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Stop Thinking Yourself Unhappy: Reality, Perception and Attribution
Faces, or a vase?
The other day, I stumbled onto - let's say a "heated debate" online. The argument was this; one man was letting the world know that he did not believe in good intentions, that everything happened for purely selfish reasons and that all humans were fooling themselves if they thought that they cared about each other. Others argued that he needed more joy in his life, that reading negative news stories all the time would of course make him think that, that people are ultimately good and that unhappiness comes from perception, not reality.
To that last comment, he responded with "What kind of hippy bullshit is that?" - and it really got me thinking. It is part of Buddhism, I believe, that states that suffering comes from perception. What does that mean, though, in a real, modern sense? Was our friend right in claiming it as "hippy bullshit", or is it, in fact, a profound sentiment? Is the world full of bad, nasty, selfish people, or is it full of goodness and light? Well, both things are true, and that fact alone illustrates the importance of perception.
Let's say that Jill met Jack one night in a bar. They really hit it off, shared a few cocktails and then he walked her home. At the door, Jill was about to invite Jack inside, where he politely kissed her on the cheek and said he had to be up early the next morning.
Jill texted him the next day, but he didn't reply. She was devastated. She had thought they'd got on so well - but at the door, he'd shown that he wasn't interested. Perhaps she had said something wrong. She spent hours analysing the conversation, looking for something that might have scared him off. When he didn't reply, she told herself that it must be because she was so unattractive, so boring and stupid that he never wanted to see her again. Come to think of it, this happened all the time with men. There must be something wrong with me, she thought. Other girls seem to have boyfriends - even the really horrible ones. I must be really ugly. She told herself this so much that she stopped talking to men in bars, didn't bother putting make-up on when she left the house, and even started avoiding meeting new people in general.
Has this ever happened to you? Jill's reaction might seem extreme, but to her, Jack's lack of interest showed her not only that he wasn't interested, but that nobody was ever interested in her. She further deduced that this must be due to something wrong with herself, and saw everybody else as being happy.
Do you think that was really the case? Do you think that Jill was ugly, stupid or boring? Or could there have been another explanation?
Let's look at Jack's side of the story. He was a nice guy, not looking for a one-night stand but just for a nice conversation with a girl. One night, he met a girl called Jill, and they hit it off. She was pretty, intelligent and very funny, and he came to like her more and more as the evening progressed. However, she was knocking back those cocktails pretty furiously. By the end of the night, she was starting to slur her words, and he thought that it would be best to take her home. Being a gentleman, he walked her to her door, making sure to get her phone number beforehand. He told her his, too, but he was worried that she might have been too drunk to write it down properly. At the door, Jill clumsily invited him indoors. Considering her state, he didn't want to take advantage of her, and so he gave her a polite kiss goodnight. The next day, he tried to text her to see how she was doing, but the message bounced back. It seemed that she had given him the wrong number. Jack wasn't sure whether she had done this on purpose, or whether she had simply been too drunk to remember her own number.
So, it seems that Jill had been completely unaware of one thing - how she came across when drunk. What she mistook for disinterest was actually respect, and when she received no reply to her message it was because she had typed it into her phone incorrectly.
A silly accident, or a sign of the apocalypse?
Do you see how much unnecessary suffering Jill put herself through? Can you see how unhappy we can make ourselves if we always make our own conclusions? In this example, Jill took the perceived rejection as a rejection from all men. In a similar way, the angry man at the beginning of my story took a bunch of stories about nasty, selfish people to mean that all people were nasty and selfish.
Sometimes, we don't find the evidence to contradict our beliefs, or when we do, we ignore it. Perhaps our friend met plenty of nice, pure-hearted people, but took their smiles to be signs of falsehood, attempts to deceive him (or themselves). It's sad to see this, because he is (however unwittingly) closing himself off from a lot of positive experiences. It can work the other way too - somebody convinced that everybody means well might let all kinds of unpleasant people con them, while they smile and believe that if they are nice enough, they will change that person - but it is often not the case, and they might soon find themselves being taken advantage of.
If there was just one, clear-cut reality, then wouldn't everybody be able to see it? We only need to look at happy, laughing people living in poverty and compare them to stressed or depressed "rich" people to see the importance of our perception of events. To one person, life might be hard, but they are blessed with a community of people who love them and the sight of the sun rising each morning. To another, they might have all the material comforts they want, but when the bus is late or the computer crashes, it feels like the end of the world. Having more money, a better house etc doesn't automatically equal happiness. That comes from inside you, and from how you perceive events.
Did you fail that test because you are stupid, or because you didn't revise enough? Or perhaps because the test was unusually hard? Are you not succeeding to land your dream job because the economy is in a bad state, because you're useless and undesirable, or because you could do with a hand editing your C.V. and working on your communication skills? Did your last relationship fail because he/she is a jerk, because you are <insert horrible words here!> or because you need to address how you communicate with those close to you?
Taking a step into my university subject (Psychology); researchers have found an association between how people attribute events, and depression (article here). In the study, those who made global, stable and internal attributions were more likely to be depressed. What does that mean? Well, like Jill, she assumed that Jack had not replied to her because of something wrong with her, not because she had the wrong number. If you find yourself taking the blame for things that could have been down to a bunch of other factors (other people, the weather, technological problems etc) then you might be doing this without realising it. That's the internal part. The stable part comes from thinking that one mistake means "always" - you fail one test, so you deduct that you will fail every other test in the future. One relationship goes wrong, so you decide that all future ones will, too - and perhaps you drag up extinct events from the past to support this. You tell yourself things like "I just can't work under pressure" and decide that this will never change. The global part means that you over-apply a rule - so, Jill thought that rejection from one man meant rejection from all. Our friend decided that all people were bad, as many of us might after an unpleasant experience. Perhaps you don't succeed the first time you try skiing - so you tell yourself that you suck at all sports, or perhaps at all new things.
Do these patterns of thinking sound familiar to you? I know they do to me! It can be difficult to switch your thinking, but why make yourself unhappy when you can think a different way? In Life Coaching, we often use a tool called "reframing". So, right now, our friend reads a news article about some awful human being and thinks "The world is a horrible place. Humanity is disgusting. People who pretend to be nice just want something from me." What other ways are there of looking at the situation? How about "There are horrible people in the world, but their stories sell more than those about nice people. There are plenty of good, kind people out there, too." He could try telling himself this every day - it will feel unnatural at first, but like exercising a new muscle, it will feel a little more comfortable every day. Switching, slowly, to a more positive source of news would help, too, just as surrounding yourself with people who support and respect you (and ditching those who don't) can have a huge effect on the way you think. In the study I mentioned, the happiest people were those who thought things like- "Well, I failed the test, but it was a very hard test, a few other people struggled and I'll just have to study harder next time."
Now, I know that some of you want to know what happened to Jack and Jill. Well, two weeks later, Jack was at a café where he saw an unhappy looking girl, her hair a mess, her face pale. It took him a few moments to recognise her - Jill! He was worried that she would not remember him, but he approached her anyway. Jill was taken back, of course, and her first reaction was anger - how dare he talk to her now, after ignoring her text? Fortunately, Jack was a nice guy, and when he explained the situation she found herself believing him. Of course, then she felt embarrassed, and silently beat herself up for jumping to conclusions and for getting so drunk. Jack, by the way, thought that she looked beautiful without make-up, bought her a latte, and they started dating. It was hard, at first, due to Jill's insecurities, but Jack was a patient and understanding guy.
Not all stories go as smoothly - we humans are complicated creatures, and as you can see, we each live in our own little world, where we decide the reasons for why X and Y happen - no matter how far from the truth it might be. Jack might have had his own mess of skewed perceptions, thinking that Jill had deliberately given him the wrong number, or taking her drunken state of mean that she could never hold her drink. This search for explanations in the midst of chaos, of course, is what makes advancement and discovery possible, but it can also lead you into telling yourself some very unpleasant things about yourself and the world that are not the one and only truth. I could ramble for days about how we each create our own reality, but for now I'll just say - if any of things sounds familiar to you, then I'd love to hear from you. Hopefully I can help you to re-write your internal narrative into something more constructive and more positive.
Labels: positive thinking, self-limiting
Stop Thinking Yourself Unhappy: Reality, Perceptio...


Does anyone live in the Crewe/Nantwich area and interested in setting up a local support group?
I have seen a previous thread from 2013 but nothing seems to have materialised from it.
Hi Simon is Stoke to far for you?
I'm in crewe. I'm 32.
Anyone from the Crewe area?
Fed Up in Crewe, Nantwich.


