text:
evelinaames
Diary of a Yankee Housewife
Family Photographs
Sarah Ames
Federico Mialhe, Album Pinteresco de la Isla de Cuba and The Gates of Montserratte, Havana, Cuba, ca. 1850*
Tuesday Dec 28th Catharine & self have been to work on
our dresses Have cut & made the sleeves & got
the skirts made &c This afternoon have spent
in the other part of the house Mr Ames
there to tea Oliver & wife dined there
on Turkey Received another letter from
Oakes Angier He was to leave for Havana
last Wednesday
A letter from Oakes Angier arrived today, evidently at least the second one he had written since departing two weeks earlier. If, as he wrote, he was leaving Charleston on Dec. 22, then by this date, he was just about landing in Havana. He may have continued to sail south on the Steamship James Adger or he may have boarded the Steamship Isabel which, at that time and for at least a decade more, ran regularly between Charleston and Havana, with stops in Savannah, Georgia and Key West, Florida. The Isabel carried mail as well as passengers. The year before, it had even carried the famous Jenny Lind to the island for a concert.
While Evelina was dress-making and Oliver Ames Jr and Sarah Lothrop Ames were dining on turkey at Sarah Witherell's, Oakes Angier was shaking off the damp of his sea voyage and stepping into the soft humidity of Cuba. Did he, like others before and after, settle into a North-American section of Havana called Cardenas, and look out on the beautiful Cardenas Bay? Did he gaze at the mountains across the bay? And did he look at – surely, he looked at – the miles and miles of sugar cane, palm trees and estancias? Did he ride in a volant, a conveyance whose rear wheels were six feet high? Did he make friends?
Most of all, did Oakes Angier get better? Was the change of climate good for him? He did, and it was. Many readers of this blog – some of whom are his descendants – already know that Oakes Angier did, in fact, return home safely, cured of his pulmonary ailment. We don't yet know exactly when and how he returned, but by the summer of 1855, he would be back in North Easton, married to Catharine Hobart and building his home, Queset House. He would recover.
*Images and much information courtesy of http://www.skinnerfamilypapers.com
19th century, Diary
Catherine Hobart Ames, Charleston, Cuba, Florida, Georgia, Havana, Jenny Lind, Key West, North Easton, Oakes Angier Ames, Oliver Ames Jr, Queset House, sailing, Sarah Ames Witherell, Sarah Lothrop Ames, Savannah, South Carolina, Steamer Isabel, Steamer James Adger, tea, turkey, writing
Advertisement for cook stove, June 1852*
Wednesday June 23d Work again weeding the garden
untill nine or ten and then about house
attending to the new stove that was put up
last night Passed the afternoon at Mr
Howard Lothrops with Mrs Witherell, S Ames
& Helen. Got 4lbs of butter of Mrs Harvey &
Eggs of Mrs Howard & Pratt
Evelina had a new, cast-iron stove, a high-tech appliance in the new, industrial age. Cast iron was "the wonder material of the 19th century and led to a prolific industry in making stoves for cooking as well as heating. Cast iron could take the repeated temperature swings of hot and cold, and it was an ideal medium for casting into complex, prefabricated parts, as well as for decorative surface ornament."** Coal and iron mines were kept busy providing the raw material as middle-class households bought cook stoves for their transformed kitchens.
The new stoves had various brand names, naturally; one model was even named for everyone's favorite opera star: the Jenny Lind Double Oven Stove. The dominant design for cookstoves was called "step-top," which allowed two separate levels for cooking on. The choice of cooking surface facilitated the preparation of several dishes. Evelina could be confident that her kitchen was state-of-the-art, whatever her father-in-law had to say about it.
Evelina may even have talked about her new stove as she was out and about this afternoon, picking up butter and eggs, and visiting with her two sisters-in-law at the elder Lothrops' home.
*Advertisement from Charleston, Illinois newspaper,
** http://www.oldhouseonline.com/history-of-the-kitchen-stove
cast iron, cooking, gardening, Howard Lothrop, Jenny Lind, Mrs. Harvey, Sarah Ames Witherell, Sarah Lothrop Ames, Sophia Pratt, stoves
The El Dorado Gambling-Saloon and the Jenny Lind Theater, San Francisco, ca. 1852*
Friday June 4th Mr Scott has varnished the Oilcloth
in the dining room this afternoon and painted
the cellar way and commenced on the entry
chamber I have been all day waiting on
him and getting the rooms in order to paint
and varnish Dining room whitewashed
I shall be thankful when we get through
with painting
Probably every member of the Ames family – not just Evelina – was going to be thankful to be "through with painting." Lately there had been too much disruption at the Ames compound; getting the rooms back in shape would help life get back to normal.
Disruption being a part of life, it was happening on a civic scale in the city of San Francisco right at this time. The newspapers called it the Jenny Lind Swindle, so disfavorably did they regard the situation. The city government had just purchased the recently established Jenny Lind Theater to be made over into their administrative offices, or "business chambers,"* the previous city hall having burned down the year before.
Built by an illiterate but entrepreneurial cabbie and bartender from New York named Tom Maguire, who was "profoundly ignorant of the stage,"* the Jenny Lind Theater had nonetheless opened the previous fall with much acclaim for its "handsome" interior. Within its "exquisite" walls, "the rowdy populace embraced" shows as diverse as Shakespeare and burlesque. Exactly why Maguire sold the building to the city is unclear – the need for money comes to mind – for he went on to build another elsewhere in town.
The cost of renovating the theater into office space was considerably greater than the acquisition of alternative sites, and the purchase of it with tax dollars was considered "scandalous." "The public was growing very clamorous, the more so perhaps because it was impotent," noted a contemporary commentator on the subject. In early June, a great crowd gathered in protest, and a heated debate ensued between a council member and a spokesman for the citizens. The venting was fractious, but didn't change the plan. The city council moved into its new quarters as planned; ironically enough, the theater space was soon found to be too small.
Did Evelina read about this in the Eastern papers? Did Oakes? California and its politics must have seemed very far away, yet Oakes would soon play a key role in connecting California to the East Coast by way of a transcontinental railroad. Who knew?
*Annals of San Francisco, 1855 Image courtesy of foundsf.org
California, Evelina Gilmore Ames, Jenny Lind, Mr. Scott, Oakes Ames, paint, railroad, San Francisco
March 19th Friday Have heat the brick oven baked
mince & dried apple pies & Jenny Lind cake Amelia
went to Mr Torreys this morning and Orinthia
afternoon & self this evening, when we returned
found Edwin & wife here. Mr Whitwell called
had called at Edwins for the first time
Jenny Lind, international opera star, was so famous at mid-century that many things were named in her honor: A street in North Easton, for one, and more. The "Swedish Nightingale," young, pretty and gifted, was promoted to the hilt by master showman P. T. Barnum. Happy fans and clever merchandisers attached her name to a bed, a bonnet, a steamer trunk, a pudding, a saloon in Brooklyn and a gold-rush town on the Calaveras River in California. She also had a cake named after her.
Evelina baked a Jenny Lind cake today. Perhaps she took the "receipt" from a popular cookbook by Mrs. A. L. Webster titled The Improved Housewife. The result was a real departure from the usual fruitcake:
"Stir together 2 cups white sugar and 1 butter. Add 10 egg-whites, well beaten. Just before setting in , add half a teaspoonful soda dissolved in cup of cold milk and 1 and half cream tartar mixed with 4 cups flour. Flavor with vanilla, or to taste. Line pans with buttered paper, and bake in moderate oven fifteen or twenty minutes. Frost it. – Or: the 10 yolks with the other ingredients as above, and the grated rind of 2 lemons for the flavoring, make a nice cake."
Amelia Gilmore, baking, Col. John Torrey, Jenny Lind, Mrs. A. L. Webster, North Easton, William Whitwell
(1820- 1887)
Thursday Feb 5th Have not been very well to day after being
out last evening. Have put a new bosom into
an old shirt of Olivers Passed part of the
afternoon at Edwins and part of the evening in
Olivers was also there about two hours this forenoon
It is a delightful evening and fine sleighing
A celebrity wedding took place in Boston on this date. Opera singer Jenny Lind married her accompanist, Otto Goldschmidt, at the home of banker Samuel Gray Ward in Louisburg Square.* There was no People Magazine, Entertainment Tonight or The Daily Beast to herald the occasion, but the newspapers of the day carried the story. "The Swedish Nightingale" was big news.
Originally from Sweden, Jenny Lind was discovered at the age of nine when the maid of a dancer at the Royal Opera overheard her singing. Though untrained, Lind soon rose to prominence on the strength of her beautiful soprano voice and became court singer to the King of Sweden and Norway. She almost damaged her vocal cords in the process, but rest and proper training set her to rights. She became world-famous in operas such as Der Freischutz and Lucia di Lammermoor.
In 1850, showman P. T. Barnum brought Jenny Lind to the United States, where she gave 93 performances over two years. When she married in Boston, she was nearing the end of her American tour and would soon to return to Europe. At 32, she would retire from touring and become the mother of three, yet she would continue to perform occasionally and teach for the remainder of her life. Many of us in the 21st century know of Jenny Lind as much for a style of spool bed that carries her name as for her acclaim as an early international opera star.
* Jim Vrabel, It Happened in Boston, p. 61
1852, Boston, Jenny Lind, opera, Otto Goldscmidt, P. T. Barnum, Samuel Gray Ward, sewing


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Q: How do i pass a prop from a parent as context to its child? so i am fetching a data in react, and i want to pass an individual value from the response in a context from a parent as prop, trendingData is from a response in api call. code:
  if (loading) return <Loading />;
  return (
    <VidoesContainer>
      <TopBar />
      <FitnessChallenge />
      <MainContainer>
        <Category categoryData={trendingData} />
        <Trainers />
      </MainContainer>
    </VidoesContainer>
  );

the initial value of trendingData is undefined, trendingData is passed to a screen stacks in react navigation. I want to use it in context like this:
const CategoryScreenStack = ({ categoryData }) => {
  return (
    <CategoryContext.Provider value={categoryData}>
      <Stack.Navigator initialRouteName='Category'>
        <Stack.Screen name='Category' component={Category} />
        <Stack.Screen
          name='Video'
          options={{
            transitionSpec: {
              open: TransitionSpecs.FadeInFromBottomAndroidSpec,
              close: TransitionSpecs.FadeOutToBottomAndroidSpec,
            },
          }}
          component={Video}
        />
      </Stack.Navigator>
    </CategoryContext.Provider>
  );
};

but i get an error: undefined is not an object (evaluating '_useContext.name') when i only just want to avoid prop drilling on each screens. How do i pass a prop from a parent as context to its child?

