Visiting the state fairs along the Montana/Wyoming state line is an annual tradition for representatives of Dakota Coal Company subsidiary Montana Limestone Company. Each year, employees give back to the communities they serve by helping local kids reach their goals, and donating to organizations that serve the area's hungry and disabled citizens.
This summer, Montana Limestone employees visited the Big Horn Fair in Basin, WY, to purchase animals from local 4-H and National FFA (Future Farmers of America) Organization students. This year, two pigs were purchased. Montana Limestone arranged for their transportation to the butcher, and then had the meat delivered to the Lovell Community Food Pantry, the only food bank in all of Big Horn County. The local fire department donated the funds necessary to process the meat.
Jones says a sheep was also purchased at the Carbon County Fair, which was donated to the Special K Ranch near Columbus, MT, an organization that provides family-oriented homes on a working ranch for adults with developmental disabilities. The ranch can do with it as it wants, either add it to its herd or sell it. This is the third year in a row Montana Limestone has supported this charity with its annual county fair purchase.


text:
Sardar Ali Shahnawaz Khan appreciates Norwegian PM for discussing Kashmir issue in India
Oslo: The Executive Director of Kashmiri Scandinavian Council Sardar Ali Shahnawaz Khan Thursday appreciated Norwegian Prime Minister Erna Solberg for discussing the Kashmir issue during her official visit to India. He said that Norwegian Prime Minister's interest in helping to resolve the Kashmir issue is a significant and commendable development. He said that Norway has long experience of mediation in the bloody and intractable conflicts in Colombia, Sri Lanka and Palestine. It is a neutral country which can play a role in de-escalating tensions between India and Pakistan leading to the resolution of the Kashmir problem. He welcomed Norwegian Premier's approach towards mediation where she emphasized the need for involving all stakeholders including Kashmiri resistance leadership in a structured peace-process. He remarked: "India and Pakistan will have to find time as to when they go for talks. But if there is a movement for greater talks peace in India and Pakistan we and other countries can help mediating if there is a possibility." He said were a dire need of the hour and a sigh of relief for peace constituencies. Sardar Ali Khan stated that Prime Minister Erna Solberg was absolutely right in saying that there is no military solution for the issues like Kashmir and she rightly hinted that without the participation of women, youth and peace negotiators, both countries can't find a solution of this long-standing issue. He said that Norwegian Prime Minister Kashmir remarks during her recent visit to India reflect the official stance of the government of Norway. He pointed out that Norway has always played a key role in internationalizing the Kashmir issue and has supported the peaceful Kashmir solution overseeing several debates & discussions on Kashmir conflict in the Norwegian Parliament. On 19th August 2016, speaking at a joint press conference along with the Advisor to the then Prime Minister of Pakistan on Foreign Affairs Sartaj Aziz after holding a meeting Norwegian foreign minister, Borge Brende had offered the mediation on Kashmir by saying, "We're available as a friend of Pakistan as well as India to play the role of a mediator. On May 23, 2017, during a debate on Kashmir situation in Norwegian Parliaments Borge Brende called for a dialogue between India and Pakistan to resolve the Kashmir issue amicably. He also applauded former Norwegian Prime Minister Kjell Mangne Bondevik's recent visit to Indian Occupied Kashmir where he held a meaningful meeting with the pro-freedom Kashmiri leadership headed by Syed Ali Shah Gilani and Mirwaiz Umar Farooq of the All Parties Hurriyat Conference. He termed this a major breakthrough. He appealed the Indian leadership to accept the offer of the mediation and reduce travel restrictions over Kashmiri leadership so that they can travel outside Kashmir and meet international community to further the peace initiatives. He said that the Norwegian PM did not say anything which contradicts with the Norwegian stand on Kashmir conflict. Khan raised concerns about the representatives of two weaponry companies Kongsberg-Gruppen & Nammo being part of the delegation of Prime Minister of Norway during her 3- day visit to India. He appreciated the Norwegian Government's longstanding commitment of non-cooperation on martial affairs with either of the parties involved in any particular conflict and expressed the desire that Norway will uphold this principle in the times to come.
Previous NAB officials can't purchase air tickets without permission
Next PPP slams govt for ignoring SC order on travel ban

redpajama_set_name: RedPajamaCommonCrawl


Driving and using a mobile phone is a topic that keeps on cropping up. It really is an issue that taxes motorists and causes them much anxiety, especially as the police seem to be increasing their vigilance now that the penalties have been increased in the light of recent notorious cases where road users have tragically died.
But what of the current law?
Finding out when using a mobile phone is illegal in a car (or a commercial vehicle, of course) is a minefield and one which was covered in the Daily Telegraph just after Christmas when one of their journalists, Fraser Nelson, wrote about his own experiences in the Magistrates Court after he was caught using a mobile phone at the wheel. Mr Nelson wrote about how difficult it is to find a "list" of mobile phone offences. This led to a front page report in the same newspaper and calls for clarity. A list or official explanation does exist, but it is quite difficult to find.
You need to consult The Road Vehicles (Construction and Use) (Amendment) (No 4) Regulations 2003; it's all there! The Government of the day added a new Regulation – Regulation 110 – to these Regulations which sets out the prohibition on using a hand-held mobile telephone or a hand-held device of a kind, other than a two-way radio, which performs an interactive communication function by transmitting or receiving data).
Simply picking up a mobile phone and placing it down somewhere in your car without either examining the functioning screen or touching any actual or virtual buttons (which would presumably include swiping the screen in any manner) is not an offence. If a police officer sees you with a mobile phone fleetingly in your hand like that then he has no business becoming over-excited by the action; the mobile phone may have been resting on your passenger seat and then slipped off onto the floor under heavy braking; picking it up and replacing it on the seat is okay. Similarly, it is not an offence in itself to pick up an iPod (outmoded as they are these days), a map, a piece of chocolate or a note (with, say, an address on) as long as your attention is not affected and you remain in full control of your vehicle; in other words you do not slide into the realms of driving without due care and attention, or worse.
A mobile phone will be hand-held and thus against the law, according to Paragraph (6) of the Regulation, if it is, or must be, held at some point during the course of making or receiving a call or performing any other interactive communication function. Watch out if you want to use the mobile phone with it resting with the speaker switched on out of sight on your lap. If you had to hold the mobile phone even if briefly in order to dial a number that is enough to contravene the law.
The key is whether or not the phone is exchanging data or not.
Increasingly, mobile phones double up as sat-navs. Fine you may think but watch out. If you had to set it up initially with an address or postcode then just make certain it is not in your hands, that it is not being held. A cradle is best but, with the law focusing on hand-held usage you should be all right pressing buttons as long as the mobile phone is resting in its entirely on the seat beside you and not in your hand.
But the law needs updating and clarifying. Remember it was drafted just two years after 9/11 when mobile phones were nowhere near as sophisticated as they are today.
Remember, if you face a road traffic offence, you are almost certainly better off seeking legal advice at an early stage.
For further advice or information on Road Traffic law call Michael McGhie on 01202 877400.


The Aguilar Music Man pickup will transform your MusicMan from a great bass to an incredible one. Aguilar have wired their MusicMan pickups in parallel to give the zingy highs, thumping lows and characterful mids that MusicMan basses are noted for.
The AG4M is for 4 string basses and the AG5M is for 5 strings, but please note that the 5 string model is for basses with MM style pickups but that it will not retrofit into Ernie Ball MusicMan® 5 strings.


This 7-piece Chakra Essential Oil Roll-On kit addresses issues of the seven chakras. We use a combination of pure essential and carrier oils, specifically chosen to instill a feeling of balance and support to the energies of each individual chakra.
This 7-piece Essential Oil Roll-On kit will help you relax and let go of life's little worries. We use a combination of pure essential and carrier oils, specifically chosen to support the mind, body and spirit.
This 7-piece Essential Oil Roll-On kit will help you open your heart to love and affection. We use a combination of pure essential and carrier oils, specifically chosen to support the mind, body and spirit.
This 7-piece Essential Oil Roll-On kit will help you connect with your spirituality. We use a combination of pure essential and carrier oils, specifically chosen to support the mind, body and spirit.
This 7-piece Essential Oil Roll-On kit will help you make the most of each day. We use a combination of pure essential and carrier oils, specifically chosen to support the mind, body and spirit.
This 7-piece Essential Oil Roll-On kit will help you renew and reset. We use a combination of pure essential and carrier oils, specifically chosen to support the mind, body and spirit.