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Celebrating the great British summertime with Cartwright and Butler's poshnic event
Home » Digital Marketing » Content Marketing » Celebrating the great British summertime with Cartwright and Butler's poshnic event
At Prohibition we always look to create engaging content for clients and thrive at the opportunity to produce an integrated
At Prohibition we always look to create engaging content for clients and thrive at the opportunity to produce an integrated campaign that celebrates a brand. For luxury British teatime treats brand, Cartwright & Butler, our summer brief was to create a campaign that celebrated the great British summertime. So, we came up with Cartwright & Butler's luxury take on the picnic – the poshnic! It consisted of hosting an influencer event, devising content for social media and securing features in the media.
A luxury event for Yorkshire based influencers
The central part of the campaign was to host an influencer event. We did this by sourcing and inviting a selection of Yorkshire based influencers with personalised invitations to attend the event that was held at The Yorkshire Sculpture Park. Complimentary transport was provided to and from the event to offer a nod to the brands luxury feel. When the guests arrived they were welcomed to a beautiful area that we had set up comprised with décor including throws, cushions, candles, fairy lights, flowers, personalised menus and table settings and other elegant items to really set the scene. Cartwright & Butlers branding was a key feature throughout with products visible on the table for guests to sample and the colours chosen for the décor reflecting their colour palette. The influencers also received their own gifted poshnic hamper, complete with Cartwright & Butler products and recipe cards of the food that was served at the event for them to take home. We also welcomed a star guest, Great British Bake Offs Karen Wright, who baked a beautiful cake using Cartwright & Butler's products. The aim of the event was for the attendees to get a feel of who Cartwright & Butler are as a brand, understand their Yorkshire roots and sample some of their delicious poshnic recipes in the glorious Yorkshire sunshine.
Summer recipes at the poshnic influencer event
Luxury decor at the poshnic influencer event
Creative and engaging social media content
A further layer to the campaign was to create engaging social media content focused around celebrating the poshnic. The basis of this content was created from footage filmed at the event which included a mixture of talking to camera pieces with the influencers and Karen Wright discussing the event and the Cartwright & Butler team talking about the poshnic and brand. From doing this, we were able to create stylised and engaging video content to be shared on social media. It also included a variety of footage from the event itself and was shot in an upbeat, vibrant manner. A photographer was also present at the event allowing us to gain a variety of lifestyle shots of the attendees, the food and the event and décor which we also shared on social media channels. On top of this, we created teaser content that included an Instagram split grid of the hashtag #poshnic and images of Cartwright & Butlers summer recipes which created interest and allowed the campaign to gain some momentum in the build-up to the event. In all of our content shared we included the campaign hashtag #poshnic and encouraged influencers to do so too when sharing content from the event.
Establishing relationships with influencers
When outreaching to Yorkshire based influencers and inviting them to the event, there were some who were unable attend but we wanted to ensure they were still part of the poshnic experience. With this in mind, we sent them bespoke hampers tailored to suit their tastes, accompanied with some information about the brand and the campaign alongside a personalised note expressing that we didn't want them to miss out on sampling Cartwright & Butler's products. By doing this, we were able to extend the talk of the poshnic campaign on social media to wider audiences and gained further features on influencer's stories and feeds. This has allowed us to establish strong relationships with influencers who are highly engaged with the brand and also contributed to our social media side of the campaign.
Great British Bake Off's Karen Wright attending the poshnic event
Yorkshire based influencers sampling Cartwright & Butler recipes and products
Securing coverage in key media outlets
As part of ongoing press office activity, we also pitched a poshnic feature to the media which offered tips and advice on how to create the perfect poshnic on behalf of Cartwright & Butler, which was featured in HomeStyle, Evening Standard and Harrogate Living. As part of the feature, we also utilised the recipes that were created for the poshnic campaign which had lifestyle imagery to accompany them, these were featured in Good Homes and Harrogate Living. To tie together the whole campaign, and also as it was National Picnic Month in July, we proactively secured media coverage for the collection of products Cartwright & Butler have available in their poshnic collection. These were featured in the H&N magazine, Living North, Northern Life and Chat Magazine.
If you're interested in delivering a successful social media campaign, you can always get in touch with us. We help and assist brands in all sectors with their PR and content marketing, creating engaging content and devising strategies that helps brands with their goals and to reach their target audience.
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redpajama_set_name: RedPajamaCommonCrawl


"Tyria smashed her foot into the rock, of which shot in all directions immediately after. She couldn't fathom that he was gone--emotion, rage, and pain filled her body--as the demon stood in front of her. Blood streamed from the demon's neck and torso, but he still stood erect-- looking over the fearsome Tyria like a deity.
Tyria could not let him getaway with this, she couldn't! The Tyrant Queen charged Maledictus, and as the Tyrant King was gone--she was the world's last hope."
^You will see soon enough!
Tyria alone can't take the demon!
...Wait a minute...A NEW CHARACTER TO REPLACE TYRANCE!! MAYBE HIS SON?!
^His son isn't born yet!
...ok the suspense is high.
Im too hyped for this and,is there a new character?


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Rick R. Moore in 2019
RICK R. MOORE
"Perhaps one of my most important journeys was as legal counsel to Linda Pace."
Rick R. Moore, President, Linda Pace Foundation
Rick R. Moore, President of the board of the Linda Pace Foundation, passed away Saturday, October 5th, following a six-year battle with renal cell carcinoma. Without his leadership, the completion of Ruby City would not have been possible. This weekend as we inaugurate Ruby City, we will celebrate the lives of both Linda Pace and Rick R. Moore.
"We are devastated by the passing of our dear colleague and friend, Rick R. Moore. With a sharp mind and compassionate soul, Rick helped guide the Linda Pace Foundation since its inception. As we prepare for our public opening—a time for both celebration and reflection—Rick's presence and unwavering support will be deeply missed." Kathryn Kanjo, Trustee
Rick was appointed as head legal counsel to Linda Pace in 2001, performing all of the legal, financial and investment oversight roles for her various for-profit and non-profit entities, which he considered one of the most important journeys he embarked upon in life. Working closely with Linda on a daily basis, Rick helped her form the Linda Pace Foundation in 2003 and joined her on the board as one of the trustees. Together they endeavored to fulfill Linda's desire to create a contemporary art center in San Antonio.
For his entire career, he represented tax-exempt organizations in formation, governance, stewardship and taxation issues. In addition to being a lawyer and a CPA, he was a frequent lecturer on legal and taxation issues relating to private foundations and public charities. He acted in various fiduciary and professional capacities on multiple boards, family office councils, investment committees, private trusts and civic organizations.
While there will not be a public service for Rick, those who wish to celebrate Rick's life can do so with memorials to Ruby City made payable to Pace Exhibitions, LLC, P.O. Box 830607, SAT, 78283.
New Director, Elyse A. Gonzales
Meet the Artist, Alejandro Diaz
Gallery talk with Ryan N. Dennis


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Q: How to handle height of Thai text in UILabel? I'm working on an application we're currently translating to Thai. Everything went smoothly when we tested the app on iOS 7, but on iOS 8, some accents were clipped by UILabels.
We're using Auto-Layout to layout all of the elements of the application.
I've read somewhere in the release notes of iOS 8 that the Thai characters default font has been increased for enhanced readability. However, Auto-Layout does not seem to care and leave the height of the label as if it was displaying latin text, thus leading to some accent being clipped.
What is the proper way to handle Thai text in iOS?
EDIT: Here's a picture showing the problem. (OK is on iOS 7, CUT is on iOS 8.)

Note: I tried setting the clipToBounds property of the UILabel to NO, the text is not clipped indeed. However this is not a good solution! If I have two labels one above the other, I may have overlapping texts…

A: Just would like to mention that this issue still exists on iOS 14, tested with iPhone 11 Pro.

With lineHeight set:

A: I was facing the same problem, too. The issue is because the font that you are using. Such as font Gotham Rounded will be cut off when display Thai language. Try use another font.

redpajama_set_name: RedPajamaStackExchange


This shocking video which went viral on social media shows how Palestinian Muslims flooded the streets of Gaza and Ramallah to celebrate 9/11.
17 years on. We will Never forgive and Never forget.
Recently, the Trump administration has cut all U.S. foreign aid to the Palestinians, including foreign aid to all UN agencies in Gaza and Ramallah.
The European Union, Canada, Australia and the UK must follow the US and cut all foreign aid to the Muslims who call themselves "Palestinians".
They don't know about Psalm 83 that will wipe them out. They have Amelekites, Philistines and all kinds of names of the old names for the clans and tribes. They will all go under. Gaza belongs to the Abrahamic land covenant and they are in for a sorry surprise for them.


