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Showing 85 items matching ant
Federation University Australia Art Collection
Painting - oil painting, 'Ant' by Pro Hart, 1967
Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particulalry ants and dragonflies, are among Hart's most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A framed red, blue and coral asbstract painting featuring one ant. art, artwork, ant, pro hart, australian outback painting, oil on board, ballarat teachers' college collection
The 69 Collective
Artwork, Louis Balis, Casting the Shadow of an Ant
This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery's 15th year in operation as an artist-run space.This artwork shows a wooden type sculpture depicting an ant. A blue spotlight on the ant is casting a shadow on a floor.louis balis, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, maquette, shadow, sculpture, photograph, ant, [email protected]
Mont De Lancey
Glass bottle, The Borer & White Ant Exterminating Co
4-sided, brown, glass bottle, with damaged label on the front and a cork stopper.On label: "Borantibane". A shield-shaped logo is surmounted by a banner with the name "Borantibane" printed on it. The shield has 4 pictures relevant to "Borer and white ant exterminator" (printed around the shield). Under the shield: "The sure preventative against Borers and White Ants. Manufactured by Borer & White Ant Exterminating Co.". On base: "L 718. 16 ozs.". On centre rear side: "Not to be taken" and on both adjoining sides there are 5 rows of small, embossed stars.bottles
Seaworks Maritime Museum
Plate, Ant Masuda Arts
Blue plate with gold rim featuring design of American families boarding a steam ship in Yokohama, Japan from smaller ships. Reverse features a circular rim of fold anchors inside of which is text in Japanese and English and an image of a ship."1996/ Yokohama" on reverse: "The 8th series of YOKOHAMA UKIYOE/ "American Families Boarding Large Steamship in Yokohama"/ by Gountei Sadahide, 1865 (Genji 1)/ The Steamship drawn in Ukiyoe is not American ship./ However, it is believed he based upon illustrations/ from the Western newspapers which depict her maiden voyage./ Plate number 585/ Ants (r) / Hand Decorated / Masuda Arts/ Yokohama Motomachi" "PMA 0152/1"
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Booklet, Manual of Land Warfare Part 2 Infantry Training Vol 6 Pam 2 Short Range Ant Armour Weapon 84 mm L14A1 (Carl Gustaf), 1984
A soft covered booklet providing information to train soldiers on the weapon7610- 66 -120- 434284 mm carl gustaf, anti-armour
University of Melbourne, Burnley Campus Archives
Document, The Argentine Ant and its control, 1960-1970
H.B. Wilson for Dept. of Agriculture, Vic.burnley horticultural college, argentine ant, ants, h.b. wilson
Rutherglen Historical Society
Colour photograph of the interior of the Common School after floor was removed. Heaps of debris and large white ant nest.On back of photo: "White ant infestation, Common School"common school museum, renovation, buildings, termites, white ants
Image, 21/03/2003
Colour photograph of interior of the Common School after floor was removed. Heaps of debris and large white ant nest.On back of photo: "White ant infestation, Common School" At bottom right of photo: "21 3 '03"common school museum, renovation, buildings, termites, white ants
Whitehorse Historical Society Inc.
Photograph, August Schwerkolt's 2nd Home, 1962
Photo sent to Mary Jack, Pittsburgh, USA by Charles Schwerkolt. Accompanying text sent by Charles 'Enclosed please find a few snaps of the old homestead at Mitcham. You asked me to get a photo of the verandah side. Well, there is a verandah on both sides and one end as you can see. This is a photo of the front. The door has been nailed up for 20 years. It is riddled with termites (white ants) and cannot be used.'Black and white photo of August Schwerkolt's 2nd Home shows front door riddled with white ant - nailed up for 20 years. Thin Black Border.schwerkolt cottage, schwerkolt, charles clarence victor, whalen, rosalie, jackschowsky, mary elizabeth
Photograph, Schwerkolt Cottage, 1962
Photo sent to Mary Jack, Pittsburgh USA by Charles Schwerkolt. Accompanying text sent by Charles - 'This is the end facing Deep Creek Road. You will notice the wood boards are all curved. The floor is all eaten away with white ants and is all levels and the weatherboards have fallen at the ends. The roof is very bad also the gable of the stone looks not so good. The wooden kitchen is about 6 inches away from the stone house all the way around. You will notice the roof of the stone house is all colours with rust and paint. You will notice there are no spouts to take the water away. I took another photo but the light got into the lens of my camera so they would not print a photo from it.Black and white photo of Schwerkolt Cottage. The condition of the Kitchen roof is visible. The floor was ant eaten and a 6"' gap separated the Kitchen from the Cottage. Thin Black Border.schwerkolt cottage, schwerkolt, charles clarence victor, whalen, rosalie, jackschowsky, mary elizabeth
The Beechworth Burke Museum
Animal specimen - Eastern Meadowlark, Trustees of the Australian Museum, 1860-1880
Eastern Meadowlarks live throughout the grasslands and farms in eastern North America. On the ground, their brown-and-black dappled upperparts camouflage the birds among dirt clods and dry grasses. When in flight or perching, they reveal bright-yellow breasts and bellies, and a striking black chevron across the chest. The Eastern Meadowlark has a diet which consists of mainly insects and seeds. These birds forage by walking on the ground and taking insects and seeds from the ground and from low plants. In winter, these birds may choose to forage in flocks. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum's original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia's fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Eastern Meadowlark has a yellow breast and throat with black plumage in the shape of a 'V' on it's throat. This particular specimen has a long pointed bill which is in the shape of a spear. The crown of the bird is a dark brown and it also has lighter brown/yellow stripes on the brow. The back, wings, and tail are light brown with dark brown mottling. This specimen stands upon a wooden platform and has an identification tag tied around its leg. The legs are long and the specimen has been styalised in an upright position.Label: [illegible] Ant-Eating Thrush / Catalogue, Page 66. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, eastern meadowlark, meadowlark
Coal Creek Community Park & Museum
Clear glass bottle containing yellow coloured fly killer with black screw top and a yellow label.Flit Kills Flies Moths Mosquitoes Cockroaches Silver fish Bed bugs Ants.
Flagstaff Hill Maritime Village
Book, Antony
This item is from the 'Pattison Collection', a collection of books and records that was originally owned by the Warrnambool Mechanics' Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics' Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of "… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district." It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the 'Pattison Collection', named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics' Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics' Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city's museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as "a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and 'his' clock controlled his daily routine, and his opening and closing of the library's large heavy doors to the minute." Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum's rooms into a Children's Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950's he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute's collection. The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community's commitment to the Mechanics' Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community's ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute's publication collection is of both local and state significance. Antony (Viscount Knebworth) A Record of Youth by his Father Author: The Earl of Lytton Publisher: Peter Davies Date: 1936Label on spine cover with typed text PAT 920 ANT Pastedown front endpaper has sticker from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics' institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics' institute library, victorian library board, warrnambool books and records, warrnambool children's library, great ocean road, antony, viscount knebworth, the earl of lytton
Book, The International Scientific Series Vol 40
This item is from the 'Pattison Collection', a collection of books and records that was originally owned by the Warrnambool Mechanics' Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics' Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of "… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district." It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the 'Pattison Collection', named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics' Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics' Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city's museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as "a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and 'his' clock controlled his daily routine, and his opening and closing of the library's large heavy doors to the minute." Pattison took leave during 1942 to 1942 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum's rooms into a Children's Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950's he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute's collection. The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community's commitment to the Mechanics' Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community's ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute's publication collection is of both local and state significance. The International Scientific Series Vol 40 Ants, Bees and Wasps Author: Lord Avebury Publisher: Keegan Paul Trench & Co Date: 1906Label on spine cover with typed text PAT 595.7 AVE Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library covered by a sticker from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics' institute, pattison collection, warrnambool library, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics' institute library, victorian library board, warrnambool books and records, the international scientific series vol 40, ants, bees and wasps, lord avebury
Kiewa Valley Historical Society
Plate - Gilt, 1870 -1920
This gilt plate is from an era where master crockery manufacturers where either located in Britain or Europe.The cost of transportation and the time taken to receive items limited the availability of first class goods. This was an era that was "British is best" in all manufactured goods. With the slow influx of European immigrants European manufactured goods also became of high value. This social requirement was more of a prerequisite for the more affluent rural population, especially at a time when Australia "rode on the sheep's back". Fine British and European goods were a "status symbol", even in rural Australia. After World War II, the invasion of American and Japanese merchandise opened up the market place for cheaper "throw away" items. Longevity and quality of goods fell away as the "throw away" society rolled on.This item demonstrates the time when the rural sector was at its most affluent and influential in dictating the strong ties between Australia, Britain and Europe. The very influential "Country Party" ensured that the protection of the rural sector was well entrenched. The ability of the "well off" rural sector, in this period, were not only able to travel abroad but also to purchase expensive items "overseas" cutlery and crockery. The significance of this item is that it highlights a period in time when the "rural" affluence was at its peak.This hand painted floral gilt plate is a cream fluted china plate decorated with pink and yellow orchid flower arrangement. It is in the "Art Nouveau" period 1880-1920.underneath and within the circular base and in gold freehand script "4" underneath "1562". Pressed into the base is the manufacturer's monogram.Circled around the FAM mark is "* FRANZ ANT. MEHLEM*BONN A/RHEIN*"hand painted china, floral gilt plate, decorative china