A: [Edit] After reading again your question, this doesn't answer it, and it's pretty dumb since you are probably already using hooks in your children component.
Now, it looks like you are trying to access a property name of undefined so make sure your data are available in your context. Here ishow i would handle this:
export const App = () => {
  const [trendingData, setTrendingData] = useSate(undefined);

  useEffect(() => {
    fetch('...').then((response) => {
      setTrendingData(response.someData);
    });
  });

  const loading = trendingData === undefined;

  if (loading) return <Loading />;
  return (
    <VidoesContainer>
      <TopBar />
      <FitnessChallenge />
      <MainContainer>
        <Category categoryData={trendingData} />
        <Trainers />
      </MainContainer>
    </VidoesContainer>
  );
};

The idea is to add trendingData in your condition to render or not your component. Here i represent it by just a simple condition, you will have to adapt it to your own way. Same thing goes for the effect, I did a fetch inside but just adapt it or provide more code so i can be more precise.
Hope it helps :)

I think you need to dispatch your trendingData after you API call. This way you will be able to use it as a normal context value. You could make use of the useContext():
[state, dispatch] = useContext(CategoryContext);
This way you will have access to your state. It can be done in every stateless component where you need to use the state or dispatch new data to it. Of course you will need a reducer.
If you don't know what I'm talking about, I highly recommand you to take a look at The official documentation aboutHooks

redpajama_set_name: RedPajamaStackExchange


text:
The William Gabbert House is a historic building located on the east side of Davenport, Iowa, United States. The structure is one of the last remaining Gothic Revival houses left in Davenport. The cross-gabled roof with the steep pitch and the small wall dormer are its distinguishable features. The chamfered corners on the windows and the diamond-shaped windows on the dormer and gable ends contributes to its sense of verticality. The Colonial Revival porch was added sometime in the 1890s and diminishes its impact. The house has been listed on the National Register of Historic Places since 1983.

References

Houses completed in 1873
Gothic Revival architecture in Iowa
Houses in Davenport, Iowa
Houses on the National Register of Historic Places in Iowa
National Register of Historic Places in Davenport, Iowa

redpajama_set_name: RedPajamaWikipedia


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Straight Party Voting
By statute, the South Carolina legislature allows for and requires the option for straight-ticket voting. South Carolina Code §7-13-330 provides the instructions for ballot forms, and South Carolina Code §7-13-1340 (b) requires that voting devices "permit each elector … to vote a straight party or body ticket, in one operation[.]"
South Carolina is one of only eight states that currently allow or offer straight-ticket voting, including: Alabama, Indiana, Kentucky, Oklahoma, Pennsylvania, South Carolina, Texas (until 2020), and Utah. In contrast, many other states have limited or abolished straight-ticket voting in recent years. In 2017, the Texas Legislature passed H.B. 25 amending the state's Election Code to eliminate straight-party voting effective September 2020. The statement of intent for H.B. 25 reads as follows:
Straight-party voting takes a voter's attention away from down-ballot candidates for certain offices that most directly affect the voter. This practice discourages a voter from researching all the candidates on the ballot. H.B. 25 addresses this issue by eliminating straight-party voting for candidates in Texas.
The concerns expressed in Texas H.B. 25 were both highlighted and contrasted in the recent federal lawsuit challenging the abolishment of straight-ticket voting in Michigan. In 2016, Michigan S.B. 13 eliminated straight-ticket voting in the state. In an open letter to the Michigan Legislature upon signing S.B. 13 into law (2015 Mich. Pub. Acts 268), Governor Lansing described the bill as "one piece of how Michigan can modernize its election process," because it will "require voters to select an individual for each elective office, rather than simply selecting a political party."
Nevertheless, opponents of the bill brought a lawsuit seeking an injunction and challenging the constitutionality of SB 13. After a trial on the merits, the district court issued an Order on August 8, 2018 granting the plaintiff's request for a permanent injunction. See Michigan State A. Philip Randolph Inst. v. Johnson, 326 F. Supp. 3d 532 (E.D. Mich. 2018). In the Order, the Court issued several findings of fact, including that "[i]n the context of Michigan's particular election laws, the Court finds that PA 268 will increase wait time for all voters" and "that African-Americans will disproportionally suffer increased wait times" and "abandon their ballots as higher rates than whites[.]" Id.
However, the Sixth Circuit Court of Appeals, granted a stay of the district court's order pending appeal, finding "very serious problems with both the factual underpinnings and the legal analysis of the district court's opinion." Michigan State A. Philip Randolph Inst. v. Johnson, No. 18-1910, 2018 WL 4214710, at *9 (6th Cir. Sept. 5, 2018).
The conversation in states across the country that have debated straight-ticket voting largely mirrors the arguments put forth in the Michigan case – concerns about long lines and waits impinging on individual rights versus concerns about making informed choices for each candidate instead of simply selecting a political party. Nevertheless, despite an overall decline in states offering straight-party ballots, the percentage of voters voting straight-ticket as opposed to split-ticket has continued to increase over the past twenty years and, based on some statistics, is at an all-time high. Therefore, despite legislative attempts to curtail offering straight-ticket ballots, in practice, straight-ticket voting persists and is indicative of the partisan nature of the current political climate.
Rachel Hutchens

redpajama_set_name: RedPajamaCommonCrawl


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Hundreds of kids participate in opening day of Junior Giants Baseball in Salinas
Updated: 3:13 PM PDT Jun 28, 2014
May Chow
KSBW News Team
Saturday was opening day of Junior Giants Baseball in Salinas, and close to 1,000 boys and girls were ready to play ball this summer.The free and non-competitive program is organized by the Salinas Police Activities League and the San Francisco Giants. The excitement spilled over the baseball diamonds at El Dorado Park."The reason I like to play is because we play for fun and teamwork," 9-year-old Alexander Vargas said."It's not about who wins or loses, it's about having fun, it's about supporting friends, supporting family," said Eric Torres, 8, of Salinas.The young players learn the Junior Giants four bases of character development -- confidence, integrity, leadership and teamwork -- as well as the importance of health and violence prevention, organizers said."The way I look at it, the 800 kids out here, are 800 kids I'll never have to worry about from law enforcement side," Salinas Police Chief Kelly McMillin said. "So this is exactly what we need to be growing here in Salinas. It's a great day."The program has been growing since launching 21 years ago."It feels amazing playing with everyone, with boys and girls, because you get to be friends with anyone,'" said 10-year-old Mia Salgadao."Today just shows that we have a great town, everyone comes out, there are a lot of kids out here. We have 800-plus participants off the streets, doing something active and positive," Salinas Officer Daniel Garcia said.
Saturday was opening day of Junior Giants Baseball in Salinas, and close to 1,000 boys and girls were ready to play ball this summer.
The free and non-competitive program is organized by the Salinas Police Activities League and the San Francisco Giants. The excitement spilled over the baseball diamonds at El Dorado Park.
"The reason I like to play is because we play for fun and teamwork," 9-year-old Alexander Vargas said.
"It's not about who wins or loses, it's about having fun, it's about supporting friends, supporting family," said Eric Torres, 8, of Salinas.
The young players learn the Junior Giants four bases of character development -- confidence, integrity, leadership and teamwork -- as well as the importance of health and violence prevention, organizers said.
"The way I look at it, the 800 kids out here, are 800 kids I'll never have to worry about from law enforcement side," Salinas Police Chief Kelly McMillin said. "So this is exactly what we need to be growing here in Salinas. It's a great day."
The program has been growing since launching 21 years ago.
"It feels amazing playing with everyone, with boys and girls, because you get to be friends with anyone,'" said 10-year-old Mia Salgadao.
"Today just shows that we have a great town, everyone comes out, there are a lot of kids out here. We have 800-plus participants off the streets, doing something active and positive," Salinas Officer Daniel Garcia said.