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About Ridge
Ridge Digest
Ridge's Mission
We are a community of believers in Jesus Christ whose history goes back beyond 1853 when the first building was erected here.
Today we are committed to sharing the love of Jesus Christ with our community and the world. We seek to do this through meaningful worship, Bible study and educational opportunities, and through community outreach ministries like Ridge Day, partnerships with our area schools and other ministries in our area.
In addition, whether through prayer, study, financial support or hands-on involvement, we seek to be a community actively involved in communicating the exciting story of God's love throughout the world.
Our prayer is that this site will be a gateway for you so that you might understand the opportunities available to you through Ridge Church. More important than that, we pray that you will come to know firsthand how much God loves you and how important you are to Him and to us.
Keep up with what we're doing on a daily basis.
Meet and learn more about our current partners.
Read and study our detailed Statement of Faith.
Keep up with our online Magazine: The Ridge Digest.
Meet and learn more about our current staff members.
Ridge Baptist Church seeks to glorify God through prayer, praise, and worship. We invite others to belong to our family of faith where they will learn about God's will and purpose for their lives. We are here to focus on carrying Christ's love to our community and to the world. This is our mission because we believe that if everyone matters to God, everyone should matter to us.
Ridge's History
Early records indicate a church (Meeting House) was established on the present church grounds June 1, 1849. A church building was erected between 1851 and 1853, and during the Civil War it was used as a hospital for the sick and wounded by the Confederacy. Window panes from the original building are found in the foyer of the present Sanctuary. Ridge Baptist Church was officially organized in 1878. During the 1920's additional Sunday School rooms were constructed. From 1949 to 1952 a sanctuary basement unit, a church parsonage and a new sanctuary were constructed. During the 1950's tremendous growth began in the community as housing developments and businesses moved further west and towards the church.
By 1957, due to continued growth, two worship services were held each Sunday and all available education space was utilized. This necessitated more construction. In 1962 the Activities Building (now, Creative Living Center) was added along with more parking spaces. On May 23, 1965, Milestone Day was celebrated which marked the complete curtailment of indebtedness. The present sanctuary was dedicated on May 7, 1967.
In 1983 women were ordained as deacons for the first time in the history of the church, and an Arabic-speaking congregation was begun at Ridge.
On May 31, 1987, a note burning service for the retirement of the debt on the present sanctuary was held. In the spring of 1988 Ridge sponsored the beginning of a mission church, now constituted as Wynbrook Baptist Church.
Twenty-eight pastors have answered the call to serve Ridge. Reverend Meredith K. Roberson, served the church for 30 years, the longest tenure of any pastor. On June 1, 2002 our current pastor, Reverend Alan Ray came to lead Ridge Church.
As the community around Ridge changes, the church attempts to understand and minister to the people in the community in order to maintain a strong Christian witness and respond to the day-to-day needs of the community. Plans are under way for renovations and additions which will allow the church to minister more effectively as it moves into the 21st Century.
We hope to see more of you. Contact us with questions.
Henrico, VA, 23229
By ChurchEasy®


Thank you. Your work on the draperies looks wonderful and they hang lovely. They sure made a difference in the room. Thank you for understanding what I wanted and working w/me.
Arrived in Florida yesterday for the 1st time since all the drapes and seat cushions were completed. Just wanted to tell you how much I love everything! Looks fabulous! Thanks for everything... and putting up with my indecisiveness through the project!
Love the "whats hot whats not" page! Keep up all the great work!
I am so glad that I found you at the Flagler Home Show a couple of years ago. The wrap-around verticals that you made for me are exactly what we were looking for and I appreciate that you went out of your way to find the fabric that I wanted. I have since been amazed by your talent and ability to shape cornices - twice, and each one different. Your attention to detail is what makes me particularly happy. I love my new kitchen window treatment. You obviously love what you do, and you do it so well. Thank you.
I just love everything you make and I've seen a lot of it over the years, even helped out a time or two. It just seems like you can do most anything with confidence and dexterity. Good luck in your business.


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17. poprawka do Konstytucji Stanów Zjednoczonych – ratyfikowana 8 kwietnia 1913 roku.

Treść
Treść oryginalna:

co można przetłumaczyć jako:

Przypisy

Poprawki do Konstytucji Stanów Zjednoczonych
1913 w Stanach Zjednoczonych
Wybory w Stanach Zjednoczonych

redpajama_set_name: RedPajamaWikipedia


FA5007 Professional Practice 1: Fine Art is a module specific to the Fine Art subject, based on learning by doing, thinking through making and facilitation by networking in contemporary art practice. The module builds on the key technical skills and concepts introduced at Level 4, now providing students with a sustained and in-depth engagement with the world of work in the Fine Art area by encouraging students to begin to contact and engage with viewers of art, art exhibition visitors or art buyers. Technical competence is enhanced and advanced while exploring the range and application of Fine Art practice in the realisation of group and individual projects.
FA5007 Professional Practice 1: Fine Art serves and sustains an award in the BA Fine Art course only, delivered in a seamless and integral relationship with the work of other core modules on Level 5. Students are expected to investigate and develop critical and aesthetic working relationships between and across the Level 5 modules.
The module aims to enable students to develop key subject-specific skills and knowledge in the concepts and principles of Fine Art only, as they apply to the world of work in that discipline. Through mastering the organisation of tools, equipment, materials in private and public space, this module's objectives are to enable students to develop the key cognitive skill of applying what is learned in the art studio to novel situations in the presentation and display of work to new audiences or a wider public.
At the beginning of the module, its aims and key concepts will be outlined to all students. Afterwards, there will be sessions on the application of different processes in the service of mastering methods of enquiry and processes in the making of either videos, prints, sculptures, drawings, paintings or digital photographs (LO1).
A series of sessions will then be used to curate an art exhibition in a group, learning how to build, install, hang, strike show and make good in different spaces (LO4).
Time will be assigned to each student to participate in a work role for an artist residency or to find work experience with a gallery, professional artist or art organisation, a requirement to be completed by the end of the module (LO3).
Some sessions will be dedicated to each student creating and compiling image and text content for the publication of a website featuring their artworks (LO2) with a link to the student's employment Curriculum Vitae.
4. curate supported artworks in an exhibition space, using display devices where appropriate, with due care for space.
This module's assessment will firstly be of display tasks centred on two shows before Christmas and Easter breaks. The display tasks are common to all art studios and are set in and submitted to this module's Weblearn site. Secondly, a Professional Practice folder will be submitted to Weblearn with a link to a standalone external artist website built by the student, featuring their own work and linking to an employment CV. The student will also be assessed for their success in participating in a work role for an artist residency or finding work experience with a gallery, professional artist or art organisation - a short video journal documenting and evaluating their experience will be assessed. Submission will be by digital files on Weblearn by summative assessment deadline.


Black magic is the magical aspect among all the fine arts. Whatever problems you are facing in life. Black magic can sort out in no time. Though as it involves bad and selfish procedure. You must have to consult black Magic Specialist in Thailand. He is an expert in black magic. Besides its mantras he is well aware about its practices and rituals. So when you consult him with your problems. He will help you with his best and effective remedies. Also he will guide you with their procedure. To get the positive effect you must have to keep pure intentions. Otherwise you will have to suffer.
Black magic is usually chosen with negative objectives. But as now-a-days people are going through some sort of problems. One has to make good use of it. Otherwise they will not get results as per their expectations. So one must have to consult black Magic Specialist in Thailand. He is a specialist in black magic and is well aware about all its aspects. Under the guidance of him you will not only get the result as per your expectation. Also you will get the positive effects of it as well. But while using this magic with the help of specialist. You must have to have positive intentions about your result. Otherwise you can get ill effects too.
Black magic is an ancient type of magic. Though some people still do not know what black magic is. Being a dark magic people use it for negative purposes. But they are not aware that its ill effects are very dangerous and can hurt someone. So if someone wants to use black magic they can consult Black Magic Specialist in Thailand. Being a specialist he will let you know about its positive and negative impacts. As per your problems he also provides you reliable remedies. Under his guidance you have to use these remedies for good purposes. Otherwise you will get the effects that can make you suffer.
Often girls or women have to face unnecessary issues with their husband or boyfriend. If anybody is going through the same problem they must use black magic. It is a suitable remedy for all women and girls at that time. But to use it in an effective and proper way. One must have to consult black Magic Specialist in Thailand. He is well specialized with all the aspects of black magic. When you consult him he not only suggest you reliable remedies. Also with his skills he will bring changes in the behavior of your partner. Due to which you can again enjoy a happy relationship with them.
We all know that black magic is the solution for all the problems. But as it involves the use of mantras and tantra. One must have to consult Aarush Sharma. He is the best black Magic Specialist in Thailand. He is providing services in this field from the past many years. So when you consult him. He will not only help you with his effective black magic remedies. Also he will guide you with their procedure. You will soon get the desired result for sure.


