden age of adventurous aviation.
Next was a display by three Piper L-4 cubs, three YAKs and an aerial display by naval carrier aircraft, including a Grumman FM-2 Wildcat, Avenger, Hawker Sea Fury and a Fairey Swordfish.
The Shuttleworth Collection's Westland Lysander and Fiesler FI 156 Storch were also flying as were a Morane-Saulnier M.S.406 and a Douglas C-47 Skytrain (Dakota). Not to be outdone, the only airworthy Lancaster bomber flanked by a Spitfire and a Hurricane had the masses applauding loudly.
The grand finale was a fly-over reminiscent of those staged by famed Italian aviator, Italo Balbo, involving all aircraft which had earlier performed. It was a massive formation for a truly stunning finish to an amazing show.


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Q: Custom Date and Time Input with date of "Today" adding one day for a Restaurant I am currently a student and I would like to get some help for a website I am creating.This is what I would like to make it look like.

So what I am trying would be this, today is the 30th Oct. 18, adding 1 Day, like shown on the form and having the current time, which is not the hard part, I am just unsure about the date and I can't find the right solution on the internet.
If anybody could help, that would be great.
Thank you before hand.

redpajama_set_name: RedPajamaStackExchange


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Want to be a professional photography teacher someday? This professional also offers photography, painting, and drawing at good rates. This professional offers reliable photography lessons for beginners.


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Moot House can make a great location for meetings and small conferences. With parking and shops near by our rooms can make a change from other locations in Harlow. Please contact us for prices and availability on each of the rooms.
The Mountsteven room is named after a Rob the Essex County Council warden. This room is decorated in a lemon colour and is able to seat up to 28 people. The room is located on the ground floor and has disable access.
Ready to book for your SPECIAL event
---Mountsteven RoomSewell Harris Room
2626th July 2021 2727th July 2021 2828th July 2021 2929th July 2021 3030th July 2021 3131st July 2021 11st August 2021
22nd August 2021 33rd August 2021 44th August 2021 55th August 2021 66th August 2021 77th August 2021 88th August 2021
99th August 2021 1010th August 2021 1111th August 2021 1212th August 2021 1313th August 2021 1414th August 2021 1515th August 2021
1616th August 2021 1717th August 2021 1818th August 2021 1919th August 2021 2020th August 2021 2121st August 2021 2222nd August 2021
2323rd August 2021 2424th August 2021 2525th August 2021 2626th August 2021 2727th August 2021 2828th August 2021 2929th August 2021
3030th August 2021 3131st August 2021 11st September 2021 22nd September 2021 33rd September 2021 44th September 2021 55th September 2021


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Q: Order foreach $term by the date its added I am using $terms to display the $term->name of a custom taxonomy I created called position.
However the terms are currently displaying alphabetically and I need them to display in the order that they are selected/added in the admin panel.
Here is my code so far, I've simplified so that its easier to see the area that I'm looking change the order of.
<?php
$posts = get_field('team_members',12);
if( $posts ): ?>
<?php foreach( $posts as $post): // variable must be called $post (IMPORTANT)
setup_postdata($post);
$terms = get_the_terms( $post->ID , 'position', array( 'orderby' => 'post_date', 'order' => 'DESC' ) ); ?>
    <article>
        <?php
            $i = 1;
            foreach($terms as $term) {

            if($i > 1){
             echo ' / '.$term->name;
            } else {
                echo $term->name;
            }
            $i++;
            } ?>
    </article>
<?php endforeach; ?>
<?php wp_reset_postdata();?>
<?php endif; ?>

There can be multiple terms per post. If there is more than one term then a / is added to seperate the terms. It is here that I need them ordered in the way they are selected/added.

A: Maybe sort the data after the array is created?
function sortFunction( $a, $b ) {
    return strtotime($a["post_date"]) - strtotime($b["post_date"]);
}
usort($terms, "sortFunction");