text:
adoptahighway's "Qualmness" video dresses in layers
Buckle up, Milwaukee, for the 2019 Budget Open House Series
Pita Palace opens on Layton Avenue today
Take a look inside The Laughing Tap, a Walker's Point comedy club that opens Friday
Milwaukee Film announces Sound Vision program, return of Stop Making Sense
We talked music and McDonald's breakfast sandwiches with local philanthropists Kate and Don Wilson
New Milwaukee Bucks arena will be called Fiserv Forum
Summerfest 2016 preview
facebook.com/CarolinesJazzClub
Mandatory Milwaukee: Caroline's Jazz Club hits all the right notes in Walker's Point
Lauren Keene
Some places come and go, while some places become icons. Mandatory Milwaukee is all about the latter. Join us as we revisit beloved and well-worn local staples with fresh eyes, and explore how they might figure in the city's future.
In a year as draining as 2017, it's almost impossible not to romanticize the past. No, we don't mean last year when the orange guy wasn't president—we're talking about the days when our parents and grandparents were hitting the town and most of us were just mere twinkles in their starry eyes. With the help of Mad Men and Downton Abbey, many people today have rich, deeply engrained fantasies about those long-past eras. From the clothes and furniture to the cars and music, a lot of things back in the day seem a lot more glamorous (or, to use contemporary vernacular, boujee).
Society has come a long way since the roaring twenties and the swinging sixties, both socially and technologically. We've replaced our gramophones with smart phones, and creeps like Don Draper wouldn't easily get away with blatant racism and sexism anymore. Even though the aesthetics of yore are still desirable, their dark underbellies certainly aren't.
Thankfully, there are a few modern establishments that still maintain decadent vintage style while encouraging visitors to post poorly lit photos on Instagram. Caroline's Jazz Club isn't even old enough to be a millennial, but the "blink and you'll miss it" corner venue transports patrons to a forgotten era of live jazz, cheap drinks, and endearingly gaudy carpeting. Located on a tiny, unassuming Walker's Point corner, Caroline's is bustling every Wednesday through Saturday night with diverse crowds eager to absorb the club's infamous ambiance.
Photo: facebook.com/CarolinesJazzClub
Caroline's is closed Sunday through Tuesday, and the little nook where the club is located remains dormant during the first half of the week. But don't let Caroline's seemingly small and peaceful exterior fool you. The club's interior is surprisingly accommodating to weekend crowd sizes, with a small bar and spacious seating area in front of the stage. There's no bouncer at this club; instead, there's a doorman who politely asks for the $5 cover with a friendly smile. He even has his own business cards!
The bar area is modest in size, meaning the service is both quick and personal. The bartenders at Caroline's are affable and dressed to the nines—not one staff member is donning jeans, T-shirts, or sneakers. Like most old-school joints, Caroline's doesn't have a drink menu, but the list-less bar only plays to the club's advantage. Caroline's serves wine and locally brewed beer (unlike some other famed Milwaukee cocktail bars), but it only feels appropriate to enjoy live jazz while sipping a martini, Manhattan, or Old Fashioned.
If music is the universal language, everyone who walks through Caroline's front door speaks it fluently. Friday and Saturday are the club's busiest nights, and the crowds are always a diverse mix of jazz fans from various walks of life. Groups of twenty-somethings huddle around candle-lit tables lining the club's walls while middle-aged couples nestle near the stage. Out-of-town visitors would question Milwaukee's "most segregated city" status upon a visit to Caroline's. Patrons of many races, ages, and social classes flock to the dimly lit club to enjoy a memorable night out.
Caroline's Jazz Club opened in 2000, but the building has a history as rich and diverse as its customer base. According to Urban Milwaukee's Michael Horne, the building opened in 1880 and served as a saloon and boarding house until the Prohibition era. It was during that dark time in Milwaukee history when the saloon started serving "soft drinks" to thirsty patrons before becoming a perfectly legal tavern in 1933.
Though the building has housed many places to drink before Caroline's inception, the club's aesthetics are seemingly unchanged since the speakeasy days. The club is mostly lit by candles and string lights, giving the entire space a natural vignette that mirrors old photographs. The dark green walls are covered in brass musical instruments and artwork. Stained-glass windows give the club a Renaissance-era sheen, and the various plants that call the club home enhance the already lush ambiance. It feels like Christmas year-round thanks to the flourishing greenery, twinkling lights, and slick, velvety textures.
It's hard to carry a thoughtful conversation over a silky smooth sax riff, and the patrons at Caroline's understand this. Most people choose not to chat or text and instead focus their eyes, ears, and undivided attention on whoever is performing. Caroline's highlights a wide array of local talent, especially artists whose genre of choice may be too niche for the more accessible Milwaukee music venues. Wednesday nights feature open blues jams, and Thursday nights offer open jazz jams. Friday and Saturday nights are dedicated exclusively to bands. Guests can catch a sneak peak of the club's performers on Caroline's Facebook page.
With Gibraltar's recent opening and The Jazz Estate's remodel, it seems like jazz is hotter than ever in Milwaukee. Caroline's Jazz Club is unmatchable in style, ambiance, and authenticity. If you're looking for an affordable place to impress your date, your friends, or even your parents, Caroline's will do the trick. Dress shoes optional, but encouraged.
FeatureMandatory Milwaukee
Lauren Keene is a journalism student at the University of Wisconsin-Milwaukee. She writes about (mostly) music for Milwaukee Record and Shepherd Express.


text:
Rainbow Row
Charleston: Magnolia Plantation & Historic City Tour
From US$ 76 per person
Take in a true low-country experience with a guided tour of the Holy City and Magnolia Plantation. Explore the beautiful grounds and living history of a plantation that dates from 1676. Get a great introduction to Charleston's past with an expert guide.
Cancel up to 2 hours in advance to receive a full refund
Stroll through one of America's most beautiful gardens
See historic city highlights such as The Battery Sea Wall, Rainbow Row, and the Old Market Area
Explore Charleston's historic streets in a climate-controlled coach
Visit over 100 of Charleston's most iconic historical landmarks
Look for alligators, turtles, herons, and other wildlife on the nature tram ride
Begin your half-day tour by boarding a climate-controlled coach in Charleston. Meet your professional guide and ride to Magnolia Plantation, dating from 1676 and the time of the British colony.
Witness a slice of living history at Magnolia Plantation and Gardens and get an amazing perspective on Charleston's past and present. The Magnolia Plantation and its world-famous gardens have been owned by the Drayton family for 12 generations. Enjoy your visit to one of America's first tourist attractions and first public gardens, which have been open to the public since 1870.
Take a guided walk through America's last large-scale Romantic garden, and experience history on a 45-minute narrated nature tram ride through the Audobon swamp gardens. Step out among the Romantic gardens and Spanish moss to see wildlife such as alligators, egrets, herons, and turtles on the nearly 600-acre plantation. Cap it all off with a 30-minute tour of the Magnolia Plantation Home before boarding your bus back to Charleston. Back in the Holy City, your deluxe, climate-controlled shuttle will take you for a 1.5-hour tour of the city's historical highlights.
Accompanied by a knowledgeable, local guide, visit over 100 of Charleston's most iconic sights of the past and present whilst listening to amazing tales and anecdotes about the city. On your tour, travel through some of the most historic parts of the city and visit Charleston's historic homes, The Battery Sea Wall, the Four Corners of Law, and Rainbow Row to name but a few.
Other highlights of the tour include a number of historic churches, old markets, and picturesque neighborhoods.
1.5-hour guided tour of historic Charleston
Admission to Magnolia Plantation
Charleston Visitor Center, 375 Meeting St, Charleston, SC 29403, USA. Please arrive 15 minutes before the departure time.
Food and drinks in the vehicle
Weapons or sharp objects
Tours operate rain or shine
Both tours were a great way to get a "feel" for and overview of the area. Consider taking these or other tours in which you're interested on your first or second day visiting Charleston. Grayline Tours were conducted in small, approx 20 passenger van-type vehicles, much better than on a large bus!
Sandra – United States Verified booking
Tour itself was great. BUT instructions said NO FOOD OR DRINK on bus. Driver said water available at snack stand at Magnolia. But snack stand doesn't open till 11 and our magnolia tour started at 10:30. Result 3 hrs with no liquid for elderly customers with medical issues. Tour would have been 5 star...
Bart – United States Verified booking
The Magnolia plantation is very nice to visit, but too much time was spent there. We had assumed that our city tour and plantation tour would be seamless - same bus, same guides, etc from one point of time to the end of that point of time. We were dropped off first at the Plantation and then picked up 4 hours later for a ride back to the starting point and then picked up by a larger bus for a 90 minute city tour. We were fortunate that our first driver got us back in time for a city tour 15 minutes earlier than originally scheduled so that we had a slightly shorter "rush" for our dinner reservation meeting with family in the city. We would not have booked "both" segments if we knew this in advance.
JoAnn – United States Verified booking
Gray Line Charleston


Yes we're evidently splashing the cash.
Just done enough to secure league one status and now we'll soon be flying upwards.
Do not make him say it twice Tommy! Gaschat law dictates anything mentioned twice as fact!
In that case i look forward to our new owners being announced sometime in late Feb early March UTG!
Is that the one you have just started, if not, who was the source?
Or it could be just typical January business from Rovers ?
thought that was last October?
Love someone to come in who will build a stadium as i am disappointed by way things haven't really got going under the AlQs after 3 years, but I won't be holding my breath.
It's a sign ! Miracles do happen !!!
Just stop your crying its a sign of the times.
Why is that person's head surrounded by a huge swarm of flies?
Is it a photo of a Shithead?