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Wemoto Radio 010
Carlo & Black Loops
06/12/2020 18:00 0 Comments
Wemoto · WEMOTO RADIO - 010 - CARLO & BLACK LOOPS
With releases on Shall Not Fade, Freerange, Pets Recordings and Toy Tonics to name just a few, Riccardo Paffetti aka Black Loops has built a stellar reputation as one of house music's most consistent and impressive names since making his production debut back in 2013. A skillful hand both within the studio and behind the decks, the Italian's slick blend of deep and soulful house music takes cues and inspiration from funk, disco and beyond, with his latest batch of productions coming in the form of his 'Homesick' EP on Aterral this December, featuring the Spanish producer and Aterral's label head Carlo.
Over the last years, Carlo stepped up as a connoisseur of all things House with a bunch of releases on much respected labels like Classic, Suol or his latest 'Speak Like A Child' EP on Purism - as a versatile DJ/producer, but also as man of affairs offside the studio and the DJ booth. In 2020, the Berlin based Watergate and Ipse resident started his new imprint Aterral Records, referring to the blistering hot airstream in Málaga, his hometown.
By his own admission, it was about time for him to pay tribute to that city and therefore send some blistering hot soundstreams via the first Aterral oeuvre onto all House-loving dance floors. Ringing in all things to come is the man himself with the best possible three track kick-off.
Playing in clubs and at many festivals around the world, it's obvious to say that these two fine gentlemen are one of the best in their game right now.
Wemoto Radio is more than happy to welcome Black Loops & Carlo for the 10th episode!
Hey Riccardo and Carlos, thanks for taking the time to answer some questions.
R: Pleasure :)
C: My pleasure, thanks for having us.
How are things looking in Berlin at the moment and what have you been doing during the lockdown?
R: I moved temporarily back to Italy since July, but if I have to be honest, the lockdown in Berlin during the first wave has been pretty soft compared to what I'm experiencing right now in Italy. What I've been doing this whole time? MUSIC of course :)
C: Things are pretty slow in Berlin right now, clubs, bars and restaurants are closed and the city feels empty. During the lockdown I've been able to make some music, work on the new label Aterral and of course enjoy the extra free time with the family.
Riccardo, you are coming from Italy and Carlo from Spain. When did you move and which reason made you move to Berlin?
R: I moved to Berlin in April 2013, but I was visiting the city regularly every 2-3 months the years before, as I was the drummer of a band called 'MUNK' based in the city. We were meeting in B for rehearsing and touring.
C: I moved to Berlin purely for the music scene. Before I came here I visited the city a few times and it was a bit of a dream to be able to experience it for a long period of time. Now I've been here for nine years and I'm pretty happy I took this decision back then.
How did you meet the first time and how did you become friends?
R: We met at a house party a couple of months after I moved. The party was kinda insane and Carlos was djing, so I decided to start annoying him obviously... rest is history :D
Could you tell us a little bit about your background, what first got you interested in electronic music?
R: I've always been playing drums in bands since my young age, with one band in particularly, called T.Y.F.T.D.M., we were using a lot of classic analogue synthesizers and circuit bending stuff... that's what got me closer to electronic sounds, specifically to the electro-clash of the early 2000's (big fan of Zoot Woman, The Hacker, LCD Soundsystem and so on...)
C: My father had a little vinyl collection of funk and disco, I always heard this stuff in my house. As a youngster I played bass in a few bands and by the end of the day all I just wanted was to have full control over my productions. That's how I got attracted by electronic music. I started doing electro pop when I was 15 and from there I landed into all the styles I'm digging right now.
Carlos, you recently started your own imprint called 'Aterral', kicking things off with your 'Estasi' EP, congratulations! Can you talk a bit how that came up and what are your future plans with the label?
C: Thanks man, this was an idea I had in mind for a long time as I wanted to pay homage to my hometown Málaga and create my own vision of house music. The name comes from a very hot airstream in Málaga called Terral. When it comes into the city it changes the whole mood of the people and this is where I take my inspiration from. I want to spread dance music with a very warm approach around the world. My plan with the label is to support new talents among old friends and of course release my very own music. I have a few things lined up for the label in 2021 but for now I can't really say anything, just keep an eye on it, because a lot of interesting material is on the way.
The second output 'Homesick' from Black Loops should be out when we are talking. Riccardo, what was the idea behind the EP?
R: Well, I wrote this ep during the first lockdown. The mood was very melancholic and I was really feeling the need to go back to Italy for a while and stay close to my family... and that's why the title 'Homesick'.
Riccardo, you made remixes for Heist and Shall Not Fade lately! How do you go about a remix? Do you have a specific approach?
R: I normally tend to choose one single element from the original track and build a completely new composition around it.. it's the kind of approach that keeps the fun of doing it.
Carlos, you have a little family, how do you handle being a dad and music business?
C: It's a learning process, being a father requires a lot of extra time you did not have to worry about before. I can adapt my working hours and spend plenty of time with my son and I'm very thankful for that. Of course some weekends it was hard to leave home and sleep out overnight but since the virus is here we don't have to worry about these problems anymore.
As Dj's, you've been a part of Berlin's house music scene for some time now, having residencies at IPSE and running a monthly party at Watergate. How do you feel the city's nightlife industry has changed over the years?
R: It's obvious to say that Berlin changed a lot in the last decade. More and more people moving from other countries seeking opportunities and on the other hand rents going up and impossible to find houses unless you're earning power is pretty high... nevertheless the club culture stayed true to itself and preserved its spirit of freedom and respect to the music and the Dj's. I hope it will last long to be fair...
C: When I first came to Berlin everything was a bit more raw, local and not so popular internationally. One thing I love about the nightlife industry in Berlin is that it somehow keeps this spirit even if the times have changed. Of course now we have more tourists and there are more parties than before but everyone is trying to keep everything low key. This is just the evolution of a city that is alive and we all need to adapt to it.
Last time I visited you, you shared a studio space. As far as I know, you had to move last year. How is your studio looking now and which pieces would you won't miss?
R: Our studio is literally in the best part of Kreuzberg and wasn't easy to get it. I miss every single squared millimeters of it, even the dust!
C: Exactly you came to our old studio place, this was a really sweet spot and the little crew we had there was extraordinary. We were sharing the place with Emmanuel Satie, Ben Mono, Ben Rau and Joyce Muniz. Sadly we had to move out but we found a really nice studio around the corner. Our new place looks amazing and we have a better toilet and a kitchen which is a plus.... I just miss hanging out with the old studio pals as we don't see them that often anymore.
What are your favourite labels out there and who are your favourite up and coming producers at the moment – are there any newcomers we need to keep an eye out for?
R: I will keep it "patriotic" on this one... Labels: D:fferent place, 320kb, Mood Waves, Taboo. Producers: Dj Cream, Dumbo Beat, Giammarco Orsini, Jacopo Latini, Nicholas, Cosmic Rhythm, Koko.
C: Reg. labels, I love Music from Memory, Studio Barnhus and Molar. My favourite newcomers are Retromigration and Nephews, they are making really good music at the moment.
2020 is nearly finished. What are your plans for next year? If the situation changes hopefully back to normal.
R: Let this mess be completely over first. Then we will see LOL.
C: Right now it is quite difficult to plan anything. My idea is to keep working on my music and the label until things are opening slowly and then we will go with the flow.
Finally, can you tell us a bit about the mix? Were there any particular thoughts or themes behind it?
R: First 30 min will be my mix. I've selected some breakbeat vibes I'm diggin' at the moment, including the collabo 'Misterio' with senior Carlos Alvarez :)
C: I tried to showcase a bit of my sound in the second half an hour with more house grooves from me and some friends.
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Homesick by Black Loops
Tags: Black Loops & Carlo, Wemoto Radio, Radio, Podcast
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Baltimore Area CouncilOutdoorsHigh AdventurePhilmont Scout Ranch
There are many exciting opportunities for Scouts and Scouters to attend programs at Philmont Scout Ranch and Philmont Training Center each year!
Philmont's signature program is the High-Adventure Expedition. Available each summer from early June to late August, each 12-day expedition provides opportunities for participants to:
Explore the high country in the Sangre de Cristo Mountains of northern New Mexico.
Experience the thrill of climbing mountains over two miles high.
Participate in a wide array of activities that teach Scouting skills—archaeology, climbing, fishing, forestry, horsemanship, Indian lore and much more.
Develop leadership, group dynamics, wilderness problem-solving and outdoor skills.
Units may participate in the Baltimore Area Council Contingent Lottery, or the Philmont Lottery, for an opportunity to bring unit crews to Philmont. Both Troops and Venturing Crews may participate in these lotteries.
The Baltimore Area Council sends contingents to Philmont each summer, typically in early July. Each contingent is comprised of up to crews that participate in a lottery to fill crew slots allocated to the Council by Philmont. Units can request multiple crew slots in the contingent lottery. The Council contingent lottery takes place in March each year for the following year, with applications available on the contingent website in February. Attending Philmont with the Baltimore Area Council Contingent provides camaraderie, being part of the group that represents our Council each year. Your contingent fee includes:
Philmont cost
Charter bus travel within Colorado and New Mexico
Hotel & all meals
Tours and sight-seeing prior to your Philmont arrival
Contingent shirts and duffle
Preparation and training for adult and youth leaders
There are also opportunities for individual (provisional) youth or adults to be placed in contingent crews each year, by completing the provisional application found on the contingent website.
The Philmont-direct lottery is available each Fall for units who wish to sign up their unit directly with Philmont and can be accessed at the Philmont website. These units are responsible for arranging their own training, travel and other logistics.
There are opportunities for individual scouts to apply for many unique programs at Philmont Scout Ranch including Trail Crew Trek, Rayado Trek, R.O.C.S. (Roving Outdoor Conservation School), National Advanced Youth Leadership Experience, Order of the Arrow Trail Crew, Mountain Treks, Ranch Hands, and STEM. Contact Philmont via phone or email for more information on these programs, or check the BSA Philmont website.
Philmont Training Center
If you are interested in attending a training program at Philmont, please contact your District Training Chairperson or District Executive for details on the opportunities available at the Philmont Training Center


Ari Emanuel wants your lead agency status.
With the launch of Lverage, WME Entertainment's latest venture into brand marketing, Emanuel, co-CEO of WME, has set his sights on replacing, not supplementing ad agencies, said sources who've discussed the venture with him. To that end, he has surrounded himself with partners like former Omnicom Group vice chairman Michael Birkin who knows the ad game and is well connected with marketers.
To move beyond transactional deals with such marketers and build brands long term, however, WME will likely need more strategic and creative firepower, said sources. That may explain why Emanuel approached former JWT North American president Rosemarie Ryan—a strategic planner by trade—and ex-JWT chief creative officer Ty Montague before the duo launched Co: in September, according to sources.