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Gayle King Doubles Her Salary & Secures The $11 Million-Dollar Bag From CBS
The media game is cutthroat, but Gayle King and Oprah Winfrey are two fierce black queens that have more than held their own in the industry for more than 20 years. Although America crowned Oprah as queen years ago, her BFF of over 30 years, Gayle is finally getting her flowers in the form of an $11 million contract from CBS and she is our forever career goals.
After a nearly two-month-long negotiation process, it was announced Gayle has successfully doubled her salary, earned the coveted title of CBS This Morning anchor, and solidified herself as the most valuable player at CBS. Not only did she secure the bag, but she also taught us what it means to take a risk, demand what you deserve, and expect nothing less.
Last month, sources reported that network staffers worried whether or not they would be able to accommodate the journalist's $5.5 million dollars pay increase, but Gayle's unwillingness to back down ultimately gave her the upper hand. Oprah recently revealed in an interview that she had her girl's back the whole way, and even gave her lawyer a call to make sure her friend got every cent that she's earned.
"I said, 'Get what you want. Get exactly what you want because now's the time. And if you don't get what you want, then make the next right move.' Even without me, she was going to do that. But that was my advice, and I actually called up her lawyer, Allen Grubman, and I said, 'Allen, she should get what she wants.' And Allen goes, 'What the F do you think I'm doing here? I said the same thing to her!'"
During the negotiations with the network, Gayle was especially tight-lipped and reminded us all that real g's move in silence, especially when it comes to money matters. At Variety's Power of Women luncheon, the journalist explained:
"I never ever discuss contracts in the media. I think the best place to discuss a contract is with CBS."
The 64-year-old mother of two may have recently garnered an influx of media attention after debuting her viral interview with R. Kelly and securing a multimillion-dollar check, but trust and believe, she's not new to this; Auntie Gayle is true to this. Daughter of an electric engineer and homemaker, Gayle King launched her career as a production assistant at a local TV station in Maryland, where she met Oprah, who at the time, was an anchor. Although Gayle majored in sociology and psychology during her time at the University of Maryland, she soon discovered her affinity for media production. She explained in an interview with USA Today:
PRESLEY ANN/GETTY IMAGES FOR CANTOR FITZGERALD
"I majored in psychology, so I never really intended to be in television. I've always liked (and still do) listening to other people's problems and giving them unsolicited advice, and so I thought I would be good in psychology – that I'd have a practice where I would listen to problems all day long. I was going to do that or law school."
After letting go of dreams to one day become a doctor or a lawyer, Gayle made a decision that would change the trajectory of her life. She soon found herself knee-deep in a career that she was wildly intrigued by, but unfortunately knew nothing about.
"But I got an entry-level position at a TV station when I was in college, and then I became hooked. You'll talk to 10 different people and get 10 different stories of how we started in this business, but for me, it was really by accident. It wasn't something that I intended to do."
Despite her spontaneous change in profession, Gayle decided to pursue this accidental career all the way to the top. Gayle went on to become an Emmy-award winning newscaster and even acted as Editor-At-Large of O Magazine when it launched. Last year, Gayle was inducted into the Broadcasting Hall of Fame and she has been considered by TIME as one of the most influential people of 2019, but it all started with her taking a risk that helped her attain the life she truly deserved.
Gayle King on Instagram: "It feels surreal & WONDERFUL to not only be included #time100 list but to make one of the covers. Wow! thank YOU @ava for a tribute that…"
Gayle says you can keep this same energy by pursuing your own purpose, even if that means doing something that scares you.
"I think it's OK to take a risk. Don't take a foolish risk, but I think it's good in life to take a risk. I also believe that I don't care who you are, how big you are, everybody always has something to learn."
Take it from Ms. King, you don't have to be perfect at your passion. You just have to have enough courage to get better. She continued:
"Everybody can always get better. So, I'm never under any illusion that, despite the success that I've had, that there's never another rung I can climb on the ladder. I don't know what that is, but I think that there's always a way to get better and do better."
Congrats on securing your bag, Queen King! Let me hold a dollar…
Featured image by Getty Images.
Gayle King Looks to Sign Multimillion-Dollar Deal to Remain at CBS ... ›
Gayle King finally inks huge deal to stay at CBS News ›
Gayle King | PEOPLE.com ›
Serious Cash: Gayle King Gets Multi-Million Dollar Pay Raise After ... ›
Gayle King To Sign Multi-Million Dollar Deal To Stay At CBS News ... ›
Gayle King renegotiating deal for 'CBS This Morning' ›
GAYLE KING GETS $11 MILLION FROM CBS, THANKS TO ... ›
Gayle King has yet to finalize multimillion-dollar CBS deal ›
Gayle King reportedly lands $11 million dollar contract renewal at CBS ›
Oprah Winfrey urged Gayle King to get massive $11 million payday ... ›


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text:
Q: Сгенерировать автоматически случайное число В меню на сайт нужно добавить рандомное число, чтобы оно генерировалось автоматически. То есть, при обновлении страницы оно должно меняться. Диапазон от 900 до 1000.
A: Math.random
function getRandomArbitary(min, max)
{
  return Math.floor(Math.random() * (max - min + 1)) + min;
}


Ideal for seeding, weeding or feeding your lawn these spreaders can be purchased to be pushed or towed using a lawn tractor. Offering easy operation and excellent coverage they can cover large areas without the need to stop and refill. The poly plastic hoppers have been designed to be heavy duty and resistant to corrosion to give a longer working life. The pneumatic wheels allows you to work on all terrain including gravel.


text:
Q: Run-time error '13' can't find a solution to the problem I'm fairly new to VBA but it is necessary for the formula to not be in the cells since multiple people are going to use it. I've written an if-then code but it seems something is wrong and I can't figure it out. I've been looking around and I can't seem to find a solution. I get the error 13 type mismatch error on the Page = "Page: 1/5".
Sub Pagecontrole()

Dim Page As String
Page = Range("N4").Value

If Sheets("Lttlog P5").Range("F8:F37").Value = Not ("") Then
    Page = "Page: 1/5"
    Else
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            Page = "Page: 1/2"
            Else: Page = "Page: 1/1"
            End If
            End If
            End If
            End If

End Sub


On the plus side : Breakfast on the sunny terrace on nice days.
Nestled in an old house tastefully decorated, this friendly youth hostel defines itself as a lodge in the heart of the Plateau.
Open only between June and August, the Gite du Parc La Fontaine offers about 30 beds spread out between 4 to 6 bed dorms and a few double rooms. Comfort is basic but the place is clean. A lot of equipment is available to the clients: shared kitchen, laundry, TV room, BBQ, and breakfast on the terrace on sunny days.
The Gite du Parc La Fontaine is located in the Plateau neighborhood, the most typical area of Montreal but it stands away from the main touristic routes. Nevertheless, one can easily walk to the Latin Quarter and the Quartier des spectacles within a few minutes. The Sherbrooke metro station (line 2 – Orange) is close by.