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2016 Featured Artist: Smith Map Studio
March 9, 2016 / Bridget L. Brandt
By: Brenna Bole
Smith Map Studio is a newcomer to the Old Town Street Festival in 2016. Chris Smith blends together art, geography and history to create original illustrated maps of Texas and various historic events using a combination of acrylics and pen and ink.
Although he is not formally trained in cartography, it is subject matter for his artistry.
"I put an illustrative twist on it so it's got lots of imagery. It's not a boring physical map, it tells a story," Smith says.
He says the map he is most partial to is the Republic of Texas because it was the first one he made and spent the most time creating.
Smith is featured in festivals throughout Texas, and laughs as he says Dusty Hill of ZZ Top once purchased an Alamo print of his in Houston.
Smith plans to offer a wide variety of his maps at the Old Town Street Festival and we are looking forward to having him as a vendor! His website is smithmapstudio.com for a sneak peak!
← 2016 Featured Artist: Red Door Lane
Something for the Kids →
One thought on "2016 Featured Artist: Smith Map Studio"
MBecker
Great pieces! Can't wait to see them in person.


text:
Women artists get a raw deal in historical collections. Will that ever change?
Lily Le Brun
A 1989 poster in the 'Guerrilla Girls Talk Back' series, commissioned by the Public Art Fund of New York, which rejected it before the group paid for it to appear on buses. Courtesy www.guerrillagirls.com © Guerrilla Girls
It is over 40 years since the art historian Linda Nochlin published an essay called, 'Why have there been no great female artists?' She described the situation like this: 'The fact of the matter is that there have been no supremely great women artists, as far as we know, although there have been many interesting and very good ones who remain insufficiently investigated or appreciated; nor have there been any great Lithuanian jazz pianists, nor Eskimo tennis players, no matter how much we might wish there had been.'
Written in the first surge of the most significant feminist movement since the suffragettes, Nochlin's 1971 essay marked the beginning of an era in which public art institutions were challenged about the representation of women in their collections. Inequality in almost every area of the art world was obvious: male artists dominated both historic collections and also exhibitions of contemporary art; women were excluded or absent from major art history books; almost all the staff in art institutions and universities were men; and work by female artists had less commercial value.
Although there have been improvements since then, imbalances in almost all these areas still exist. Statistics from 2012 reveal that 90 per cent of the visual artists featured in art books were men; work by women artists made up three to five per cent of major permanent collections in the US and Europe; artworks by female artists achieved none of the highest 100 auction prices; of The Art Newspaper's top 30 most visited exhibitions in New York, Paris, and London, only three were solo exhibitions featuring female artists. And, depending on how you interpret the figures, at best, 36 per cent of living artists collected by the Tate that year were women; at worst, it comes out at 21 per cent.
Perhaps this is understandable if we agree that, as Susan Fisher Sterling, the director of Washington's National Museum of Women in the Arts (NMWA), puts it: 'Museums, in general, mirror the power structures in our society, structures that in the arts, for example, privilege the history of white men's accomplishments.' The NMWA was founded in 1987 to be a museum that presents the work of women artists only.
Fisher Sterling believes that taking a strong position and actively reinserting women into the history of art is especially important for the future status of female artists. 'To empower and support living artists,' she says, 'it was necessary that [our] new museum take the lead in shedding light upon women artists of the past and rightfully placing their work within a historical context.'
This leaves older public art institutions with the problem of how to address the prevalence of male artists in their historic collections and exhibition programmes. Do they risk compromising the quality of their displays and failing to represent their permanent collections accurately? Many leading organisations are not shying away from the issue, despite its complexity. 'Museums ought to question dominant established narratives,' says Álvaro Rodríguez Fominaya, a curator at the Guggenheim Bilbao. 'Art institutions can have a great impact in the struggle for gender equality, and the result of this research should be reflected in its programming.'
Eileen Cooper, artist and Keeper of the Royal Academy Schools, says that we should be doing everything we can to help this issue: 'I am a product of the 1970s art schools, when the feminist debate was just starting. To see that very little has changed over the course of my working life – it's just so shocking.' In a piece for RA Magazine last summer about positive discrimination and women artists, she wrote: 'Contemporary artists are in constant dialogue with art history and, as a generalisation, art history is overwhelmingly about male artists.' Cooper explained that she favoured a limited form of positive promotion: 'A short period of prioritisation would allow the achievements of female artists to be visible in the future and help encourage us to present more art by women.'
Sketch of the Artist's Son, Bartholomew Beale, Facing Left (c. 1660), Mary Beale. Tate Collection
The extent to which this approach is being taken within the museum world, however, varies considerably. It ranges from the NMWA's women only collection and exhibition-programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser-known artists like Helen Torr and Elizabeth Catlett that has never been on view in 'Reimagining Modernism: 1900–1950' (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.
There seems, however, a general reluctance to introduce quotas that would actively and permanently promote women artists. 'While we do not operate positive discrimination in relation to women artists Tate is keen to address areas where, historically, women artists may have been unduly neglected,' explains Ann Gallagher, Head of Collections (British Art). In 2013, her colleague Frances Morris, Head of Collections (International Art) at Tate, was quoted in The White Review as saying: 'If you implemented a 50 per cent rule in our collection displays, we'd probably be drawing on a fifth of the collection to represent 50 per cent of the display, which would have a grossly distorting effect.'
At the Guggenheim Bilbao, Rodríguez Fominaya prefers more research and awareness-raising to quotas. 'Gender representation,' he says, 'is addressed as part of the museum's programme and collection in context and in relation to the latest developments in the history of art.'
Even museums with historical collections, such as the National Gallery, are thinking about the problem. Caroline Campbell, who is Head of Curatorial there, points out that the majority of the gallery's curatorial staff are educated in the feminist debate. 'Art history is full of surprises and unexpected discoveries,' she says. 'We are always looking for a new slant on how we show the collection to engage our audiences, as well as thinking about how the pictures themselves are described to the public.' However, the museum's chief concern, she stresses, is always with quality. There are also practical considerations. Artworks are less likely to survive if they are not valued in their own time; the same applies to information about the artist. I asked Campbell about a work by Rosalba Carriera, a female pastel portraitist who lived and worked in Venice in the early 18th century, which was recently rehung. Was that because she was female? 'Partly,' she replies, 'but also because it is a rare and fine example of a pastel portrait, and because it was still in its original frame, which is equally interesting.' But of course the standards by which art is judged to be of 'quality' are not objective. In common with many other pre-1900 collections, the National Gallery was founded upon principles established in the Renaissance. 'Women artists were admired, and several entered the collection at an early date,' Campbell explains, 'but they were considered prodigies.'
Feminist historians argue that art is a language of forms that are sifted into a hierarchy of value – and that it is these fundamental systems that need to be challenged. We should question why so few women are considered to be great artists. In their book Old Mistresses: Women, Art and Ideology (1981), Griselda Pollock and Rozsika Parker wrote that, 'Women artists have always existed, but because of the economic, social and ideological effects of sexual difference in western, patriarchal culture, women have spoken and acted from a different place within that society and culture'.
Eileen Cooper acknowledges that historical collections like the National Gallery face a dilemma. 'I see that if you attempt to integrate more women into historical shows you're working against the canon – of history of art told from a male perspective. But even now I'm thinking about re-evaluating the way I assess what I think is good art, because I realise how much I'm taught in that tradition.'
It is more difficult to argue that post-war collections would suffer similar existential crises if they were to hang more work by women in their displays. The art critic Jerry Saltz lambasted the Museum of Modern Art in New York for its 'stubborn unwillingness' to integrate more women into its galleries after a 2006 rehang (three to eight per cent of the work on view was by women, according to his calculations). Promoting artists like Barbara Hepworth and Louise Bourgeois would not have warped the narrative they were trying tell, he argued. The museum's display was 'not only a failure of the imagination and a moral emergency; it amounts to apartheid'. MoMA did not respond to the criticism with quotas or a dramatic rehang. Rather, in 2010 it launched the Modern Women's Project, 'the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists'. Through publications, exhibitions and symposiums, it constructed what it called 'a conversation between past considerations of MoMA's collection and current feminist narratives of art history'.
Like many of the other museums I contacted, MoMA clearly feels that its role in addressing the prominence of male artists within art-historical narratives lies not in assigning quotas based on gender, but in programming for the future and in thinking about how women are represented (both as subjects and as creators) within their collections. This year, it will have an equal number of solo exhibitions by men and women. Guggenheim Bilbao held a retrospective of Yoko Ono's work last year and another devoted to Niki de Saint Phalle has recently opened. Similarly at the Tate, 'We are actively trying to increase representation of women in the collection, across all periods,' says Ann Gallagher, 'but there is naturally better representation for contemporary art. Monographic exhibitions at Tate are a great opportunity for us to raise the profile of women artists.' This year the Tate is hosting five major solo retrospectives of women artists, including Agnes Martin, Sonia Delaunay and Barbara Hepworth.
The discrepancy between the emergence of feminist art history and the time it has taken for its thinking to manifest itself in public displays and education policy suggests that there are other factors at work. In November last year, Georgia O'Keeffe's Jimson Weed/White Flower No. 1 set the world record for an artwork by a woman when it sold for $44.4 million (£28m) at auction in New York. It trails behind the highest price achieved for a male artist at auction, however, and is an anomaly in terms of women's auction prices. (The second highest price for a woman artist at auction is $11.9 million – for an abstract painting by Joan Mitchell, was also achieved that year.) Six out of 64 lots in February's Post-War and Contemporary Art evening sale at Christie's were by women. At Sotheby's, it was only one out of 77.
'The art market is such a financial force,' says Cooper, 'that the decisions about who is awarded exhibitions is probably influenced by the idea that women aren't as bankable as the men – precisely because they're not as well known and they don't have as many major shows. It's market driven, and it's self-perpetuating.' Fisher Sterling agrees: 'There are still dramatic inequities. That's because there are several key "value indicators", that inform how an artist's work performs at auction: gallery exhibitions, solo museum shows, museum collection representation, and significant press coverage.' She also believes that the inequality is not something that can be challenged by public art institutions alone. 'How can the market test be the "value test" when gender bias exists not only top to bottom in the art world but across society? The conversation needs to start with acknowledging that gender inequities exist in the arts from the ground up.'
The fact that there are more women in senior jobs than ever and that the majority of art and art history students are women, will no doubt affect what happens in the future. Whether there is a bias at work against living artists is a more difficult question.
For now, a cursory glance at the permanent displays of many art museums still leads us to the same question that Nochlin posed years ago. The solution is never going to be easy, because the answer involves reassessing what we consider to be culturally important – in our most prominent cultural institutions. As Virginia Woolf wrote in A Room of One's Own, 'If truth is not to be found on the shelves of the British Museum, where, I asked myself, picking up a notebook and a pencil, is truth?'
From the March 2015 issue of Apollo: preview and subscribe here.
Highlights from The Armory Show 2015
The leading modern and contemporary art fair opens to the public tomorrow
The View from Earth: John Gerrard at Thomas Dane
As a study in hyperreality, John Gerrard's digital reconstruction of a Google data farm is utterly unnerving
London Diary: 22 February
Digby Warde-Aldam explores what London has to offer, from contemporary abstract painting to Sargent's most disquieting portraits