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The Great Wall – History and Description
< Go Back to the Main Page of The Great Wall
How It Happened
In 1974, the Army Corps of Engineers contacted Judith F. Baca about the possibility of creating a mural in the flood control channel as part of a beautification project that included a mini‑park and bicycle path. Two years later the alchemy of converting concrete eyesore into community treasure began.
Production of the Great Wall has involved the support of many government agencies, community organizations, businesses, corporations, foundations, and individuals. This support has taken the form of cash contributions, donations of supplies and equipment, and offered services. In the first several years, SPARC received a great deal of support for the project from governmental juvenile justice funding sources. In recent years, more private sector funding has made the Great Wall possible. Throughout the years, assistance has come from the Summer Youth Employment Program, the Army Corps of Engineers, and the Flood Control District.
The Longest Mural In The World
The Great Wall was already the longest mural after the summer of 1976 when a team of 80 youths referred by the criminal justice department, ten artists and five historians collaborated under the direction of Chicana artist Judith Francisco Baca to paint 1 , 000 feet of California history from the days of dinosaurs to 1910 in the Tujungo Wash drainage canal in the San Fernando Valley. But Baca, executive director of the Social and Public Art Resource Center in Venice, California, with a history of large collaborative mural projects behind her, was not ready to stop at 1910. Mural Makers worked in the wash again in the summers of 1978, 1980, 1981 and 1983. Each year they added 350 feet and a decade of history seen from the viewpoint of California ethnic groups: Their contributions and their struggles to overcome obstacles.
By 1980 the mural, dubbed "The Great Wall" rather than its official name "The History of California," stretched more than a third of a mile and had consumed some 600 gallons of paint and 65,000 kid‑hours. With the completion of the decade of the Forties in September, 1981, the total length reached 2,085 feet while the number of young people who had worked on the mural rose to 185. In the summer of 1983, a new segment was painted, depicting the decade of the 1950's. To date, the length of the Great Wall totals 2,754 feet, and the number of participating youths has reached over 400.
However impressive the part currently completed may be, it is only part of a work in progress. The completed mural, which will run for nearly a mile, will take history to the present and beyond to future panels which will be formulated by a planning commission composed of and veteran youth Mural Makers, artists and representatives for the Great Wall's diverse sponsors.
Each section takes a full year to research, organize, and execute. Youth of varied ethnic backgrounds between the ages of 14 and 21 must be recruited and interviewed. Those selected are employed as assistants and participate in both the planning and execution of the mural. These Mural Makers, mostly from low income families, are paid through the Summer Youth Employment Program. In 1981 and 1983 additional youth were hired through a grant from the Jewish Community Foundation. Funds must be raised, research begun, artist supervisors hired. The youths are supervised by professional artists who work with them four to eight hours a day. They also receive art instruction, attend lectures from historians specializing in ethnic history, do improvisational theater and team-building exercises and acquire the important skill of learning to work together in a context where the diversity of their cultures is the focus.
After the subjects to be included are selected and sketched, finished designs are made by Baca amd a team of artists and youth selected to work under her direction on the "design team". The finished drawings are blueprinted or turned into large drawings for pounce transfers. The blueprints are 1 X 2 foot drawings used to transfer the drawing to the wall. On site work begins with heavy labor: Sandblasting, waterblasting and sealing the surface. Grid lines are marked on the wall to match those on the blueprints, and the images are transferred‑a process that provides on‑the‑job math (as well as drawing) training for the kids. After the lines are drawn and painted a dark blue, a transparent magenta undercoat is applied over the entire surface. This serves to harmonize the colors as well as to cut the glare of the sunlight in the painter's eyes. Snow blindness is a real hazard for the team on the massive wall. The colors are applied first as flat areas and then highlighted and shaded with two tones of the same color‑tri‑color blends ‑the painters call it. Finally, a clear acrylic sealer is applied to protect the painting.
The mural has been flooded five times between 1976 and 1983, with water rising, as high as Edison's nose," but it is not damaged by water. More dangerous is the effect of air pollution, years of exposure to direct sunlight, and fertilizer damage from the adjoining park lawns on the colors.
The First One Thousand Feet. 1976
Painted during the first summer of work in 1976, the first one thousand feet are divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Many problems were encountered in the beginning. Until the Mural Makers built a staircase down to the wash, people had to be trucked two and a half miles to the work site, bringing everything necessary with them, including water, food and toilets. The entire mural area had to be sandbagged so that the residual water would not make the work area slippery. Several tons of sand were trucked in, shoveled, bagged and then dragged into place.
Pre-Historic California
Pre‑Historic California
The initial segment, designed by Kristi Lucas, begins in 20,000 BC when the animals whose bones were found in the La Brea Tar Pits still wandered among the plants and trees native to the area. In their research, the Mural Makers discovered that many of the trees we think of as typical of California, like the Eucalyptus and Pepper, were brought by settlers. By 10,000 BC, as Indians migrated to the Americas, perhaps on a land bridge, the Chumash Indian peoples settled in this region.
They had a special relationship to and respect for the animals, especially porpoises. These are shown both in their natural environment and at the center of the prayer wheel which forms the transition to the second segment. Designed by Christina Schlesinger, this section provides an overview of Chumash practical and spiritual life as it might have been in 1000 BC. A vision in which human and animal spirits mingle expresses the Chumash religious sentiments. Much of this section was painted by an American Indian boy who shares this world view. The peaceful early history of the region ends with a White hand rising from the sea, symbol of the destruction of Native American life by White settlers.
Spanish Arrival
The arrival of the Spanish explorer Portillo, who brought the first expedition from Mexico to L.A. in 1769, begins the third segment designed by Judith Baca. The figures in the clouds of smoke that rise from the Indian campfires represent the legendary Black Amazon Queen, Califia, whom Portillo expected to find and for whom California is named. Further on, riding a mule, Father Junipero Serra arrives. Founder of missions throughout California, he is depicted with the San Fernando mission behind him. Within a year after the arrival of the Spaniard, a large percentage of the Native American population of 150,000 inhabitants died of diseases to which they had no immunity that the White men brought. For this reason, the San Fernando Mission became known to the Indians as the "House of Death."
It is commonly believed that the founders of Los Angeles were Spanish. In fact, of the 22 adult members of the expedition that founded the city in 1781, only one was Spanish. The rest were Mulatto, Black, Mestizo or Indian, as they are in this representation.
Mexico governed California until 1843, the sword and the Bible marching hand in hand. The fourth segment, designed by Judith Hernandez, is dominated by the figure of a Spanish land baron, illustrating the "hacendados" who dominated early California. His serape is formed by the land and labor of the Indians which he has taken and used to build the hacienda toward which he looks and where an elegant wedding is taking place. The panel begins with soldiers who raise the Spanish flag and ends with the battle between the Mexican army and the U.S. cavalry for the control of California.
1848 Bandaide
The Gold Rush era as designed by Ulysses Jenkins provides a Black‑American perspective on this period. It begins with the discovery of gold at Sutters' Mill and the migration of Blacks, Mexicans and Indians as well as Whites by ship to California. Above the bay are portraits of Mifflin W. Gibbs, publisher of the first Black newspaper and Mary Ellen Pleasant, a civil rights activist who helped defend Blacks arraigned under the fugitive slave laws.
The globe represents the world's desire for the riches of the 49ers. Beside it stands William A. Leidesdorf, pilot of the first steamboat to arrive in San Francisco Bay, who later became a vice consul to Mexico.