Hanns and Rudolf reveals for the very first time the full, exhilarating account of Höss's capture, an encounter with repercussions that echo to this day. Moving from the Middle Eastern campaigns of the First World War to bohemian Berlin in the 1920s to the horror of the concentration camps and the trials in Belsen and Nuremberg, it tells the story of two German men- one Jewish, one Catholic- whose lives diverged, and intersected, in an astonishing way.
Hanns Alexander's funeral was held on a cold and rainy afternoon three days after Christmas. Considering the weather, and the timing, the turnout was impressive. More than three hundred people packed into the chapel. The congregation arrived early, and in full force, grabbing all the seats. Fifteen people from Hanns's old bank, Warburg's, were in attendance, including the former and current CEO. His close friends were there, as was the extended family. Hanns's wife of sixty years, Ann, sat in the front row, along with the couple's two daughters, Jackie and Annette.
The synagogue's cantor recited the Kaddish, the traditional Jewish prayer for the dead. He then paused. Looking down upon Ann and her two daughters, he delivered a short sermon, saying how sorry he was for their loss and how Hanns would be missed by the entire community. When he had finished, two of Hanns's nephews stood to give a joint eulogy.
This piqued my interest. For Hanns Alexander was my grandmother's brother, my great-uncle. Growing up, we had been cautioned not to ask questions about the war. Now I learned that Hanns may have been a Nazi hunter.
The idea that this nice but unremarkable man had been a Second World War hero seemed unlikely. Presumably, this was just another of Hanns's tales. For he was a bit of a rogue and a prankster, much respected for sure, but also a man who liked to play tricks on his elders and tell dirty jokes to us youngsters, and who, if truth be told, was prone to exaggeration. After all, if he had really been a Nazi hunter, wouldn't it have been mentioned in his obituary?
We live in an age when the waters are closing over the history of the Second World War, when we are about to lose the last remaining witnesses, when all that is left are accounts retold so many times that they have lost their original veracity. And so we are left with caricatures: Hitler and Himmler as monsters, Churchill and Roosevelt as conquering warriors, and millions of Jews as victims.
Yet Hanns Alexander and Rudolf Höss were men with many sides to their characters. As such, this story challenges the traditional portrayal of the hero and the villain. Both men were adored by their families and respected by their colleagues. Both grew up in Germany in the early decades of the twentieth century and, in their way, loved their country. At times, Rudolf Höss, the brutal Kommandant, displayed a capacity for compassion. And the behavior of his pursuer, Hanns Alexander, was not always above suspicion. This book is therefore a reminder of a more complex world, told through the lives of two men who grew up in parallel and yet opposing German cultures.
It is also an attempt to follow the courses of the two men's lives, and to understand how they came to meet. And the attempt raises difficult questions. How does a man become a mass murderer? Why does a person choose to confront his persecutors? What happens to the families of such men? Is revenge ever justified?
Even more, this story is an argument that when the worlds of these two men collided, modern history was changed. The testimony that emerged proved particularly significant in the war crimes trials at the end of the Second World War: Höss was the first senior Nazi to admit to executing Himmler and Hitler's Final Solution. And he did so in great and shocking detail. This testimony, unprecedented in its description of human evil, drove the world to swear that such unspeakable atrocities would never again be repeated. From this point forward, those suffering from extreme injustice could dare to hope for intervention.
It is also the story of surprise. In my comfortable north London upbringing, Jews—and I am one—were cast as the victims of the Holocaust, not its avengers. I had never really questioned that stereo-type until I fell into this story. Or, to be more accurate, it fell to me.
This is a Jew-fighting-back story. And while there are some well-known examples of resistance—uprisings in the ghettos, revolts in the camps, attacks from the woods—such examples are few. Each should be celebrated, as an inspiration to others. Even when faced with profound brutality, hope for survival—and perhaps revenge—is still possible.
This is a story pieced together from histories, biographies, archives, family letters, old tape recordings and interviews with survivors. And it is a story that was, for reasons that I think will become clear, never fully told by the men at its heart: Hanns and Rudolf.
Thomas Harding is a former documentary filmmaker and journalist who has written for the Financial Times and The Guardian, among other publications. He founded a television station in Oxford, England, and for many years was an award-winning publisher of a newspaper in West Virginia. Hanns and Rudolf is his first book. He lives in Hampshire, England.
– Richard Breitman, Author of The Architect of Genocide: Himmler and The Final Solution and Editor-in-chief of the U.S. Holocaust Museum's Holocaust and Genocide Studies.
"Thomas Harding's Hanns and Rudolf not only declines to forget, but challenges and defies the empty sententiousness characteristic of those who privately admit to being "tired of hearing about the Holocaust." In this electrifying account of how a morally driven British Jewish soldier pursues and captures and brings to trial the turntail Kommandant of Auschwitz, Thomas Harding commemorates (and, for the tired, revivifies) a ringing Biblical injunction: Justice, justice, shalt thou pursue".
"Outstanding, outstanding, outstanding! I was riveted to the text. Thomas Harding writes superbly, the storyline is better than any contrived mystery, and a compelling part of history. I see a movie here....because while there is almost a saturation of Holocaust books and movies, this is most compelling because it is about PEOPLE, the deranged Nazi who didn¹t give any thought to what he was doing and murdered in cold blood and the German Jewish refugee, a charming but rather regular fella, who got caught up in a history-making capture that turned the course of the Nuremberg trials."
"A fascinating, well-crafted book, entwining two biographies for an unusual and illuminating approach to the history of the Third Reich, its most heinous crime and its aftermath."
"This fascinating book, based on the gripping story of one man's unrelenting pursuit of Rudolf Höss in his search for justice, confirms my belief that much of the most important knowledge of the Holocaust, comes from the personal accounts of those involved. Hanns and Rudolf vividly brings to life, not only the impact of Hitler's anti-Semitic policies on the author's German Jewish family, forced to flee Berlin in the 1930s; but shows how an ordinary German farmer became one of the most feared and notorious war criminals in history, implementing with chilling efficiency the extermination of over a million Jews in Auschwitz. As awareness of the full horror of these dark years continues to advance, this book fills a unique and vital role."
"Its climax as thrilling as any wartime adventure story, Hanns and Rudolf is also a moral inquiry into an eternal question: what makes a man turn to evil? Closely researched and tautly written, this book sheds light on a remarkable and previously unknown aspect of the Holocaust - the moment when a Jew and one of the highest-ranking Nazis came face to face and history held its breath."
"This is a stunning book. Rudolf Höss' descent into the horror of mass murder is both chilling and deeply disturbing. It is also an utterly compelling and exhilarating account of one man's extraordinary hunt for the Kommandant of the most notorious death camp of all, Auschwitz-Birkenau."
"Only at his great uncle's funeral in 2006 did Thomas Harding discover that Hanns Alexander, whose Jewish family fled to Britain from Nazi Germany in the 1930s, hunted down and captured Rudolf Höss, the ruthless commandant of Auschwitz, at the end of WW2. By tracing the lives of these two men in parallel until their dramatic convergence in 1946, Harding puts the monstrous evil of the Final Solution in two specific but very different human contexts. The result is a compelling book full of unexpected revelations and insights, an authentic addition to our knowledge and understanding of this dark chapter in European history. No-one who starts reading it can fail to go on to the end."
"Written with the verve of a writer and the sure touch of an historian, Thomas Harding's Hanns and Rudolf is a fascinating, fresh, and compelling work of history."
"The protagonists' individual choices and family backgrounds give this biographical history a unique, intimate quality"
"A gripping thriller, an unspeakable crime, an essential history."
"Thomas Harding has shed intriguing new light on the strange poison of Nazism, and one of its most lethal practitioners... Meticulously researched and deeply felt."
"Fascinating and moving...This is a remarkable book, which deserves a wide readership."
"Written with admirable restraint... [Hanns and Rudolf] fascinates and shocks."