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Weekly Shonen Jump Alpha (2012-2013)
Weekly Shonen Jump (2013-2018)
Manga, Anime, Video Games
Yumi Hoashi
Marc Weidenbaum
Grant Lowery
Publication Period
Physically:
November 26, 2002 - March 2012
Digitally:
This article is for the monthly magazine by Viz Media. For the weekly magazine published by Shueisha, see "Weekly Shonen Jump".
Shonen Jump, often abbreviated as SJ, was a monthly manga anthology magazine published in North America by VIZ Media. It is the English counterpart of Shueisha's popular Japanese magazine, Weekly Shonen Jump, revised and reformatted for American audiences.
The magazine serialized and previewed chapters from popular shonen series, such as One Piece, Naruto, Yu-Gi-Oh! and Bleach. It also contained news on anime and manga, as well as featuring various articles on Japanese video games and media. The first issue was released in November 2002 with a January 2003 cover date.
2 Magazines
2.1 2000s
In June 2002, it was announced by Shueisha that an English version of their popular Japanese manga magazine, Weekly Shonen Jump, would be published oversees by VIZ Media. Though the magazine would be based on Weekly Shonen Jump, Renee Solberg—the marketing manager for VIZ Media—noted that it wouldn't be a carbon copy of the original magazine. Rather, they would be "selecting the material most appropriate for the American market." Though this mostly consisted of series that had an already-existing popularity in the west, like Dragon Ball Z and Yu-Gi-Oh.[1]
The biggest change from its Japanese counterpart would be the switch from publishing weekly to just once a month. According to Seiji Horibuchi, the CEO and co-founder of VIZ Media, this was done to better fit the American comic distribution system.[2] Despite this, Shonen Jump would keep the right-to-left reading style seen in Japanese manga in juxtaposition to standard American comics.
Shonen Jump ran for over 9 years with a total of 110 issues; with the first issue being released on November 2002, and the final issue being released on March 2012 after VIZ decided to focus on switching to releasing manga digitally.[3]
Shonen Jump, No. 0
Cover Date: August 2002 In Store Date: N/A
GioGio's Bizarre Adventure
📜 Magazine
Cover Date: February 2003 In Store Date: N/A
Shonen Jump, No. 32
Stardust Crusaders Chapter 114
Cover Date: May 2006 In Store Date: N/A
Weekly Shonen Jump, No. 33
Cover Date: July 17, 2017 In Store Date: July 17, 2017 (Digital)
📜 Digtal Magazine
Shonen Jump (May 2006)
Published May 2006
👤 Hirohiko Araki
SJ: How did you start drawing? What were your early influences that made you want to become a manga artist?
Araki: I grew up in the 1970s and during that time there were many manga artists with various artistic styles. It was the renaissance of manga and I was completely engrossed by it.
SJ: How did you become a full-time professional manga artist?
Araki: When I was in high school, around when I was 16, I entered a manga contest and made it to the final round. My work was praised so I decided to become a manga artist. I made my debut when I was 20 years old with Poker Under Arms, a 31-page short. It was awarded the Tezuka Award.
SJ: Between Baoh (your first manga) and JoJo, your artwork makes a dramatic change. Why did you change your style? What kind of training or practice did you undergo?
Araki: Muscular actors such as Sylvester Stallone and Arnold Schwarzenegger were extremely popular back then and that is where I got my influences. At the time, I was creating a story with a theme focused on the "physical body," so my drawing style changed to a more muscular look.
SJ: What inspired you to create JoJo?
Araki: I was thinking about creating a manga with the theme of attaining the ultimate body. In the end, the theme evolved into the celebration of life, family and bloodline: from parent to child, and then on to the children's children.
SJ: The JoJo series has strong horror elements. In some ways, seems like a horror manga inhabited by shonen manga heroes. How did you develop this style? Did you ever consider drawing a straight-forward horror manga instead of a shonen manga?
Araki: No. I prefer creating manga that is suspenseful rather than horror.
SJ: The JoJo series takes huge plot twists when it switches from Jonathan to Joseph, and Joseph to Jotaro. When you began the series, how far in advance did you have it plotted? Did you know you would jump 100 years in the future and introduce "Stands"?
Araki: Yes, I plotted ahead when I first started the series. The main characters would fight a common enemy, a formidable enemy, as if inheriting their ancestors' unfinished business from the past.
SJ: The voyage from Japan to Egypt in this JoJo series is full of details and local color. Is it based on a journey which you made yourself?
Araki: Yes, I always travel to the locale and recreate the locations based on the trip.
SJ: Your characters have incredible clothes, hair and fashion. Their clothes are so unique, they are almost similar to superhero costumes (although much better-looking). How do you come up with ideas for their appearances?
Araki: I make sure the clothing enables you to recognize a character even when they are drawn small. I use sculptures from the Roman Era or fashion models as reference when drawing them in standing poses.
SJ: JoJo seems to have an American and European influence, not only in the settings and characters but also in the artwork. Why did you choose to tell a story with British, American and Italian main characters? Do you consider yourself influenced by non-Japanese comics?
Araki: I was influenced by the Italian lifestyle, their way of thinking, fashion and their design sensibility. I love all historical painters and artists so I consider museums a sacred place.
SJ: What is your advice to readers who want to become comic artists?
Araki: I think it's important to express something that is your own. I also think it's important for people to be able to identify the artist by looking at his or her artwork.
SJ: "Stands" are an extremely original idea and have influenced many other manga artists who use "spirits" or "partners" in their manga. How did you get the idea for this power? Is it based on the idea of "possession"?
Araki: The concept of Stands came from Guardian Spirits. I wanted to express in my artwork how every character always has a spirit with him and they each have their own special powers and characteristics.
SJ: Many, but not all, of the Stands have a robotic/mechanical appearance. Others look like ancient idols or prehistoric artwork. How do you design Stands? Is there any deeper meaning to the appearance of Stands?
Araki: I envisioned the Stands to have a mechanical and a spirit-like look but not completely. African masks are a perfect example and that's where I got my influences.
SJ: Do Stands have a "will" or "intelligence" separate from their owners? Can they act against their owner's will? Do the same Stands reappear over history with different owners?
Araki: I don't see why such special Stands can't exist. It's possible.
SJ: When Stands first appear in JoJo, they are named after Tarot cards. Later, they are named after Egyptian gods. Within the world of JoJo is the idea that it's the other way around—that the cards and gods are secretly based on the Stands from ancient times? Or, within the world of JoJo, is the Stand/Tarot/Egyptian god connection just a convenient naming system made up by the characters such as Avdol, Dio and Enya?
Araki: There is a mystical element to ancient and archaic times. I thought it was perfect when expressing what a Stand is.
SJ: After you stopped using Tarot cards and Egyptian gods for Stands, did you consider coming up with any other kind of group naming system? (Such as the "Minor Arcana" of the Tarot?)
Araki: I thought 22 tarot card characters [the so-called Major Arcana of the Tarot—Ed.]would be enough when I initially started, but as the story progressed it wasn't, so I had a hard time naming the characters.
SJ: The JoJo series all have unique settings, both in time and place: 1880s Britain, 1930s Europe, near-future Florida. Even the Josuke storyline, which is set in Japan, is set in an extremely distinct city, instead of a "generic" Japanese city, like many manga. How do you choose your settings? Do you enjoy designing and drawing backgrounds?
Araki: My settings are always places to which I have been personally, and I always recreate the cities and places based on what I felt from being there. Morioh from the fourth series is based on the city where I was born, New Town of Sendai.
SJ: While most shonen manga characters usually overwhelm their enemies with strength and courage, the characters in JoJo are often caught in traps and tight situations (often literally caught in small spaces), where they must use cleverness to defeat their enemies. Does this reflect an interest on your part in mysteries and logic puzzles?
Araki: In order to create suspense, I think it's necessary to approach it like you are constructing a mystery novel. I always keep in mind the characters must act based on logical thinking.
SJ: I hear that you are a fan of F-1 racing. Have you ever considered drawing a manga about it? Do you still watch it on TV?
Araki: I like watching F-1 racing but I don't have a driver's license so I doubt I'll be able to draw a racing manga.
SJ: Do you listen to a lot of music? What are you listening to at the moment?
Araki: I'm currently listening to rap artist Kanye West and country singer Tim McGraw.
SJ: Your current series, Steel Ball Run, doesn't star any of the same main characters as the JoJo series, but seems to involve "Stands" (although they aren't called "Stands"). Is it set in the same "world" as JoJo? Are you a fan of the Western genre?
Araki: Speaking of the Western genre, my childhood hero was Clint Eastwood and everything stems from that. My debut manga was a Western manga. Steel Ball Run is a parallel universe from the world of JoJo.
Shonen Jump (July 2017)
SJ: Much of the emphasis of your new book, Manga in Theory and Practice: The Craft of Creating Manga is on shonen manga storytelling—is your advice the same for other kinds of manga? Also, do any Western comics come close to capturing the manga panel development work you describe in your book? If so, which ones?
Araki Sensei: I think it can be applied, but I'm not too familiar with American/Western comics so I can't give specific examples. However, I believe that detailed, precise manga panel development designed to depict intricate emotions is the defining feature of Japanese manga, and that approach can be applied in various forms.
SJ: JoJo's Bizarre Adventure has a lot of horror elements and quite a bit of gore. What are your favorite horror movies?
Araki Sensei: Dawn of the Dead, The Walking Dead and World War Z.
SJ: One of the endearing quirks of the JoJo's Bizarre Adventure manga is the fact that many of the characters have names based on bands or musicians. Why did you decide to do this?
Araki Sensei: Because there are times when I find inspiration for characters and Stands through music.
SJ: How do you come up with the Stand powers? Do you come up with the character or their powers first?
Araki Sensei: It depends on the Stand.
SJ: There's been a major JoJo revival the last ten years with all the anime series being made. How does it feel to have your series reach new heights of popularity again after so many years?
Araki Sensei: I'm extremely grateful for all the support from the fans. There are new, younger fans being introduced to the original manga after experiencing JoJo through anime and other mediums. The fact that there's a new generation of readers is the core of what JoJo is about passing the torch on to the next generation.
SJ: Which of the Joestars would you want to hang out with the most and why?
Araki Sensei: Josuke in Diamond Is Unbreakable. I drew him as if he were a close friend.
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INESC TEC partners with the Azores Digital Innovation Hub
INESC TEC is one of the strategic partners of the Azores Digital Innovation Hub (Azores DIH). The entities signed the agreement on October 8, in São Miguel.
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You are here: Home / 2011 / July
Anglo-Saxon dyes – Madder
July 18, 2011 /11 Comments/in General Dye Information /by Jenny Dean
