text:
package com.twitter.sbt

import scala.collection.jcl
import scala.collection.jcl.Conversions._
import scala.collection.mutable.{HashSet, HashMap}

import java.io.File

import org.apache.ivy.Ivy
import org.apache.ivy.core.module.descriptor.{ModuleDescriptor, DefaultModuleDescriptor}
import org.apache.ivy.core.retrieve.RetrieveOptions
import org.apache.ivy.core.resolve.ResolveOptions
import org.apache.ivy.core.resolve.IvyNode
import org.apache.ivy.core.LogOptions

// TODO: check versions, display discrepancies, etc.
// TODO: check that it's an actual sbt project there, otherwise skip (xrayspecs)
// TODO: check versions
// TODO: show whole project graph

import _root_.sbt._

// object RawProjectCache {
//   private[this] val cache = new HashMap[String, Project]
//   def apply(path: Path)(make: => Project) = cache.getOrElseUpdate(path.absolutePath, make)
// }

object inline {
  // TODO: push as much of this into per-project caches as
  // possible. we need the global register to filter the classpath--
  // but not much else?  we can determinstically recreate these per
  // project.

  sealed abstract class ResolvedLibraryDependency
  case class ModuleDependency(m: ModuleID) extends ResolvedLibraryDependency
  case class InlineDependency(m: ModuleID, project: Project) extends ResolvedLibraryDependency

  case class ModuleDescriptor(organization: String, name: String)

  val noInlined = new HashSet[ModuleDescriptor]
  val inlined   = new HashSet[ModuleDescriptor]
}

trait AdhocInlines extends BasicManagedProject with Environmentalist {
  class ProjectCache {
    private[this] var cache = new HashMap[String, Project]

    def getStore() = cache

    def setStore(underlying: HashMap[String, Project]) {
      cache = underlying
    }

    def apply(key: String)(make: => Option[Project]) = {
      cache.get(key) match {
        case someProject@Some(_) => someProject
        case None =>
          val made = make
          made foreach { project =>
            cache(key) = project
          }

          made
      }
    }
  }

  private[this] lazy val relPaths = new HashMap[(String, String), String]
  private[this] lazy val unpublishedInlines = new HashSet[(String, String)]
  private[this] lazy val explicitDependencies = new HashSet[Dependency]
  private[this] lazy val projectCache = new ProjectCache

  def setProjectCacheStore(store: HashMap[String, Project]) {
    println("SETTING PROJECT CACHE STORE (%d)".format(store.size))
    // (merge?)
    println("OLD ONE (%d)".format(projectCache.getStore.size))

    projectCache.setStore(store)
    subProjects foreach {
      case (name, adhoc: AdhocInlines) =>
        println(":-) %s".format(name))
        adhoc.setProjectCacheStore(store)
      case (name, _) =>
        println(":-(%s)".format(name))
    }
  }

  // For future use:
  val projectIsInlined = true

  // TODO: make a registry for these changes.
  class RichModuleID(m: ModuleID) {
    // This is side effecting. Nasty, but it gets the job done.
    def relativePath(name: String) = {
      relPaths((m.organization, m.name)) = name
      m
    }

    def withUnpublished() = {
      unpublishedInlines += Pair(m.organization, m.name)
      m
    }

    def noInline() = {
      // TODO: should noInlines really be global?
      inline.noInlined += inline.ModuleDescriptor(m.organization, m.name)
      m
    }
  }

  case class Dependency(relPath: String, name: String) {
    // TODO: do a better search?
    def projectPath: Path = Path.fromFile("..") / relPath

    def resolveProject: Option[Project] = {
      projectCache("project:%s".format(name)) {
        println("PROJECT CACHE MAKE MAKE: %s".format(name))
        val parentProject =
          projectCache("path:%s".format(projectPath)) { Some(project(projectPath)) }
        val foundProject = parentProject flatMap { parentProject =>
          if (parentProject.name != name) {
            // Try to find it in a subproject.
            parentProject.subProjects.find { _._2.name == name } map { _._2 }
          } else {
            Some(parentProject)
          }
        }

        foundProject map { wrapProject(_) }
      }
    }
  }

  implicit def moduleIDToRichModuleID(m: ModuleID) = new RichModuleID(m)
  implicit def stringToAlmostDependency(relPath: String) = new {
    def ~(name: String) = Dependency(relPath, name)
  }

  implicit def stringToDependency(relPath: String) =
    Dependency(relPath, relPath)

  override def shouldCheckOutputDirectories = false

  def isInlining = environment.get("SBT_ADHOC_INLINE").isDefined
  def inlineSearchPath = environment.getOrElse("SBT_ADHOC_INLINE_PATH", "..")

  def dependencies(deps: Dependency*) {
    explicitDependencies ++= deps
  }

  private def resolveProject(organization: String, name: String, path: Path) =
    projectCache("project:%s/%s".format(organization, name)) {
      if ((path / "project" / "build.properties").exists) {
        val rawProject = projectCache("path:%s".format(path)) { Some(project(path)) }
        val foundProject = rawProject flatMap { rawProject =>
          if (rawProject.name != name) {
            // Try to find it in a subproject.
            rawProject.subProjects.find(_._2.name == name) map (_._2)
          } else {
            Some(rawProject)
          }
        }

        if (!foundProject.isDefined) {
          log.warn("project name mismatch @ %s (expected: %s got: %s)".format(
            path, name, rawProject.get.name))
          None
        } else if (foundProject.get.organization != organization) {
          log.warn("project organization mismatch @ %s (expected: %s got: %s)".format(
            path, organization, foundProject.get.organization))
          None
        } else {
          Some(wrapProject(foundProject.get))
        }
      } else {
        log.warn("invalid sbt project @ %s".format(path))
        None
      }
    }

  // println("project cache", info.projectDirectory, ProjectCache)

  // We use ``info.projectDirectory'' instead of ``name'' here because
  // for subprojects, names aren't initialized as of this point
  // [seemingly not before the constructor has finished running].
  // if (isInlining) {
  //   log.info("ad-hoc inlines enabled for " + info.projectDirectory)
  // } else {
  //   log.info(
  //     ("ad-hoc inlines NOT currently enabled " +
  //      "for %s set SBT_ADHOC_INLINE=1 to enable")
  //     .format(info.projectDirectory))
  // }

  if (environment.get("SBT_INLINE").isDefined) {
    log.error("ad-hoc inlines are incompatible with SBT_INLINE")
    System.exit(1)
  }

  case class IvyJar(organization: String, name: String, jar: String)
  // I'm submitting to this sbt antipattern here.  Lean into it.
  lazy val ivyJars = {
    val source = io.Source.fromFile(new java.io.File(info.projectDirectory, ".ivyjars"))
    Map() ++ { source.getLines map { dirtyLine =>
      val line = dirtyLine.stripLineEnd
      // error out on parse error?
      val Array(organization, name, jar) = line.split("\t")
      (jar -> IvyJar(organization, name, jar))
    }}
  }

  def resolvedPaths(relPath: String) = {
    inlineSearchPath.split(":").map{ file => Path.fromFile(file) / relPath }.filter(_.isDirectory)
  }

  private[this] lazy val resolvedLibraryDependencies =
    if (!isInlining) {
      super.libraryDependencies map inline.ModuleDependency
    } else {
      super.libraryDependencies map { module =>
        val descriptor = inline.ModuleDescriptor(module.organization, module.name)
        if (inline.noInlined contains descriptor) {
          inline.ModuleDependency(module)
        } else {
          val relPath =
            relPaths.get((module.organization, module.name)).getOrElse(module.name)

          resolvedPaths(relPath).firstOption match {
            case Some(path) =>
              resolveProject(module.organization, module.name, path) match {
                case Some(project) =>
                  // XXX: we can't do this test here because of sbt
                  // architecture idiocy. in the cascade of lazily
                  // initiated values that have side effects, querying
                  // ``version'' at this juncture attempts retrieving
                  // a hitherto undefined property when using
                  // subprojects (those without their own
                  // ``build.properties'' files). Sigh. Sigh. Sigh.