Meanwhile, in the state capital at Monterey, ex‑Southerners passed laws-WHITES ONLY‑which did not allow people of Mexican, Black or Chinese descent to make claims. Biddy Mason, an ex‑slave from Georgia who fought extradition under the fugitive slave laws and who became wealthy, was known for her charity and was a founder of the African Methodist Church in Los Angeles. Joaquin Murieta, a legendary Mexican Robin Hood, fights for the oppressed: The landless who "squat" on the state; the "hanging tree" victims of prejudice; and the Indians who are slaughtered with the coming of the "Iron Horse."
The "Iron Horse" also brings a wave of Chinese immigration. Designed by Gary Takamoto, the Chinese segment shows the workers on the transcontinental railroad, which was built largely by Chinese labor. The faces which appear in the smoke of the locomotive honor those who died in the course of this mammoth undertaking. A surge of racism that accompanied the Chinese immigration led to the so‑called "Chinese Massacre " when vigilantes hung 11 Chinese in a downtown Los Angeles street.
The signing of the treaty of Guadalupe Hidalgo, in which Mexico ceded "Upper" California to the U.S., opened the West to a boom of settlement and development including the beginnings of the citrus industry. At the same time, the suffrage movement (segment designed by Olga Muniz) began its work in the state.
1890 Los Angeles Mountains to the Shore
Designed by American Indian artist Charlie Brown, "From the Mountains to the Shore" begins with San Pedro Harbor where, until recently, there was a great abundance of flying fish. In the town the "Red Car" provided an early energy efficient form of transportation. The typical shops and buildings of turn of the century Los Angeles are depicted in this lyrical segment.
The first summer's work concludes with an homage to the new wave of immigrants and their labor, so important in the development of this region. Designed by Isabel Castro, the section begins with an image showing these new arrivals in a wave of flags which indicated their varied origins. The segment continues with the invention of the car and airplane, which shaped the development of 20th century California.
The first 1,000 feet were completed in nine weeks of painting. Then, the names of all those who participated were stenciled onto the wall.
The 1978 Project:
Many lessons were learned through the experience of the first summer's work. In looking back, Baca realized that, "In those first 1,000 feet, the mural is a loosely connected series of easel paintings." Beginning in 1978, she exerted more control over the design, which resulted in more stylistic unity and an evolving complexity in the transitions between the sections and linkages between historical incidents.
Emphasis in this section is on women's role in the war experience. The "doughboys" leave, kissing their wives and girlfriends goodbye. In the recruiting poster, woman appears in her mythic form as the symbol of Liberty. In reality, she works in the war industry replacing men in nontraditional jobs like welding, as well as contributing to the war effort through "women's jobs" like nursing.
As the war reached into every aspect a American life, Charlie Chaplin, the famous silent movie comedian and a symbol of the common man, became involved in the national Campaign. He is represented in the mural as a typical "dough boy" fighting in the trenches for the ideals in which he believes and for which the war was being fought. His presence also links the war section with the development of Hollywood and the movie industry.
A New Perspective on Edison
In researching Thomas Alva Edison, inventor of the light bulb without which movies would not be possible, the Mural Makers found much evidence to support the theory that Edison was born in Zacatecas, Mexico, and adopted by U.S. parents. According to Edison's daughter, Madeline Edison Sloane, there is no birth record for her father in the United States. In addition, almost all American biographers and historians agree that Edison could speak, read and write Spanish as fluently as a native speaker even though he had only three months of formal education.
Edison's Mexican‑American heritage is symbolized by the Chichimeca corn goddess who whispers the secrets of the ancient builders and inventors in his ear. In one hand he holds a light bulb which lights the world, in the other a movie camera symbolizing the modern communications industry. Hollywood is celebrated in the final image of William S. Hart, star of the first cowboy movie ever made, "The Great Train Robbery." The scene shows the movie actors on the set and also in the camera viewer.
The 1930's: The Summer of 1980
In 1980 the crew consisted of some 40 youths, a group of historians who held workshops and programs for the participants and a team of five artists working under the supervision of Judith Baca. The last 1,050 feet of the wall, painted in the summers of 1980, 1981 and 1983, are more complex in design and the linkages between sections more sophisticated. The increased aesthetic quality of the wall begins to bring both national and international attention. Feature articles on the Great Wall appear in Life Magazine, Art In America, Ms, and the German news magazine, Der Spiegel. In October, 1981, the Wadsworth Atheneum in Hartford, Connecticut, provided the Great Wall with its "first museum show." The mural was also the focus of a segment of Bill Moyers' "Creativity in America" public television series.
Illusion of Prosperity
The temperance movement's axe looses a river of whiskey from the barrels of booze that the gangsters, symbolized by an Al Capone figure, used to become rich and powerful, while flappers dance in an "illusion of Prosperity." During this heyday of jazz, racial discrimination against Blacks continued. Black musicians and their audiences were not allowed in White hotels; only the now fabled Dunbar allowed them to stay in Los Angeles. Above the musicians, between the hotel and a bank beginning to topple in the crash of 1929, a Black worker drinks from a fountain marked, "Colored Only."
Crash and Depression
In spite of the efficiency of the assembly lines, the cornucopias of prosperity and the fantasies of romance produced by Hollywood's movie industry, the depression is inevitable. It cannot be hidden by the Hollywood fantasies, which only serve as a facade that tries to cover up the reality of the breadlines behind. While the unemployed sell apples and warm their hands on a trash can fire, the marching feet of the unemployed lead directly into the strikes against low wages.
The strikers symbolize the beginnings of the militant union movement of the Thirties and show the brutal repression. Victimized by invalid treaties, Native Americans are forced to sell two thirds of their land to developers at 45 cents an acre. Three hundred fifty thousand Mexican‑Americans are rounded up and shipped across the border in mass deportations.
Dustbowl Refugees
At the same time as the Mexicans are deported, the "Okies," refugees from the dust bowl whose fields were destroyed by drought, provide a new source of cheap farm labor. The "Okies," in spite of their misery, came voluntarily. The next migration, that of the Japanese forcibly taken to internment camps during World War I, was involuntary. The problem of how to connect these two migrations puzzled the Mural Makers. Baca remembers asking her assistants, "What did the Okies and the Nisei have in common?" The answer, when it came, was obvious. Laundry. Lines of hanging wash form a visual connection between these two sections.
The 1940's: Summer Project of 1981
The 1940's section, painted in the summer of 1981, with a crew of 34 youths, six artist‑supervisors and two designers, Judith Baca and Jan Cook, begins where the Thirties section ends: With the role of the Japanese Americans during this period.
The 442nd Japanese‑American infantry division comes out of the stripes of the American flag‑yet, in the shadow of these stripes, Japanese‑Americans move backward toward the internment camps depicted in the previous section, forced to discard their possessions as they go. The mural continues to explore in turn the contradictory situation of each of the other ethnic minorities in California. A Jewish‑American family, in the shadow of Hitler's hand, listens to the news from Europe. Hitler's other hand is a fist. From it goose steppers lead toward an anti-Fascist rally in Los Angeles and toward World War II. Below, on the home front, is the building of the California Aqueduct which transports water from north to south to aid developers, but creates a desert in the Owens Valley region. The World War II segment shows Jeanette Rankin in Congress below and Pearl Harbor above. A group of generals and businessmen plan the war effort; from that cooperative effort stream the lines of soldiers, arms and women war workers. -Charles Drew
The war industry provided jobs for Black women workers‑they are shown opening the doors to the war industry with Dr. Charles Drew, the inventor of blood plasma. Dr. Drew is shown cradling himself in his arms as he dies unnecessarily because of the refusal of a southern hospital to treat him for loss of blood. The iron hand, symbol of the dehumanization that racial discrimination brings, is shown cutting off the flow of blood, cutting off life. Beyond Drew, the other side of the opportunity presented by the new employment given Black women in the war industry, is the discrimination that continues in housing. "We Fight Fascism At Home and Abroad" commemorates the struggle by Mrs. Laws against the covenant laws that denied Blacks access to equal housing in South Central L.A.
Zoot Suit Riots