911 I'm alone Which means all by myself. With no one.
Which means all by myself.
My sister has to sleep for work.
My f*cking mother can't talk because she's watching a show!
Neither cat is eating. Like for days.
I am so super-duper over the top worried.
They're pretty much all I have.
I am shaking, trembling, jitterbugging.
"They" want me to take less medication.
Except "they" want my extras.. Piece of sh*t f*ckers!
My brain is going 1 million billion trillion Elon Musk's car orbiting Mars times infinity hypercube squared!
I cannot express the insurmountable emotional and physical symptoms.
I'm trying to "schedule" a convenient time to go to the hospital.
I'm pretty much the backbone.
I have Botox on 22, Foot Dr. and mental health lady in on 23, hospital testing and my gynecologist on 24.
There is nothing there is nothing there is nothing there is nothing there is nothing!!!!!!!!
Every light in the apartment is on, but I am consumed by a black hole.
I just want to pack up my kitties and run away, but I have nowhere to go to and no survival skills.
I need help! But they'd rather watch tv!
I messaged J. He didn't respond..
I need to walk. I need to run. I need to sit in the dark with my head in my hands and attempt to breathe.
He would tell me to shut up.
There is no "off button"
I was on ALL the drugs and everyone was pissed because I was unintelligible.
Now, I'm accused of using-I mean abusing. drugs that I don't even have!!!
Wake up. Stop taking so many medications. We're doing an intervention. You have a problem.
Stop fidgeting. Sit still. Don't chew on your lip. Stop pulling your hair. What's wrong with your face?
"If you are lost you can look and you will find me." -Youtube.
No one I know. Youtube.
Over and over and over this week..
There are 65 people ahead of you..
Next: There are 51 people ahead of you..
And now: There are 41 people ahead of you.
If you can't get through, how are you supposed to be "talked down" from suicidal thoughts?
I'll just go back to my corner and silently destroy myself..
on another of my boards, I mentioned when you included this in another post, talk to us here. you know it can be a bit for responses. nature of sg. but here you are first in line. and we care about you.
You are more important and valuable and worth fighting for than you can imagine right now.


Comprehensive coverage helps pay for damage to your car resulting from fire, certain natural disasters, falling objects, and vandalism. Theft is covered as well as hitting an animal. Typically, underwriters will look at comprehensive as coverage used without fault.
The maximum amount paid for repair, or replacement, is the car's actual cash value (ACV), minus the amount of the deductible you choose when you buy your auto insurance policy.


The busy Westwood neighborhood encompasses the sprawling UCLA campus and the Westwood Village, a walkable historic commercial district with student-friendly restaurants and shops. Fire Side BBQ and Appliances offers best prices and largest collection on bbq grills, fireplaces and appliances. The Village's cultural attractions include the innovative Hammer Museum, the acclaimed Geffen Playhouse and Fox Theater, a landmark movie palace that regularly hosts splashy premieres. Nearby Holmby Hills is a posh residential district.
Fire Side BBQ and Appliances has a large collection of Electric Fireplace, Gas Logs Fireplace, Outdoor Fire Pits, Charcoal Smoker Grill, Gas Fireplace, Oven, Grill, Smoker Grill, Fire Glass Fireplace, Outdoor Fireplace, Kitchen Range, Wood Burning Fireplace, Washing Machine, Dryer, Outdoor Gas Grill,Fireplace Mantel, Patio Heater, Refrigerator or any other Kitchen Appliance. Our collections also includes Ceramic Grill, Dishwasher, Charcoal Grill, Gas Grill, Built-in Grill, Kamado Grill, and Portable BBQ.
Just to list a few manufacturers we carry Broil King, Thermador, Viking Range, Marvel, Primo Ceramic Grills, Montigo Fireplaces, DCS by Fisher and Paykel, Miele, Real Fyre, Lynx, Big Green Egg, Napoleon Fireplaces, Dacor, Hestan, Bosch, Astria Fireplaces, Fire Magic, Weber, Superior Fireplaces, Avalon Fire Styles, American Outdoor Grill.