                  // if (project.version.toString != module.revision) {
                  //   log.warn("version mismatch for %s (%s is inlined, %s is requested)".format(
                  //     module.name, project.version.toString, module.revision))
                  // }

                  inline.inlined += descriptor
                  inline.InlineDependency(module, project)

                case None =>
                  inline.ModuleDependency(module)
              }
            case None =>
              inline.ModuleDependency(module)
          }
        }
      }
    }

  private[this] lazy val moduleDependencies =
    resolvedLibraryDependencies.flatMap {
      case inline.ModuleDependency(module) => Some(module)
      case _ => None
    }

  private[this] lazy val inlineDependencies =
    resolvedLibraryDependencies.flatMap {
      case inline.InlineDependency(module, project) => Some((module, project))
      case _ => None
    }

  override def libraryDependencies = Set() ++ moduleDependencies

  lazy val showClasspath = task {
    log.info(fullClasspath(Configurations.Compile).toString)
    None
  }

  lazy val showLibraryDependencies = task {
    log.info("Inlined dependencies:")
    inlineDependencies foreach { case (m, project) =>
      log.info("  %s @ %s".format(m, project.info.projectPath))
    }

    log.info("Library dependencies:")
    moduleDependencies foreach { m => log.info("  %s".format(m)) }

    log.info("Explicit dependencies:")
    explicitDependencies foreach { dep => log.info("  %s".format(dep)) }

    None
  }

  lazy val showProjectClosure = task {
    log.info("Project closure:")
    projectClosure foreach { project =>
      println("  " + project + " " + project.hashCode)
    }
    None
  }

  private def wrapProject(p: Project) = {
    println("WRAPPING PROJECT OF CLASS", p.getClass)
    // p.getClass.getDeclaredMethods foreach { method =>
    //   println("METHOD", method)
    // }
    val m = p.getClass.getDeclaredMethod(
      "setProjectCacheStore", classOf[HashMap[String, Project]])
    if (m ne null) {
			m.invoke(p, projectCache.getStore)
		} else {
			println("whining loudly.")
		}

    p
  }

  // p match {
  //   case _: AdhocInlines => p
  //   case p: DefaultProject => new WrappedDefaultProject(p) with AdhocInlines
  //   case p => p
  // }

  // Use the full set of dependencies (super.libraryDependencies) for
  // module updates.
  override def inlineSettings = {
    val filteredDeps = super.libraryDependencies.filter { m =>
      !(unpublishedInlines contains (m.organization, m.name))
    }

    new InlineConfiguration(projectID, filteredDeps, ivyXML, ivyConfigurations,
      defaultConfiguration, ivyScala, ivyValidate)
  }

  private def resolve(logging: UpdateLogging.Value)(
    ivy: Ivy, module: DefaultModuleDescriptor,
    defaultConf: String) =
	{
		val resolveOptions = new ResolveOptions
		resolveOptions.setLog(ivyLogLevel(logging))
		val resolveReport = ivy.resolve(module, resolveOptions)
		if(resolveReport.hasError) {
			throw new ResolveException(
        resolveReport.getAllProblemMessages.toArray.map(_.toString).toList.removeDuplicates)
    }

    val file = new File(info.projectDirectory, ".ivyjars")
		val out = new java.io.PrintWriter(new java.io.FileWriter(file))

		println("RESOLVE")
    for (dep <- resolveReport.getDependencies; id = dep.asInstanceOf[IvyNode].getId) {
      println("ID %s".format(id))
    }

    for (dep <- resolveReport.getDependencies; id = dep.asInstanceOf[IvyNode].getId) {
			out.println("%s\t%s\t%s-%s.jar".format(
        id.getOrganisation, id.getName,
        id.getName, id.getRevision))
    }

		out.close()
	}

	private def update(module: IvySbt#Module, configuration: UpdateConfiguration) {
		module.withModule { case (ivy, md, default) =>
			import configuration._
			resolve(logging)(ivy, md, default)
			val retrieveOptions = new RetrieveOptions
			retrieveOptions.setSync(synchronize)

			val patternBase = retrieveDirectory.getAbsolutePath
			val pattern =
				if(patternBase.endsWith(File.separator))
					patternBase + configuration.outputPattern
				else
					patternBase + File.separatorChar + configuration.outputPattern

      ivy.retrieve(md.getModuleRevisionId, pattern, retrieveOptions)
		}
	}

	import UpdateLogging.{Quiet, Full, DownloadOnly}
	import LogOptions.{LOG_QUIET, LOG_DEFAULT, LOG_DOWNLOAD_ONLY}
	private def ivyLogLevel(level: UpdateLogging.Value) =
		level match {
			case Quiet => LOG_QUIET
			case DownloadOnly => LOG_DOWNLOAD_ONLY
			case Full => LOG_DEFAULT
		}

  override def updateTask(module: => IvySbt#Module, configuration: => UpdateConfiguration) = {
	  ivyTask { update(module, configuration) }
  }

  private lazy val wtf: Boolean = {
    explicitDependencies foreach { dep =>
      // XXX com.twitter
      inline.inlined += inline.ModuleDescriptor("com.twitter", dep.name)
    }

    super.subProjects foreach { case (_, p) => wrapProject(p) }

    true
  }

  override def subProjects = {
    require(wtf)

    val mapped =
      inlineDependencies map { case (m, project) =>
        m.name -> project
      }

    val explicit =
      explicitDependencies map { dep =>
        val project = dep.resolveProject
        if (!project.isDefined) {
          log.error("could not find dependency %s".format(dep))
          System.exit(1)
        }

        dep.name -> project.get
      }

    Map() ++ super.subProjects ++ mapped ++ explicit
  }

  override def managedClasspath(config: Configuration): PathFinder =
    if (isInlining) {
      super.managedClasspath(config) filter { path =>
        ivyJars.get(path.name) match {
          case Some(IvyJar(organization, name, jar)) =>
            !(inline.inlined contains inline.ModuleDescriptor(organization, name))

          case None =>
            // Exclude stuff we don't know about.
            // log.warn("%s NOT FOUND".format(path.name)) error out?
            false
        }
      }
    } else {
      super.managedClasspath(config)
    }
}