Orbost & District Historical Society
shirt fronts / dickeys, first half 20th century
These were worn by Mr Whiteman, Marjorie Burton's father, when he sang in the church choir. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. She came from a middle-class, working, church-going family. The invention of the dickey was to make the front of a full dress shirt a separate entity in itself, like the detachable collar, so it could be laundered and starched more easily than a traditional shirt with the front attached.Cloth dickeys simulated many different styles and were often often used in marching band or choir uniforms. However they are rarely worn now. These items are examples of a menswear accessory commonly used in the first half of the 20th century. Two silk white dickeys, men' shirt fronts. 2483.29 has tapes with press studs ant the top and bottom and 2 button holes. 2483.30 has 3 button holes and is a double thickness. Both have pleats.men's-clothing accessories shirt-fronts-dickeys burton-marjorie
Sunbury & District Heritage Association Inc
Photograph, 17 December 1985
On 17th December 1985 record torrential rain fell in Sunbury, which flooded the main Melbourne Bendigo rail line and disrupted traffic. The photograph is looking to the north of the station and takes in the historic Macedon Street bridge and the open ground with the storage silo on the west side of the railway line. A coloured photograph of a former V Line train stopped at a station where the railway line has been flooded. A storage silo occupies vac ant ground adjacent to the railway line.sunbury railway station, storage silos, horne street
Book, John Norris: Anti-Tank Weapons, 1996 (exact)
Description and characteristics of anti-tank weapons of various countries. The book concentrates on ant-tank weapons available to infantry, either directly, or as support weapons. From Brassey's Modern Military Equipment series. ISBN 1 85753 177 9 mines, anti tank, weapons, missiles, anti armour, rocket launcher, shoulder fired, rcl, john norris, brassey
Greensborough Historical Society
Tin, Imperial Chemical Industries of Australia & New Zealand Ltd et al, Mexane powder, 1960c
This powder was used to sanitize lavatories and kill garden pests, flies and ants, particularly in the days before the sewer was connected.Cardboard container with steel top and bottom. Printed in blue and yellow on white, with cautionary label in red."Mexane" sanitary powder... contains "Gammexane", Contains 8 ozs. nett and directions for use.sanitation, disinfectant
Eltham District Historical Society Inc
Photograph, Jim Connor, Main Road, Eltham, 14 Jan 2017
Eltham Gateway, Eltham Tea House, 561 Main Road ant corner of Falkiner Street, ElthamTomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway, eltham teahouse restaurant
Clunes Museum
A KITCHEN SAFE TO STORE COOKED FOOD AND PERISHABLES. ON OCCASIONS THE LEGS STOOD IN SAUCERS OF WATER TO PREVENT ANTS GETTING INTO FOODTWO DOOR WOODEN KITCHEN SAFE WITH ZINC GAUZE PANELS TO ALLOW AIR FLOW AND KEEP INSECTS OUT. GLASS DOOR KNOBlocal history, furniture, domestic
Work on paper - Bookplate, Hart, Pro, Bookplate for Robert Littlewood by Pro Hart, 1999
Etched bookplate featuring ants. This is the only etched Bookplate Pro Hart created, and one of only two Ex Libris designs created by the artist. It was made in Broken Hill, New South Wales in 1999 for his friend Robert Littlewood. This Bookplate is the subject of a small Private Press book written by Professor Karal Ann Marling (retired), of the University of Minnesota, to be published by The Lytlewode Press, 2010.pro hart, ex libris, bookplate, robert littlewood, keith wingrove memorial trust
Bendigo Soldiers Memorial Institute Military Museum
Photos are in a collection relating to James Lyle TRUSCOTT No.1842. Enlisted in the RAAF 13.5.1935, aged 19. Discharged 7.2.1942 with the rank of LAC. .1) Photo, black & white, three men standing in front of a large tree. .2) Photo, black & white, group of men stretched out in a barracks area. .3) Photo, black & white, man in uniform, pith helment beside ant hill. .4) Photo, black & white, two men, in uniform, hats, ties in gardens. .5) Photo, black & white, Bush setting with crashed plane in distance. .6) Photo, black & white, crashed aeroplane. .7) Photo, black & white, harbour scene with two ships in distance. .8) Photo, black & white, close up of section of large ship..1) On rear in pen: ARCH LOXTON, JIM TRUSCOTT, BOB THOMPSON. .2) On rear in pen: RAAF DARWIN, ACCOMMODATION CIVIL DROME 1940, note lack of rainwater tanks. .3) On rear in pen: ARCH. A. LOXTON (S.A. ATHLETE) near Darwin 1940 - 1983 lives at Tocumwal NSW. .4) On rear in pen: Jim Truscott, Ben Kennedy, Darwin Botanic Gardens 1940. .5) On rear in pen: 6AM 11.12.39 Thursday, END OF DARWIN CIVIL DROME - No Deaths - Troops Returning south to join AIF. .6) On rear in pen: 6am 11.12.39 DARWIN CIVIL DROME, No Deaths - Lookheed Electra, DMF troops going south. .7) On rear in pen: 1939 - from ABBOTTS House DARWIN HARBOUR - foreign ships detained. (why?) .8) On rear in pen: This is part of the Queen Mary close up - will enclose this next letter - Lyle.
Ringwood and District Historical Society
Pamphlet, Ringwood Council's Annual Report To The Ratepayers - December 1968, 1968
City of Ringwood community information annual report for 1968, including sections covering Finance, General Valuation and Rater Payments, Property Ownership Changes, Refuse, Sanitary Serviced, Sewerage Connections to MMBW, Dandenong Valley Authority, Residential Flat Control Planning Scheme, Immunisation, Home Help, Elderly Citizens' Clubrooms, Library, Civic Centre, Golf Course, Sale of Council Land, Swimming Centre, Holiday Play Centre, Civic Week, Lake Reserve Improvements, Rubbish Dumping, Street Trees, Vandalism, White Ants, Street Construction, Fire Hazards, Dog Nuisance, House Numbering, Citizens' Advisory Service, Infant Welfare Centres, and a list of departing and current Council Representatives. Also includes general reminders regarding rat extermination, free firewood for age pensioners, overhanging vegetation, and spouses voting rights.Obituary - Mr. F.P. Dwerryhouse, Town Clerk for the past 9-1/2 years passed away on 6th December after a short illness.rinx
Work on paper - FAMILY HISTORY THOMAS HENRY WHITE
THOMAS HENRY WHITE BORN 15/05/1855 MARRIED MARY ANN WILLIAMS (BORN 01/02/1856) ON 31/05/1879. THEY LIVED IN CRESWICK. CHILDREN: ADA GERTRUDE 04/08/1880 TO 12/10/1931 EMMA ROWE 04/05/1882 TO 21/02/1883 PEARL ROSE 13/05/1884 TO 13/05/1884 AMY LOVE 01/01/1886 TO 17/07/1967 OLIVE ROWE 02/04/1891 TO 07/06/1966 THOMAS HENRY 24/12/1895 TO 26/05/1896 THE FAMILIE MOVED TO KALGOORLIE FOR A BRIEF PERIOD. IN MARCH 1909 THE FAMILY MOVED TO WOOD LUPINE WA. IN MAY 1909 MARY ANN RETURNED TO CLUNES TO HELP HER STEPMOTHER AND ANT. MARY ANN AND THOMAS ARE BURIED TOGETHER AT KARRAKATTA THOMAS HENRY WHITE DIED AT AGE 63 ON 15/08/1917 MARY ANN DIED ON 08/08/1945 thomas henry white, mary ann white, mary ann williams
Painting - Artwork, Artwork by Daphne Wallace, 2006
Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili
Warrnambool and District Historical Society Inc.
Certificate, WWI, In Memoriam, BEA Henderson
Private Bertie Ernest Alfred Henderson served in the 5th Pioneer Battalion, 5th Division of the AIF. He died of wounds In France on 29/5/1918 or 1/6/1918. His burial place is Crouy British Cemetery, Crouy-sur-Somme. The framed 'In Memoriam' has been in the custody of family members until presented to W&DHS in 2013 by Mrs Beris Porter. Pte BEA Henderson, 1866, 3 Pioneer Battalion(2 Reinforcement Group) was a farmer and single. His his father was Mr HH Henderson of Naringal. He enlisted on 27/5/1916 then sailed on the Themistocles on 28/7/1916 and transferred to the 5 Pioneer Battalion. His name is recorded on the War Memorial, Artillery Crescent, Warrnambool as having made the supreme sacrifice.Mass produced Memorial page with a sepia original half portrait photograph of a soldier surrounded with two mounts,narrow white and dark/grey brown, and a thin gold gilt surround next to an inward angled plain, wooden frame with clear glass. Hand white painted name, rank, number, battalion, division with decorative flourishes. A. tarnished plaque is on the mid lower frame Front- White hand painted dedication: 1866/PRIVATE B.E.A. HENDERSON/5th Pioneer Batt 5Division/A.I.F. The mass produced decorative mount has battle place names and a bird's eye view of battlefields in France. In sepia 'Glory' stand atop a rock and cross with a laurel wreath in her right hand and a scroll with ANZACS falling from her left hand. A verse is written Anzacs, you've graved your name upon Immortal Scroll/Naught can compare with what the World a claims/Zenith of a fighting patriotic soul./A host of heroes, you have but echoed back with Clarion tongue/the Spartan Sires from who you fitly sprung Coo-ee! Comrades, 'Kia-Ora' you didn't ant couch will ever be./Sacred to all Eternity. An oval cut-out holds a half portrait of the soldier in uniform. Plaque on lower wooden frame FRANCE/29.5.18 Reverse- in pencil handwriting: ? o/c/... ... A. Henderson/of ...T/Yar..galin memoriam, wwi, 5th pioneer battalion, 5th division, aif, private bea henderson, warrnambool, anzac
Churchill Island Heritage Farm
Domestic object - Meat Safe, c. 1890s
Meat safes were used to keep meat and vegetables cooler before the availability of ice and then kerosene or electric refrigerators. The safe would be placed on a bench in a cool place. Water would be placed in a small container on each leg to stop ants getting into the safe there would be another water container at the top also to stop the ants. Pieces of damp hessian would then be hung over each side. As the wind hits the hessian it causes the water to evaporate and the items inside the safe to stay cooler. This meant that the items inside the safe would last a day or two longer. Meat safes were being used throughout the time period showcased by the displays at Churchill Island and this expands understanding of how refrigeration worked prior to electricity.painted pale yellow metal meat safe with square grid hold pattern for air flow. No internal shelves. Broken hanger hook. Catch no longer works. Re-painted from dark green. Raw galvanised base. Four feet, knobs top and bottom attached to rod at four corners. Pressed dome top.meat safe, early refrigeration, food preservation, evaporation techniques, farming
Cheese World Museum
Safe, food, Coolgardie safe
Coolgardie safes were invented in the 1890s by Patrick McCormick in the Western Australian town of Coolgardie. Coolgardie safes were usually placed in a draughty areas, often under verandas. The hessian was placed in the water and draped around the sides and the draft cooled the contents of the safe. The legs could be stood in another tray of water to deter ants. This safe was bought at an auction at Orford by Laurie Gunnulson.Coolgardie safe has a box-shaped frame with wire mesh on the sides for air circulation. A four-legged tray for water is at the bottom. A piece of hessian hangs on one side (for demonstration purposes). The safe opens by a hinged door with a wire handle and there is a maker's name on the front. Inside it has a shelf in the middle. The safe is painted with Silvafros.Simpsonallansford, food storage, simpson, coolgardie safes, food safes, orford