Madder (Rubia tinctorum) is one of the most ancient dyes and a particularly useful and reliable source of red. Other plants in the madder family (Rubiaceae) include the native plants lady's bedstraw (Galium verum), wild madder (Rubia peregrina), hedge bedstraw (Galium mollugo), dyer's woodruff (Asperula tinctoria) and woodruff (Galium odoratum).
Although madder (Rubia tinctorum) was available during the Roman period, it seems to have been replaced during the early Anglo-Saxon period by the native Rubiaceae (for example:lady's bedstraw and wild madder). This suggests that the Romans imported madder as a dried dyestuff, rather than growing it in Britain, and that it disappeared with the departure of the Romans. There is evidence that madder began to be imported from France in the 7th century and by the later Anglo-Saxon period it had become a very common dye.
The analysis of dyes in textiles of the early Anglo-Saxon period seems to indicate that reds, like purples, were mainly used for narrow woven bands, headdresses, embroideries and accessories, such as bags, rather than for larger fabrics. Where dyes were used in larger fabrics (and dyes were detected in only one-third of the larger fabrics analysed) these were mainly dyes that give shades of yellow, blue and brown, plus green from blue and yellow dyes used in combination. It is also possible that, at least in the early Anglo-Saxon period, reds and purples were colours reserved for people of high status.
An alum mordant is necessary for true reds from madder (Rubia tinctorum) and reds achieved on a clubmoss mordant are very similar to those achieved on fibres mordanted with mineral alum. Without a mordant, madder gives colours in the orange to coral range and using a tannin mordant gives similar but slightly deeper colours. An alkaline modifier, such as wood-ash-water, makes the colours pinker in tone and an iron modifier makes the colours browner. The addition of chopped crab apples to the dyebath makes the colours brighter.
The first photo below shows a range of shades from madder (Rubia tinctorum)
In my experience it is not easy to obtain true rich reds from lady's bedstraw, wild madder, dyer's woodruff and woodruff. I grew all these for several years in my old garden but never managed to get the sort of red obtained from madder, also grown in my garden. The use of an alkaline (wood-ash-water) modifier moves these colours further towards red and an iron modifier makes the colours browner. I intend to continue experimenting with these dyes in the madder family – if, that is, I can grow enough roots to make the tests worth the effort. Lady's bedstraw grows wild at the sides of many country roads in this area but it is against the law to uproot wild plants, so I shall have to rely on my home-grown plants and it will be a while before they are mature enough to harvest.
The second photo below shows colours from wild madder roots (upper left), wild madder dried tops (4 samples at lower left) and lady's bedstraw (right)
The third photo shows colours from woodruff roots (Galium odoratum)
https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg 0 0 Jenny Dean https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg Jenny Dean2011-07-18 15:27:202011-07-18 15:27:20Anglo-Saxon dyes - Madder
Anglo-Saxon mordants
July 12, 2011 /6 Comments/in General Dye Information /by Jenny Dean
This is the next post about my Anglo-Saxon-style experiments.
Today's natural dyers tend to use mainly aluminium mordants and sometimes iron and copper, which may also be used after dyeing as colour modifiers. Chrome, which was not introduced as a mordant until the 19th century, has been popular among some dyers but is avoided by many nowadays because of its toxicity. Similarly tin, which was first used as a mordant in the 17th century (mainly with cochineal to produce bright reds) is now less frequently used, partly because of environmental considerations and partly because it can make fibres brittle. Copper was used by early dyers in the Mediterranean world and also in India in the classical period AD300 – 700 but, of the metallic mordants mentioned above, only alum and iron seem to have been used by the Anglo-Saxons. It is also possible that pots made of metals, such as iron or bronze, may have been used as dyepots and this may have had an effect on the colours. However, the only evidence of dyestuffs staining pots in the early Anglo-Saxon period occurred in pots made of clay and dyeing may have frequently been carried out in clay pots, which would probably not have had a significant effect on the colours produced.
Many of the dyes used by Anglo-Saxon dyers will fix adequately without a mordant and I think it is likely that many fibres would have been dyed in this way. Some textile fragments from the period show evidence of an alum mordant and mineral alum from the Mediterranean was probably used during the later Anglo-Saxon period. However, there is some doubt as to whether this mineral alum would have been available earlier in the period, so alternative mordants may have been used, such as aluminium extracted from clubmosses. Plants rich in tannins, such as oak galls and blackberry leaves and shoots, may also have been used as mordants.
In my experiments I tested most dyes in the following ways:
Without a mordant
With a 10% mineral alum mordant
With alum extracted from clubmoss
With a tannin mordant (from oak galls or bramble/blackberry leaves and twigs)
With an iron mordant / use of an iron pot
As clubmosses are rare in Britain, I would not advocate their use, except in very small quantities for experimental purposes. For my tests I used the following recipe for clubmoss as a mordant:
Use 200% clubmoss (Lycopodium spp), chop it up and put it into a pot filled with water, then heat to 40C. Hold at this temperature for 3 days. On the fourth day boil it up briefly and then strain off the liquid. Add the fibres to be mordanted, heat slowly to 40C and then allow to cool Repeat this process daily for 3 days. Then remove the fibres and squeeze the excess liquid back into the solution, which can be re-used once. In order to be sure that aluminium had been extracted and then absorbed by the fibres, I used fibres mordanted with 10% mineral alum and unmordanted fibres as "controls" in the dyebath. The results were particularly clear with madder dye – the unmordanted fibres dyed to a coral shade but both the alum-mordanted and the clubmoss mordanted fibres dyed to an almost identical red shade.
In these tests I used 100% bramble/blackberry leaves and twigs as a tannin mordant. I simmered them for about one hour to extract the tannin, then strained off the liquid, added the fibres and simmered them for about 45 minutes, then left them in the liquid to cool overnight. (25% oak galls can be used instead of bramble leaves and twigs.)
I also experimented with the use of iron and wood-ash-water, which is alkaline, as colour modifiers after dyeing. It is also possible that stale urine may have been added to dyebaths and this would have increased alkalinity.
To make iron water, put some pieces of scrap iron or rusty nails in a large container with a well-fitting lid and fill it up with a solution of two parts water to one part clear vinegar. Leave the iron to steep in this solution for a week or two, until the solution is orange in colour. When you use the iron water, strain it through a fine-meshed sieve or a piece of muslin.
To make wood-ash water, put the ashes from a wood fire into a large glass or plastic container with a well-fitting lid. Fill up with water and leave the ashes to steep for a week or two, until the liquid is yellow in colour and feels slick or slimy to the touch. When you use the solution, pour or siphon it off without disturbing the ash sediment. Wood-ash water can be used as an alkaline modifier and as the source of alkali in woad vats. It can also be added to dyer's broom and weld dyebaths to increase the depth of colour.
My experiments are intended to demonstrate some of the possible methods used by Anglo-Saxon dyers and to give an idea of the colour range they might have achieved. Although we don't know exactly how early dyers worked, there is enough evidence to indicate that they would have been able to achieve a wide range of bright, rich colours from the relatively small number of dyes they used.
I will write about individual dyes in later posts.
https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg 0 0 Jenny Dean https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg Jenny Dean2011-07-12 14:51:162011-07-12 14:51:16Anglo-Saxon mordants
Indigo workshop
July 3, 2011 /8 Comments/in Dyeing Tips & Recipes /by Jenny Dean
It was a pleasure to return in June to the Bedfordshire Guild of Weavers, Spinners and Dyers, of which I was a member for over thirty years before we moved to West Sussex. The occasion was an indigo workshop I was leading and I was delighted to see old friends and to meet some new members.
To demonstrate the various sources of indigo dye, I made several vats using natural indigo, synthetic indigo, woad leaves, woad balls and stored woad solution.
I used the Colour Run Remover recipe given in my books with the synthetic indigo. However, as Colour Run Remover is not always easy to find in powder form (the liquid form isn't suitable for indigo vats), I decided to try a different method with natural indigo. I was looking for a simple method and, after some experimentation, it seemed that using equal quantities of indigo powder, washing soda and sodium hydrosulphite (hydros) would work well. An added advantage is that using equal amounts of each ingredient makes this a very simple recipe. As indigo reduces better in a more concentrated solution, I decided to make a stock solution on the day before the workshop. To do this, I mixed 4 teaspoons of natural indigo powder with very hot water to make a paste. Then I dissolved 4 teaspoons of washing soda in very hot water in a strong glass jar, added the indigo paste and stirred well. I added more hot water until the glass jar was just over three-quarters full then, after checking that the temperature was not above 50C, I carefully stirred in 4 teaspoons of hydros and put the lid on the jar. I then placed the jar in a saucepan of very hot water and put this on a hotplate overnight. In the morning I checked the pH and added more washing soda to bring it to pH9. The solution looked a murky greenish yellow at this stage. When I arrived at the workshop, I filled a stainless steel bucket with very hot water (but no hotter than 50C) and added 2 teaspoons of washing soda and two teaspoons of hydros. I then gently added the contents of the glass jar. The vat was allowed to stand for about 20 minutes until the liquid below the surface was a clear greeny/yellow. (If this seems to be taking too long, add some more hydros.) This vat is very simple to make and worked well. However, I intend to experiment further to see if I can improve on this method.
Both of the indigo vats produced dark blues immediately and those students who wanted paler blues had to wait until some of the blue had been used before dyeing their samples. I also suggested that the wool samples should be dyed first, while the vats were hot, and that the cotton and silk samples should be dyed later, when the vats had cooled down. This is because wool takes up the indigo dye better in a hot solution, while cotton and linen prefer cooler solutions.
With the woad balls I used the recipe given in the revised edition of "Wild Colour" and also in an earlier post on this blog. Unfortunately, the woad balls only produced a pale blue and not enough for all the workshop participants to dye their samples. I think the balls probably needed to steep for a longer period than we had available. We also had limited success with the fresh woad leaves, which gave very little colour. However, I suppose this was to be expected, as June is really too early to harvest the first year leaves, which hadn't had enough time to develop their colouring potential. The woad solution, which gave deep to mid blues, was from 2008 and worked very well, so this proves (if proof is necessary) that correctly-prepared woad solution can be stored successfully for several years. The recipes I used for these two woad vats were those in my books.
The photos below show some of the materials dyed by students at the workshop.
https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg 0 0 Jenny Dean https://www.jennydean.co.uk/wp-content/uploads/2020/01/JennyDeansWildColourLogo900wx300h-450x150.jpg Jenny Dean2011-07-03 19:59:552011-07-03 19:59:55Indigo workshop