text:
Year 1 is a foundation year for spelling, with children being taught important spelling patterns and exception words as well as how split digraphs work. We explain how you can support your child's Y1 spelling learning at home with an understanding of the curriculum and practical worksheets and activities.
In Year 1, children will be doing lots of phonics work to help them with their spelling. This phonics work will consist of looking at how different sounds are spelled in different words.
Children will go over all the phonemes (sounds) they learned in Reception. They will learn both digraphs (sounds made by two letters, such as 'ee' or 'ir') and trigraphs (sounds made by three letters, such as 'igh' and 'tch').
They will look at how the same sounds can be made by different groups of letters, for example:
oy and oi (as in 'toy' and 'coin')
ai and ay (as in 'rain' and 'say')
ir, er and ur (as in 'dirt', 'fern' and 'turn')
ow and ou (as in 'cow' and 'round')
ow and oe (as in 'flow' and 'toe')
ue and ew (as in 'glue' and 'flew')
ie and igh (as in 'pie' and 'sigh')
or, ore and aw (as in 'for', 'more' and 'raw')
air and are (as in 'fair' and 'dare')
They will also look at how the same groups of letters can make different sounds, for example:
ea in 'bead' and 'bread'
oo in 'food' and 'wood'
ear in 'bear' and 'fear'
Learning about split digraphs in Year 1 spelling
Year 1 children will also learn about split digraphs. As mentioned earlier, a digraph is two letters that make up one sound. Sometimes, when the digraph is made up of two vowels, a consonant appears between the two vowels, splitting up the digraph. For example, the word 'bite' is made up of the sounds 'b', 'ie' and 't', however, the 't' in this word splits up the vowel digraph 'ie', so that it is spelt 'bite'.
Here are some other examples of split digraphs:
o_e as in 'rope'
a_e as in 'tape'
e_e as in 'theme'
u_e as in 'tune'
Year 1 spelling patterns
As well as their phonics learning, Year 1 children will learn spellings of words that have particular patterns, for example:
Words ending ff, ck, zz, ll, ss such as 'fluff', 'luck', 'buzz', 'fill' and 'kiss'
Words ending nk such as 'bunk' and 'sink'
Words with two syllables, such as 'ticket' and 'kitchen'
Words ending ve such as 'have' and 'live'
Adding -es to the end of plurals and verbs, for example: 'hutch' becomes 'hutches' and 'stitch' becomes 'stitches'
Adding -ing, -ed and -er to words, such as: 'jump' which changes to 'jumping', 'jumped' and 'jumper'
Adding 'er' and 'est' to adjectives to make the comparative and superlative form, such as 'kind' which changes to 'kinder' and 'kindest'
Words ending y, such as 'happy' and 'funny'
Words containing ph or wh, such as 'telephone' and 'which'
Adding the prefix un- to change the meaning of a word, for example: 'fit' to 'unfit'
Compound words, which are words made up of two short words, such as 'football' and 'playground'
Year 1 exception words
Children will also be taught what are now referred to as 'common exception words' (sometimes called tricky words). These are words commonly found in the English language, but which do not follow the phonic rules that have been taught so far. Examples of these in Year 1 are: 'were', 'once', 'school', 'house'.
How spelling is taught in Year 1
Teachers will usually give children a list of spellings to learn each week at home from Y1 onwards, but lots of work is also done in the classroom to provide an early, solid groundwork in spelling.
Teachers may encourage children to learn certain words by using them for handwriting practice. They may give the children cards to make learning spelling more interesting (for example, children may be given two parts of a compound word on two separate cards and asked to match the pairs). Fill-the-gap worksheets can also help children with their spellings; for example, a child may be given worksheets with pictures of objects and a partially written word that needs completing below.
The importance of parental help at home at this stage cannot be over-stressed. Year 1 is a crucial year for spelling, when all the vital phonics ground work is laid down ready for future years. Ensuring that your child knows their spellings for their weekly test should be a top homework priority!
Year 1 spelling worksheets
Look through our selection of Y1 spelling worksheets to find practical activities for your child to practise their spellings learning with.
You can also download a pack of Year 1 spelling tests, designed to help your child practise common spelling patterns and tricky words.
How spelling is taught in primary school, year by year
Find out what words and spelling patterns children are taught in each year of primary school with our parents' guides:
Spelling in Reception
5 great spelling games
Year 1 English: what your child learns
What is 'magic e' or a split digraph?
Word split: compound words
What is a grapheme?
Common handwriting problems and solutions
Year 1 English Progress checks
Have fun with spelling
As schools break up, why not subscribe to one of these fab magazines to keep your child occupied over the summer?… https://t.co/0jzaAvE7fM — 5 hours 3 min ago
😥😥😥#endofterm #endofschool #year6 #leavers https://t.co/NeAHUzZIMI — 8 hours 3 min ago