Here is your BIG challenge!
Been having some tough times in and or with class lately? Have you been looking in the mirror and worrying about what you see? Has your confidence been as shaky as your balance? Are you angry at your feet, your knees, your toes?
I hear you. Ballet class is tough. And it is as tough on the emotions as it is on the feet. Sometimes tougher. It is so easy to fall prey to overstimulated self-criticism. I know that I do it all the time. I don't really know why I can so easily bypass a garden of beautiful and meaningful compliments and focus on the one single and sharp insult to my heart. But I do, all the time. I fixate all the time. I'm good at that – I'm sort of like a little pit bull. I can grab hold of something and never let it go. But where does that get me? Nowhere good and I get there really fast. So I'm going to try to let go of the negative by focusing on the positive.
I am small and "concentrated." I may be short but I pack an energetic punch!
What an awesome idea! I feel a blog post coming on….
Thanks! I'm looking forward to your blog post!
I love this idea! It sure is good to think about something positive. I just find that really hard to do in connection with ballet haha! And that's exactly your point of course.. I know..
Love it too! Do you mind if I take the answers over to my blog? I've been thinking about writing a body-image post, and this would fit in very nicely… I will of course back-link to your blog!
Btw, some of "My Five Awesome Things" are almost identical to yours!
Since I have not been taking ballet class for a while due to my health condition, I think this challenge is pretty easy to take up as I have not had the opportunity to get fixated on all the flaws of my physique and technique.
2. I have a good posture.
5. I have good musicality.