Paris dance hall owner, La Mome Pistache, fears the future of her career after a self-righteous judge, Aristide, has determined to shut her business down. The sensual Can-Can dance has become popular and Judge Aristide is determined to stop it. Get ready for the Tony-Award winning high-kicking choreography of the Can-Can dancers, and the story of an unlikely romance between a highly noble judge and an immoral dance hall owner. Featuring songs, "C'est Magnifique," "I Love Paris" and "It's All Right With Me," this high energy musical is sure to have you thinking you can Can-Can!


Fire is essential to life, and we all have a little fire in our souls. It drives us, it lights us, and it ignites those around us. Fire is a beautiful element in so many ways, but unfortunately it can also be a description for the burning sensation that goes along with irritated skin. No one wants fiery skin. This week we are drawing on the inspiration of FIRE to share some of our highly effective, special skin care formulas to calm and cool uncomfortable skin.
If you have ever suffered with the anger and itch of eczema, psoriasis or other skin irritations, it is now time to bid a fond farewell to those conditions with our Goodbye Eczema and Psoriasis Cream. This amazing medicinal ointment can be used for the body and scalp. An all-natural and organic cream, Goodbye Eczema and Psoriasis provides topical relief with no harmful chemicals. The blend of ingredients not only contains many nourishing ingredients, healing essential oils and shea butter, but also includes the addition of the healing Kisameet Canadian Glacial Clay. Naturally antibacterial, this incredible cream provides relief to the agonizing itch and helps to stop the over production of skin cells.
No household should be without a tin of Sweet Pea - Herbal Balm. Originally created as Sweet Pea Baby 'Bum' Balm, for baby's tender bottoms, it has grown into a widely used popular product with endless, 'tried and true' uses. Sweet Pea - Herbal Balm is a 'go-to' first aid treatment in many homes. It is safe as a pregnant belly balm, and depending on the dryness of the skin, can be used as a day cream, or a night moisturizer for dry, aging skin for a silky smooth, healthy finish. Sweet Pea is great for dishpan hands, for gardeners or mechanics, or anyone else with cracked hands. Your hands will feel so soothed with a thick coat of the balm before bed. Slather your children's red chapped lips and let them wake up with happy mouths again. Cracked heels will heal wonderfully while you sleep when coated in the balm then covered in socks overnight. Treat insect bites or poison ivy or cooking burns. As sundress and biking season approach, chafed thighs will be ever so grateful for this balm after an active day.
Local beeswax, pure extra virgin olive oil, responsibly harvested plants and choice organic flowers of arnica, chamomile, and comfrey, and the addition of Kisameet Colloidal Glacial Clay blend together in this newest Sweet Pea formula. The beeswax is used as a natural moisturizer as it locks in moisture to keep skin plump. It also is effective in healing burns, eczema, psoriasis and helps with inflammation.
In this life we are all busy and have a lot to deal with in our efforts to simplify, stay present and live our best lives...no one should have to suffer with the pain of skin irritations that take them off path. This Summer, don't let your skin suffer, put your face to the sun, ignite a new passion, warm your hands by a campfire and share stories with loved ones, light your soul on fire with amazing adventures.
We hope these tried and tested products, loaded with the extraordinary healing minerals of Kisameet Canadian Glacial Clay, can soothe the fiery flames of skin irritations and make your days so much brighter.
More recently, Dr. Julian Davies, the head of the Davies Lab at the Department of Immunology and Microbiology at the University of British Columbia and his team have been intensely researching applications of this rare mineral clay. Dr. Davies has found this "natural mineral-based agent may provide new weapons in the battle against multi drug-resistant pathogens". The American Academy of Microbiology states this ancient clay is "worthy of clinical investigation for the treatment of infections due to multidrug-resistant organisms". These claims are not officially legal at this time.
Rich in over 30 identifiable beneficial minerals and rare earths Kisameet Glacial Clay will draw oils and impurities from your skin via osmosis and powerful cationic exchange capacity due to superior particle surface area and negative ionic charge. In effect it moisturizes from within.


text:
Media Advisory 2.15.17
Website: https://www.hempfest.org/festival/media/
Seattle's most high profile activist denounces violence and property damage as protest tactics
As the executive director of Seattle HEMPFEST®, the world's largest annual cannabis reform event, for over 2 decades, Vivian McPeak is one of Seattle's most successful and longstanding citizen activists. McPeak is highly critical of some confrontational, adversarial protest tactics like those recently employed in Berkeley by those who call themselves the "Black Bloc" anarchists.
"The protest tactics of violence and property destruction play right into the hands of authority and are often self-defeating and counter-productive. Such an approach may feel cathartic and empowering to those using such tactics at the time, but in the end they only serve to further alienate the general public and result in a more heavy handed police response," says McPeak. "That is what instigators like Steve Bannon and MiloYiannopolous want," he continues.
"Protest tactics like those often employed by the Black Bloc "anarchist" contingent put other protesters in harm's way and interfere with peaceful non-violent protests. By co-opting other peaceful protests these elements can discredit them by handing red meat to the media which might not be able to distinguish between the two, therefore portraying everyone at the scene as disruptive and adversarial," says McPeak.
McPeak believes that wearing masks makes it easy for provocateurs to infiltrate protesters and initiate violence and property destruction, although he doesn't think that occurs as often as some assume because there is no shortage of people angry and passionate enough to protest irresponsibly.
"Who gets to determine who's windows get smashed, or what gets set on fire -- a mob?" asks McPeak. "What if everybody took to the streets and started breaking things and throwing rocks at police when they disagreed with a policy or news story? How would those of us on the Left feel if the Right Wing started adopting those tactics and started breaking the windows of our businesses, or setting our cars on fire?" he continues.
"Only through peaceful, Satyagraha (Ghandi and MLK) style non-violent resistance can protest movements gain national traction and advance a cause sufficiently to change public policy and influence beltway politics. When the citizens employ these time-tested constitutionally protected methods of non-violent resistance the authorities cannot simply clamp down with the hammer of Thor without sharp media and public scrutiny. But throw one rock at a cop or set one car on fire and all bets are off and the public loses sympathy. Such actions by a small handful of protesters can mar an entire protest action and serve to discredit the actions of many and sabotage their messaging," says McPeak.
The Seattle HEMPFEST is America's largest annual free speech event, attended by as many as 100,000 people, and has a spotless 25 year track record in terms of violence, injuries, and arrests. Seattle HEMPFEST is the national model for community values protest events. McPeak has attended and/or been involved in the production of over 100 political actions in his 35 year protest career. McPeak is the author or Protestival: A Twenty Year Retrospective of Seattle HEMPFEST. McPeak has a weekly podcast on CannabisRadio.com called Hempresent, with over 85,000 downloads on 5 continents, and is a guest blogger for SeattlePI.com.