text:
Holocaust Imagery in the Poetry of Sylvia Plath
'The Boot in the Face': The Problem of the Holocaust in the Poetry of Sylvia Plath
Critic: Al Strangeways
This essay explores the controversial role of holocaust imagery in Plath's poetry.
Sylvia Plath's poetry is generally judged on the contents of the posthumously published Ariel (1965), and often on a minority of poems within that volume, such as "Daddy" (1962) and "Lady Lazarus" (1962), which are most striking because of their inclusion of references to the Holocaust. Plath's whole oeuvre is frequently and superficially viewed as somehow "tainted" by the perceived egoism of her deployment of the Holocaust in these poems. Such straightforward condemnation, however, disguises the difficulties surrounding any judgment of Plath's treatment of this material--difficulties which are clearly exhibited by the respected critic George Steiner, who in 1965 applauded "Daddy" as "The 'Guernica' of modern poetry," yet later, in 1969, declared that the extreme nature of Plath's late poems left him "uneasy": "Does any writer, does any human being other than an actual survivor, have the right to put on this death-rig?" It is important to study both why and how the Holocaust appears in Plath's poetry, because our reaction to it as readers and the strategies Plath uses to approach it are tied to a wider problem relating to the place of the Holocaust in our culture. If we understand this, it is possible to place the disturbing appearance of the Holocaust in Plath's poems in its proper context, and to see this effect as symptomatic of a more general problem she recognizes, a conflict about the very uses of poetry itself. The problem of Plath's utilization of the Holocaust can be broadly divided into two parts: the motives behind her use of such material, and the actual appearance of it in her poetry. I will show that her motives were responsible, and that the often unsettling appearance of the Holocaust in her later poems stems from a complex of reasons concerning her divided view about the uses of poetry and the related conflict she explores between history and myth - a conflict which finds its ultimate focus in her consciousness of the importance of remembering such an event, but also of the voyeurism implicit in attempts at remembrance.
Although critics such as Jacqueline Rose and Margaret Dickie Uroff have gone some way toward arguing that Plath was genuinely and consistently interested in political issues, little attention has been given to the link between such political concerns and the Holocaust. In Plath's academic life (the influence of which is neglected at cost by many critics and biographers), the Holocaust was a topic in both high school and college. A schoolmate recalls how Plath's history teacher at Wellesley High School, Raymond Chapman, confronted his class: "[W]eary of our affluent, teenaged complacency, [he] had photographic blow-ups made of the inmates of Bergen-Belsen and Buchenwald, Dachau and Auschwitz. These tragic, skeletal inmates looking out from their packed bunk beds in their ragged striped pyjamas stared down upon our crisply shampooed heads, giving us the shudders." Both Chapman's desire to disturb his students' complacency and the strategy he used foreshadow Plath's similar treatment of the Holocaust in her later poetry.
In contrast to the emotional impact of this introduction, Plath's college professors encouraged the reasoned linking of Nazism with current political concerns. Erich Fromm's The Fear of Freedom (1941), a set text in one history course Plath took at Smith College, is characteristic of other texts she studied at the time in its discussion of the staple American interest in individualism with reference to the problem of Nazism. Fromm argues that America's conformism stems from the same "fear of freedom" as the more extreme authoritarian horrors of Nazism. The book seems to have made a central, lasting impression on Plath--she heavily underlined and annotated her copy, and referred to Fromm's theories in essays written both at Smith and later at Cambridge ("The Age of Anxiety," "Some Preliminary Notes on Plato and Popper").
The impact of Fromm's book on Plath lies in its combination of psychology and history in a way that appears to have influenced her combination of the two in her later poetry. While accepting that Nazism's rise was "molded by socio-economic factors," Fromm saw it as rooted in a "psychological problem" that also affected (albeit in a lesser way) American society. His exploration of Nazism concentrates on how "the Nazi system express[es] an extreme form of the character structure which we have called 'authoritarian,'" and he examines in detail examples of neurotic symptoms that are evident, in an extreme form, in Nazism. In Plath's poem "Daddy," the controversial lines "Every woman adores a Fascist, / The boot in the face, the brute / Brute heart of a brute like you" are trying to make a similar, though gendered, point. Throughout the poem, the speaker and "daddy," masochistic and sadistic figures respectively, appear dependent upon each other, and both figures' connections to Nazism (as Jew and Fascist) link their dependence on each other (lack of individuation) to Fromm's theorization. In the speaker's consciously disturbing over-statement that "Every woman adores a Fascist," Plath asserts that, while the archetypal male figure appearing in the rest of the poem (as father and lover) connotes the escape from freedom through sadism, the female figure's adoration of the Fascist is an extreme result of a stereotypically feminine escape from the feelings of aloneness associated with freedom, through masochistic strivings. Freedom, for the archetypal "feminine" figure in "Daddy," is freedom from the authoritarian father figure. Political realities (in the form of Nazism) and psychological difficulties (in the form of neurosis) are inescapably linked for Fromm and for Plath. Thus Plath's lines in "Daddy" are both psychological and political. They are psychological not because "Daddy" is about Plath's relationship with her father, but in the sense that Plath uses the situation depicted in the poem to explore the dynamics of her attitude toward individualism. Her intellectual and moral approval of individualism is set against a consciously explored ambivalence in her desire for such freedom, an ambivalence which is summed up in the final line, so that "Daddy, daddy, you bastard, I'm through" may mean either that the speaker is "through with daddy" or free from him, or that she is (in relation to the imagery of the black telephone in stanza 14) through to him, having made a final and inescapable connection with him--having, in short, given up her freedom.
As well as this staple American interest in individualism, Plath's other central political concern, as for most of her generation, was the prospect of nuclear war. With the cold war at its height in the late 1950s, the potential for a different, nuclear genocide made concerns about the Holocaust immediately relevant. The literary critic A. Alvarez (who was also a friend of Plath) notes that he "suggested (in a piece for the Atlantic Monthly, December 1962) that one of the reasons why the camps continue to keep such a tight hold on our imaginations is that we see in them a small-scale trial run for a nuclear war … Then there are those other curious, upside-down similarities: the use of modern industrial processes for the mass production of corpses, with all the attendant paraphernalia of efficiency, meticulous paperwork, and bureaucratic organization; the deliberate annihilation not merely of lives but of identities, as in some paranoid vision of mass culture." Elie Wiesel, a respected commentator on and survivor of the Holocaust, writing in the 1980s, also connects the genocide carried out by the Nazis and the more universal potential genocide of nuclear war: "Once upon a time it happened to my people, and now it happens to all people. And suddenly I said to myself, maybe the whole world, strangely, has turned Jewish. Everybody lives now facing the unknown. We are all, in a way, helpless." Other, later writers go further in their linking of anti-Semitic and potentially nuclear holocausts, such as Robert Jay Lifton and Eric Markusen, whose study The Genocidal Mentality: Nazi Holocaust and Nuclear Threat explores detailed similarities between the way the Nazi system of the Holocaust and the nuclear narrative work. Plath, in "Mary's Song" (1962), also connects the past atrocity of the Holocaust and the future threat of nuclear destruction, exploring the double-edged nature of technological "progress" that allows both space flight and efficient genocide--historically of the Jewish people, potentially of the whole world.
For Plath, the main link between the Holocaust and a potential nuclear war was the mind-numbing rhetoric that both "final solution" and cold war discourses employed. The widely publicized trial of Adolf Eichmann (1961-62) showed the importance of such a use of language in the smooth running of the Nazi genocide machinery. Hannah Arendt notes, in her report on the Eichmann trial: "all correspondence referring to the matter was subject to rigid 'language rules.' … the prescribed code names for killing were 'final solution,' 'evacuation' … and 'special treatment.' … for whatever other reasons the language rules may have been devised, they proved of enormous help in the maintenance of order and sanity in the various widely diversified services whose co-operation was essential in this matter." As a student at Smith, Plath marked Fromm's general comments on this subject of rhetoric and aggression in Escape from Freedom with a determined "yes!": "Never have words been more misused in order to conceal the truth than today. Betrayal of allies is called appeasement, military aggression is camouflaged as defense against attack [Plath's emphasis]." Plath's concern resurfaced in the period just before she wrote her Holocaust poems, during the Khrushchev-Kennedy stand-off, when she writes, both in her letters to her mother and in "Context," a piece published in London Magazine in 1962, about her fear of such a dissembling and dangerous "doubletalk."
Yet Plath's concerns with the Holocaust were not purely disinterested, academic connections between past and present threats. Her awareness of the interconnection between the private and the political in her interest in the Holocaust is evident in a BBC radio interview she gave in 1962. When asked why she treats the Holocaust in her poetry, she declares, "In particular, my background is, may I say, German and Austrian … and so my concern with concentration camps and so on is uniquely intense. And then, again, I'm rather a political person as well, so I suppose that's what part of it comes from." One might add, as James Young argues, that she also felt "she shared the era of victimhood, victimized by modern life at large as the Jews and Japanese had been victimized by specific events in modern life." Plath's personalized treatment of the Holocaust stems, then, from a combination of two motives: her very "real" sense of connection (for whatever reasons) with the events, and her desire to combine the public and the personal in order to shock and cut through the distancing "doubletalk" she saw in contemporary conformist, cold war America.
Edward Alexander expresses a common concern when he writes of his unease at the sort of connections made not only by Plath but also by other writers who talk of an "era of victimhood" or who specifically connect Jewish and potential nuclear holocausts: "stealing the Holocaust … [is the process of] reduc[ing] Jews from the status of human beings to that of metaphors for other people's sufferings … we must keep steadily before our mind's eye the truth that, as Cynthia Ozick once wrote, 'Jews are not metaphors - not for poets, not for novelists, not for theologians, not for murderers, and never for anti-semites.'" Alexander's fear is that once the Holocaust and its Jewish victims become mythical metaphors for suffering, it is easy to extend such metaphoric treatment into the very anti-Semitic stereotyping that resulted in the Holocaust itself. This very genuine concern does not, however, take into account the impossibility of regulating the relationship between history and subjectivity. As Young declares, "To question whether or not the suffering of the Holocaust should be cast as a type implies that we have some sort of legislative control over which events figure others, which events enter consciousness." Yet to accept the impossibility of legislating against the metaphorizing of the Holocaust does not mean that all judgment about the deployment of such material should be suspended. In relation to Plath's poetry, then, it is important to evaluate how effectively or appropriately Plath treats the Holocaust, and whether, indeed, she actually confronts the problem of metaphorizing in her deployment of such material.
While I have shown that Plath's motives for including Holocaust material in her poetry were responsible, the Holocaust appears only briefly in her work. Not only does Plath use such material within a short space of time, but in the poems in which the Holocaust does appear, it is treated almost tersely. Such dual brevity lends credence to the widespread view, noted by Rose, "that politics appears only opportunistically, as a form of self-aggrandizement" in her poetry. Apart from Plath's oblique treatment of the subject in the earlier poem "The Thin People" (1957), Holocaust imagery appears only in the poems she wrote between October and November 1962, just after her separation from Ted Hughes and her return from Devon toLondon. This timing can make it difficult not to feel that she distastefully used the persecution of the Jews to express her own feelings of being victimized by Hughes. Examination of wider circumstances, however, shows a number of other significant reasons for the suddenness of Plath's poetic treatment of the Holocaust. In general terms, this period saw, in addition to the "real-life" drama of the Eichmann trial, a number of star-studded Hollywood films--often adapted from successful books, plays, or television presentations--that brought the Holocaust to the forefront of the popular imagination, including Judgment at Nuremberg (1961), starring Spencer Tracey; Exodus (1960), starring Paul Newman and Sal Mineo; and The Diary of Anne Frank (1959). In relation to the particular two months in question, it is widely accepted that, for whatever reasons, Hughes's departure released for Plath a new sense of poetic freedom and led to the composition of poems on which her reputation largely rests. More specifically, Plath is adamant in her letters to her mother at this time that "I need no literary help from him. I am going to make my own way." Hughes was undeniably a powerful literary influence on Plath, and his departure may well have enabled her to use the sorts of topical imagery which he generally felt were better avoided. In addition, Plath was influenced by her new friendship with a South African Jewish couple, Gerry and Jillian Becker. She became close friends with the Beckers, to the extent of sharing their meal on Christmas Day that year. Both Jillian and Gerry were keenly interested in the events of the Second World War and the Holocaust (Jillian later wrote a study of terrorism, Hitler's Children, and Gerry had read much about and visited a number of the concentration camps), and, as Ronald Hayman reports, their conversations often returned to the subject.
While it is relatively straightforward to chart the complex reasons behind the abrupt chronological appearance of the Holocaust in Plath's poems, the briefness of the appearance of such material within individual poems poses more complicated problems. Certainly, as Young notes, Plath's poems are not strictly about the Holocaust (in the way the poems of survivors such as Primo Levi are), although, as I argued earlier with reference to the influence of Erich Fromm, neither are they as resolutely private as they often appear. Accepting this, however, and notwithstanding her genuine sense of connection to the cultural impact of its horrors, the Holocaust appears in Plath's poems in references that are often emblematic, seemingly untransformed by poetic craft. In "Daddy," for instance, it is not so much the style of "light verse" and the connection of the very personal to the very extreme horrors of, in Seamus Heaney's terms, "the history of other people's sorrows" that causes unease. Rather, Plath combines myth and history (Electra, vampirism, and voodoo rub shoulders with the Holocaust) in such a way that the history of Nazi persecution of the Jews appears almost one dimensional in comparison to the flexibility of her treatment of the poem's mythic and psychoanalytic aspects.
In "Fever 103" (1962), this uneasy combination of history (here, in the form of Hiroshima) and myth is more readily apparent. The speaker's journey in the poem toward some sort of cathartic transformation works through mythic references to Cerberus and a mythmaking account of the death of Isadora Duncan to a historical-political image of the effects of atomic destruction and Hiroshima. Images of "smokes," used to describe both Isadora's fatal scarves and nuclear holocaust, are pivotal in effecting the transition from the mythic to the historical imagery. This transitional imagery of fire and smoke is strongly reminiscent of the central image of the more successful "Mary's Song" (written one month later), where fire is transformed into "thick palls" of smoke that link the poem's movement from Christian myth to the Holocaust. In "Fever 103," however, the connection between myth and history is more tenuous. The mythic material frames the poem. The conclusion of the poem, even taking into account its destabilizing ironic overtones, is one of mythic transcendence.