text:
Merchandise & E-Commerce
Customer Path
Spring Playlist Series: Songs to Channel Warmer Days
Content Creation, Just For Fun, Latest / By info@nicklausmarketing.com
As the weather warms up and the days get longer, we're filled with the sense of hope that comes with fresh beginnings. To set the tone for Spring, we've put together our very own Spring Has Sprung '22 playlist complete with upbeat bops, laidback tunes, and everything needed to get you pumped for the season.
For easy listening, scroll to the linked Spring playlist at the bottom and be sure to check out a few song recaps on the way!
Magic In The Hamptons – Social House feat. Lil Yachty
Let's just say, we kicked off the playlist with this one for a reason. From its catchy lyrics to the overwhelmingly upbeat tune, we swear every foot in the office starts tapping when this bop comes on.
Exactly how they describe their work, Social House ignites a melting pot of emotions from this song alone. When we went around the office and asked what scene it transported everyone to, it's no surprise there were a variety of responses: "driving by the beach with the windows down and tennis shoes on," "standing beneath cotton candy skies," "skateboarding along the boardwalk."
Compiling these answers together, I guess what we're trying to say is, if this song doesn't scream feel-good moments and warmer days ahead, we don't know what will. So, who wants to meet us in the Hamptons???
Simple Times – Kacey Musgraves
Capturing the quintessential longing for youth, "Simple Times" lulls us back to the days when our greatest "responsibilities" involved hanging out with our best friends, hitting the mall, and communicating via pager.
This song comes from Kacey's new album star-crossed and opens with a smooth, steady beat that abruptly picks up and charges right into the chorus. Perhaps the best part of this song is how clearly Kacey articulates the ever-relatable feelings of adulthood — "Wish that I could put this game on pause. Skip this round, take the headset off," — and, in turn, creates an almost-tangible visitation to those simpler moments in life.
For us, this song, much like the coming of Spring, channels an ignorance-is-bliss mentality — even if only for the two minutes and 47 seconds the track spans.
Go On Then, Love – Said The Sky and The Maine
In true Said The Sky fashion, this track starts off with intensely emotive sounds that are overlayed by the echoing vocals of The Maine's lead singer, John O'Callaghan. This bit claims no more and no less than the first 21 seconds of the song, instantly establishing a gut feeling laced with wistfulness, foreshadowing, and hot-cold love.
An iconic crossover between the dance/electronic and alt-rock genres, this song brings together everything there is to love about the music of past and present. More than that, "Go On Then, Love" completes Said The Sky's video trilogy, which follows the story of a young love triangle. All we can say is, buckle upppp and get ready to dance, sing, and sip some teen romance tea.
Me & You Together Song – The 1975
Does anyone else live for reading lyric explanations on Genius or in the stories attached to Spotify songs? Because WE DO. After tapping through the storyline of "Me & You Together Song," it came as a surprise that, with all its happy-go-lucky-in-love vibes, this song was a challenge for Matty, the band's lead singer, to create. He goes on to explain that most of their songs, especially those that trend upbeat, are usually paired with conflicting lyrics, while this one is purely jovial.
Frequently jamming out to The 1975 often leads us to some cool vocab finds, including a new word from this song: "nappies." To clear up any confusion, this isn't a fun way of saying multiple naps, but rather a British term for diapers!
If joy is the theme of this season, then this song is a must — and we're certainly not mad about it.
We Made This Album In Newport – Quinn XCII
We can still remember the day this album dropped in 2021 — six years after the release of Quinn XCII's debut EP, Change of Scenery I. The new album, appropriately titled Change of Scenery II, opens with this dreamy track, wrapped up in nostalgia. The ethereal, music-box-like chiming that begins the 0:58 second piece feels so signature to Quinn XCII's long-time friend, ayokay, who co-produced the album with Hazey Eyes.
Part of what makes the track special is the use of background noises. Think: car doors opening, footsteps on gravel, muffled conversations with friends. The sounds are coupled by simple-yet-meaningful vocals, including a sample from Native Tongue — a song on the original Change of Scenery I. As the words "So, don't change," come through loud and clear, "We Made This Album In Newport" has us all wanting to go back to summer's past…or to book a trip to Rhode Island ASAP.
At Nicklaus Marketing & PR, music is our favorite way to boost the office mood and let our creativity flow. That's why it was an absolute blast putting this Spring playlist together. To get in the same mindset and join us in channeling the sunny days ahead, grab your speakers and press play!
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Among optical stellar interferometers, the CHARA Array located at Mt Wilson in California offers the potential of very long baselines (up to 330m) and the prospect of coupling multiple beam combiners. This paper presents the principle and the measured performance of VEGA, Visible spEctroGraph and polArimeter installed in September 2007 at the coherent focus of the array.
With 0.3 millisecond of arc of spatial resolution and up to 30000 of spectral resolution, VEGA intends to measure fundamental parameters of stars, to study stellar activities and to image and analyze circumstellar environments. We describe the observing modes that have been implemented for this spectro-polarimeter and show actual performances measured on the sky during the first observing runs.
The astrophysical programs are described in relation to the observing modes of the instrument, the presentation of the spectrograph and of the interface table is shown and finally the data is presented. We discuss the perspectives of further development in the framework of the CHARA Array.
We show that VEGA/CHARA is fully operational. The current limiting magnitude is nearly 7 but the results depend on the observing conditions (seeing, spectral resolution, etc). We have validated the stability of the instrumental visibility at the level of 1 to 2% over half an hour and of the instrumental polarization for various declinations. Some examples of squared visibility and differential visibility are presented.
The spectro-polarimeter VEGA has been installed and successfully tested on CHARA. It will permit stellar physics studies at unprecedented spectral and spatial resolutions.
CHARA meeting on Massive Stars 2009, march 19-20 @ Nice Observatory.
The VEGA focal instrument with part of the OCA dream team during tests in Grasse (France). From left to right: Daniel, Karine, François, Aurélie, Alain, Denis and Jean-Michel.
A view of the control room @ Mt Wilson.
One of the main challenges of optical stellar interferometers is to increase the number of telescopes in the recombining unit to provide a larger number of measurements and an improved imaging capability. The need to at the same time keep the important spectroscopic capabilities leads to complex recombining schemes that may limit further development.
This paper aims at describing the possibilities of combining the spatial and spectral encoding of fringes for the design of more compact beam combiners and for minimizing the number of pixels that must be read.
In this paper we establish the formalism of the spatio-spectral fringe encoding, discuss general applications and describe an actual implementation in the 3T/4T observing mode of the VEGA (Visible spEctroGraph and polArimeter) instrument installed at the coherent focus of the CHARA Array located on Mt Wilson in California. We finally present the science cases made possible by this instrumental implementation in the case of VEGA/CHARA.
We demonstrate the interest of implementing an optimized spatio-spectral encoding of fringes in a multi-telescope beam combiner. On-sky results, obtained with the 3T mode of the VEGA combiner are presented. At visible wavelengths and with the hectometric baselines of CHARA, sub-mas stellar diameters could be determined with a precision of a few percent with a spectral resolution of 5000. Our first estimates of closure phase show that accuracies better than 1 degree can be achieved.
The first on-sky results obtained with the 3T-4T VEGA instrument using spatio-spectral fringe encoding show the validity of using this principle in the design of future complex beam combiners.