redpajama_set_name: RedPajamaCommonCrawl


text:
One in three people sent home from hospital too early – with no plan for further mental health care
Wednesday, 06 December 2017 Mind
Research released today by mental health charity Mind reveals serious problems with the planning around discharging people from mental health hospitals.
The survey of over 1,000 people[1] who have been in hospital in mental health crisis, found:
One in three people (38 per cent) felt they were discharged from hospital sooner than they should have been
One in five (21 per cent) were given no notice at all that they were going home. This even happens when people have been in hospital for a long time - one in three people (33 per cent) in hospital for more than a month were given less than 48 hours' notice that they were being discharged or no notice at all
Two out of five people (37 per cent) said there was no plan for further care and support, contrary to guidelines
Less than half of people (44 per cent) said managing their mental health or self-care was considered in plans for leaving hospital
Only half of people (51 per cent) said their accommodation needs were considered in any plans, and less than a third (29 per cent) said that money and benefits were considered
The days and weeks after leaving hospital after a mental health crisis are critical. People are at high risk of suicide in the first week after leaving hospital and if they are unsupported they risk becoming unwell again and ending up back in hospital.
It is important that care plans for ongoing support are made before people leave. NICE (National Institute for Health and Care Excellence) guidelines state that plans should be made for people's ongoing care from admission or as early as possible from when they go into hospital.[2] There should be a written plan that is put together in collaboration with the person receiving care. Yet nearly two in three people (66 per cent) in the survey said they were not given a written care plan and one in four (23 per cent) said they were unaware of any plan at all.
As well as ongoing mental health care, planning for additional support with housing and finances should be included when people leave hospital. But around half of respondents said that these things were not well considered or, in some cases, considered at all. This risks people being sent home to unsafe or uncertain housing or financial situations that will have a negative impact on their recovery from crisis.
Mind has produced a booklet[3] to help people plan for their care when they leave hospital after a mental health crisis and a briefing to show what can be done to support people.
Phillipa is 34 years old and has been diagnosed with both emotionally unstable personality disorder and a long-standing eating disorder. She was in hospital in January 2016.
"I'd been in my local mental health unit for a week, when one morning I woke up to be told that there was a taxi waiting for me downstairs, and to get ready. Dazed and confused, still half asleep, I didn't understand. Did I have an appointment? Was I visiting somewhere? Did they have the right person?
"Within minutes I found myself in the taxi, with all my belongings shoved into four bin liners. Handed not enough medication to get me through the weekend, I was now off suicide watch and, with a staff member, apparently headed for my local Community Mental Health Team (CMHT).
"I didn't know the time, if I had my door key, if I had money on me or if I had my bus pass. No one could explain what had just happened. How would I get meds at the weekend? Did I have food in the house? Did I have money on the electricity meter, the gas meter? Did my phone have battery? What would I do? Was there anyone around this weekend? How will I get home from the CMHT?
"My brain froze. I went into a state of shock. Was I even awake? I cannot do this. I don't think most people could have coped, and in my already fragile state of mind, I really had no chance."
Paul Farmer, Chief Executive of Mind, said:
"It is shocking that so many people are being sent home from hospital before they feel like they are ready to leave, with no appropriate plan for the care of their mental health. This is not good enough. It is a tragedy that so many people so very recently leaving the care of hospital are being left to cope alone, and are at risk of losing their lives.
"Whether you've been in hospital for days or for months, when you come out you need the right care and support to help you stay well. Appropriate planning while you're in hospital is essential. Help with things like housing or finances can make a huge difference, and you should at the very least have support to look after your mental health.
"Leaving hospital and coming home can be daunting. You need to feel prepared and confident you will get the support and services you need to help pick up the pieces and continue getting better. Providers must urgently make the improvements needed for everyone in their care."
[1] Mind survey of 1,221 people (2017)
[2] National Institute for Health and Care Excellence (2017) Transitions between inpatient mental health settings and community or care home settings
[3] Mind, Planning for Recovery (2017)


text:
Air Efficiency Award
Air Efficiency Award. An oval silver medal, 1.5 inches long, 1.25 inches wide.
This Second World War award was superseded by the Canadian Forces Decoration.
This award was given after 10 years of service for those serving in the Royal Canadian Air Force (RCAF) Auxiliary and the Auxiliary Active Air Force, with the ranks including, all officers, warrant officers, non-commissioned officers (NCOs) and airmen. Service must have commenced between, 17 August 1942 and 17 August 1952.
An oval silver medal, 1.5 inches long, and 1.25 inches wide. For mounting, an eagle with outspread wings attaches the medal with a single-toe claw. *
The obverse shows a bareheaded effigy of King George VI, facing left, and the legend: GEORGIVS VI D: G : BR : OMN : REX F : D : IND : IMP :
The reverse features the three-line inscription: AIR / EFFICIENCY / AWARD
The dark green ribbon is 1.5 inches wide, with two narrow pale blue central stripes.
A bar would have been awarded for 10 additional years (none were awarded).
There were 94 awards to the Royal Canadian Air Force (RCAF).
The award is engraved with rank, name, and RCAF around the rim.
* Originally the medal was to have a bar with CANADA on it but it was never struck and the British Air Efficiency Award was issued to Canadians as described here.


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text:
Lili Reynaud-Dewar (born 1975 in La Rochelle) is a French installation and performance artist. She currently lives and works in Grenoble and Geneva. Her work has been exhibited in many international surveys, including the 5th Berlin Biennale (2008), the 3rd Paris Triennale (2012), the 12th Lyon Biennale (2013), the 5th Marrakech Biennial (2014), the 56th Venice Biennial (2015), the 31st Ljubljana Biennial of Graphic Arts (2015) and the 11th Gwangju Biennale (2016). Her practice includes film, installation, performance, text and sculpture, and is mainly concerned with the "boundaries of biography".

Life and work
Reynaud-Dewar studied ballet with Colette Milner at the Conservatoire de La Rochelle, then Public Law at the University of Paris I Panthéon Sorbonne. In 2001, she enrolled for a Master in Fine Arts at the Glasgow School of Arts. During the years immediately after her MA, she mostly devoted herself to writing about art in various magazines and artist's monographs and producing sculptural installations which functioned as sets for her performances.

Her first performance in 2005, at the Centre d'art Mira Phalaina in Montreuil involved her Glasgow friend Mary Knox. Knox was reading a text by Reynaud-Dewar which described the life of rasta icon and maroon leader Queen Mother Nanny of the Maroons. Since then, she works with her friends, family (her mother Mireille Rias is in many of her shows and performances including Interpretation at Kunsthalle Basel) and her students. In 2009, she turned to film and performance as her primary mediums, using them as commentary on racial issues like for example with Black Mariah (2009) and Cleda's Chairs (2010). In 2011, she initiated in her studio her dance video series which she keeps producing to this day and which see her, painted in various colors from black to red, white or silver, dancing naked alone in the various spaces where her work is made or exhibited. She has investigated the boundaries of biography, and has developed her work around various historical figures of transgression such as Josephine Baker, Cosey Fanni Tutti, Sun Ra, Jean Genet and Guillaume Dustan. She dedicated her Venice Biennial piece "Small Modest Bad Blood Opera" to the conflict that opposed Guillaume Dustan to Act Up at the end of the 1990s.

In 2009, she co-founded, with Dorothée Dupuis and Valérie Chartrain, the art and entertainment feminist publication Petunia.

In 2015, she published a collection of her writings "My Epidemic, texts on my work and the work of other artists" with Paraguay Press. She has been a professor at Haute École d'Art et de Design in Geneva since 2010, her seminar which she held for a long time from her hotel room at Hotel Adriatica in Geneva is entitled Teaching as Teenagers and is mostly based on readings by queer and feminist writers. With her students from Head Geneva, she has made a horror comedy in Marfa, TX, entitled "Beyond the Land of Minimal Possessions" and which deals with the gentrification brought by art institutions. She is part of the group Wages For Wages Against, a campaign launched by Ramaya Tegegne, that promotes fees for artists as well as a less discriminating art world, in Switzerland and elsewhere. She has initiated the project Maladie d'Amour in her studio in Grenoble in 2015. Maladie d'Amour is a social and emotional experiment that brings a small group of young people around one-night long exhibitions featuring Lili Reynaud-Dewar's artist friends such as Thomas le Lann, Marina Faust, Ian Wooldridge, Helene Cayet, Matthis Collins, Bonny Poon, and Hugo Scibetta.

In 2021, she won the 21st edition of the Marcel Duchamp Prize.

Lili Reynaud-Dewar is represented by Clearing Gallery in Brussels and New York, and Emanuel Layr in Vienna and Rome.