The contradictions in the Chicano experience are expressed by contrasting the experience of Chicano servicemen with that of discrimination at home. David Gonzalez, a local Chicano Congressional Medal of Honor winner, is shown standing with his mother, in a collage of photos from a family album. In the next panel, taxis bring servicemen into Los Angeles for the Zoot Suit Riots in which Mexican-American boys wearing Zoot Suits were stripped and beaten by marines with the consent of the police. Trains carry "braceros," Mexican farm workers, contracted to work temporarily in the California farm fields. The struggle to organize the farm workers and demands for more humane working conditions are represented by the portrait of labor organizer Luiso Moreno, who is wrapped in the flag of the Congress of Hispanic Groups.
Jewish Refugees
Parallel to the train bringing migrant workers is the St. Louis, the ship filled with Jewish European immigrants which was refused entry to the U.S. because the Jewish immigration quota was already met. The spirit of these starved and suffering Jewish victims of the Holocaust emerges from the ship and reaches for American soil. Behind are depicted the death camps where the Germans murdered more than six million Jews. Beyond the death camps is the mushroom cloud of the Atomic Bomb, another symbol of death, and beyond that the founding of Israel and the greening of the desert. The end of the War brings in a spurt of prosperity tract houses and a baby boom! In the kitchen of a typical tract house in the San Fernando Valley (the rest of the development can be seen through the window) a baby screams. On the television Ronald Reagan stars in a 1940's era war movie. Outside, peering through the plate glass windows at the "American Dream," the Soldiers of Color discover that little has changed for them on their return.
The 1950's. Summer Project of 1983
The 1950's section was painted in the summer of 1983 with a crew of 30 youth, seven artist supervisors and muralist director Judith Baca. This 350‑foot segment attained sponsorship from such groups as the National Endowment of the Arts, the California Council for the Humanities, the Los Angeles Olympic Organizing Committee and numerous other groups and individuals. With the aid of over a dozen humanist scholars and historians, workshops and programs were held for the muralists in selecting, designing and enlivening the images.
Farewell to Rosie the Riveter
During World War II, millions of American women left their traditional roles as housewives and entered the war industries as manual laborers and managers. But in the post‑war years, "Rosie the Riveter" returned to the kitchen as the men returned home and reclaimed their power and position in labor. Women's access to work positions traditionally dominated by men was postponed. The television set propagates mass social images of the housewife and depicts a working woman being sucked into the T.V. image.
Behind the televised images of American womanhood, an all‑American family of 2.5 kids (.5 equaling "Howdy Doody") moves into a new suburb of endless box houses in endless rows, representing White flight from the Central City. Meanwhile, minorities and poor immigrants move from rural communities into the city. Rows of orange trees have been uprooted as suburbs sprawl throughout the L.A. basin and valleys.
The Red Score and McCarthyism
Joseph McCarthy, the infamous proponent of the 50's "Red Scare," holds up a blacklist, naming film industry people who are accused of being Communist activists and sympathizers. The "Hollywood Ten," a group of Hollywood producers, directors, writers and actors, are subpoenaed and found in contempt of Congress for refusing to answer McCarthy's charges. Consequently, they are blacklisted and shunned, their professional and personal lives nearly ruined. A typewriter, tied and bound by the lists, represents the fear of being blacklisted and the repression of social criticism and freedom of speech. In the background, Sputnik hovers over the scene, reminding the viewer of the Soviet Union's techno‑military progress which so startles and frightens America.
Chavez Ravine and the Division of the Chicano Community
Freeways encircle and dislocate various areas in L.A., effectively dividing minority communities. In this panel, a Chicano family is separated by the serpentine thoroughfares as the pillared highway breaks through the roofs of houses. Resembling a UFO, massive Dodger Stadium descends from the twilight sky into Chavez Ravine. A bulldozer and policemen forcibly uproot the Chicano community so that Dodger Stadium can be built on land designated at one time for public housing. Many individuals resisted this forced eviction from their neighborhood, but to no avail.
The Birth of Rock and Roll
Pop 50's culture is captured in this scene at a drive‑in theater. A huge Elvis Presley wails his rock songs from the silver screen, but behind him a smaller image of Chuck Berry acknowledges the original force of rock's creativity and inspiration in the Black community. Various hotrods and lowriders, face the screen, as a starspeckled sky forms the background. Behind the movie screen and Elvis, Black musicians again testify to the spirit and contribution of the Black community to popular culture. Jazz saxophonist Charlie Parker and Blues vocalist‑caller Big Mama Thorton (who wrote "Ain't Nothin' But A Hound Dog" which Elvis popularized without crediting her) perform. Behind these Black musicians, a Charles White portrait of a Black woman holding up South L.A. portrays the sustaining community activism of Black women in volunteer and church organizations. This scene emerges with another depicting the interior of a local bus. Paul Robeson, Rosa Parks, Gwendolyn Brooks, Ralph Bunche and Martin Luther King, Jr., are rising from their bus seats and moving forward for new destinations (Civil Rights).
Origins of the Gay Rights Movement
The 1950's witnessed the emergence of homosexual community organizing, represented in this panel by the first gay/ lesbian publications and social change organizations. As police enter the closet to repress the homosexual community through violence and entrapment, women forming the first lesbian rights organization, the "Daughters of Bilitis," meet in a kitchen and mimeograph copies of their newsletter, "The Ladder," copies of which float out of the closet above the heads of the police. In a gay bar, solitary men sit in front of mirrors, cautiously glancing at one another, fearing entrapment by vice officers. Each wears a mask at the back of his head symbolizing the false front to society gays had to assume to avoid persecution. In the mirror, the men see themselves as they wish they could be‑warm, affectionate, caring. The masks also represent the Mattachine Society, founded in 1950 by among others Harry Hay depicted here issuing his call to organize. Inspired by the masked Mattachine male dancers of medieval France, the Mattachine Society was the first to advocate social equality for homosexuals.
The Beats
In this panel, the Beat movement represents another popular underground movement which was harassed by the Establishment. Various Venice cafes sponsored Beat jazz sessions, abstract art exhibitions and poetry readings. But disgruntled conservatives moved to halt these activities and close the cafes, provoking Beats to protest.
Jewish Achievements in Arts and Science
Just as Jewish writers like Allen Ginsberg took risks in developing a new creative movement, Jews in Los Angeles started out in high risk businesses which, by the1950's, had become among the most important in California. New York garmentworkers become recyclers of rags in Los of Angeles and, eventually, the backbone of the garment industry. Also high risk in the 20's was the fledgling film industry built by Jewish studio owners into highly Successful enterprises. Finally a huge image of Albert Einstein holding a diagram of an atom reveals his concern that atomic power be used for peaceful purposes but not war.
Indian Assimilation
In this ninth scene, the forced assimilation of Indians is depicted by a government official stripping an Indian boy of his traditional dress and cutting his hair. Indian youth were sent several states away from their homes to boarding schools where they were taught to give up their traditional culture for Anglo ways. Concurrent with this program was the urban relocation off of reservations of many other Indian adults and children.
Asians Gain Citizenship and Property
Despite harsh immigration quotas, Asian Americans made progress in the Fifties by attaining naturalization and land ownership rights. A Korean civilian is sworn in as the first to be granted American citizenship. Behind the scene, a Japanese farmer stands proud in his newly purchased field, depicting the gains of Japanese Americans also to become citizens and to own land.
Olympic Champions 1948‑1964 Breaking Barriers
In this final panel, a woman runner carries the Olympic torch, its flame and smoke swirling into scenes of athletes who overcome tremendous obstacles to win Olympic events. Billy Mills, a Dakota 0glala marathon runner, overcame his repression in boarding schools to become an important symbol for Native American pride. Black runner Wilma Rudolf, overcoming her childhood infirmities (being unable to walk until her eighth birthday) throws away her leg braces and wins three gold medals, the first American ever. Sammy Lee, a Korean American diver, and Vicky Manalo Droves, a Filipina diver, win gold medals as well. The symbolic final runner carries the torch of the 1950's into the civil rights movements of the 1960's.