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A bad environmental justice study – A 'combination of bad modeling plus goofy statistics…more emotional than rational'
By: Admin - Climate DepotMay 10, 2021 11:41 AM
https://www.cfact.org/2021/05/07/a-good-example-of-a-bad-environmental-justice-study/
Biden's so-called environmental justice push is going to bring on a big wave of bogus research. A really big report just came out so I want to chop on it a bit. Not just for its specific fallacies, but also as typical of what we are going to see a lot of. As with the climate scare, there is a careful combination of bad modeling plus goofy statistics.
In fact the term "environmental justice" just means unhappy environmental statistics with a racial or ethnic focus. That the situation described is somehow deliberately unjust is assumed but often false. It certainly is false in this case. The concept of environmental injustice tends to be more emotional than rational.
In this case the Washington Post's screaming headline is typical: "Deadly air pollutant 'disproportionately and systematically' harms Americans of color, study finds". The fine print sub-headline summarizes the supposed science: "Black, Latino and Asian Americans face higher levels of exposure to fine particulate matter from traffic, construction and other sources".
The research report in question is "PM2.5 polluters disproportionately and systemically affect people of color in the United States" by Assistant Professor Christopher Tessum et al. It appears in Science Advances, the open access adjunct to the once prestigious Science magazine, which is now fully climate alarmist. Environmental justice alarmism is the new wave.
There are three central issues here: (1) harm, (2) disproportionately and (3) systematically. Let's look at each in turn.
The supposedly deadly pollutant here is not a substance, just a size. It is called fine particulates, or more technically PM2.5. Anything smaller than 2.5 microns is included, which is so small it is invisible. Natural cases include viruses, bacteria, and ordinary dust. Your dust cloths and sweeper bag are full of it. Human sources include soot from combustion and dust from construction. There are also a host of large molecules that form in the air via chemical reactions with emitted gasses. These can be either human or natural, such as the vast quantities of volatile organic compounds produced by forests.
Alarmists claim that PM2.5 is deadly, but skeptics say this is simply false. One of the leading critics is Steve Milloy, founder of the famous JunkScience.com blog. Milloy even has a great book on PM2.5, titled: "Scare Pollution: Why and How to Fix the EPA".
Here is a succinct description: "The U.S Environmental Protection Agency (EPA) claims that outdoor air kills hundreds of thousands of Americans every year. EPA has used this claim to: wreck the coal industry; justify expensive and job-killing air quality and climate rules; and to scare Americans about the air they breathe. Milloy not only debunks the outrageous EPA's claims and exposes them as rank scientific fraud in no uncertain terms, but offers a roadmap for fixing the rogue and out-of-control EPA." Note that EPA funded the study in question here.
The reported research is not about harm, but the harm hype makes it potentially very dangerous as far as policy goes. What Tessum et al claim to do is look at exposure to human caused PM2.5, specifically exposure on the basis of race and ethnicity. They then claim to find that exposure levels are disproportionately high among the three nonwhite groups analyzed — Blacks, Latinos and Asians — when compared to Whites. They even do this for various specific types of sources of PM2.5.
Their goal is impressive but it is far from clear that they achieve it. Just as with a lot of climate studies, this looks more like speculation presented as established fact. I expect a lot of so-called environmental justice studies are going to look like this. Let's look at some of the problems.
The research proceeds in two steps. First the human caused PM2.5 concentration is estimated everywhere in the contiguous 48 states. This is done with a computer model. So the obvious first question is how good is the model?
The unfortunate reality is that this is a deliberately crude model. In engineering terms it is a "quick and dirty" model. It is specifically designed to be much faster than the good models. This was explained four years ago when the model was introduced: "Here, we present InMAP (Intervention Model for Air Pollution), which offers an alternative to comprehensive air quality models for estimating the air pollution health impacts of emission reductions and other potential interventions."
So the model is not as good as the existing comprehensive models. We need to know how much not as good? This is nowhere said and it could easily be enough to nullify the results, since these often indicate relatively small differences in exposure.
I am here reminded of the rapid climate attribution models. Major climate models take months to run on supercomputers. The quick models take just a few days to supposedly say how much human climate change helped cause a destructive weather event. They fit the news cycle but their results are nonsense.
In this regard it is worth noting how incredibly complex the phenomena being modeled are. They start with a whopping 5434 TYPES of emission sources. Some types have millions of instances, such as auto exhausts and gas cook stoves. There is also interstate transport of particulates, wherever the wind blows, plus the complex chemical reactions that create or destroy PM2.5 along the way. And of course there are myriad natural sources, which this model ignores.
In short it is clearly possible, likely even, that these crude exposure estimates are inaccurate enough to nullify the results.
The second step is to estimate how much PM2.5 each person, in each of the four racial/ethnic groups is exposed to, on average. In fact they do this for every one of the 5434 types!
Except they do not, of course, because there is no way to know where people go. They just do it for each home address, using census data to say how many people from each group live there. That most people do not spend that much time at home, and little of that is spent outdoors, is simply ignored.
It is thus completely wrong to say they have estimated how much PM2.5 these people have been exposed to.
But the third problem is perhaps the greatest. This is what is called in statistics a "confounding factor". In simple terms a confounding factor is something other than the claimed explanation that explains the result.
In this case the confounding factor is urbanization. The biggest causes of greater PM2.5 levels at non-white residences, compared to white residences, are cars, trucks, construction and industrial activity. All of these are highly concentrated in urban areas and that is where the non-white population's residences are also concentrated. Whites make up about 60% of the population but only about 40% of the urban residential population. In fact something like 70% of Blacks and Latinos live in urban areas.
This means that a lot of the supposedly "disproportionate" exposure to PM2.5 is due simply to the disproportionate way that people do or do not live in urban areas. I see no environmental injustice here.
In addition to these huge macro problems, there are specific results that seem highly questionable. For example, residential gas combustion is relatively good for Whites but bad for non-whites. It is about three times worse for Asians than for Hispanics. (Good here means that their PM2.5 exposure is below the average for all groups, while bad makes it above average.) How are these big differences possible since we all have the same gas stoves, furnaces and such?
Likewise, agriculture is good for Hispanics but bad for Blacks. Coal fired power plants are bad for Blacks and Whites, but good for Asians and especially Hispanics. Residential wood combustion is good for Hispanics but bad for Asians, while neutral for the rest.
None of these specific differences make any sense which strongly suggests the results have a random aspect.
The conclusion seems clear. The model and methods used to do this study are too crude to make the results believable, so there is no reason to believe them.
Nor is there anything "systematic" about these results, except that they are systematically unreliable. Moreover the supposed harm is probably nonexistent.
More generally, environmental justice is going down the same wrong road as climate change. Speculation that serves a political agenda is taken to be true, because it so serves. False terms like "systematic" and "systemic" are being wielded like clubs.
By and large environmental justice is a nonsensical concept.
David Wojick
David Wojick, Ph.D. is an independent analyst working at the intersection of science, technology and policy. For origins see http://www.stemed.info/engineer_tackles_confusion.html For over 100 prior articles for CFACT see http://www.cfact.org/author/david-wojick-ph-d/ Available for confidential research and consulting.
Filed under: cru, ej, identity, models