Solo exhibitions
2005: Eggnogs & Flips, Public, Paris (collaborative project with Fiona Jardine).
2008: Explorations in French Psychedelia, CAPC musée d'art contemporain de Bordeaux, Bordeaux.
2008: LOVE = U.F.O,  (Frac), Bordeaux.
2010: Antiteater, , Reims.
2010: Interpretation, Kunsthalle Basel.
2011: Black Mariah,
2011: En réalité le sphinx est-il une annexe du monument ou le monument une annexe du sphinx ?, Centre Culturel Bellegarde, Toulouse.
2011: Fours Walls Speaking of Revolt, Media and Beauty, Tramway, Glasgow (performance).
2011: Cleda's Chairs, , Bielefeld.
2012: Fours Walls Speaking of Revolt, Media and Beauty, Serpentine Cinema, London (performance).
2012: Ceci est ma maison / This is my place, Le Magasin - Centre National d'Art Contemporain, Grenoble.
2013: Enseigner comme des adolescents - Teaching as teenagers, Le Consortium, Dijon.
2014: Live Through That ?!!, Outpost, Norwich.
2014: Live Through That ?!!, Index - The Swedish Contemporary Art Foundation, Stockholm.
2014: Live Through That ?!!, New Museum, New York.
2016: I Sing The Body Electric, Clearing, New York
2016: I Sing The Body Electric, Contemporary Art Museum St. Louis, Saint Louis, Missouri
2016: Teeth Gums Machines Future Society, , Germany.
2016: Teeth Gums Machines Future Society, New Settings, Théâtre Nanterre-Amandiers, Nanterre (performance)
2017: Teeth Gums Machines Future Society, Vleeshal Middelburg, Middleburg, The Netherlands
2017: Teeth Gums Machines Future Society, Museion, Bolzano
2017: Beyond the Land of Minimal Possessions, Artpace, San Antonio, Texas, USA.
2018: My Epidemic, A Body as Public as A Book Can Be, Asakusa, Tokyo.
2018: Oops, I think I may have lost my lighter somewhere on the ground. Could someone come down here and help me find it ?, KUB Billboards, Kunsthaus Bregenz, Austria.
2018: Teeth Gums Machines Future Society, Monash University Museum of Art, Melbourne, Australia.

Selected bibliography
Reynaud-Dewar, Lili, Élisabeth Lebovici, Diedrich Diederichsen, Monika Szewczyk, Lili Reynaud-Dewar, Phaidon, London, 2019
Reynaud-Dewar, Lili, Teeth, Gums, Machines, Future, Society, Hatje Cantz, Berlin, 2018.
Reynaud-Dewar, Lili, My Epidemic: Texts about My Work and the Work of Other Artists, Paraguay Press, Paris, 2015.
Reynaud-Dewar, Lili, Live Through That ?!, New Museum, New York, 2015
Reynaud-Dewar, Lili, Ceci est ma maison, This is my place, Magasin, Grenoble, 2014
Reynaud-Dewar, Lili, Lili Reynaud Dewar: Interpretation, Paraguay Press, Paris; Kunsthalle Basel, Bâle, 2013.
Reynaud-Dewar, Lili, Perav Prod: Marque Déposée/Registered Trademark, Michel Baverey, Paris, 2003.

References

External links
Artist's website
https://www.zerodeux.fr/guests/lili-reynaud-dewar/
http://www.forde.ch/forde10-12/archives_Enseigner_FR.html

French contemporary artists
1975 births
Living people
French performance artists
Women installation artists
Women performance artists
People from La Rochelle
21st-century French women artists
20th-century French women

redpajama_set_name: RedPajamaWikipedia


PhpStorm allows you to compose a list of parent folders of the branches you work with. This list will be displayed every time you perform any operation with branches, for example, when you synchronize your local working copy, compare branches, etc.
Branches are configured in the Configure Subversion Branches dialog box.
Acc the Configure Subversion Branches dialog: in the Version Control tool window, switch to the Subversion Working Copies Information tab, and then click the Configure Branches link.
In the Trunk location field, specify the URL of your repository trunk. Type the address or click the Browse button and select the trunk location in the Select Repository Location dialog that opens. This dialog shows a tree of all branches and tags under the repository root.
In the Branch locations area, make up a list of folders where the branches you need in your work are stored. Use the and buttons to add/remove branches to/from the list.


text:
var shuffle = require("array-shuffle");

// T: number of iterations
// r: between 0 and 0.5 (disjoint communities above 0.5)
function slpa(graph, options) {
  // Default number of iterations
  var T = (options && options.t) || 100;

  // Default community probability threshold
  var r = (options && options.r) || 0.05;

  var memories = {};

  // Initialize communities
  //
  // TODO: array-shuffle strictly checks for arrays so we need to convert
  // the collection to an array first. Let's find a shuffle function that
  // works with collections.
  var nodes = graph.nodes().toArray();

  nodes.forEach(function(node, i) {
    var community = node.prop("community") || (i + 1); // uuid()
    var memory = memories[node.id] = createMemoryStore();
    addCommunity(memory, community);
  });

  // Each neighbor of the selected node randomly selects a label with
  // probability proportional to the occurrence frequency of this label
  // in its memory and sends the selected label to the listener.
  //
  // (This is the "speaking rule" in the classic sense)
  function suggestCommunity(node) {
    var history = memories[node.id].history;
    var community = history[Math.floor(Math.random() * history.length)];
    return community;
  }

  // Out of all the suggested communities, each node needs to pick just one
  // to join. We pick the most popular one.
  //
  // (This is the "listening rule" in the classic sense)
  function selectCommunity(memory) {
    return memory.best.community;
  }

  // Propagate
  //
  // Each neighbor suggests a community for the listener to join,
  // and the listener joins a single community from the suggestions.
  //
  // TODO: use Map and shared memory instance instead that can be cleared
  // to be GC friendly
  for (var t = 1; t < T; t++) { // step 0 was the initialization
    nodes = shuffle(nodes);
    nodes.forEach(function(node) {
      // prevent undefined communities from being added to memory
      if (node.getInEdgeCount() === 0) return;

      var memory = createMemoryStore();

      node.inEdges().forEach(function(edge) {
        addCommunity(memory, suggestCommunity(edge.source()));
      });

      addNodeToCommunity(node, selectCommunity(memory));
    });

    graph.emit("progress", t / T, "slpa");
  }

  // Apply threshold to remove communities with probability < r
  var result = {};
  nodes.forEach(function(node) {
    var memory = memories[node.id];
    var communities = result[node.id] = {};

    for (var community in memory.communities) {
      var count = memory.communities[community];
      var probability = count / memory.size;
      if (probability >= r) communities[community] = probability;
    }
  });

  // TODO: remove nested communities

  graph.emit("progress", 1, "slpa");

  return result;

  // This method bumps the count for the given community while
  // incrementally tracking the total memory size, total number of unique
  // communities, and the most popular community seen so far.
  function addCommunity(memory, community) {
    var count = memory.communities[community] || 0;

    // Add the community to the selection history
    memory.history.push(community);

    // Increment the count for this community
    memory.communities[community] = ++count;

    // Increment the agregate number of community references (non-unique)
    memory.size++;

    // If this is a new community, increment the community count
    if (count === 1) memory.communityCount++;

    // TODO: To make this fair we might want to randomly decide who
    // wins in the case of a tie. The shuffling for each round may
    // already be taking care of that for us though.
    if (count > memory.best.count) {
      memory.best.community = community;
      memory.best.count = count;
    }
  }

  function addNodeToCommunity(node, community) {
    addCommunity(memories[node.id], community);
  }

  function createMemoryStore() {
    return {
      history: [],              // history of all selections made so far
      communities: {},          // map of community names to counts
      communityCount: 0,        // total number of communities (unique)
      size: 0,                  // total number of community references (non-unique)
      best: {                   // tracks the most popular community seen so far
        community: undefined,
        count: 0
      }
    };
  }
}

module.exports = slpa;

redpajama_set_name: RedPajamaGithub


text:
package com.thecoderscorner.groovychart.chart;

import org.jfree.chart.ChartFactory;
import org.jfree.chart.JFreeChart;
import org.jfree.data.xy.XYDataset;

/**
 *
 * @author jclarke
 */
public class XYStepChart extends XYChart {

    /**
     * Creates a new instance of AreaChart
     */
    public XYStepChart() {
        super();
    }

    public JFreeChart createChart() {
        JFreeChart chart = ChartFactory.createXYStepChart(this.getTitle(),
                this.getXAxisLabel(), this.getYAxisLabel(),
                (XYDataset)this.getDataset(), this.getOrientation(),
                this.isLegend(), this.isTooltips(), this.isUrls());
        return setExtraProperties(chart);