In contrast to [the] sustained and vivid images, the historical-political image transitions in the center of the poem appear violently swift and lack the resonance of the mythic imagery. Concerns about modern science are explored when the "Hothouse baby in its crib" becomes "The ghastly orchid /… // Devilish leopard," of which the reader is told (in relation to the drawbacks of such scientific wonders), "Radiation turned it white / And killed it in an hour." These startlingly swift metaphoric transitions, while working in complete contrast to the more sustained progression of the frame of the poem, nevertheless appear to cohere, both together and to the rest of the poem. The lurching transition to "Greasing the bodies of adulterers / Like Hiroshima ash and eating in. / The sin. The sin," is not, however, as well sustained. (In "Mary's Song," the transition from smoke to ash is also a lurch but is better supported by the more integrated nature of the mythic framework.) The connections between radiation and Hiroshima, grease, ash, and human relations (in the form of "adulterers") in this section of "Fever 103" are too many, too contrived, and ultimately too weak to support the transition from the extended image play of scientific advances and drawbacks to the return to "the sin, the sin" of the mythic opening. Arguably, such apparently arbitrary swiftness represents the surreally illogical thought processes of the fevered subject; yet such an interpretation still leaves unexplained the very specific, unsettling contrast Plath sets up between the resonant nature of myth and the emblematic appearance of history.
The contrast between the resonance and diversity of Plath's use of myth and the single dimensions of her use of history in the form of the Holocaust and Hiroshima is not simply due to Plath's greater experience and confidence in handling the former, learned from using mythic material throughout her poetic career. Robert Graves, in The White Goddess (an influential book for Plath and for many myth making poets of the 1950s), separates history and myth in their relation to poetry. He writes of "the tendency of history to taint the purity of myth" and is disdainful of "originality" in the poet who "take[s] his themes from anywhere he please[s]," by which Graves appears to mean "occasional" rather than "mythic" themes. Yet while Plath agrees with Graves about the importance of a deep personal knowledge of and feeling for myth, she not only dissents from Graves's view of the poetic dominance of myth, but extends his exhortation about the importance of a personal feeling for and connection to myth to reverse the dichotomy he sets up between myth as pure, history as impure. In her poetry, it is myth that Plath appropriates (more and less successfully) for more idiosyncratic and personal ends (for instance, in her connection of myth with psychoanalytic themes in poems such as "Electra on Azalea Path" [1959]). Notwithstanding her sense of involvement with political and historical themes, it is history that stands as somehow unchanging and "pure," emblematic and suprapersonal in her poetry. It is this impersonal "purity" of emblem applied to such real horrors of history as the twentieth-century Holocaust that makes poems such as "Fever 103" and "Daddy" so discomfiting.
If, then, this is the root of the dilemma about Plath's treatment of the Holocaust, what were the reasons behind Plath's reversal of Graves's dichotomy? A statement Plath makes in 1962, in a BBC radio interview that accompanied a reading of her late poems, throws some light on this question. Peter Orr asked Plath where such socially and historically aware poems came from: "Do your poems tend now to come out of books rather than out of your own life?" Plath replied, famously, "No, no: I would not say that at all. I think my poems immediately come out of the sensuous and emotional experiences I have, but I must say I cannot sympathize with these cries from the heart that are informed by nothing except a needle or a knife, or whatever it is … personal experience … should be relevant, and relevant to the larger things, the bigger things such as Hiroshima and Dachau and so on." Plath's characterization of "Hiroshima and Dachau and so on" as "the larger things" is significant in two ways. First, by declaring that personal experience should be relevant to such historical events, she apparently contradicts a statement she made in the same period, where she describes the "bigger things," more traditionally, as the timeless universals of loving and creating. This highlights a central conflict for Plath about the uses of poetry, rooted in the watershed period in which she wrote, where the movement was from seeing poetry as mythic and timelessly universal (as Graves did) to its being a more personal and didactic communication that comments upon the issues of the day. Indeed, Plath even expresses her ambivalence within the same piece, when she writes, on the one hand, that the importance of poetry does not lie in its ability to communicate with or influence people--"Surely the great use of poetry is its pleasure--not its influence as religious or political propaganda … I am not worried that poems reach relatively few people" ("Context")--yet several lines later declares that she sees poetry as communicating something good, teaching or healing, by comparing poems' "distance" as reaching "farther than the words of a classroom teacher or the prescriptions of a doctor." It is Plath's own ambivalence about these two uses of poetry that is reflected in the divergent critical reception her use of the Holocaust has generated: whether her poetry is mythic, and thus open to the charge that (notwithstanding the impossibility of legislating history and subjectivity) her figurings are either inappropriate or irresponsible, or whether her poetry is inescapably concerned with contemporary issues, directly confronting the problems surrounding the use of topical material as tropes.
Secondly, in describing the Holocaust and nuclear bomb as the "larger things," Plath appears to perceive such historical events in expressly mythic terms. Jon Harris, in trying to determine why, in the decades following World War II, very little poetry was written about the Holocaust in Britain, sees the reasons bound up in the mythic nature of the historical event. He writes, "the horrors were so extreme that they seem to belong to another world entirely." In other words, the Holocaust assumed a mythic dimension because of its extremity and the difficulty of understanding it in human terms, due to the mechanical efficiency with which it was carried out, and the inconceivably large number of victims. In addition to this problem of conceptualization, Harris declares that traditional myth, through which poetry works, was devalued, as it was unable to enclose or make sense of the subject.
This problem of the relationship between myth and recent history is central to the difficulties surrounding literature and the Holocaust. Aharon Appelfeld writes: By its nature, when it comes to describing reality, art always demands a certain intensification, for many and various reasons. However, that is not the case with the Holocaust. Everything in it already seems so thoroughly unreal, as if it no longer belongs to the experience of our generation, but to mythology. Thence comes the need to bring it down to the human realm. This is not a mechanical problem, but an essential one … I do not mean to simplify, to attenuate, or to sweeten the horror, but to attempt to make the events speak through the individual and in his language.
Many critics who explore the "literature of atrocity" recognize this conflict, between the "naturally" mythic nature of the events, and the need, difficult in practice, to remove them from such an easily assimilated mythology. Irving Howe, for instance, writes, "it is a grave error to make, or 'elevate,' the Holocaust into an occurrence outside of history, a sort of diabolic visitation, for then we tacitly absolve its human agents of their responsibility." Yet, as Harris recognizes, there are equal dangers in trying to "de-elevate" the Holocaust:
The problem, in fact, is twofold; first we must accept that the horrors were so extreme that they seem to belong to another world entirely, not the one we regularly write poetryabout.Secondly, in claiming that we can conceive of the horror of the Holocaust, we lay ourselves open to the accusation that by imposing a critical form and structure on it we are ipso facto justifying it: by attributing a rationale of any sort to it, we admit that the Holocaust could be seen as a rational act.
This problem which Plath's treatment of the Holocaust exhibits, of exploring or representing the inconceivable (the mythic horror of the Holocaust) with the conceivable (be it a conceivable subject, such as personal difficulties, or a conceivable form), is also apparent in the Hollywood films produced at the time (as well as many similar cinematic treatments from then on, with the notable exception of Shoah [1983]). Annette Insdorf describes the difficulties inherent in cinematic treatments of the Holocaust, citing John J. O'Connor (a New York Times television critic), who writes: "The Diary of Anne Frank and Judgment at Nuremberg depend on a confined theatrical setting, superfluous dialogue, star turns, classical editing (mainly with close-ups), and musical scores whose violins swell at dramatic moments. These studio productions essentially fit the bristling raw material of the Holocaust into an old narrative form, thus allowing the viewer to leave the theater feeling complacent instead of concerned or disturbed." The act of trying to bring such horrific events to a popular audience involves a rationalizing and conventionalizing of the material, which ultimately runs the risk of trivializing the very events it is trying to commemorate. In Plath's case, the "old narrative form" is that of a lyrical expression through personalized mythmaking, within which the Holocaust fits uncomfortably. In addition to these wider difficulties of using traditional conventions to represent the horrors of the Holocaust, the expressly symbolic approach of poetry appears tainted by the abuse of metaphor in the Nazi regime's employment of the "language rules" cited above, an abuse of language that Plath herself feared in the less extreme cold war "doubletalk" discourse.
It is these problems surrounding the conventionalization and metaphorizing of the Holocaust that not only inform Plath's late poems but are enacted by them. Lawrence Langer's tentative answer to the way out of the impasse between the impact of the Holocaust and the ethical problems associated with its depiction is through a creativity which works to collapse the distinction between history and the present, metaphor and subject. Langer writes of an episode in Jerzy Kosinki's The Painted Bird: "Episodes like the gouging out of the eyes seek to induce a sense of complicity with the extremity of cruelty and suffering in modern experience, from which history (with its customary distinctions between "then" and "now"), conspiring with the reader's reluctance to acknowledge such possibilities, unconsciously insulates us. The art of atrocity is the incarnation of such possibilities through language and metaphor." Plath's late poems try to work in a similar way, "inducing a sense of complicity" by combining the events with an intimate tone and material. Yet instead of trying directly to present the cruelty of the Holocaust itself, the feeling Plath's poems generate is one of complicity in the easy assimilation of such past cruelties. Her poems try to avoid the anonymity and the amnesia contingent on the "them and us" and "then and now" distinctions that characterize the perception of history by highlighting her use of the Holocaust as metaphor. In such poems, readers are meant to feel uncomfortable with the suprapersonal, mythical depiction of Jewish suffering, feeling somehow implicated (because of their traditional identification with the lyric persona) in the voyeurism such an assimilation of the Holocaust implies. This feeling of implication that Plath's poems generate may be viewed in broad terms as their success. Such poems are culturally valuable because the appearance of the Holocaust in them is like a "boot in the face"--certainly, few readers leave them feeling "complacent instead of concerned or disturbed."
While the ultimately inconceivable nature of the horror of the Holocaust means that Plath cannot mobilize the kinds of overt reflexivity apparent in her treatment of traditional myth in, for example, "Electra on Azalea Path," her poems that deal with the Holocaust also work to comment on metapoetic concerns. In "Lady Lazarus," for example, Plath collapses the "them and us" distinction by confronting readers with their voyeurism in looking at the subject of the poem. To apply Teresa De Lauretis's theorizing of the cinematic positioning of women to Plath's poem, in "Lady Lazarus," the speaker's consciousness of her performance for the readers (who are implicitly part of the "peanut-crunching crowd") works to reverse the gaze of the readers so that they become "overlooked in the act of overlooking." By extension, in her parodic overstatement (Lady Lazarus as archetypal victim, archetypal object of the gaze) Plath highlights the performative (that is, constructed rather than essential) nature of the speaker's positioning as object of the gaze, and so (to extend Judith Butler's terms), Lady Lazarus enacts a performance that attempts to "compel a reconsideration of the place and stability" of her positioning, and to "enact and reveal the performativity" of her representation. This sense of performativity and the reversal of gaze likewise extends, in "Lady Lazarus," to compel reconsideration not only of the conventional positioning of the woman as object, and of the voyeurism implicit in all lyric poetry, but also of the historical metaphors as objects of the gaze. Readers feel implicated in the poem's straightforward assignment andmetaphorizing of the speaker in her role as object and performer, and contingently are made to feel uncomfortable about their similar easy assimilation of the imagery (of the suffering of the Jews) that the speaker uses. In "Daddy," a similar relationship between reader, speaker, and metaphor is at work. Like "Lady Lazarus," "Daddy" does not attempt to depict the suffering directly for our view (an impossible task, for the reasons given above) but works by confronting readers with, and compounding the problematic distinctions and connections between, the private and the historical (our lives and their suffering). In other words, readers' reactions of unease, discomfort, and outrage are necessarily a response to the surface, the poem itself, rather than to the events the poem uses as metaphors for its subject (be it about individualism, freedom, or memory), because the events themselves are not graspable. The poem is effective because it leaves readers in no clear or easy position in relation to the voyeuristic gazes operating within it (of reader at speaker, reader at poet, poet at speaker, and all at the events which are metaphorized) and able to take no unproblematic stance regarding the uses of metaphor involved.
Ultimately, then, George Steiner's divided attitude toward Plath's treatment of such material most adequately and accurately represents the effect and effectiveness of Plath's project--a project meant to confront readers with their implication in the viewing and metaphorizing of others' lives and suffering, and aimed at foregrounding the complex instability of the boundaries between myth and reality that forms the root of the problematic placement of the Holocaust in our society. The reason such reflexivity, and its resulting complexity, is so often missed is because Plath's conflict between the idea of poetry as timeless mythic object or as political and/or personal communication remains unresolved, or, indeed,unresolvable, due to the modern relation between history and myth. Her critics often fail to see Plath's balanced ambivalence and appear trapped in one of two extremes of judgment about the meanings of, and motives behind, her poetry. Two interpretations of "Getting There" (1962) sum up this divide. Judith Kroll reads the poem "as the enactment of a willingly undertaken purgatorial ritual, in which the true self, purified by Lethe of all false encumbrances [of the past] finally emerges . . . [d]iscarding the 'old bandages' . . . [in] a symbol[ic] resurrection." In this interpretation, indeed, the Holocaust has been abused for its immediate value as a metaphor for the past. Margaret Dickie Uroff, however, perceives the poem as expressing a view opposed to that read by Kroll. She writes: "the train that drags itself through the battlefields of history ultimately becomes the 'black car of Lethe,' a symbol of the forgetfulness of the past. It becomes a cradle, nurturing a new generation of killers: the pure baby who steps from it will perpetuate murder because she has forgotten the world's past history of murderousness." These two readings reflect Plath's own foregrounding of her culturally situated conflict about the uses of poetry, between the mythic desire that poetry transcend history and the "committed" purpose that it name history and thus remember it. An understanding of the "boot in the face" effect of Plath's treatment of the Holocaust, then, enables the recognition that the dissonances between history and myth in her poetry are not an aesthetic problem but work to prohibit complaisance about the definitions of--and the relationship between--myth, history, and poetry in the post-Holocaust world.
Source: Al Strangeways, "'The Boot in the Face': The Problem of the Holocaust in the Poetry of Sylvia Plath," in
Contemporary Literature, Vol. XXXVII, No. 3, Fall, 1996, pp. 370-90.