The iRobot Scooba is a floor washing robot with the 'wow' factor. It effectively cleans your timber floors, tiles or lino, for you. Scooba easily manoeuvres itself under tables, chairs and even the couch. My cat didn't like it though – she was terrified of it.
The floor washing robot only requires a basic cleaning solution of white vinegar and cold tap water, plus two 'D' batteries so there's no hidden costs once you've made your initial $599 outlay, which is on par with a Dyson vacuum cleaner.
Setting up the Scooba is very straightforward, thanks to a supplied quick start guide. First, you release Scooba's tank by pushing on a metal handle, pull the tank up and place the battery inside Scooba and into its slot. There are tabs to help you place it correctly. Next, the power supply plugs into the Scooba's side. It's recommended to charge it overnight.
Next, open Scooba's tank, lifitng the lid clear of the robot and placing it on a flat surface (we used the floor). Using a supplied measuring cup I measured and poured 60 mls of white vinegar into the tank marked 'clean'. Next, I filled the tank with cold tap water, secured the cap and placed the tank back into its holder. The lid then clicks into place. You can lift Scooba under a laundry tap pretty easily too to fill it.
Next, I simply added two batteries to the virtual wall unit and away I went, pressing the 'power on' button (labelled in silver) and the 'play' button.
The iRobot Scooba is a very straightforward yet effective floor washing robot. You simply press play and away it goes. I cleaned a range of room sizes and shapes with Scooba and found it did a good job, although I was surprised that the machine left behind a light liquid on my floors after it cleaned them. While in the warmer months this may not be an issue, in the cooler months you may be inclined to get a towel out and dry your floors manually.
Preventing Scooba from accessing certain rooms or surfaces is not a problem because it comes with one 'virtual wall', essentially an infra red beam of light which Scooba won't cross. The virtual wall is perfect for blocking doorways, cords, and other areas that you want Scooba to avoid.
Scooba is a clever machine, with all sorts of lights and sound clues to help you operate it. For instance when it starts up it makes a little tune. Press the pause button and it will stop, which is handy for when you need to rearrange furniture, for example. It even has a cliff sensor, meaning it won't fall down stairs or drops, so you can leave it pretty much unattended, if you are doing other chores or working.
The 'clean' and 'dirty' tanks are also nicely sealed with a flexible rubber shield so you don't spill messy (and often very dirty!) water. The floor washing robot also has a removable filter which catches much of the gunk from your floors. Empty this often as it tends to fill up (ours filled up with cat hair).
Scooba can be used on hard floors and tiles and linoleum, making it nice and flexible. It uses 'intelligent algorithms' to clean every part of the room. Each time we used it, it struggled to get itself out from underneath the couch but with a simple shift it got back to work.
It also comes with handy battery recharger so you won't need to constantly outlay money for batteries. As well it can clean a room up to 23.3 square metres which is a decent sized space for it to clean in one session.
I liked Scooba and enjoyed not having to clean the floor ourselves. It did seem a little noisy and did frighten the cat but to my surprise it did a great job of getting under our dining room table, chairs and close to walls and it made concerted efforts to push myriad power cords out of the way to clean the floor! I had to adjust it a few times when it got stuck under couches, but apart from that operation was hassle free. Any time it travels to odd places you can press the pause button, place it elsewhere and away it goes.
Probably the best aspect of Scooba was its ease of use. It was easy to set up, easy to empty, refill, clean and operate.
However I think a second virtual wall would be worth including with Scooba, given the $599 asking price. Salton customers can buy a Scheduler Accessories pack via phone or online, or at selected appliance retailers for $119.95 (includes two virtual walls and a remote control).