Im looking into a water cooling system.. something like the Asetek WaterChill Watercooler Kit that JSgolfman informed us of. I am wondering if there are also cases that are better designed for water cooling in mind? Also if anyone has any experience with watercooling i could use some advice, about choosing either a kit or the neccesary parts to assemble a system.
Theres many different kits out there. Check out Koolance, Swiftech and DangerDen for starters.
As for cases BIGGER is better. Most any Full tower will be better.
to start off, I would use a kit. You can always change out components when you want to or need to.
Just stay away from the really cheap kits. They tend to be made of really cheap components, and sometimes perform worse than air cooling. I would go with a swiftech kit, or a dangerden kit. Both of these companies produce products with awesome quality. Good Luck!
I Just got done reading JSgolfmans post on the report of the Swiftech MCW5000 CPU Water-Block. This seems like a good start on my way to my first water cooled system.
Yes, that is definitely a high quality block. Good luck my friend!
Thanks man Im going to need all the luck I can get. Hopefully I can pull through and succesfully water cool my system.
I haven't found a complaint yet about a swiftec product.


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text:
Home › 40' Standard height (8'6") corrugated side containers; multiple door and front variants › HAPAG LlOYD (Lt Blue LOGO) - 40' Standard height (8'6") corrugated side steel containers. JTC # 405348
HAPAG LlOYD (Lt Blue LOGO) - 40' Standard height (8'6") corrugated side steel containers. JTC # 405348
HAPAG LlOYD (Lt Blue LOGO)- JTC # 405348 40' Standard height (8'6") corrugated side steel containers; October 2021 Release.
HLXU 537980-9 and HLXU 537993-8
Hapag-Lloyd AG is a German international shipping and container transportation company. It is currently the world's fifth largest container carrier in terms of vessel capacity. The company was formed in 1970 by the merger of two German transportation/maritime companies, Hamburg-American Line (HAPAG), which dated from 1847, and Norddeutscher Lloyd (NDL) or North German Lloyd (NGL), which was formed in 1857.
Since its formation, Hapag-Lloyd has seen changes among its shareholders and has also undergone a number of mergers with other companies. For instance, Hapag-Lloyd was completely acquired by, and became a subsidiary of TUI AG (Hanover) in 1998. This major event was followed by TUI selling a majority stake of Hapag-Lloyd to private investors in Hamburg in 2009 and further sales in 2012.
Other important events in the company's history include Hapag-Lloyd's acquisition of CP Ships in 2005 as well as Hapag-Lloyd's merger with the container business of CSAV in 2014, and United Arab Shipping Company in 2017.
MAY 2020 - NEW BODY STYLE - The 40' Standard height (8.6") corrugated side steel containers; Available with multiple door and front variants. These Steel containers span from late 1970's to in service Today(2020), and have been the workhorse of the trade for many years.
Model Features;
All New 40'Standard Height Tooling; Steel 'wave' or 'beveled' style corrugated containers.
Multiple door end, front end and roof configurations.
IBC(Inter-Box Connecting pins) in scale ISO locations.
JTC Magnetic connecting system: 3-magnets bottom & metal top plate.
Detailed printing as per photographs.
The IBC pins Mate with JTC 40' open top containers with Magnets, JTC 20' containers with Magnets; Atlas 40 container, JTC Flatrack containers, JTC 53' and 48' containers and all Jacksonville Terminal Company containers.
HAPAG LlOYD (Faded scheme A)- 40' Standard height (8'6") corrugated side steel containers. JTC # 405349
FARRELL LINES - 40' Standard height (8'6") corrugated side steel containers. JTC # 405347
CMA CGM (CMAU) HAZARD STICKERS - 40' Standard height (8'6") corrugated side steel container, JTC # 405346
YM LINE (early scheme) - 40' Standard height (8'6") corrugated side steel containers. JTC # 405345


text:
Neoharriotta – rodzaj ryb z rodziny drakonowatych (Rhinochimaeridae).

Klasyfikacja
Gatunki zaliczane do tego rodzaju:

 Neoharriotta carri
 Neoharriotta pinnata
 Neoharriotta pumila

Przypisy

Zrosłogłowe


text:
Deans Farm demolition by Mick George
A former agricultural site known as Deans Farm in Leighton Buzzard is set for major redevelopment, transforming the existing landscape in to a £3.6m commercial premises.
Construction experts Mick George Ltd on behalf of Parkway Construction (MK) Ltd will shortly commence Demolition of the existing office / store buildings and two bungalows, making way for an impressive warehouse, loading bay, sorting shed, service-yard, office and vehicle-parking facility, on this 1.79-hectare site off of the A505.
The building itself is set to include an architectural free-standing entrance feature and brie solar screening to the south elevation. Internally, a 2,184sq metre warehouse that features a 12-metre high roof will be created, as well as two covered canopy areas of 975 and 1,175sq metres, a 346sq metre ground floor office and a 314sq metre first floor office, plus parking for 50 cars and 40 HGVs.
Michael George, Contracts Director at Mick George Ltd commented: ''The exceptional level of works conducted by Parkway Construction Ltd has subsequently dictated the large volume of high-profile projects that they are involved with at present. It's a testament to our service offering that they continue to use us for many of the associated enabling works.''
George continued: ''Earthworks are more prevalent but on this occasion, it is Demolition. Pleasingly, our multiple construction disciplines are being recognised, easing the process for any Principal Contractor. Our East Anglian roots and familiarity with the Agricultural sector means we're suitably equipped to handle the environmental challenges that are likely to exist with such a project.''


Chicago needs to set up measurements and analysis to find out if it's saving any money on health care costs under the current wellness program, a city watchdog says.
Mayor Rahm Emanuel's signature wellness initiative may be just a 90-pound weakling, Chicago Inspector General Joe Ferguson is suggesting.
In a report issued today, the city's watchdog said there are "serious questions" about whether the much-promoted program, which aims to get city workers to shape up or pay more, actually has accomplished much except to spend money.
"While the city spent nearly $10.5 million in taxpayer resources from 2012 to 2014 to improve employee health and reduce health care costs through (the program), the city has not formally assessed the program's impact in either area and, at present has no plans to do so," Ferguson said. With national research mixed on the subject, the city needs to set up "specific performance measurements and analysis" to find out.
Under policies implemented by Emanuel, workers have to participate in Chicago Lives Healthy screenings, counseling and health activities or pay an extra $50 a month for their health insurance. Not surprising, 85 percent of benefits-eligible workers and dependents have signed up.
But no formal measure of success has been adopted, Ferguson wrote, and the city's health care tab keeps rising.
"In fact, despite a 19 percent decrease in its workforce between 2004 and 2013 (41,550 to 33,554 full-time equivalents), the city incurred a 43 percent increase in health care costs."
The city's current $24 million contract with American Healthways Services, a Tennessee firm that runs the program, is due to expire at the end of the year. The company had received just under $10.5 million from the city through 2014.


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Cosmo in the Universities
From the end of March to the end of April, Cosmopolitan and Procter & Gamble held a joint program in Russia's top universities. The program's goal was to share crucial career advice with future graduates. The program was part of the campaign for the April issue, a section of which was titled "Cosmopolitan Profi" and completely dedicated to career issues.
As part of the program, students in participating universities were given a promotional package containing a booklet titled "Fresh!" and sample products from Procter & Gamble. The booklet contained Cosmo's answers to important career questions: how to find a job, when to expect a raise, how to dress properly and many others. A large part of the booklet is dedicated to nutritional and beauty issues, as well as information about new Procter & Gamble products.
As a result of the partnership between FMCG companies and Cosmopolitan, a managerial job opening was created at Procter & Gamble for the winner of Cosmopolitan's "New Heights" contest, where the readers of the magazine had a chance to get a job in a leading company by sending in there resume online.
Праздник к нам пришел: премьера VOICE
Бренд представил уже третий традиционный фильм — «VOICE спасается от Нового года».
«Обсудим голосом»: девичник VOICE
На мероприятии бренда звезды и эксперты рассказали секреты правильной подготовки к праздникам.
Звезды на премьере «VOICE спасается от Нового года»
Закрытый показ бренда в театре имени М.Н. Ермоловой собрал всю светскую Москву.
VOICE зимой: традиции счастливых
Главной героиней предновогоднего номера стала звезда отечественного и мирового кинематографа Светлана Ходченкова.