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MUSEUM®
DREAM EXPERIENCE
Nearly 105 years in the making, the Harley-Davidson Museum, located near downtown Milwaukee, opened its doors to the public on Saturday, July 12, 2008. The 130,000-square-foot Museum adds a new dimension to the Harley-Davidson experience. Visitors get a feel for the freedom, camaraderie and pride that Harley-Davidson riders experience every time they fire up their motorcycles.
Every gallery and exhibit is a testimony to the legendary bikes, the people who built them and, of course, every individual who ever felt their powerful rumble on a long stretch of asphalt.
At the H-D Museum you can:
Walk through exhibits that tell the stories of the extraordinary people, products, history and culture of Harley-Davidson. In addition to the fantastic motorcycle collection, stories are told through photos, videos, apparel, rare documents and other artifacts.
Peek into a portion of the Archives never before open to the public, home to over 450 motorcycles and thousands of artifacts the Archives team pulls from for exhibits.
Read the personalized messages created by individuals worldwide on the Living the Legend rivets, found on the Living the Legend walls and plazas.
Stroll around the 20 acre Museum site, enjoy the riverwalk or just sit back along the waterfront taking in the Milwaukee skyline.
Check out the unique Museum-inspired items at The Shop.
Examine the industrial architecture and attention to detail both inside and outside the Museum's three buildings.
DRAG RACING: AMERICA'S FAST TIME - SPECIAL EXHIBIT
June 17 – September 5, 2016 – The Garage
Go under the hood with mind-blowing mad scientists of speed to see just how much blood, sweat and elbow grease hot rodders pour into their machines – two wheels or four – in their race against time. See the sport make tracks from its humble beginnings on darkened streets to the bright lights of the winner's circle as the need for speed permeated pop culture.
January 22 – September 5, 2016 – The Bridge Gallery
RACE DAY: PHOTOS FROM THE FLAT TRACK - SPECIAL EXHIBIT
Flat track racing's preeminent photographer takes you down to pit row and into the grandstands to document the thrills and chills of life in the fast lane. Dave Hoenig has captured more than 1,000 races in his career, keeping his lens trained on the pageantry, emotion and camaraderie of a day at the track.
Opens January 22, 2016 – Design Lab
RACING MACHINES FROM THE KR TO THE XR - SPECIAL EXHIBIT
The Harley-Davidson Museum's Design Lab reopens with a focus on the role Harley-Davidson's hardscrabble engineering team played in the creating the legendary bikes that would dominate the race tracks of the 1950s, '60s and '70s. This exhibit shows how man and machine have combined to make Harley-Davidson Racing a king and the winner's circle its throne.
WOMEN AT THE HANDLEBARS
"A few years ago, a girl riding a motorcycle would cause a sensation, but today we see them going down the highway and operating their motor as it should be. We have clubs now that are composed entirely of girl riders; they thoroughly enjoy this grand sport." - The Motorcyclist, June 1940
Women have been riding Harley-Davidson motorcycles since the early days of the sport. Seeking independence and driven by the desire to do something new and exciting, female riders took to the roads and haven't looked back.
Since the 1980s, the number of women in motorcycling has increased greatly. More clubs exist than ever before, organizing events and providing camaraderie. Female riders continue to find inspiration in their motorcycles, the open road, and each other.
The Harley-Davidson Museum celebrates women riders in a new display that opened at the beginning of May. It features two unique bikes owned and ridden by female enthusiasts, along with clothing and other memorabilia that help to tell the story of women saddling up.
THE MOTORCYCLE GALLERY, PART 1: 1903 - 1940S
As you begin your tour of the Harley-Davidson Museum® you'll find yourself on the Museum's second floor staring down a line of bikes, three wide and 180 feet long. These bikes begin to tell the story of the company's first fifty years.
Each bike in the gallery was specifically chosen for its noteworthy heritage, as well as its unique expression of signature Harley-Davidson elements – beauty, performance, functionality and style.
THE HARLEY-DAVIDSON JOURNEY, PART 1
Running along the east side of the second floor, you'll find five interconnected galleries designed to bring the first five decades of Harley-Davidson's rich and illustrious history to life.
Our story opens in the south-most gallery with the motorcycle that is often referred to as "Serial Number One." Dating back to the first years of the company, this is the oldest known Harley-Davidson® motorcycle in existence. Winding your way north through the galleries, the stories of the people, products, culture and history that made the Harley-Davidson Motor Company what it is today continue to unfold.
Highlighted stories include the launching of a global, independently-owned dealer network; the Motor Company's contribution to America's efforts in two world wars; the emergence of color and style in the mid-20s; and the not-to-be-ignored Knucklehead motorcycle that helped define the styling you know today.
THE MOTORCYCLE GALLERY, PART 2: 1940S - PRESENT
Lined up three wide and nose-to-tail, this exhibit features bikes from the late 1940s to the present. These vehicles comprise the continuation of the motorcycle gallery which began on the upper level.
THE HARLEY-DAVIDSON JOURNEY
As you meander downstairs to continue your tour, you'll enter another set of galleries which feature some of Harley-Davidson's more recent history.
At the foot of the stairs sits a diorama recreating a window display from a 1951 Harley-Davidson® dealership. Making your way through the galleries, you'll experience some of Harley-Davidson's most successful and most challenging events of recent years – from the launch of the Sportster® model in 1957 to the merger with AMF in 1969.
Not to be missed is the three-screen video that tells the courageous story of all those involved in buying the company back from AMF in order to regain control of Harley-Davidson's destiny.
As you enter this gallery, it is impossible to miss the Exploded Bike display. Separated into a multitude of pieces, this 1940s Knucklehead is a mechanical drawing brought to life. The display highlights signature design and styling elements that define a Harley-Davidson® motorcycle.
Across the north wall resides our version of a "family tree." Set against a wall of orange, the engines on display illustrate the evolution of the Harley-Davidson engine from its earliest to its latest incarnation. Spread throughout the rest of the gallery, you will find interactive exhibits showcasing engine mechanics.
THE DESIGN LAB
Within the frosted-glass walls of this gallery lie the testaments to Harley-Davidson's neverending drive towards uncompromising quality and design.
From a hand-written design notebook dating back to the 1940s, to the original clay styling prototype of the 2002 V-Rod® motorcycle, you can trace Harley-Davidson's design influence. This exhibit covers the early Engineering Departments as well as the first Styling Department formed in 1963 – all the way to today's Willie G. Davidson Product Development Center.
Competition is the theme for most of this gallery. Faster. Higher. Farther. Those were the words of the day. Standing thirteen feet tall, a replica section of board track sports five vintage Harley-Davidson® motorcycle racers. This exhibit accurately portrays the forty-five-degree board track curve that allowed racers, without brakes, to achieve top speeds of over 100 mph.
From board track racing and hillclimbs, to club rides and endurance events, this gallery pays tribute to the grassroots movements of the early twentieth century that revolved around the camaraderie, thrill-seeking and competitive spirit that drove the motorcycle culture of the day.
This gallery is dedicated to the personal expression and creativity that permeates the Harley-Davidson culture. While riders have been customizing their bikes since the early 1900s, it was not until after the Second World War that individuals started the customization movement we see today.
From stripped-down bikes to attire with attitude, these nonconformists unknowingly created an "outlaw" image. This small movement quickly turned into a cultural phenomenon thanks to Hollywood's sensationalizing storytelling machine. Make sure to see the "King Kong," a custom creation with two engines that measures nearly 13 feet long!
THE EXPERIENCE GALLERY
For some of you, this is the moment you've been waiting for. That's right, go ahead and swing your leg over one of the many motorcycles that inhabit the gallery.
Chosen for their diverse scale, feel the history, the bikes in this gallery are here for you to sit on, touch and admire. And while sitting in the saddle of one of these legendary rides, enjoy a video that allows you to experience the great roads of America and the camaraderie of riding that is at the heart of the Harley-Davidson experience.
HARLEY-DAVIDSON MUSEUM® 2016 DREAM EXPERIENCES
The best of the best. Signature Harley-Davidson experiences for those who truly live the legend. Exclusive, unforgettable, the trip of a lifetime. How better to commemorate a road well-traveled than with an exceptional new journey?
Two 2016 dates are scheduled for a three-night package in Harley-Davidson's hometown of Milwaukee, Wisconsin: June 15 – 18 and November 30 – December 3. The Dream Experience is limited to 20 people, with a minimum age requirement of 18.
Each Premium Dream Experience Package Includes:
VIP access to Museum Archives and Motorcycle Storage Area with behind-the-scenes tour from a member of the Archives staff.
Intimate walk through the Museum and lunch at MOTOR® Bar & Restaurant with Museum VP Bill Davidson.
VIP Tour at Harley-Davidson Motor Company® headquarters, including lunch, and shopping privileges at the Juneau Avenue Employee Store.
Receive a special discount for The Shop at the H-D Museum.
Each package includes one 3" steel Living the Legend™ steel rivet engraved with your personal message.
Enjoy three nights deluxe accommodations at the Iron Horse Hotel, including parking for one vehicle and one breakfast voucher for the Iron Horse Library restaurant.
Transportation for the three days.
June Experience Includes:
Food and drink experience with Chef Josh at MOTOR.
Opening reception for the summer exhibit, Drag Racing: America's Fast Time followed by a traditional Wisconsin fish fry.
December Experience Includes:
Holiday dinner and entertainment.
Private shopping and dinner at a local Harley-Davidson dealership.
Single: $2,770.00
Couple: $3,570.00
For additional information or to reserve your spot, call Courtney at 414-287-2784.
Harley-Davidson Museum
400 W Canal St
Monday - Wednesday 10 AM - 6 PM
Friday - Sunday 10 AM - 6 PM
Located across from the Museum
Monday - Wednesday 10 AM - 6:30 PM
Thursday 10 AM - 8:30 PM
Friday - Sunday 10 AM - 6:30 PM
ACCESSIBLE GUEST SERVICES
The Harley-Davidson Museum is disabled accessible and meets all A.D.A. requirements.Please feel free to bring your own wheelchair. A limited quantity of courtesy wheelchairs are available in the lobby located at the main entrance. They are offered on a first-come, first-served basis. Assisted listening devices are also available at the admission counter.
Baby strollers are welcome. We recommend smaller strollers to navigate crowded areas more easily.
Conveniently located off I-94, you'll find the Museum at the crossroads of 6th and Canal Streets. Free parking for approximately 500 cars or 1,000 motorcycles is available on thestreets of the Museum grounds and in the Parking Gardens located across the street from the Museum. Entry to the Parking Gardens is from Canal Street. Overnight parking or camping is not permitted on-site.
Planning a trip to the Museum? Download a printable trip guide (PDF, 1.5MB) that includes directions and parking information.
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Home / Events / Signature Events / Paint the Town Center Red
Paint the Town Center Red, presented by Telhio
Friday, September 8, 2023 @ Easton Town Center
What is Paint the Town Center Red, presented by Telhio?
Paint the Town Center Red, presented by Telhio, is in its 14th year in 2023. This exclusive social event that sells out in minutes brings together 200 women for a day of retail therapy. Participants spend the day getting pampered with exclusive hands-on sessions, special discounts from retailers, and walk away with a gift bag valued at over $300. Guests also receive breakfast, lunch, and light appetizers at happy hour. Attendees also hear from our Ronald McDonald House guest family speaker.
How does this event support RMHC of Central Ohio?
This event brings women together to support The Ronald McDonald House of Central Ohio. These established and hardworking women have a huge influence in the Columbus community and spread awareness of our mission while raising funds. This brings in new faces to the charity through volunteering, sponsorship, event attendance, and donations.
Tickets will be available on July 21, 2023. Tickets sell out fast. To assure your access to this event, pleas consider becoming a sponsor. To learn more about sponsorship opportunities, please click here.
Time: 8:00 a.m. – 4:00 p.m.
Location: Easton Town Center
All 2023 Signature Events