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R.E.M.'s announcement last year that they had "decided to call it a day as a band" elicited immediate analyses, retrospectives, and personal reflections in newspapers, music and entertainment magazines, and websites. In fact, articles about R.E.M.'s music and legacy continue today, almost one year after they announced their retirement. Just this past July, Stereogum published an analysis of R.E.M.'s albums and, a month earlier, A.V. Club ran the last of a six-part story about the band.
Regardless of how laudatory these remembrances, many of them shared an uncomplimentary opinion: The authors said that R.E.M. was once a great and influential band but had been neither for almost two decades. In other words, R.E.M.'s legacy began with 1982's Chronic Town EP, peaked with 1992's Automatic For The People, and then faded through 1996's New Adventures In Hi-Fi. Following this album, which was also the last album with drummer Bill Berry, many critics said that R.E.M. ceased to matter.
When evaluating an artist's work, it is important to consider two broad contexts: the artist's and the audience's. The outcome of a creative process, whether a song, critique, recipe, scientific discovery, cure for a disease, business strategy, or birdhouse, does not materialize from a vacuum. All behavior – including thoughts, preferences, choices, biases, and sensitivities – is the result of someone's genes, his physiology, and his experiences, all of which are constrained by the environment. In simplified form, whether a dog can retrieve a duck (a behavior) depends on the dog's physiology; a Labrador retriever can do it, a chihuahua can't. A dog's physiology depends on its genes, the expression of which depends on certain environmental conditions. Additionally, whether a Lab becomes a gun dog depends on its experiences (e.g., only those trained to retrieve ducks on command can do it) and its genes (not all Labs are equally trainable or physically suited for the task). These three factors (genes, physiology, and experiences) are constrained by the present environment; even a well-trained and physically able Lab cannot retrieve a duck its owner is not hunting (an environmental constraint).
When R.E.M. created Murmur (1983) the music was necessarily the outcome of the genes, physiology, and experiences of its creators up to that time, constrained by their environment. Some of the experiences and the constraints included how much money was available to record the album, the influences of the music and arts scene in Athens, Georgia, audiences' responses during concerts, the physical structure and capabilities of the recording studio, record company executives, the band's manager, studio engineers, the mixer, and the producer. This last person is especially important because, outside of the band, he or she is often given the most credit or blame for how an album turns out. In short, R.E.M.'s widely acclaimed first full-length album was the result of an interrelated system of biological, physical, and social variables. So too were critics' and other people's evaluations of Murmur.
As Daniel Levitin describes in This Is Your Brain On Music, what someone thinks about a piece of music is the result of a network of biological (such as someone's ability to discern pitch, rhythm, sound), psychological (such as changes in what someone thinks about a song after hearing it many times), and social variables (such as what someone's friends are listening to) whose effects change over time. What someone thinks about a song she first heard at age 20 while in college may be quite different from what this person thinks of the same song when she's 50 years old, married, and has college-aged children of her own. A myriad of biological changes and experiences in the intervening 30 years have produced a person who literally hears the song differently, thinks about it differently, and feels differently about it.
When a band creates a new album, it does so necessarily in a context that is different from the one during the recording of a previous album. On the surface, the members of R.E.M. who created Reckoning (1984) were the same as those who created Murmur. But this obvious similarity hides the fact that Bill Berry, Peter Buck, Mike Mills, and Michael Stipe were one year older when they made Reckoning, as were the individuals who worked on the album such as producer Mitch Easter. That means one year of experiences that did not exist when Murmur was created and one year of physiological changes or maturation. What sounded pleasing when Murmur was made may have sounded less pleasing while Reckoning was being made. What sounded new before Murmur may have sounded old after it. Physiological changes and experiences change people's preferences. Children prefer sweet tasting foods; many adults prefer salty and spicy foods. Children like "The Barney Song," adults don't.
For these and other reasons, it is natural for a new album to sound different from the one before it. If the time between albums is relatively brief, such as one year, then the differences between albums is likely to be small. This may be especially true if the same studio personnel such as the engineer and producer worked on successive albums. If the time between albums is long, such as five years, then the differences between albums is likely to be large, especially if the band records the album in a new setting, uses a new producer, replaces band members, relocates to a new city, and the like. But even when the differences from one album to the next are small, these differences accumulate over many albums. The result is that a band's tenth album is likely to be very different from its first album, even when a band tries to return to its roots. In music as in life, you can never go home again.
Given that it is natural for the outcome of creative activity to change over time, it is unnatural for anyone to have expected R.E.M. to create the same music in 1991 as they did in 1982, in 2001 as they did in 1991, in 2011 as they did in 2001. The music must change, and R.E.M.'s did in a normal way from album to album. For some critics and critical fans, the music changed into something that led them to opine that R.E.M. stopped being relevant around 1996. In their retrospectives about R.E.M., many authors stated that Bill Berry's departure was the calamitous event that changed the band forever. That could be, though the relationship between Berry's leaving the band after a brain aneurysm and the music that followed may be more correlational than causal. Berry was not R.E.M.'s major songwriter or lyricist. He was not the band's singer. He was not the band's visual focal point during a concert. Berry was, however, an important voice in the creative processes of R.E.M. He was also a talented and versatile drummer. He was a vote in a band that made many business and creative decisions unanimously.
Although Berry's absence on Up (1998) was salient, there were other notable changes between it and New Adventures In Hi-Fi. The first album without Berry was also the first album since Document (1987) without producer Scott Litt. Pat McCarthy oversaw the recording of Up, which was the band's most produced album to date. Many of its songs included prominent studio effects: voice treatments, electronic percussion loops, and other studio wizardry – the sorts of effects available on GarageBand. Before Up, the greatest departure in the studio from R.E.M.'s live sound was the occasional use of string ensembles. Up was a long album, about 65 minutes of music; only New Adventures in Hi-Fi was anywhere near as long. Up was also the first album released after R.E.M. renegotiated a reported $80M contract with Warner Bros. Records. Even Up 's cover art, which was more like that of a generic textbook, was a departure from the imaginative and open-to-interpretation collages, paintings, sketches, and photographs that introduced previous R.E.M. albums.
R.E.M.'s music changed over the years because they changed over the years. It could not have been otherwise. For critics and fans who ask, "Why didn't their music change for the better?" the answer requires us to circle back to the fact that anyone who listens to a new album does so in a context that is different from the one when he evaluated a band's previous album. Among other differences, new music released by a band can be compared to what they did previously, it can be compared to music created by the band's peers, and it can be compared to current fads and fashions. It is obvious that someone can love or hate an album for many reasons. It is less obvious that one of those reasons is, as Nick Hornby wrote in Songbook , that the listener changed over the years. The new music – its lyrics, its rhythm, its tone, its mix, and everything else – may simply not fit well with who the listener is now. The changes that members of a band undergo are probably different from those that its fans and critics undergo; different people mean different physiologies, different environments, and different experiences. R.E.M. changed over the years in ways that were different from how their fans changed. Like two waves that are slightly out of phase, their asynchrony becomes exaggerated over time. The result is a loss of fans and critical acclaim.
The same has happened to countless musical acts, writers, painters, and other artists. There are U2 fans who say, depending on which cohort of fans you ask, that the band hasn't made a proper album since 1983's War, 1987's Joshua Tree, 1991's Achtung Baby, or 2000's All That You Can't Leave Behind. Similar comments have been made about Bruce Springsteen and Pearl Jam. Even the once universally acclaimed Radiohead now has a vocal pool of critics: The Bends (1995) was a fluke; they've become self-indulgent and irrelevant since O.K. Computer (1997). It's hard to say what counts as "remaining relevant" or "driving conversations about music," but it's likely that album sales are a part of the criteria. For any veteran artist, staying relevant means selling increasingly more albums or, at least, holding sales steady with each new release. These sorts of sales patterns occur only when a band acquires new fans to offset the loss of fans that is inevitable over the years.
The radio- and MTV-friendly songs on R.E.M.'s Out Of Time (1991) and Automatic For The People attracted the largest number of new fans, potentially helped by these albums containing two hit songs that embraced two large groups of people, the happy ("Shiny Happy People") and the sad ("Everybody Hurts"). These two songs alone made R.E.M.'s music the most inclusive in America. But Monster (1994) was different. The plinking mandolins and catchy folk songs of the two previous albums were replaced by crunching guitars, riffs, and general loudness. That sort of change in direction shook fans off the bandwagon, resulting in Monster selling fewer copies than Out Of Time and Automatic For The People. The sprawling, diverse, long, and loud New Adventures in Hi-Fi did not recapture fans who didn't like Monster, resulting in New Adventures In Hi-Fi selling even fewer copies than its predecessor. Significantly, Bill Berry was still a member of R.E.M. when both of these albums were recorded.
The fact is that after 1992, R.E.M.'s album sales suggest that they lost more fans than they gained. Why their music after Automatic For The People did not attract hoards of new fans or why some critics and fans gave up on R.E.M.'s music is anyone's guess. Familiarity sometimes breeds contempt. In an industry where the next big thing is always a new thing, R.E.M. wasn't. In an interview for USA Today in 2007, Michael Stipe said that he did not blame the band, its fans, or the music industry for R.E.M.'s changed status from that of a great American rock band to something else. He was right not to point fingers. The reality is that people change over time, which results in artists making different music and their fans having different musical preferences. Even if R.E.M.'s music hadn't changed over the years, their fans would have and many of them would have outgrown the band's music. By changing as they did, R.E.M. insured that their music would remain relevant long after they retired, and that past fans and critics, who themselves continue to change, will one day discover the appeal and relevance of an R.E.M. album they once ignored.
Francisco Silva is a professor of psychology at the University of Redlands. His interests include the study of what people understand about causality and the psychology of music.