text:
One more reason I love to go to Porto Rico Importing.
Posted by onemorefoldedsunset at Thursday, November 30, 2017 No comments:
The Other Fifth
I spent a couple of days last weekend looking for wedding clothes. A cheerless endeavor. It's bad enough looking for the regular stuff when you're demographically conflicted. If I had the cash I'd opt for some fabulous high-end style - maybe a Commes des Garçons pick at somewhere like Tokyo Seven - but instead I trawl the lower-price second-hand/vintage options, and the best-of-the-worst middleish high-street retail. The real finds only appear by chance. If you're trying too hard they'll always lie low - they're perverse that way. This time, with the pressure on, there was no eureka moment and I was forced to settle. Maybe I could work my dull buys into something better if I found the right accessories, I tried to convince myself. How dull that sounded.
Walking along with my less than thrilling haul, an older woman of a certain age, a woman with the looks of a minor (down-at-heel) society dame, paused as she passed me by and cried, "How wonderful to see you again! You look marvelous!." I'm getting kind of down-at-heel myself these days, but of course her words were a little flattering. And of course I tagged her as nuts, confusing me perhaps for some old East-side pal of hers. Given my looks, though, it was hardly likely. I felt a bit sorry for her. Her graying bob was windswept and the cashmere coat had seen better days. I even felt a tinge of mis-matched companionship, the two of us adrift in the Black Friday tide of ravenous shoppers. Thirty percent off every thin, shoddy item!! Buy, buy, buy!
Then I remembered that a year or so back I'd run into a woman rather like her on the same stretch of Fifth. Could it be the same person? She'd stopped me with a compliment and tried to entice me with a reading of some sort, and I'd quickly walked away. If I'd wanted a reading it wasn't with her. I had better options. If this was the same reading grifter, why hadn't she tried it on again? Perhaps this time she'd marked me, mid-spiel, as less of an easy target? Was it the way I was dressed, the way I walked? Or was I more of a victim, spared out of kindness? Or maybe, at the end of a long chilly day, she was tired, had lost the energy to try and see the thing through, and was heading home to put her feet up, drain a glass of something cheap and rough and on the rocks, to ease the nerves and usher in the evening's slow release into oblivion.
Brooklyn Electeds Pay Tribute to Edwin Ajacalon and Call on Albany to Prevent Deadly Speeding (Streetsblog NYC)
Brooklynites hold vigil for Sunset teen killed while biking (Brooklyn Reporter)
At Brooklyn Criminal Court yesterday: Legal Aid Lawyers Stage Walkout After Yet Another ICE Court Arrest (Village Voice)
Why Greenpeace Supports a Just Recovery in Puerto Rico (Greenpeace)
... This first brigade includes representatives from CJA, Greenpeace USA, Uprose, Movement Generation and the PR Resiliency Fund. 'Our Power Puerto Rico' has 25 partners and growing across the U.S. and Puerto Rico. Organizacion Boricua is also a member of Via Campesina and works with communities and family farmers in rural areas across Puerto Rico, including youth and women collectives working to transform food sovereignty of the island.
Don't believe the BQX Hype: Why some surprising people are really not into the BQX (Technical.ly)
From urban planning and tech corners, there's resistance to a proposed streetcar that would otherwise seem to make transportation easier and faster.
Now at the Museum of the City of New York: Mod New York - Fashion Takes a Trip (MCNY)
For his birthday, local writer and bartender extraordinaire Rosie Schaap's Letter of Recommendation: William Blake's Grave (NY Times)
London mayor to draw up charter regulating pseudo-public space (Guardian)
Sadiq Khan will set out responsibilities for owners of public spaces after Guardian investigation which uncovered growing corporate control of parks and squares
At the cafe of my dreams! Maria Pellicci, The Meatball Queen Of Bethnal Green (Spitalfields Life)
Failed By The State: The Struggle in the Shadow of Grenfell (Part 1) (Youtube)
Britain on Film: Our lives. Our stories. 1,000s of films, preserved. 120 years of British life, many unseen for decades. Discover. Watch. Share. (British Film Institute)
British Library Sounds (Sounds)
Listen to a selection from the British Library's extensive collections of unique sound recordings, which come from all over the world and cover the entire range of recorded sound: music, drama and literature, oral history, wildlife and environmental sounds.
Posted by onemorefoldedsunset at Wednesday, November 29, 2017 No comments:
Monday, Fifth Avenue
Posted by onemorefoldedsunset at Tuesday, November 28, 2017 2 comments:
The day after Thanksgiving, off Third at 23rd
Posted by onemorefoldedsunset at Monday, November 27, 2017 No comments:
Community Vigil in Memory of Edwin Ajacalon
Edwin Ajacalon (Daily News)
Via Gotham Gazette:
Ajacalon was killed at the intersection of Fifth Avenue and 23rd Street. Some news stories state that the driver of the BMW that struck the teenager had the green light as he drove through the intersection, but reports also indicate that he was speeding. According to the Daily News, the police stated today that the driver is likely to face charges, but these may be only be related to his leaving the scene of the crime.
Our hearts go out to Edwin's family and friends, both here in Brooklyn and back home in Guatemala.
Posted by onemorefoldedsunset at Sunday, November 26, 2017 No comments:
Fourth & 32nd
Trivia: Or, The Art of Walking the Streets of London (1716)
In the postlapsarian lansdscape of the metropolis, with its 'winding alleys' and 'long perplexing Lanes' as well as is 'spacious Streets', the poet's ambition, in an almost oxymoronic formulation, is to 'securely stray'. The Old French verb 'to stray'. which was once thought to derive from the Latin noun strata, meaning 'street', signifies movement that escapes confinement or control, and hints in addition at moral deviance. But this pedestrian proposes, paradoxically, to remain safe and free from apprehension in thus erring or straying. It is a difficult and delicate equilibrium to achieve, and it is only possible with the guidance of Trivia, the Roman goddess of crossroads. At one point (John) Gay refers to her as his 'vagrant Muse'. She is the patron saint of psychogeographers.
Matthew Beaumon - Nightwalking
Posted by onemorefoldedsunset at Saturday, November 25, 2017 No comments:
Posted by onemorefoldedsunset at Friday, November 24, 2017 No comments:
Ragamuffins
I brought the ragamuffins back for Thanksgiving. Here they are again.
More Depression-era P.L.Sperr. This time he's taking pictures of Thanksgiving Ragamuffins, precursors to the Halloween trick-or-treaters. The year is 1933.
Christopher Street
Hudson Street & "Village Monmartre Apache Girls"
Near Columbus Circle, and 61st Street
Columbus Circle, Staten Island
Sperr refers to one set of girls in the photographs as "boys, of course," and it looks like there are plenty of other cross-dressing ragamuffins here. And maybe a cross-dressing girl or two. Of the boys at left in the last picture he writes, "these ragamuffins really are colored" - a depressing acknowledgement of the number of ragamuffins appearing in blackface - and he mentions the African-American, "San Juan" neighborhood, in the West 60's. I haven't included any pictures of blackface ragamuffins - they have no place here - but you can see more of Sperr's ragamuffin pictures in the NYPL Digital Collection archives.
Aesthetics of being a Road
(Hommage à Rilke)
It is long since you were a lane.
Now you leave off being a street
And don't become a highway yet.
You are cautious
But cautiously exploring what it might be
To be wider than you were before
And go further, and be less familiar with trees.
Posted by onemorefoldedsunset at Wednesday, November 22, 2017 2 comments:
Seasonal Bliss
If Neergaard decided to ditch the other Christmas decorations & leave the window just like this, I'd be content.
Posted by onemorefoldedsunset at Tuesday, November 21, 2017 No comments:
"In the Heart of the Gowanus"
Just over a year ago, there was talk of a Stop & Shop taking over the Hamilton Plaza space previously occupied by Pathmark, an exciting prospect for those who missed the affordability and convenience of the former supermarket, and lamented the loss of jobs the closure had caused. But no replacement appeared. Now the owners, Joyland Management, are leasing the whole warehouse space - 70,000 square feet - along with the 100,000 sq.ft. parking lot. Though the leases of two newer businesses, Retro Fitness and gin-maker 21st Century Spirits, are indicated as good through 2026 and 2023, the leases of the smaller, older stores - two fast-food chain stores and the liquor store, are not specified.
We'd still like to see a fair-priced supermarket back, especially one that offered fresh produce, a broad range of international and regional groceries, and full-service meat and fish counters. Both the soon-to-be-closed Fifth Avenue Key Food, and Pathmark provide(d) food to a diverse economic and cultural customer-base. That means more than providing a token few shelves of Goya products. It means all kinds of foods that are familiar and comforting, foods that feed souls as well as stomachs.
At the other end of the supermarket scale, the Bravo supermarket premises, at Fifth and 16th, are currently listed for lease.
Rare one of a kind extra large space. Currently used as a supermarket. Most uses considered.
Right now Bravo is still open. Its lease expires at the end of February.
Earlier: Joyland
Early Sunday Morning after Rain
Plans filed for new building at Fourth Ave. & 20th Street (NY YIMBY)
Mixed-use, ten-story building (health care center, retail stores on first floor)
No inclusionary housing
Fitness center in basement
One more year left for Hank's Saloon (Bedford & Bowery). We wrote about the bar & its Mohawk history back in 2011.
This year's Worst NYC Landlord list has just been released. It includes buildings in Sunset Park (5416-5422 Fourth Avenue) owned by Silvershore Properties. Watch the press conference here.
The Independent Subway's Unacknowledged Masterpiece - the incompletely renovated Fourth Avenue Station (Splice Today)
Letters of Edna Welthorpe - alter-ego of dramatist Joe Orton
Syd Shelton's East-Enders (Spitalfields Life). From one city to another - I want to give a big shout-out for this beautiful, sensitively-written blog about London's East-End. It's an absolute joy to read.
Rock Against Racism: the Syd Shelton images that define an era (Guardian)
One of Us is a 2017 documentary feature film that chronicles the lives of three ex-Hasidic Jews from Brooklyn. The film was directed by Heidi Ewing and Rachel Grady, who also created the documentary Jesus Camp.
Maintenance Art
What a delight to get my copy signed by Mierle Laderman Ukeles at the City Reliquary Trash! exhibition. I'll treasure it all the more.
New Plans Filed for 643-5 Fifth
New plans have been filed for a six-story mixed-use building at 643-5 Fifth Avenue. Nine residential units are included. The properties were acquired in '14 by 5th Ave Condos LLC for $4,250,000, and later put back on the market for $7,000,000, but apparently there were no takers. Plans for a seven-story building were disapproved in spring of '16.
Here's a picture of the 18th/19th block of Fifth, taken in 1941 by Percy Loomis Sperr (NYPL Digital Collections). You can see 643-45 with their original woodwork, and farther down, the original matching looks of the Hutwelker building and the 657 Fifth furniture warehouse.
Produce, Boots ,& Automobiles
In recent years Sunset Park's Third Avenue has seen a rapid overturn of property. Especially on the northern stretch of Third, close to the waterfront, land is hot.
Recent arrivals and newly sold holdings along the water include the Lafarge Cement Terminal, the Sunset Industrial Park, the SIMS Municipal Recycling Center, the Liberty View Industrial Plaza, and Industry City (part of the original Bush Terminal, now being developed by major shareholder Jamestown Properties). The Ferrara Brothers concrete company will be moving here from its Hoyt Street location in two or three years (right at the spot pictured above), after decades of leasing the land it once owned, which was seized by eminent domain in the '70's.
(One More Folded Sunset)
Smaller businesses are shifting too. The warehouse at Third & 26th, home to Rossman Farms, is on the market, to be delivered empty, or with the storage basement leased to the current owners. The discount fruit & vegetable store, known for its unbeatable budget prices, has been open on Third since 1990, with the building used purely for wholesale storage prior to that. The owners have another store on Avenue M.
Rossman's from under the Gowanus (2014)
A couple of blocks north of Rossman's, a corner lot currently occupied by the Lopez Byway autoshop is also up for sale:
Amazing Development Opportunity. This 110 Ft X 25 Ft Lot Is Currently Being Used As A Car Repair Shop And Garage, But Will Be Delivered Completely Vacant, And Without Equipment. You Can Build An Office Building, A Hotel, A Warehouse, Or A Residential Building. Drive By There, Check Out The Site. Please Don't Speak To Workers Inside The Repair Shop.
As the sign attests, Lopez has been on Third for decades.
Another sub-Gowanus view (2014)
A little farther south on Third, at 40th, the legendary shoe and work-clothes outfitters Frankel's will be gone by the end of the month, relocating closer to the owner's home in Jersey. Frankel's hopped over the avenue to its current location when Robert Moses put the Parkway in, but it's been around since 1890 - an impressive run. Third-generation owner Marty Frankel will be holding on to the building, but at 76, it's time to leave Sunset Park.
More and more, old-time locals come in and tell him their landlord has sold their building and they're getting evicted, moving to Pennsylvania or some other state. The neighborhood is changing again. A nearby Costco has taken a bite out of Frankel's -- "It hurts. Costco gets all the deals" -- and the newcomers to the neighborhood haven't helped.
"Hipsters ...They try on twenty pairs of shoes, but they won't buy here because the store doesn't look nice. They like to take pictures of my barcodes, though, and then buy the shoes online."
(Jeremiah's Vanishing New York)
I've been trying to wrangle my past into submission. I have a rag-taggle collection of photographs, documents, letters and other ephemera - carelessly curated & hardly amounting to much. Other than a good number of books, the sum of my early years is on the thin side. Recently I came across a shot from a Carte D'Assistance, circa 1983, and the person who looked out from the photograph was barely recognizable. Was that really me? Where had the decades gone? I spent the rest of the day purging my closet of useless garments, dying my hair, and buying a (s/h) men's winter jacket. Hooded, sturdy, and well-equipped with pockets, it will see me through all but the coldest winter days. That thick, extra skin will come in handy.
If you grew up, as I did, with parents who had lived through the Depression, you took it as a given that everything you had could be mended or reused: socks darned, stock boiled, fat rendered, remnants of fabric quilted, slivers of soap reconstituted, worn woolens unraveled and re-knitted, food composted or fed to the chickens and pigs, shoes resoled, appliances mended until they finally, for you at least, gave up the ghost. As a child, I lived on the cusp of change; the age of disposability was dawning, bright, shiny and plastic-wrapped, while at the same time, the rag and bone man still rode the streets with his horse and cart, and Gypsies called by to sharpen knives, mend pots and pans, and take the metal even my parents no longer found a function for. Even as a child I was torn between the pleasure of the old ways and the lure of the New Advertised World. I sometimes chafed at my older parents' thrift, finding it excessive and even embarrassing. Today they'd be domestic recycling role models.
I'm pretty sure they never once said the word "recycling" though. The art of re-use was simply a reflex. The number of things you had was smaller, and you knew its value, both for yourself and your family, and when you'd exhausted an object's use, it moved on to those who could still make a living by it. In the world of material karma, second, third, or fourth lives abounded.
As then, so now
"The ragpicker requires little capital, so his name is legion. A basket and stick with a thin end are his implements; the whole vast city his field of operations; liberty his license; the wastefulness of humanity his opportunity."
(Brooklyn Daily Eagle, September 13th, 1888)
The cold hits. The best of all patties & curry goat roti. Tequila. Kojak reruns.
The reruns stand up remarkably well. Telly Savalas has still got class, and the dialog is still snappy.
Last Rites for a Dead Priest (1973)
Well, look, I know you longer than he did, and I never met a man on this island that didn't need a million dollars.
And the way he tried was to talk you into turnin' yourself in.
Which got me three years in the joint instead of five.
Was that nothin'? You try it one time.
Look, if you wanna go back to being an altar boy, do it.
But do it after tomorrow, huh? I mean, at least be a rich altar boy.
Hey, come on.
This is Gabe, huh? You know, I seen you nights when Father Ambrosio wouldn't have recognized you.
Huh? [Siren Wailing] Lieutenant, what brings you out on a night like this? Would you believe I missed you? I wanna know why a small-time pickpocket was killed.
Well, it was nothing he had on him.
He had 18 bucks, five wristwatches, a solid gold cigarette lighter, and would you believe it 34 stolen credit cards.
Yeah, I believe it.
You know, 20 years ago, he had the fastest hands on Broadway.
I was proud of him.
Choo-Choo would go into Madison Square Garden.
He'd empty every pocket, and still catch the main event.
FDNY (Astoria)
Plans Filed for Charter School at 17th Street
Plans have been filed for an eight-story charter school at 156 17th Street (Third/Fourth)
The lease has been signed by Prospect Charter School,with the address listed the Fort Hamilton Parkway location of the Windsor Terrace Middle School & Brooklyn Prospect High School. Prospect Charter is a consortium of four Brooklyn charter schools, with another in the works in Danbury, Connecticut. The new school will be replacing a marble & granite business.
Without wading into the whole charter school question, this seems like a lousy location for a school. 17th is an especially busy traffic corridor, with a constant stream of traffic connecting to the Prospect Expressway one block up. In terms of pedestrian safety, and the inevitable additional congestion, it's an especially poor choice.
NYC Trash: Past, Present and Future - photographer Larry Racioppo shares a glimpse of his work photographing "Trash" in Brooklyn and NYC (Brooklyn Public Library)
Mel Rosenthal, Photographer Who Captured the Bronx, Dies at 77 (NY Times)
At the Museum of the City of New York: New exhibit explores 50 years of public art in New York City (Architects Newspaper)
What will it take to bring Spring Creek back to life? Looking at the past and future of a denigrated waterway on Brooklyn's outer edge (Nathan Kensinger at Curbed)
Brooklyn Jury Finds 5Pointz Developer Illegally Destroyed Graffiti (NY Times)
Joseph Rodriguez's El Barrio in the '80s (NY Times)
Green Point Projects Debuts an Exhibition of Two Polish Modernists, Abakanowicz and Markowski (Hyperallergic)
Cracks in the city: Manchester alleyways (Rag-Picking History)
Upon The Fear Of Reptilian Creatures (Spitalfields Life)
Terence Davies's Liverpool (Psychogeographic Review)
The Green-Wood Stash
Closed stops and service maintenance are the bane of the weekend rider. Getting somewhere fast, you're screwed. A simple trip from A to B will likely mean a forward or a backward shunt on D or E or F. Elevated, with no deadline to meet, I'm in heaven. The N's so slow the views are narcotic and the dullness of the glass on the windows and the doors makes the colors of the outside world placid and restrained. The edge is off the city. Each rooftop takes its own sweet time arriving and departing. Each piece of the sky lingers in my head longer. I could dream up here til Monday.
I used to post songs from time to time, and the mood is upon me again. When I was 13, I ran into David (Spiders in tow) at a hotel in England where my family was staying for my brother's wedding. I guess they were in the middle of a Ziggy tour. This was a huge deal to an awkward, introverted teenager. I got to talk to him briefly - he was very, very kind. It's a bit of a cliché to look back & say an event was a life-changer. But for a kid exiled to a dull provincial town, it was a life-saver. The songs are always with you.
Screenshots from The Seafarers (1953), directed by Stanley Kubrick
How nice it is to report on Brooklyn native Virginia Maksymowicz's reunion with a mermaid. Two years ago Maksymowicz, an artist and art professor currently living in Philadelphia, wrote in and described fond memories of the Seafarers International Union headquarters on Fourth Avenue (now the Al Noor School) where her father Hank tended bar. The bar, the Port O' Call, was something quite out of the ordinary.
My father, Henry "Hank" Maksymowicz, a former USN Chief Petty Officer, was the bartender at the Seafarer's Union when it was at 675 Fourth Avenue.
Sometimes, when I was a little girl, he would take me to the bar on Saturday mornings when he would have to take inventory. I remember that the bar itself was in the shape of a boat, with a mermaid in the front. He would make me a "Shirley Temple," which I would sip while looking up at that mermaid. I also remember how he "tricked" me at Christmastime. Rather than mailing my letter to Santa and risk its getting lost by the USPS, he convinced me to hand it directly to him. He said that one of his seafarer friends sailed to the North Pole on an icebreaker every November; he would hand-deliver it for me!
He died from lung cancer on January 6, 1965. When the funeral procession left St. Patrick's Church, on its way to the National Cemetery on Long Island, it made a slow pass in front of the Seafarer's Union.
With a little digging around, I found a film about the Union headquarters, directed by none other than Stanley Kubrick. The union-sponsored documentary, The Seafarers, is hardly one of Kubrick's great art works, but it gives a fascinating picture of the place, shortly after its lavish refitting, and reflects a time when the waterfront piers were still active with ships, sailors and longshoremen. Best of all, the film reveals the Port O' Call in its glory days.
In the early 1990's the Union moved a block north to smaller premises at Fourth & 19th Street, where it remained until 2014, when the building was sold. The Seafarer's Union moved to New Jersey. We wondered what had happened to the bar during this time. Was it still intact, and most important, what had become of the mermaid?
While Virginia was working on figuring this out, she sent me a picture from 1964. Here she is in the bar (at left). Her father took the photograph.
Shortly after this she sent me good news, a letter from Mark A. Clements, the Content Curator of the Seafarers International Union. Here's part of it:
I had a hunch as to the correct answer to your question, but I just needed to confirm it: the figurehead was relocated in 1984 to the SIU-affiliated Paul Hall Center(for Maritime training)in Piney Point, Maryland. It can still be found there today, at the Mooney Pub/Anchor Bar located in the Center's hotel. As with its original placement in Brooklyn, it's on the prow of a boat-shaped bar.
When she sent me this, two years ago, I kidded about a road trip to Maryland, and lo & behold, it finally happened! Last week she wrote to me again:
A few weeks ago, my husband and I made a visit to Piney Point, MD and visited the mermaid!
Needless to say, I got a bit teary-eyed, since I hadn't seen her since my father died. One of the seafarers told me that they had disassembled the bar in Brooklyn and moved it to Paul Hall. Amazingly, it was impossible to find any evidence to that effect. Everything, including the mermaid, looked great!
Over fifty years later, another picture with the mermaid.
Thank you so much, Virginia, for writing in and keeping me up to date with the story as it evolved. It's a beautiful one, and I'm so glad to have been able to share it - a piece of personal history, and a piece of the history of the neighborhood. This kind of story is one of the best rewards of keeping a blog.
Of course, one story leads to another, and a year later a reader from Texas sought my help with another Seafarers mystery. You can read about it here. Right now I'm involved in yet another local detective story. More to follow (I hope).
Posted by onemorefoldedsunset at Tuesday, November 07, 2017 1 comment:
A Shirt I'd Like to Own
Back by popular demand because I always come back to this. I mean it's only been on here twice before so let's just do it again. Anohni & Lou Reed? A match made in heaven.
Posted by onemorefoldedsunset at Sunday, November 05, 2017 2 comments:
Support the Workers at DNAinfo & Gothamist
I'm used to regularly checking my email and online for the latest DNAinfo & Gothamist stories, so it's a shock to be without them since the sites were suddenly closed down earlier this week. Especially DNAinfo, often the only source for truly local & reliable news. With both the Times and the News having reduced local coverage in recent years, we're really heading into darkness. If you're as concerned as I am about the loss of DNAinfo, and the darker implications of dwindlng local press coverage, please join a rally of support tomorrow, in City Hall Park.
When billionaire owner Joe Ricketts shut down the sites, the archives disappeared too. Fortunately they've been restored. You can find the DNAinfo archives here.
Trivia: Or, The Art of Walking the Streets of Lond...
Collapsible Girls
NYC Trash! Past, Present, & Future
Halloween on Fifth