    }

}


text:
Home / News / Real Estate / RXR leads $40M investment in Kitchen United
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RXR leads $40M investment in Kitchen United
By: David Winzelberg	September 20, 2019	Comments Off on RXR leads $40M investment in Kitchen United
RXR Realty is one of the leaders of a new $40 million capital raise for Kitchen United, a co-working concept for the restaurant industry.
Uniondale-based RXR and GV (formerly known as Google Ventures) led the Series B funding round with participation by funds managed by Fidelity Investments Canada ULC, DivcoWest and G Squared, which was also contributed to by Kitchen United founders John Miller and Henry Tsao, according to a company statement.
Launched in 2017, Kitchen United operates commercial kitchens shared by restaurateurs who don't have their own premises and instead rely on delivery services. The company's commercial kitchen centers each house 10 to 15 restaurant brands. Locations are currently open in Chicago and Pasadena, Calif. With others soon to open in Scottsdale, Ariz. and Austin, Texas and more under construction in San Francisco and Los Angeles.
RXR is considering housing Kitchen United at some of its properties in Manhattan, Woodbury and eventually at the Nassau Hub in Uniondale.
"We share Kitchen United's vision for the future of the restaurant industry and believe the consumer shift toward off-premise dining is already having a huge impact on both residential and commercial real estate," Scott Rechler, RXR CEO, said in the statement. "We are thrilled to be an early supporter of Kitchen United and look forward to working together to change how New Yorkers live, work, play, and stay."
Kitchen United is attempting to capitalize on the fast-growing food delivery sector. Off-premise restaurant sales in the U.S. amounted to $279 billion in 2018 and is expected to exceed $400 billion in 2022, according to investment bank and financial services firm William Blair & Company.
Kitchen United RXR Realty 10:03 am Fri, September 20, 2019 Long Island Business News
David Winzelberg
Tagged with: Kitchen United RXR Realty
RXR cuts ribbon on Village Square in Glen Cove
Stubbed Hub
Maryland firm tapped to shape Nassau Hub retail development
Elliman gets RXR brokerage assignment
Nassau Coliseum may be taken over by Taiwanese billionaire
Local groups discuss Nassau Hub redevelopment
David Winzelberg covers real estate, franchising, and white-collar crime for Long Island Business News.
He can reached via email dwinzelberg@libn.com or at (631) 913-4247. Follow him on Twitter @DavidWinzelberg
New York Gov. Andrew Cuomo warned Tuesday his state will raise taxes and reduce spending if Congress doesn't send $15 billion in unrestricted emergency COVID-19 aid.