redpajama_set_name: RedPajamaCommonCrawl


text:
P.o.v.; Standing Silent Nation
or a hanging thank you next month he and the family has lived in north dakota but a battle over controversial crop of cooing who wants what happens when a sovereign rights and federal law collide standing silent nation only on
piano following this program to hear from the filmmakers and to find out how you can share your point of the major funding for purely has been provided by the john d and catherine to macarthur foundation the national endowment for the arts which believes that a great nation deserves greater than by contributions to a pbs station but the point is because bill clinton pearce more of the couple's i think both will build global oilfield hall
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bodied people in the workforce and we have less than three thousand jobs so that leaves thirteen fourteen thousand of us and can work without a place to work it just came to the consensus that were tired of living this way were tired of being dependent on the us government for food stamps and commodity to use a new looking for handouts to pay our whitetail and glowing couple months without electricity you know that we just what can we do will we can grow the federal government was paint for this gentleman david marley to go monks various indian tribes bring hemp seeds and teach them how to grow hemp in how to process that there's actual evidence of correspondence saying if the tribes on the plane to give up their nomadic laundering they have to have a
fiber and i believe actually beat him is it a problem if you have a crop that you can grow on indian reservations or any other part of the rule of north america in which people can make hundreds of dollars in a bipartisan chain shoe very substantially employment protections it's a cash crop and fantasy island twenty days later you take your seeds and so when we like it because as earth friendly doesn't have new chemicals doesn't have no danger we can make closing can make the lipstick you can make her feel so we saw somebody said well this is for
us recorded june fourth nineteen forty two you know drones and have been so you more or anti iran it's classified together with marijuana under the controlled substances act because it is a cannabis
city that it doesn't need to be one of the greatest nightmares of marijuana growers would be to have industrial hemp anywhere near their marijuana plants if the industrial hemp as less than half a percent of tac in the marijuana plant as twenty percent then the next generation of marijuana plants are going to be about ten percent say it's bleak as bleak look like it's only twelve reasons one of the worst mistake and seventeen they'd be asian to do differently this is bonkers and we get serious problems in this country both the drugs and so absent on policies toward the incident on video that industrial hemp is
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do come and ask us what is sovereignty will be able to let him know that our people did make this to the government sovereignty is ours here on the local the nation enacts treaties with america and we retained our sovereignty gotham america gave us sovereignty can ever be given to anyone would use a tribal sovereignty means in the twenty first century of trouble so every means that song you're a puree even give us army and your duty as a sovereign entity and therefore the relationship between the federal government and dr is one between says sovereign entities i think that one of the most promising areas of volunteers to help with economic development we're not coming from washington to tell you exactly what to do and how to do it we're coming from washington to ask you what you want to do and
tell you we will give you the tools and the support to get done what you want to do for your children and up is our elders support it is our families support at this that your space across reservation support if there's a tribal government supported this we have all the authority we need it it was all called clear crisp morning and we all went out there and raise the home who recently a beautiful to tougher still need plenty of losing the a powerful feeling
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shoot in the back in her to start walking that's right you told me you know you're violating the travel log isn't that our family lanza kills where you live at north and you've taken something that we planted within the cell that when the people come in to buy that you can't do this to us on tape to get done anywhere they started to machines and even taken too long as ester dean was the helicopter would who were elbow and m plentiful tall julie by composer does not lead to formal written on in a scene that those who are dividing
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glad you are paula lavigne
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one another look awful in the english language over five years are you know might be ten years businesses business as it has
these are all volunteers yeah this is alex wife on screen was more cement and i just wanted to call and that i just had to dhs just walk into my house without knocking and they walked out of twin danish with me out summons to go into court and a recent column is because an early stages before the common resignation were supposed to call me with the cheap and get a police assigned to them and they didn't all among adults thomas protocols auto sort of the guardian to tell you now on was almost a mass of people get college of the approach as a very corporate elevated lead to give reebok two or three hundred years apart who could decide the strategy held in poland due next on our daughter he and a
lot of my relatives had been calling and wondering a woman chair when i'm i'm not in jail saturday to teach ins into the house without knocking and are not in themselves and are tempted to say it was a summons there's a criminal allegations against name of the other person grow industrial hemp will never has a cash crop would be one of as an economic development we we expected to get the snow from the white flint that we take back to kentucky that's the reason why that madison of blacks getting easier for the two previous years like one family has suffered because of these commie and destroyed or crop not that good top hat not a painful hat not be have a way to a crop it's almost ready to harvest in the data and they tear it down and this year they haven't done so if this is marijuana why isn't the da destroyed and it's not what can't the white one family so that's the question that as massive as a businessman who come out here
to work with a sovereign nation free enterprise anyway what they did was they said you can possess the final product in this country you can distribute it but you just can't grow in britain france germany italy and russia china they all australia they all allow industrial hemp grow they'll have found a way to differentiate between industrial hemp and marijuana poorer areas beck says that fistfight for more often with a single climate warmer world for the un
it's big well i came in with no money and i'm leaving with no money is the one good thing the bank in united states senate in china workers were silent warriors it's a dangerous come into re negotiate sellout by irvin all my assets and try to make a loan obligation i have to be charging and started then rushed all were fresh energy and then the next time may be a basic service that appears when the stock market followed a building is on the other side of their father was killed in the most visible in england idols good riddance and seagulls them mentality in this whole
region that was a baby and they don't realize that my father loved the oldest kids and saw on the city's human analog this is big is a more mean there's just about everyone in this and is double checking off oh this is terrible an agreement on the settlers as a few head to all i know that foam on sound piece yana says november twenty four cartons of
honor them apart reason why he uses on the kids sixty seven worth of cds years ago at fb
the plot is because we do things there's a little missouri where it traveled from a lot different from what did you have to kill you first to do what do you know they could you know one in two thousand they couldn't concoct them for one year isn't quite where the convicted as little bit do it for water that over lockerbie one years threading of these illegal could have no leaves on them you can hear all the seats are gone there's no seeds get the idea and you
received a restraining order on him so just left the only person or and at this moment how what a restraining order against him in this kind of crazy because they wanna live to this is to say that as from alexis phil and the drug really good seats to push it out of crap you use it you have to go through a statement today it's just me making you know how it is not because i am defying federal law or any of that wealth and convince others fierce and one loser for sea is the mood in that you know you
are trying to understand how your calculation that first year we've planted it appears to be making significant changes so from that show got seven fifth twenty five acres in two thousand and six interview with sixty nine thousand jobs in this year alone
if the government were to choose to prosecute now and claim that the crops over the last three years were in fact no one under the federal sentencing guidelines are looking at least ten years it's kind of it has no indians everyone in an integral part of these voters has been done and i really wanted to that this kind of banging miles reagan if a lot of them i have to kind of go plus non our own flow of good without ignored that good that i've been
noticed or two we hire people to come no i'm thinking of to thwart kerry said at a good volume of the it's been
nice fb law i did well listen ms bishop i feel
no ya'll neil food that did i wish you'd really hard that's what
she did got a lawyer who says the day they're there's ten times it's been use of these forbid any domestic war but that rule that trump's travel to the tribes could decide to make an aside legal or not that cannabis is flat out illegal a crime rate is illegal schedule one substance with you leila one of the things left as this country is going to get an authority to administer justice or whom the president didn't this person on this show me the document only the court finds that he is in the public's interest and that is their desire to
tightly regulated called nation were appealing this right it's easier to do that in person the whole thing as chieftain illegal guns by
oh baby jean's on the large stage to look like they can walk strategizing and get people together and i'm going to pull out a psa and killing along the more drug dealing bootleg in endgame that might help with local people so all the problems were directly related to call her to be very slow would get depended on this government soldiers to the main lesson we need for databases to be
ft kris kriss kross losers cost of them on small groups it's homemade he's been able to be available off by speaking greek and like the light bulb of the moment and its a fiery foods that are meeting is like that isn't
it it's been great the piece this mamet aka that cyber is so plentiful at the early stages and what'll make from fiber paper i love the idea of the paper because it's and so really we need to do this so that when they come into therapy firing its honesty in salinas think keeps beating on the stocks that they go through to get into yet says it
probably fit in anywhere yes bees feeding him the libya it's baking company's business to pay
as beans but they may also be very conservative they may listen to us and understand that us anti drug policies law cannot be used to cap a non substantive difference between this
is because of the media companies themselves on the multi million dollar businesses farming in processing sound in court vj tries apple tree what role it not your fire while crop but his interests than in the united states where you can get permission to grow these crops among the programs that india does not issue permits without imposing the same security requirements as required for any so called drug manufacturer an extra costs about three thousand dollars an acre this is over maybe you can explain what the way to a rally with a gun so you would be and it
is i just why what stephen kern how relations permits analysts i don't know i don't really give you five minutes to work is to our knowledge judged by your no commercial hemp farming province have been issued yet seems a lesson or the canadians are used in that production is marginal farmland doesn't make a lot of sense we're talking about a situation sixty five percent were talking about people trying to grow a crop is always the flowers all around artist me how irrational and that the judge can easily festival this
is one of the most viable cross vic really grown on the pine ridge indian reservation it people artists of bikers farmers in that stage we were just asking for the right to form which we believe i can see them when times of the pritchett the time or is it low fortunately he'll celebrate over again we're going to be a key issue in china point five years and made record has been waiting for this debate comes as barnes bought find out about six weeks to hear from the witnesses and they made all the substantive cases on the side of legalizing very very low to see industry
this is one that has to take risks of escape out and the grassroots but then i think you get a movement going washington will be the last three popes to come around on this huge to these old forgotten are serious issues and serious disease well they're well contact with non indian four hundred ninety six years the senior foreign language pack our land bases impact our culture its impact local government local police force is about five ingredients any nation needs to be a soccer nation with
the old apollo occasions in which is actress as mr silva right james bond we don't take a stand on a treaty rights if we don't take a stand we risk losing that future for our children and they're coming generations this is about the fight for freedom true freedom to do what we want to do when we want to do it how we want to do it and that's going to do now hicks has been leaking secrets
mayor it's really important to me that people understand that standing silent nation is the result of a collaboration over the course of the last five years between americans and lakota ends the film is about lakota values of a car culture in native issues told through the lens of american filmmakers when they made a decision to grow hemp it wasn't something they said hey let's go have it was something that they went to and examined if we grow hemp what are all of the things that could possibly happen om what will this do for the people here what will this do for the land here what will this do for seven generations down the line what will this do for our tribe i we willing to stand behind this crop that many people feel is marijuana and i'll tell people falsely think that hampers marijuana arm it takes a lot of
got to just go out there and say you know what we're just gonna grow it and even though there's this misconception and ignorant surrounding this plant that goes wild with hardly any water are we're gonna take that chance cause we believe they can create a sustainable future for our family call two to five million here he wants to hear your point of view about this program call one eight hundred and fifty four seventy six where you know your comments to hear via pbs this liturgy of the website where you can enjoy that special level articles and interviews related to this and you can also watch videos of all this
This record is featured in "Native Narratives: The Representation of Native Americans in Public Broadcasting." This record is featured in "Vision Maker Media Documentaries."
P.o.v.
Standing Silent Nation
Prairie Dust Films, LLC
Vision Maker Media (Lincoln, Nebraska)
cpb-aacip/508-4t6f18t131
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/508-4t6f18t131).
What does a family have to endure to create a future for itself? In April 2000, Alex White Plume and his Lakota family planted industrial hemp on the Pine Ridge Reservation in South Dakota after other crops had failed. They put their hopes for a sustainable economy in hemp's hardiness and a booming worldwide demand for its many products, from clothing to food. Although growing hemp, a relative of marijuana, was banned in the U.S., Alex believed that tribal sovereignty, along with hemp's non-psychoactive properties, would protect him. But when federal agents raided the White Plumes' fields, the Lakota Nation was swept into a Byzantine struggle over tribal sovereignty, economic rights and common sense.
P.O.V. presents an array of groundbreaking and distinctive perspectives on contemporary life as chronicled by some of America' s and Europe's most visionary non-fiction filmmakers.
Copyright 2007 Prairie Dust Films, LLC
Director: Towfighnia, Suree
Producer: Hermann, Courtney
Producing Organization: Prairie Dust Films, LLC
Vision Maker Media
Identifier: 2013-00837 (VMM Inventory #)
Format: Digital Betacam
Generation: Master
Chicago: "P.o.v.; Standing Silent Nation," 2012-00-00, Vision Maker Media, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed January 18, 2022, http://americanarchive.org/catalog/cpb-aacip-508-4t6f18t131.
MLA: "P.o.v.; Standing Silent Nation." 2012-00-00. Vision Maker Media, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. January 18, 2022. <http://americanarchive.org/catalog/cpb-aacip-508-4t6f18t131>.
APA: P.o.v.; Standing Silent Nation. Boston, MA: Vision Maker Media, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-508-4t6f18t131