text:
The 10 best jobs for introverts
Jacquelyn Smith
'the sky's the limit' by Jordan Fischer, © 2016, Flickr, licensed under Creative Commons Attribution 2.0 License.If you are the quiet creative type, a career in fine art may be ideal for you.
About half the population is made up of introverts — those who get their energy from within. Yet, according to PayScale, our world is largely "designed for extroverts" — those who are energised by being around other people.
"Crucial aspects of career advancement, from networking to public speaking, can feel like insurmountable hurdles for those of us who gather energy from time spent alone," PayScale says. "However, introverts excel in jobs that reward their unique abilities."
PayScale sifted through its database to find jobs that don't require a great deal of interaction with others. Here are 10 of them:
Brendan Smialowski/Getty Images
10. Social media manager
Median annual pay: $46,400
PayScale says: 'Introverts don't dislike people, they just get exhausted by constantly being around them. But since social media managers specialize in virtual interaction, their work is perfect for introverts. Social media managers interact with thousands of Twitter followers and Facebook fans without having too many people invade their bubble.'
Getty/Oli-Scarff
9. Small-engine mechanic
PayScale says: 'It's hard to socialise when you have your head buried in an engine, so working as a small-engine mechanic deserves a spot on our list of best careers for introverts. This job requires very little interaction with others, but only pays about $30,000 a year, resulting in it coming in number nine on our list.'
John Moore/Getty Images
8. Forester
PayScale says: 'Foresters spend their time communing with nature instead of communicating with crowds, making it the perfect job for an outdoorsy introvert. This job, which is overwhelmingly held by men (92% of foresters are male), involves plenty of time alone while maintaining and studying parks, forests, lakes, and other nature-rich areas.'
Spencer Platt/Getty Images
7. Archivist, curator, or museum technician
PayScale says: 'If you'd rather spend your evenings holed up in a museum or library than at a party, you might just be an introvert. You also might just be an ideal archivist, curator, or museum technician. This job comes in number seven on our list of the top 10 jobs for introverts despite a low median salary.'
6. Web developer
PayScale says: 'The internet is the introvert's dream -- a virtual world where communication takes place via chat rather than in-person interaction. Is it any surprise then that web developers make our list of top jobs for introverts?'
Michael Dodge/Getty Images
5. Fine artist (painter, sculptor, illustrator)
PayScale says: 'Some artists are loud and brash, and live for getting their art in front of a crowd. Others are quiet loners who would rather spend hours in the studio than with a large group of people. If you are the quiet creative type, a career in fine art may be ideal for you.'
Harrison Jacobs/Business Insider
3. (tie) Video game artist
PayScale says: 'Gamers spend more time interacting with virtual friends and foes than they do with real-life counterparts. Video game artists help create virtual worlds to make these experiences come alive, and they do it mostly without having to interact with people.'
3. (tie) Private chef
PayScale says: 'Private chefs provide a valuable service to their customers, and depending on the size of the meal they prepare, they can be feeding a very large audience. However, they spend most of their time with the food, not the people who eat it, making this a top job for introverts. It's also interesting that the majority of Private Chefs are female (62%), an anomaly for chefs, who are mostly male.'
Matthew Lloyd/Getty Images
2. Statistician
Median annual pay:$71,720
PayScale says: 'Statisticians let the numbers speak for themselves rather than rely on small talk. They spend their days immersed in spreadsheets and equations, which makes this a great job for introverts. They are also paid well for this work.'
Andrew Burton/Getty Images
1. Petroleum geologist
Median annual pay: $112,140
PayScale says: 'Petroleum geologists don't just make a healthy salary, but they earn it for doing work that soothes the introverted soul. They spend their days modelling large engineering projects and analysing data.'
careers-us extroverts features introvert jobs warroom