text:
Original 7-inch Singles
UK Blue Mountain BM 1021
Baby Baby We´Ve Got A Date (Mono) (Credit: Bob Marley & The Wailers) /
Stop That Train (Instrumental) (Mono) (Credit: Bob Marley & The Wailers)
The a-side is an edit in mono (2,34), released on 7-inch only. The b-side (2,29) is the version in mono, released only on this 7-inch.
Released in January 1973 according to a website.
I own this UK single.
UK Island WIP 6164
Concrete Jungle (Mono) (Credit: The Wailers) (WIPX 1262) /
Reincarnated Soul (Credit: The Wailers) (WIPX 1263)
The a-side is an edit in mono (4,00), the b-side is originally released on 7-inch only. The label gves a rnning time of "(4,20)" but this is wrong, in fact the tracks runs (3,38).
A promo appears with the pink-rim Island label with a big "A", released in the standard plain pink sleeve
Released at May 29th, 1973.
The a-side (3,15) is the album track taken from "Burnin´" and the b-side (2,48) is the album track taken from "Catch A Fire".
Released on September 15th, 1973.
UK Island IDJ 2 Promo
Pass It On, Duppy Conqueror
All three tracks are the album tracks, taken from "Burnin´".
UK Island WIP 6212 (WIPX 1354)
So Jah Seh (Credit: Bob Marley & The Wailers) /
Natty Dread (Credit: Bob Marley & The Wailers)
A promo appears with the a-side titled as "So Jah Sey".
UK Island WIP 6212, Promo
— (empty side)
Maybe released on September 27th 1974. But as the album was not released earlier as 1975 this might be wrong.
The first UK Island 7-inch released in a picture-sleeve.
The original picture-sleeve has Bob playing a guitar on front.
A different picture-sleeve has Bob pointing his finger upwards and has a note: "WIP 6244 Stereo". The mentioning of "Original English Charts" shows this one to be a later sleeve.
Released in August 1975.
This second pressing of the formentioned 7-inch appears with the new palm-tree Island label.
The label is stamped "Limited Pressing Only" and "Not For Sale DJ Copy".
Both tracks are the album tracks, taken from "Live!"
Jah Live /
The a-side (4,15) and the b-side (4,23) are originally released on 7-inch only.
A promo appears with the palm-tree Island label and "DJ Copy Only" in the center of the label.
Released in January 1976.
Released in April 1976 according to a website.
Released in July 1976.
(UK Island WIP 26348) (Most likely not existing)
(Roots Rock Reggae /
Positive Vibration)
Info only given by Ian McCann and Timothy White. Info is not confirmed by Roger Steffens and Jeremy Collingwood. I never saw such a single over the years, so I doubt that this one was released, although a catalogue number was given.
UK Island WIP 6376 (Most likely not existing)
(Smile Jamaica (Part One) /
Smile Jamaica (Part Two))
Released in November 1976.
So far the info as given at the sleeve of Rastaman Vibration Deluxe Edition, 2-CD. This is the only source that give information about such a UK single. Roger Stefens, Jeremy Collingwood, Timothy White and Ian McCann don´t mention this one. So I don´t think, such a single exists, although a catalogue number was given. In fact "Smile Jamaica" appeared not earlier as in 1978 on UK Island WIP 6440. See below.
Released in June 24th 1977.
UK Island WIP 6402 IDJ Promo
(Waiting In Vain) Promotional Advert /
(Waiting In Vain) Promotional Advert
All infos on the palm-tree island label are hand-written.
Promotional message from Bob for the album "Exodus". Both sides identical. From the catalogue number we can see it is the "Waiting In Vain (advert mix)" that later appeared on the "Songs Of Freedom" 4-CD Box.
This 7-inch appears with the palm-tree Island label. Released in standard blue and white Island sleeve.
A promo appears with the palm-tree Island label and "DJ Copy Only" in the center of the label, released in standard blue and white Island sleeve.
Released at August 19th, 1977.
Released in December 1977 according to a website.
Released in February 1978.
The a-side is an edit (3,50), released on 7-inch only. The b-side (3,39) is the fast take but longer here as on JA 7-inch. The track is originally released on 7-inch only.
Released May 26th 1978.
I own this UK single, sadly missing the original UK picture-sleeve.
A promo appears with the palm-tree Island label and a big "A" at the center of the label.
Released in September 1979 according to a website.
Released in March 1980 according to a website.
Released in May 1980 according to a website.
This 7-inch appears with a new label, including a Tuff Gong logo with clasped hands in a black star, with silver writing on black background and a green-yellow-red rim.
I own this UK 7-inch.
Released at November 20th 1980.
Posthumous 7-inch Singles
UK Island 104 099
The label has black writing on yellow / red background and a rasta running. Released in a picture-sleeve.
UK Island IS 108, 1983
UK Island IS 169
Released in April 1984.
UK Island IS (P) 169
Released in a poster-sleeve.
Waiting In Vain (1984 J. Mendelssohn Remix) /
The a-side is an edit (3,00) of the 12-inch remix. The b-side is the album track (3,32), taken from "Confrontation".
UK Island 11886
Blackman Redemption (?)
This one is a limited edition, a picture 7-inch with Bob´s conterfeit.
The a-side is probably an edit (3,00) of the 12-inch remix. The b-side is probably the album track (3,32), taken from "Confrontation".
UK Island ISP 210
No Woman No Cry (1984 Remix by Eric "E.T." Thorngren)
The a-side is an edit (3,32). The b-side is the album track from "Legend" (4,07).
Three Little Birds Dub
This 7-inch appears with a new label with white background and a coloured rim and palm. Released in a picture-sleeve.
The a-side (3,38) and the b-side (3,59) are alternate remixes of the 12-inch mix (5,20).
Includes Free Single Original Version of Buffalo Soldier (so the sticker on the sleeve says):
Buffalo Soldier (King Sporty Mix) /
Buffalo Soldier (King Sporty Mix)
This free single appears on blank yellow background with a stamper: "Bob 1, Bob Marley, Buffalo Soldier, King Sporty Mix".
Both sides are the same (5,04).
I own this UK single-set.
UK Island BMRM 1, Promo
Get Up Stand Up (Live 1975) / — (empty b-side)
The a-side is the live version recorded at the Lyceum in 1975 also on the album "Live!" here included as an edit, never released elsewhere.
Rat Race /
The label has a picture of Bob´s face on one side, the titles on the other side. This 7-inch was released in a black sleeve.
The a-side is the album track (2,59), taken from "Rastaman Vibration", the b-side is the album track (4,00), taken from "Survival".
War – No More Trouble (Live) /
The a-side is the album track (3,50), taken from "Babylon By Bus", the b-side is the album track (5,20), taken from "Survival". The a-side has here a bit more applause as at the album track.
UK Island MPEP 3, Promo
No Woman No Cry (Live 1975), Mix Up Mix Up /
Could You Be Loved, I Shot The Sheriff
The first track of the a-side is the album track (4,06) taken from "Natty Dread" (1974). The second track of the a-side is an edit of the album track (3,30) previously released on 12-inch in 1983. The first track of the b-side is an edit of the album track (3,35) previously released on 7-inch in USA in 1980 and in UK in 1984. The second track of the b-side is the album track (4,39) taken from "Burnin´" (1973).
UK Tuff Gong / Island Mango
This 7-inch appears with a label mentioning Island and Mango and Tuff Gong with black writing on silver background. Released in a picture-sleeve.
UK Tuff Gong / Island TGX 2
The a-side is an edit (3,21), released on 7-inch and 12-inch only. The b-side (3,13) appears originally on 1978 7-inch only.
Exodus (Kindred Spirit Mix)
The a-side is an edit (3,58) of the 12-inch remix. The b-side is also an edit (4,19) of the 12-inch remix.
Tuff Gong TGX11 (7-inch)
Slogans /
The Heathen (Live from The Rainbow, 4th June 1977))
UK Tuff Gong TGX 13: Part 1, 2005
No Woman No Cry (Live at The Lyceum, London, 1975) (7,10) /
Duppy Conqueror (Live at Leeds, 23rd November 1973) (5,20)
The a-side is the album track, taken from "Live!". The b-side is an edit of the track taken from "Live At Leeds".
I own this UK 7-inch (No.: 1369)
I Shot The Sheriff (3,53) /
Trenchtown Rock (Live at The Roxy, Los Angeles, 26th May 1976) (5,00)
The a-side is the album track from "Burnin´" (1973). The b-side is the track taken from "Live At The Roxy".
Sun Is Shining (4,35) /
Jamming (Live at The Rainbow, London, 4th June 1977) (7,07)
The a-side is the album track from "Kaya" (1978). The b-side is the track taken from "Live At The Rainbow".
Slogans (4,02) /
The Heathen (Live at The Rainbow, London, 4th June 1977) (6,48)
The a-side is a 2005 remix of the 1980 recording. The b-side is the track taken from "Live At The Rainbow".
Africa Unite (Will I Am Remix) (5,12) /
I Shot The Sheriff (Live at The Roxy, Los Angeles, 26th May 1976) (6,25)
The a-side is a 2005 remix of the 1979 recording. The b-side is an edit of the track taken from "Live At The Roxy".
Stand Up Jam Rock (5,53) /
Stir It Up (Live at Leeds, 23rd November 1973) (7,06)
The a-side is a 2005 remix of The 1973 recording "Get Up Stand Up". The b-side is an edit of the track taken from "Live at Leeds".
12-inch Maxi-Singles
UK Island IPR 2000, Promo (12-inch Maxi)
A promo appears on UK Island IDJ 26 (IPR 2000).
The a-side is the album track taken from "Exodus". The b-side is the same instrumental mix (3,08) as released on 7-inch in 1977.
I own this UK 12-inch Maxi Promo.
UK Island IDJ 26 (IPR 2000), Promo (12-inch Maxi)
The same as before. I am not sure if this one is really another promo or infact the official 12-inch release. Other IDJ catalogue numbers are 7-inch promos.
UK Island IPR 2005, Promo (12-inch Maxi).
UK Island 12WIP 6410 (12-inch Maxi)
The same as the promo IPR 2005. The a-side is the 12-inch mix (5,47), the b-side is the UK 12-inch Mix (5,47).
Released at November 11th, 1977.
UK Island I & I One (Promo) (12-inch Maxi)
Smile Jamaica /
(empty side)
The a-side has the long mix (5,03) of the fast vocal and version. Later released on Kaya Remastered CD.
Andy Claydon tells that 30 copies exist. Other say 20 or 50.
The year of release is unknown. The label gives no info. "Smile Jamaica" was recorded and released in Jamaica in 1976 on 7-inch in two different tempi. But in UK the short fast take was released not earlier as 1978, so that it is likely that the long fast take was also released in 1978.
War / No More Trouble (Live 1978)
Exodus (Live 1978)
Both tracks are taken from the album "Babylon By Bus". The label mentions "forthcoming album" so that it is sure released prior to the album that is released on September 1st 1978. The 12-inch Maxi in so far is probably released in August 1978.
The label also mentions "Limited Release" so that I think it is correct to call this a promotional 12-inch Maxi.
The a-side runs 5,36 and the b-side runs 7,52. Both sides include more applause as the tracks on LP and CD but no more music.
I own this UK 12-inch Maxi.
UK Island 12 IX 13006, 12-inch Maxi
Both tracks taken from the album "Babylon By Bus". So far the previously mentioned 12-inch Maxi is a promo this one here is the regular released 12-inch Maxi. The released date for this 12-inch Maxi should be September 1978 or a bit later.
Both tracks taken from the album "Babylon By Bus".
Africa Unite, Zimbabwe /
The first song (3,47) and the second song (2,50) of the a-side are the album tracks, the b-side (4,48) is the album track taken from "Survival".
UK Island 12WIP 6610, 1980 (12-inch Maxi)
One Drop, Ride Natty Ride
The a-side has the 12-inch mix, originally released at 12-inch only, the first and the second song of the b-side are the album tracks, talen from "Survival".
Released on May 19th, 1980.
The a-side is taken from the album "Exodus". The b-side is the version of "Pimper´s Paradise" that also appears on a 7-inch.
UK Island 12 WIP 6653, 1980 (12-inch Maxi)
UK Island 12WIP 6244 (12-inch Maxi), Year unknown, ca. 1980 or 1981
No Woman No Cry (Live at The Lyceum 1975)
Jamming (Live at Paris June 1978)
Released in a picture sleeve. Although at first sight it looks as if Bob wears a bue jeans jacket in fact it is not that common one here. The book "Songs Of Freedom" by Chris Salewicz has the same picture as used for the 12-inch Maxi´s sleeve on page 281 and in fact it is a yellow vest that Bob wears over a blue jeans jacket. This picture is taken at the concert at Zurich, Switzerland, May 1980. So this 12-inch Maxi is not released earlier as 1980. The catalogue number is for sure misleading. The other 1980 12-inch Maxis of Bob Marley on UK Island has "Made in Gt. Britain" written on the label at the end of the ring with the producion credit. That 12-inch Maxi here don´t has such note on the label. So a little doubt remains. Maybe this one made 1981. In contrast to all other Bob Marley 12-inch Maxis the back of the sleeve has a little cu out on top so that it is more easy to put the record into the sleeve. Not the same but a similar thing we can see at some 12-inch Maxis of 1984. Thanks to Raul who found this info.
The sleeve mentions "Jamming" is recorded live at Paris June 1978). This is a nice additional info that is not included in the "Babylon by Bus" sleeve.
The a-side runs 7,06 and is taken from the album "Live!". The b-side runs 5,20 and is taken from the album "Babylon by Bus".
UK Island 12 IS 108, 1983 (12-inch Maxi)
Released at May 3rd, 1980.
UK Island 12 IS 169 (12-inch Maxi)
Also released on 12-inch in a poster sleeve and as a picture disc. Repressed on 12-inch as TGX1 in 1992 and also on Maxi-CD in 1992.
UK Island 12 ISP 169 (12-inch Maxi)
Released in a poster sleeve.
Seemingly there is a second issue of this 12-inch on white vinyl.
UK Island 12ISX 169 (12-inch Maxi)
One Love (Dub Version) /
One Love, Keep On Moving (London Version)
The a-side is the 1984 remix by Godwin Logie. The first track of the b-side is the 1984 remix by J. Mendelsohn. The second song of the b-side is the "London-Version".
The a-side is the 1984 remix. The b-side has a sequenced mix up, released only at this 12-inch.
No Woman No Cry, Coming In From The Cold
The first song of the a-side is the 1980 12-inch mix. The second song of the a-side is the 1984 remix by Paul "Groucho" Smykle. The first song of the b-side is the 1984 Remix by Eric "E.T." Thorngren. The second song of the b-side is 1984 remix by Eric "E.T." Thorngren.
UK Daddy Kool DK12-101 (12-inch Maxi)
Rainbow Country, Rainbow Country Dub /
Lama Lava (Augustus Pablo)
The a-side is a previously unreleased recording and its instrumental version, also released as "Rainbow Country Rhythm". The b-side is not related to The Wailers.
UK Island 12BMRM 1, Promo (12-inch Maxi)
Get Up Stand Up (1973) /
Get Up Stand Up (Live 1975)
Released in a sleeve with a rasta boy. The a-side is the album track taken from "Live!". The b-side is the album track taken from "Burnin´".
Natural Mystic Rhythm (Natural Mystic Dub)
Released in a picture sleeve. On the sleeve the b-side is titled as "Natural Mystic (Rhythm)" on the label it is titlted as "Natural Mystic (Dub)".
UK Tuff Gong 12 TGX1, 1992 (12-inch Maxi)
Same as Island IS 169, 1984.
Iron Lion Zion, Smile Jamaica /
Could You Be Loved, Three Little Birds (Alternate)
The first track of the a-side is the 12-inch dance mix, released only at this 12-inch. The second track of the a-side is identical to the UK Island, 1978, 7-inch release. The first track of the b-side is the 1980 12-inch mix. The second track of the b-side is the previously unreleased alternate, taken from "Songs Of Freedom".
UK Tuff Gong TGXCD2, 1992 (Maxi-CD)
UK Tuff Gong 12 TGX3, 1992, (12-inch Maxi)
Why Should I (Bone Remix), Exodus (Kindred Spirit Mix, Long Version)
The songs run 6,55 and 7,04.
I have this UK 12-inch Maxi.
Why Should I (Bone Remix Edit), Exodus (Kindred Spirit Mix 7-inch) (4,19), Why Should I (Bone Remix), Exodus (Kindred Spirit Mix 12 inch)
I own the UK Maxi-CD.
Keep On Moving (Extended Mix) /
Keep On Moving (Sly & Robbie Mix), Pimper´s Paradise
The track on the a-side and the first track of the b-side are new mixes of the London Version, recorded 1977. The second track of the b-side is the album track, taken from "Uprising".
I own the UK 12-inch Maxi.
Tuff Gong TGXCD4, 1995 (Maxi-CD)
Keep On Moving (Radio Edit), Keep On Moving (Sly & Robbie Mix), Pimpers Paradise, Keep On Moving (Extended Mix)
The tracks run 4,23 and 7,45 and 3,26 and 6,23.
I own this UK Maxi-CD.
Tuff Gong 12 TGX5, 1995 (12-inch Maxi)
Easy Skanking, Redemption Song (Band Version) /
Punky Reggae Party (Long Version), All Day All Night
A1 runs 2,53, A2 runs 4,48, B1 runs 6,44, B2 runs 3,25. First release of All Day All Night".
Natural Mystic, Redemption Song, Punky Reggae Party, All Day All Night
"Natural Mystic" is the album track (3,26). "Redemption Song" is the short band version (4,48). "Punky Reggae Party" is the long version (6,44). "All Day And All Night" is previously unreleased.
Tuff Gong JAM1, 1999, Promo (12-inch Maxi)
Jammin´ (featuring Mc Lyte) (Olav Basoski Remix) (6,00) / empty b-side.
Jammin´ (featuring Mc Lyte) – The Island Remix (Extended Version) (6,42), Ghetto Youths Remix (5,37), The Island Remix Radio Edit (3,30) album track (4,08)
Jammin´ (featuring Mc Lyte) – The Island Remix (6,42), Ghetto Youths Remix (5,37), Olav Basoski Remix (6,49)
Jammin´ (featuring Mc Lyte) – Album Track (4,09), Island Radio Edit (3,34), Ghetto Youths Radio Edit (4,19), Olav Basoski Remix (6,44)
Tuff Gong 12 TGX10DJ, 2001, Promo (12-inch)
I Know A Place – Peter Hoffs Club Edit (6,40), Pheelyx Dub Mix (5,34), Fresca Boys Extended Mix (5,11), The Peter Black Remix (5,26)
Tuff Gong TGXCD10, 2001 (Maxi-CD)
I Know A Place – Peter Hoffs Radio Edit (3,21), Bedroom Rockers Radio Edit (3,52), Fresca Boys Radio Mix (3,43), Pheelyx Radio Edit (3,37)
Tuff Gong TGXCD11 (Maxi-CD)
Slogans (and two more songs)
Part 1: No Woman No Cry (Live at Lyceum 1975), Duppy Conqueror (Live from Leeds, 23rd November 1973)
Part 2: I Shot The Sheriff, Trenchtown Rock (Live from The Roxy, 26th May 1976)
Part 3: Sun Is Shining, Jamming (Live from The Rainbow, 4th June 1977)
Part 4: Slogans, The Heathen (Live from The Rainbow, 4th June 1977)
Part 5: Africa Unite (Will I Am Remix), I Shot The Sheriff (Live from The Roxy, 26th May 1976)
Part 6: Stand Up Jam Rock, Stir It Up (Live from Leeds, 23rd November 1973)
Tuff Gong 12TGX21DJ Promo (12-inch Maxi)
Exodus Joey Negro Mixes
Joey Negro Club Mix (8,18), Joey Negro Accapella Mix (5,49), Joey Negro Rodox Club (7,22), Joey Negro Raggabotty Beats (4,56)
Tuff Gong CDTGX21DJ Promo (Maxi-CD)