text:
Q: save last position of videoView saved by sharedprefrence and start in last position (android studio) save last position of videoView saved by sharedprefrence and start in last position (android studio)
hello I serch for my problam in stackaverflow and other refrences but I dont get my answer
.
I use VideoView In my app
I want to save the last position of videview in a sharedPrefrence to start again from the last position but it start in 0 every time
please check my code and tel me what should i do.
package com.rewass.qurankurdishaudiotranslatev2.activitys;

import android.content.Context;
import android.content.DialogInterface;
import android.content.SharedPreferences;
import android.media.MediaPlayer;
import android.net.ConnectivityManager;
import android.net.NetworkInfo;
import android.os.Build;
import android.os.Bundle;
import android.os.Handler;
import android.preference.PreferenceManager;
import android.util.Log;
import android.view.View;
import android.view.ViewTreeObserver;
import android.widget.MediaController;
import android.widget.ProgressBar;
import android.widget.TextView;
import android.widget.Toast;
import android.widget.VideoView;

import androidx.annotation.RequiresApi;
import androidx.appcompat.app.AlertDialog;
import androidx.appcompat.app.AppCompatActivity;
import androidx.core.content.ContextCompat;
import androidx.recyclerview.widget.GridLayoutManager;
import androidx.recyclerview.widget.RecyclerView;

import com.google.android.gms.ads.AdRequest;
import com.google.android.gms.ads.InterstitialAd;
import com.rewass.qurankurdishaudiotranslatev2.R;
import com.rewass.qurankurdishaudiotranslatev2.adapters.RecyclerViewAdapter;
import com.rewass.qurankurdishaudiotranslatev2.model.ModelRecycler;
import com.rewass.qurankurdishaudiotranslatev2.text.Text002;

import java.util.ArrayList;
import java.util.List;

public class A002 extends AppCompatActivity {
    List<ModelRecycler> listItems;
    private InterstitialAd mInterstitialAd;
    String AudioURL = "https://download.quranicaudio.com/quran/mishaari_raashid_al_3afaasee/002.mp3";
    VideoView videoView;
    ProgressBar progressBar008;
    TextView te008;
    int progress;
    RecyclerView myrv;
    String kurdish002 = "http://sirwaan.com/aaap/audios/kurdish/sound/quran/qurankurdish/002.mp3";
    String v2kurdish002 = "https://sirwaan.com/aaap/audios/kurdish/sound/quran/newversionqurankurdish/002.mp3";
    Handler handler;
    GridLayoutManager layoutManager;
    int seekkk;
    @RequiresApi(api = Build.VERSION_CODES.M)

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_a002);

        audioSora();

    }

    SharedPreferences preferences ;
    private void audioSora() {
        preferences = getSharedPreferences("pref55",MODE_PRIVATE);

        videoView = findViewById(R.id.videoview002);

        videoView.setVideoPath(v2kurdish002);

        //control media
        MediaController mediaController = new MediaController(this);
        //set view with controller
        videoView.setMediaController(mediaController);
        //set Controller to view

        mediaController.setAnchorView(videoView);

        videoView.setOnPreparedListener(new MediaPlayer.OnPreparedListener() {
            @Override
            public void onPrepared(MediaPlayer mp) {

                handler = new Handler();
                final Runnable r = new Runnable() {
                    public void run() {
                        SharedPreferences.Editor editor = preferences.edit();
                    int progress = videoView.getCurrentPosition();
                        editor.putInt("seekto", progress);
                        editor.apply();
                        seekkk = preferences.getInt("seekto", 0);
                        Toast.makeText(A002.this, seekkk+"", Toast.LENGTH_SHORT).show();
                       handler.postDelayed(this, 1000); }};

                handler.postDelayed(r, 1000);
                videoView.seekTo(seekkk);
                videoView.start();

            }
        });

    }

}

A: private int time = 0;

private ScheduledExecutorService mScheduledExecutorService;
    Runnable getPositionVideo = () -> {
        time = binding.epVideoView.getCurrentPosition();
        Log.d(TAG, ": " + time);
    };

     binding.epVideoView.setOnPreparedListener(mediaPlayer -> {
            mediaController.setAnchorView(binding.epVideoView);
            binding.epVideoView.start();
            mScheduledExecutorService = new ScheduledThreadPoolExecutor(1);
            mScheduledExecutorService.scheduleWithFixedDelay(() -> {
                runOnUiThread(getPositionVideo);
                MediaControllerCustom.init(url, time);
            }, 1000, 1000, TimeUnit.MILLISECONDS);
        });

redpajama_set_name: RedPajamaStackExchange


text:
Пьер-Луи́ Приёр (; ,  (нынешний департамент ) — , ) — деятель французской революции, якобинец. Член комитета Робеспьера, комиссар Национального конвента.

Также именовался как Приёр из Марны, в отличие от однофамильца в конвенте, прозванного Приёр из Кот-д'Ора.

Биография
Родился 1 августа 1756 года в  (департамент Марна). Практикующий адвокат в Шалон-ан-Шампань, с 1789 года выбран в Генеральные штаты. Секретарь Национального собрания.

С 1791 года — вице-президент уголовного суда в Париже. Повторно выбран в Национальный конвент. В октябре 1794 года являлся председателем Конвента.

Голосовал за казнь Людовика XVI.

После реставрации Бурбонов был изгнан как цареубийца.

Умер в Брюсселе в 1827 году.

Примечания

Ссылки
 Подборка сетевых материалов о Приёре из Марны

Политики Франции
Революционеры Франции
Люди Великой французской революции по алфавиту
Депутаты Национального собрания от третьего сословия (1789—1791)
Председатели Национального конвента