text:
with Through The Roots
Seafarer Entertainment & Stonefly Productions present…
Tribal Seeds (Roots Reggae – San Diego, CA)
http://tribalseeds.net/
Through The Roots (Roots/Rock Reggae- San Diego, CA)
http://www.facebook.com/pages/Through-The-Roots/50562438844
AGES 18+ ($5 Minor surcharge at the door for ages 18-20. NO Refunds or Exchanges)
TICKETS: $13adv / $15 dos
Advance Tickets available at Ear Candy Music and online by clicking HERE!
TRIBAL SEEDS:
From San Diego, California, award-winning reggae group Tribal Seeds have become known for their spiritually driven, refreshing rock vibe they have infused with the roots style of reggae music. Originally started by two brothers, Steven Rene Jacobo [lyrics,
lead vocals, rhythm guitar] and Tony-Ray Jacobo [producer, keyboard player], Tribal Seeds now boasts six members, including: Tony Navarro [lead guitar], Carlos Verdugo
[drums], Jose Rodriguez [keys, percussion], and Victor Navarro [bass].
Tribal Seedsʻ unmatched musical talent and authentic sound has brought them to the forefront of the reggae rock genre, as their art form has reached people of all ages
across the United States, and worldwide. The band's self titled debut album, "Tribal Seeds" was released in 2008, and their second album "The Harvest" was released in
June of 2009. iTunes named both albums the "Best Of" in the Reggae genre, for their respected years. Their debut album helped garner them the "Best World Music"
title at the San Diego Music Awards in 2008, and "The Harvest," which contained fourteen new and original songs, debuted at the number 5 spot on the Billboard
Reggae Charts. The tracks, written and produced by Tribal Seeds, were recorded and mixed by Alan Sanderson at SIgnature Sound Studios in San Diego, and mastered by Erik Lobson at Universal Mastering.
On July 19, 2011, Tribal Seeds gave listeners a brand new EP entitled "Soundwaves," which peaked at number 2 on the Billboard Reggae Charts. The band notes that the album was inspired by their life experiences, being on tour, and their
desire to inspire youth to raise their voices and seek a higher consciousness.
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The ABA offers courses for students who are high school graduates or possess a GED. The ABA requires 60 credit hours of instruction at the lower level (freshman and sophomore years).
Applicants to the ABA program must have a high school diploma or GED. Applicants to the ABA program who have prior education at an appropriately accredited institution may transfer a maximum of 45 credit hours towards the ABA requirements.