48+ Ac Fm 1743 is a $169,000 property on a 48.71 acre lot located in Honey Grove, TX.
Pretty rolling terrain, good grass hay and pasture. Pond on property. Community water available. Additional adjoining 50.868 acres to north listed at $179,900.
I am interested in 48+ Ac Fm 1743, Honey Grove, TX 75446.


I was going to do a tanning lotion review.
Who am I kidding though? I'm never very tan. I don't want to be tan. I like being white. It makes my tattoos show up better.
I do not like being ghost white though so when winter is here like now I do pop into the sun bed for 10 minutes once every week or so to make sure I don't start to glow with whiteness.
I work in a hair salon. One with a tanning salon attached. They sell about a million different tanning products.
O.K. more like a hundred, but it is a lot no matter how you count it.
This is the stuff I like and one of the most popular with the other girls too.
It goes on nice, it doesn't burn me, and my little ten minute sessions every week or every other week keep me from glowing when I use it.
It is a hemp product.
I'm pro hemp products. We carry about a dozen tanning products with hemp at the salon. It does your skin good.
When I managed a music store years ago, we sold a number of hempseed lotions. Loved the stuff! Didn't make us look as cute as you though!
Thank you. Maybe you all should have used more and you would have turned into young girls.
It does a body good. Rubbed on or used otherwise I've never heard of it doing anything but good.
We have a few tanning customers that have a lot of tattoos on their backs. We sometimes help put lotion on their backs and sunblock over the tattoos for them so they don't fade.


Every industry has its own set of industry specific jargon and terminology associated with it. An informed buyer is more likely to make smart business decisions so Digital Smart Media took some time to assemble a list of commonly used marketing terminology some sales executives will try to use to induce you to make a purchase. We recommend checking back to this page periodically to freshening up on before making any major marketing decision.
Here is a link to nielsen measurement website. Nielsen is frequently used by the major television networks and agencies to determining the cost value of the specific advertisement. Neisen has been known to be the standard in television audience measurement until recent years. Measurement systems such as rentrack have recently provided more relevant information in the traditional media space. like many other measurement systems nielsen understands they will need to evolve to includes new ways media companies are using to attract viewers. If you would like to talk to digital smart media about your companies advertising needs contact us and we would be happy to help!
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A rating point is the size of a media outlets audience calculated into a percentage. Each media type has its own acronyms but such as Houses using television (HUTS) or people using Television (PUTS). The sum of all of the rating points in a campaign is called gross rating points. In the post analysis process digital smart media will have the stations provide a post log that we can calculate actual rating points delivered vs the order we agreed upon at the beginning. Industry standard is 90% and we will hold them to it.
A target rating point is the sum of all rating points in the desired demographic or target audience. Target rating points are one of the biggest things a media professional will start with in planning a clients media mix. The calculations for finding GRP's or TRP's is by multiplying the reach by the frequency. If you would like more information on target rating points or have questions concerning your businesses advertising exposure Contact Us and we would be happy to help!
Cost per Thousand or CPM is the price of 1000 advertisement impressions on whichever advertising medium you are wanting to purchase. This is a very common term among television and digital advertising while radio might use cost per mile and newspaper will use circulation. Digitally places like google allow many advertisers to utilize CPM bidding on the google display network to help your business be found by potential customers. Typical goals of a CPM campaign to consider would be if you are more concerned with your ad being viewed that clicks generated. This form of bidding will never charge you more than what is needed to rank higher than the advertiser immediately below you.
If you need more information on how to utilize the CPM of different advertising vehicles contact us and we would be happy to help!
The Formula for Calculating Cost Per Point (CPP) is the cost of buying one Rating Point, or one percent of the target population.
The DMA as a group of counties that make up a particular television market that comprise the major viewing audience for the television stations located in their particular metropolitan area. The metropolitan areas correspond to the standard metropolitan statistical areas defined by the Federal Government Office of Management and Budget and do not overlap. Every county in the United States belongs to only one Designated Market Area used to evaluate the audience composition and help media planners make strategic marketing decisions.
Media buying is the negotiation and placement of advertising in various media. A post buy analysis is the evaluation of the pre negotiated placement and viewership of the advertisements. Professional advertising agencies have programs that will run each spot through a system recording actual time run and assigned the correlating rating points for the agreed upon target audience. This program will determine spots that ran out of the agreed upon time period flagging us to negotiate a credit, discount, or bonus spots. Industry standard posting requirements are 90% meaning if we purchased 100 TRP's from the Fox affiliate and they delivered 70 points we would require them to make up a minimum of 20 points over an agreed upon flight. an experienced media buyer will accumulate under delivery weight and put it to use during the next flight or when it will have a much greater impact for the client they are working with. Some agencies allow stations to let them run the weight off as they see fit.


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Q: List Index Out of Range? for Scores I'm trying to loop through a list of teams that I attained from Patriots.com scores by using Python and BeautifulSoup. I use scrape and a loop to get the scores, teams, and Weeks for every year between 2001 and 2018. After 2001, the I get a list index out of range error
I tried changing multiple things like the integer I use or if the len() of the list needs int()
m = 0
    while m < int(len(the_teams)):
      m = m+1
      q = the_scores[m].split('-')
      val = []
      for y in q:
        int_val = int(y)
        val.append(int_val)
      if val[0] > val[1]:
        print("The Patriots won against the " + the_teams[m] + " during "
+ the_game[m] + " with a score of " + the_scores[m] + "!")
      else:
        print("The Patriots lost against the " + the_teams[m] + " during
" +the_game[m] + " with a score of " + the_scores[m] + ".")

I expect to output every game and their score in the 2 formats in the print statements at the end

A: You're incrementing your index before you're doing your analysis, after checking if it's a valid index.
If you move m = m+ 1 - or the more pythonic m += 1 - to the bottom of the while loop, rather than the top, it should work as expected.

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