redpajama_set_name: RedPajamaWikipedia


Panic Attacks as an Awekening Symptom.
If you suffer from panic attacks do you ever consider that a panic attack can be an awakening symptom?
I realise that this disorder can be caused by many factors so it is worth researching and seeking different opinions. I recommend that you do if you suffer from panic attacks.
In this article, I will show you that this scary experience doesn't necessarily mean that something is wrong with you.
Now let me tell you my story.
I was in a place where almost all aspects of my life were in disharmony. My marriage was ending, I couldn't find a job, I had no money at all, I had serious issues with my body, I lost faith in myself and all my confidence. I felt that I was suffocating in my old identity and old life circumstances.
I started having panic attacks. Suddenly I felt that I couldn't breathe because I felt trapped. The thought of living in such a way was unbearable. I felt that I was suffocating because I couldn't see the light and didn't have any hope that I would be able to change my circumstances.
If you've had similar experiences I have to tell you that a panic attack can be a good sign.
This can be a sign that you are awakening. You have grown out of your old life and have matured to go to a higher level of your consciousness.
Your life is like too tight jeans, you can't move and breathe freely in it.
In the "Matrix" movie there is a scene when Neo has a panic attack after being unplugged from the matrix and learning what the matrix is. This film really has a lot of metaphors that fit in our lives. When you start to awaken it is an extremely difficult stage because you see that you are in the system that doesn't serve you, where people are trained to live their lives like slaves working all day and almost all week having only one holiday per year.
At that moment you realise that living in that way is not worth living and you can't stand it anymore.
When you realise that you were created to be something more and to live with a passion being free to create a lifestyle of your dreams it can be overwhelming and terrifying but a panic attack can be the first step towards freedom.
Act! A panic attack is a calling for action for you. You have disconnected from the collective consciousness and now you have to do something to gain your freedom. Acting to change your life makes you feel better and brings results.
Get out of your comfort zone! To have different results you have to use different methods.
Fight with your subconscious demons. We have a lot of programs, fears and beliefs which sabotage our attempts to change.
Work with your personal development teacher. If you want to have quicker results you will need guidance from somebody who is a professional in personal or spiritual development. You can attract the right person for you just by listening to your intuition.
Spend some time with yourself in private. When you want to transform your life and develop your consciousness you should have time to listen to yourself and watch the changes taking place in you, and the content appearing on the surface of your consciousness.
You should know that there is a whole community of people like you!
There are souls with open minds, open hearts at different stages of their journey of becoming masters of their lives.
Maybe it will resonate with you. Maybe the universe brings it to you because you are ready. You have nothing to lose but everything to gain.
SFM is a unique community of people like you who realised in the past that they are unfulfilled, unhappy, frustrated, depressed. They found each other and started transforming their lives, supporting each other and sharing their stories along the way.
You can meet individuals at different stages of their transformation, from beginners to masters.
We learn from one another. We learn how to be a leader, we learn how to have an impact on the world and how to become independent and play with life again.
The Six Figure Mentors community is a place where you receive support, understanding, acceptance, and positive mobilisation to act.
I found there a supportive family, tools, knowledge and extremely precious company on my journey.
If you want to join a wave which transforms this world into a better place and have an amazing adventure with amazing beings just let me know below! We are waiting for you.


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text:
Trailer watch: Mike Wallace is Here
Did Mike Wallace become the blueprint for modern journalism?
The life and career of one of America's most celebrated journalists is the subject of an upcoming documentary titled Mike Wallace Is Here. Wallace, who over a seven-decade career solidified himself as one of the most important journalists of our time, won an incredible 21 Emmys for his work- most notably for CBS' 60 Minutes. The new documentary journals his rise to become of the most confronting, aggressive, but effective reporters, having interviewed a who's who of politicians, celebrities, and noted figures. Over his career, he's had pointed sit downs and talks with everyone from Ayn Rand to Deng Xiaoping, from Barbara Streisand to Frank Lloyd Wright.
In one of his more famous interviews, he sat down with General William Westmoreland for a special piece titled, The Uncounted Enemy: A Vietnam Deception. The CBS documentary purported that General Westmoreland and intelligence officers manipulated enemy troop numbers in Vietnam to create the impression that the war was being won. General Westmoreland sued Wallace and CBS in a $120 million suit.
Wallace retired from his position as 60 Minutes correspondent in 2006 after a lengthy 37-year career. He passed away in 2012 at the age of 93.
Mike Wallace is Here is a documentary by Avi Belkin that features extensive footage from Wallace's illustrious career, detailing in depth his work and influence. In the official blurb, the documentary is;
"an unflinching look at the legendary reporter, who interrogated the 20th century's biggest figures in his over fifty years on air, and his aggressive reporting style and showmanship that redefined what America came to expect from broadcasters. Unearthing decades of never-before-seen footage from the 60 Minutes vault, the film explores what drove and plagued Wallace, whose storied career was entwined with the evolution of journalism itself."
In an interview with The Washington Post, director Avi Belkin talked about the influence and lasting legacy of Mike Wallace. Belkin stated that Wallace became the blueprint for today's style of news reporting- unshackled and unbound;
"In a way, he made the blueprint of what journalism is today. Mike was, in a way, a revolution. The charisma, the performance — he brought them into the game."
We find ourselves in a tumultuous time in news journalism and reporting. But what we can glimpse from Mike Wallace is Here is that we have seen this before. History repeats itself yet we've found ways to overcome. It is perhaps, one of the many reasons why this documentary seems so timely and fascinating.
The film opens in select theatres July 26th. Check out the trailer above.
Related Topics:documentarytrailers
Anarchy in the desert in Desolation Center trailer
Trailer watch: Where's My Roy Cohn?
Michael Waltrip and Dale Earnhardt in the Blink of An Eye
Miles Davis and The Birth of the Cool
Can one distill cool into one documentary?
If there is one thing that has been indisputable about the legacy of Miles Davis is that he was the personification of 'cool'. And it seems like there was no decade where he was making music that he wasn't ever cool. We once said about Miles Davis and his cool that "no matter how scrupulous your selection – one cannot distill cool into thirteen tracks, no matter how good". Now the unenviable task of distilling that cool into a succinct document falls into the hands of Miles Davis: Birth of the Cool, a new documentary detailing the life, music, and legacy of Miles Davis.
Directed by Stanley Nelson Jr. (Freedom Riders, The Murder of Emmett Till), Miles Davis: Birth of the Cool premiered at this year's Sundance Film Festival before hitting the festival circuit through the year. The film chronicles the rebellious nature of Miles Davis, detailing his desire to constantly break from the norm, with director Stanley Nelson saying;
"He was an extraordinary artist celebrated for his restless artistic aesthetic and his ceaseless innovation. He changed the course of music five or six times. By unpacking his upbringing, his methodology, his relationships, and his demons, we begin to understand the man who redefined the original American musical genre, jazz, and continues to influence generations of rock, funk, and hip-hop artists."
Abramorama will screen the film today, August 23rd in New York with director Stanley Nelson taking part in a Q+A. Tickets for this screening, along with future screenings, can be found here.
Bruce Springsteen gets cinematic with Western Stars
"Life's mysteries remain and deepen, its answers unresolved"
"We all have our broken pieces … nobody gets away unhurt. We're always trying to find somebody whose broken pieces fit with our broken pieces and something whole emerges"
On the heels of the release of Bruce Springsteen's nineteenth studio album Western Stars, Warner Bros Pictures has announced the release of the cinematic experience accompanying the album. The new film features Springsteen performing all 13 tracks from the new album, accompanied by a full orchestra in his 100-year-old barn. The film will also showcase old home footage as well as Springsteen's life-earned ruminations we've seen through his career- brought to life recently with his stint on Broadway and on his Netflix special.
Warner Bros. exec Toby Emmerich has said about Western Stars and Springsteen;
"Bruce lives in the super rarified air of artists who have blazed new and important trails deep into their careers. With 'Western Stars,' Bruce is pivoting yet again, taking us with him on an emotional and introspective cinematic journey, looking back and looking ahead."
Western Stars will premiere at this year's Toronto International Film Festival, kicking off September 5th. The film was produced by Jon Landau, Barbara Carr, and George Travis with Springsteen executive producing it. Western Stars was co-directed by Springsteen and longtime collaborator Thom Zimny.


text:
Jason Christie, Unknown Actor
2013, Insomniac Press, London ON
$16.95, 978-1-55483-101-2, 122 pages
reviewed by rob mclennan
…And the Rain Disturbs Our Images
We can't reconcile with trees.
What then do we need? I mean,
I'm asking you and every
wet sidewalk square, every
damp street light pool
that I'm walking through.
I'm asking the fertile smell
of a rainy spring night in
Vancouver. Lost seawall
circumscribing the ocean,
I'm asking myself, my shell,
the thin jacket I've wrapped
tightly around me: How
did it come to this?
Calgary poet Jason Christie's third trade poetry collection, Unknown Actor (London ON: Insomniac Press, 2013), is made up of a curious series of poetic monologues, quite literally a blending of poetry and monologues, "where poetry meets theatre." Christie explores the actor as blank slate, composing the mutable, unknown and unnamed actor/narrator in a narrative that begins with a prelude, and dances out upon the stage, and even more behind the curtain. Christie has worked with theatre-as-subject before, and the narratives of his previous trade poetry collection, i-ROBOT (Montreal QC: Snare Books, 2006) was even adapted for the stage in 2011. Composing beyond his standard structure of short, accumulative lines, Unknown Actor explores the multiple masks and the blank page through prose poems and shorter lyrics, working through a variety of pop culture film and theatre references, including Breakfast at Tiffany's, Weekend at Bernie's and Richard Burton. Christie explores the structures and movements of film and theatre, from how we watch to what we watch, circling the empty canvas of the "unknown actor," open for all and any possibility, even to the detriment of what that individual might have once been. The poem "Little Man, What Now?" that opens the second section, "Intermission," best exemplifies this empty openness, and opens: "I'm an actor with wiry hair and bright green eyes. / I'm an actor growing a moustache to hide a scar on my lip. / I'm an actor with ingrown toenails. / I'm an actor that hates ratatouille." Constructed in three sections, including an unnamed-first and an "Intermission," it ends with a coda of sorts, the four-poem "The Richard Burton Section: A Case Study," including a sequence of poems referencing the classic Faust:
Faust 6
And always new fresh blood.
So it goes. You went mad. Is there air to the water as to the earth?
A thousand germs are in the drying moist warm cold.
If I had not reserved the flame, I had nothing.
Apart is my fist, it is understood that you are eternal. The
salutary creative power is the cold devil's first clenched
against treacherous vanity.
What else, looking at the beginning of chaos, strange son, do
you see?
We want to remember the next few times, more of it this one,
I probably remove myself, thirsty.
Born in Ottawa, Canada's glorious capital city, rob mclennan currently lives in Ottawa. The author of more than twenty trade books of poetry, fiction and non-fiction, he won the John Newlove Poetry Award in 2010, and was longlisted for the CBC Poetry Prize in 2012. His most recent titles are the poetry collections Songs for little sleep, (Obvious Epiphanies, 2012) and grief notes: (BlazeVOX [books], 2012), and a second novel, missing persons (2009). The Uncertainty Principle: stories, is scheduled to appear in spring 2014. An editor and publisher, he runs above/ground press, Chaudiere Books, The Garneau Review (ottawater.com/garneaureview), seventeen seconds: a journal of poetry and poetics (ottawater.com/seventeenseconds) and the Ottawa poetry pdf annual ottawater (ottawater.com). He spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta, and regularly posts reviews, essays, interviews and other notices at robmclennan.blogspot.com


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text:
Harvey Jesse Wood (Beverley, East Riding de Yorkshire, 10 d'abril de 1885 - Tynemouth, Tyne and Wear, 18 de desembre de 1958) va ser un jugador d'hoquei sobre herba anglès que va competir a principis del . Jugava de porter.

El 1908 va prendre part en els Jocs Olímpics de Londres, on va guanyar la medalla d'or en la competició d'hoquei sobre herbal, com a membre de l'equip anglès. Disputà set partits amb la selecció anglesa, tots el 1908, en els quals sols va rebre sis gols.

Referències

Medallistes britànics als Jocs Olímpics d'estiu de 1908
Jugadors d'hoquei sobre herba anglesos
Persones d'East Riding of Yorkshire
Morts a Anglaterra


Metaglossary.com - Definitions for "warp knit"
a fabric produced by interlocking loops in a lengthwise direction . Warp knits tend to be flatter, smoother, more run resistant, and more stable than weft knits . Examples are tricot, raschel and milanese.
term used to describe fabric knitted on a warp knitting machine.
A knit created with the use of several yarns and several needles.


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text:
Carla Kaplan's Miss Anne in Harlem: The White Women of the Black Renaissance
By Robin Sabino OCTOBER 21, 2014
Drawing primarily on identity theory, cultural studies, and contemporary feminism, Kaplan's chapters allow two generations of women, known collectively as "Miss Anne," to speak to their "reasons for being in Harlem and [their] ideas about race." The introduction explains why Kaplan explores the motive, contributions, and foibles of this heretofore forgotten group whose individual interests ranged from primitivism to antiracism. Their biographies, which begin in their childhood homes, provide often shocking insights with respect to "codes of whiteness" and conflicting views of racial essentialism at a particularly "volatile" period of U.S. history. The front matter also contains a note to the reader, a list of illustrations, and a page of Miss Anne's poems from The Crisis. Eight chapters and an epilogue follow. The after matter contains acknowledgments, credits, sixty-five pages of notes, a forty-five-page bibliography, and an index.
Part One, Chapter 1, "Miss Anne's World" has two chapters. "Black and White Identity Politics" reveals European-Americans' "ugly anxieties about racial difference" and describes Harlem's philosophic paradox: intellectuals and artists simultaneously rejected essentialist notions of race even as they embraced cultural pride. With evidence from literature and drama, Kaplan situates the paradox within the "national folklore craze . . . to preserve the roots of American culture" and female writers' continuing need for artistic respectability. She then considers how Harlem artists negotiated responses to primitivism and cultural appropriation, pointing out that, while Miss Anne is largely absent from "histories" and "black writings including correspondence," in literature she emerges as an interloping "fool or monster." Chapter 2, "An Erotics of Race," continues Kaplan's exploration of Harlem's dilemma contrasting racist quotes from guidebooks with the support high society provided for Harlem's artists and intellectuals. Here the reader briefly encounters a range of Miss Annes: Blanche Knopf, Nella Larsen's publisher, who explored Harlem "in drag"; Libby Holman who, in black face at an NAACP fund raiser, portrayed a prostitute "begging her pimp not to leave her"; Mary White Ovington, a socialist founder of the NAACP; and Helen L. Worthing, an actress whose interracial marriage incurred such wrath that she committed suicide. The chapter ends with the Scottsboro case, which "reinforced ... how frightened white women might be of being perceived as choosing blacks over whites" and demonstrated the "blind injustice" that African Americans risked when interacting with mainstream America.
Part Two, "Choosing Blackness, Sex, Love, and Passing," has three chapters. The first is deceptively entitled "Let My People Go: Lillian E. Wood Passes for Black" and documents the life of a sympathetic Ohio woman who lived the last half of her life at an African-American Liberal Arts College. Ignorance on the part of readers and critics, not Woods's duplicity, lead to her misidentification as an "'emerging Black woman' . . . writing about her people" (referencing Shockley ). The chapter begins with European-American southerners' hostile reception to "Yankee schoolmarms in the freedmen schools" and moves to Wood's substantial academic and social contributions to her students. Let My People Go, which Kaplan describes as "sentimental/didactic," treats "lynching, disenfranchisement, early black education . . . race riots, . . . World War I, the Great Migration, and the development of the NAACP." The novel also contains "the most condemnatory portrait of white women that [Kaplan has] encountered."
"Josephine Cogdell Schuyler: The fall of a Fair Confederate," the second chapter in Part Two, traces the life a Texas heiress who hid her marriage to an influential African-American journalist from family and friends. Kaplan begins by elaborating themes introduced in Chapter 1, moving through Schuyler's journey from a racist to a woman determined to live free of sex stereotypes and racial hypocrisy. After establishing herself as writer and painter in California, Schuyler traveled to Greenwich Village, quickly transitioning from a Harlem "slummer" to the mistress of a "very dark, very sexual, and highly intelligent" member of the Harlem elite. Ironically, once married, she became a traditional wife, homemaker, and mother. "[U]nnoticed by critics and uncredited by her husband," she helped to build his career, "writing and editing to meet his deadlines" even as she published under several of pseudonyms. The most interesting of these is that of Julia Jerome, "the leading black female advice columnist" and "ardent feminist." Though she seems not to have had close African American friendships, we are told Schuyler created a home for her husband and their daughter that "'helped define African[-]American public life'" (quoting Ella Baker). Schuyler and her husband were much in the national eye as "Harlem's most vocal proponents of interracial marriage." Sadly, after their only daughter was born, her husband became "emotionally withholding, constantly absent" and, because of his increasingly conservative views, "a laughing stock in Harlem's intellectual circles." Schuyler committed suicide, two years after their daughter, who had matured into a concert pianist, composer, and journalist, was killed in Vietnam in 1967.
Part Three, "Repudiating Whiteness: Politics, Patronage, and Primitivism" examines the lives of the founder of Barnard College, Annie Nathan Meyer, (Chapter 5) and the philanthropist Charlotte Osgood Mason (Chapter 6). A member of the wealthy Jewish New York community, Mayer had authored "eight plays, numerous novels, many essays, and hundreds of editorials" when she produced her play Black Souls, which Zora Neale Hurston described as "accurate" and "brave." Schuyler hailed the play as superior to those that "'patronize the Negro'"; her husband praised it for "helping 'our nation . . . emerge from its present savage state.'" Kaplan herself sees Black Souls as important for "depicting female desire, . . . eschewing dialect," and embracing the African-American anti-lynching dramatic tradition. Main stream media's response to the play created "one of the most heated controversies in the history of the modern theater" and forced Meyer, who believed lynching was a "moral dilemma every white woman needed to face," to market the script herself. Like other Miss Annes whose contributions are largely forgotten, Meyer's engagement with Harlem provided her with "recognition . . . a sense of community, and the special freedom that comes from being an outsider."
The chapter on Mason, "Mother of the Primitives," considers her mentoring of "ethnomusicologicst Natalie Curtis" and two "musically inclined sisters" before turning to her patronage of "almost every major figure of the Harlem Renaissance.". Kaplan describes Mason as driven by her belief in the "'subliminal self'" (quoting Mason's husband, a respected Park Avenue physician known for his exploration of the paranormal) and her conviction that non-Western peoples could provide "cultural salvation." In 1927, after Curtis's death, Mason's "obsessive" interest in "collecting African art" lead her to Alain Locke who introduced Mason to her two best known protégées, Langston Hughes and Zora Neale Hurston. Mason's "nurturing" and financial support were initially appreciated. As she realized she was unable to fully bend her protégées to her will, she withdrew support. Mason communicated with Locke until her death, but by 1929 her enthusiasm for Hughes was waning. On the advice of spirit writing, she abandoned him in 1930. Despite Mason's disappointment over Hurston's failed biography of Cudjo Lewis and her annoyance over Hurston's use of folk material in The Great Day, Mason supported her until 1932. After breaking her hip in 1933, the "'Park Avenue dragon'" (quoting Hurston), deaf, and nearly blind, moved to a hospital where she continued "to effect planetary change". In the end, Mason determined Harlem did not, after all, hold the answers she wanted. Her will provided no support for the Harlem community or her former protégées.
Part Four, "Rewards, and Costs: Publishing, Performance, and Modern Rebellion" explores the lives of Fannie Hurst and Nancy Cunard. Hurst, Kaplan writes, was "probably the most influential and widely known white person to interest herself in black New York." We also learn of her relationship with Hurston, which she exploited while writing Imitation of Life, a novel that develops a feminist, rags-to-riches story of a cross-dressing European-American woman even as it linguistically and socially exploits the mammy stereotype: an African-American woman who "presid[ed] 'like a vast black sun over the troubled waters of the domestic scene'" (quoting Hurst) urges her mistress "to get herself some man lovin'" and "dies on the floor kissing her mistress's ankles." Adding insult to injury, Hurst, blames the domestic's death on her light-skinned daughter's successful passing as white. Although Harlem repudiated the novel, "there were few, if any, other direct consequences for Hurst"; "insulated by her own status," Hurst continued to lend support in Harlem causes.
Chapter 8, the last biographical chapter, considers the life of Nancy Cunard, British shipping heiress, member of the Associated Negro Press, publisher, editor of the 855-page Negro: An Anthology, and "one of the most important and influential white women in Harlem." Unlike other Miss Anne's who recoiled from the hate mail generated by their liaisons with African-American men, Cunard published some of hers in "an essay entitled 'The American Moron and the American of Sense–Letters on the Negro."" Soon after her society marriage, Cunard divorced and moved to Paris, where she was quickly absorbed into a "circle of modernists and surrealists" that included Ernest Hemingway; John Dos Passos; Marcel Du Champ; Peggy Guggenheim; and Leonard and Virginia Woolf. After amassing a "remarkable" collection of African art and artifacts that included the bracelets that became her hallmark, she began a long-term albeit tumultuous liaison with a married African-American musician whom she met in Italy. Together they established and operated a small press– The Hours– whose authors included Laura Riding, Robert Graves, Samuel Becket, and Ezra Pound. In line with Cunard's "voluntary identity" as a person of African descent and her rejection of "'race loyalty" (citing Cunard), she outraged British society, becoming estranged from her "right-wing," American-born mother, and "squared off with the NAACP over the appropriate path to justice for the Scottsboro Eight. Despite her many successes as a writer, editor, publisher, and fund raiser, Cunard died prematurely of alcohol abuse in a public New York hospital without "erasing the taint of sexual lunacy from her embrace of black politics and culture."
Kaplan's Epilogue reiterates that passionate, "committed," fair-minded, nonconformist, self-interested, empathetic, appropriating, and–for many–"crazy" Miss Anne "push[ed] along the systematic and structural changes necessary" for moving towards a more perfect democracy.
A Virgin Islands proverb warns 'the love of white people is like leprosy,' a point repeatedly driven home by Kaplan's biographies. Her fascinating, distressing, and detailed examination of a period many of us know primarily from literature explores racist thinking during the 1920s and 30s from the perspectives of women–mostly wealthy–who dared to cross the race line. The volume's beautifully reproduced images are a bonus, as are the dismaying factoids that salt the chapters. For example, Kaplan tells us that Hurston's "Barnard professors were assigning 'C' grades to her examinations before she's even sat for them" and that sun tanning– still alarmingly popular in the American Southeast– is an artifact of "Negrophila."
The volume is well-produced and worthy of inclusion in library research collections. Its highly readable style and remarkably inexpensive price make it suitable for personal libraries and for use as a textbook in both graduate and advanced undergraduate classes.
ROBIN SABINO is a professor at in the Department of English at Auburn University, where she directs the Department's Undergraduate Studies Program. She is also the Director of the Africana Studies Program in the College of Liberal Arts. Her research focuses on language contact, variation, and change. Ongoing projects include exploration of variationist models, multilingualism, continued development self-instructional materials for Tsalagi, and a descriptive study of monophthongization in Apalachicola, Florida. Recent publications include Language Contact in the Danish West Indies: Giving Jack His Jacket and "The A-curve and Personally Patterned Variation: More Tools for Investigating Language Variation and Change."
Miss Anne in Harlem: The White Women of the Black Renaissance. By Carla Kaplan. Harper, 2013.