text:
La Mercedes C 111 est une automobile
expérimentale dessinée par l'italien Bruno Sacco, présentée en plusieurs modèles de 1969 à 1978. En 1991 la C 112 à portes papillon articulées sur le toit préfigure le modèle CLK GTR

type I

Présentée en 1969, cette première version utilisait un moteur Wankel à trois pistons rotatifs.

type II
Présentée en 1970.
Animé par un moteur à quatre pistons rotatifs pour une cylindrée de 2,4 l, alimentés par injection directe, le Wankel développe 350 chevaux à 7 000 tr/min, permettant d'atteindre 300 km/h en vitesse de pointe et de boucler le 0 à 100 km/h en 4,8 secondes.

En 1976, un moteur diesel cinq cylindres de 3 litres turbo développant à peu près 190 chevaux, permet de rouler à plus de 250 km/h de moyenne sur circuit ovale.

 Empattement/Longueur/Largeur/Hauteur (cm) : 262/444/180/112
 Poids : 1 240 kg d'après constructeur
 Transmission : propulsion, moteur central, boîte manuelle à 5 rapports.

type III

Plus étroite que la type II, avec un moteur diesel de 230 chevaux, elle dépasse les .

type IV

Dispose d'un V8 de 4,5 litres à essence développant 500 chevaux, elle atteint  le  sur le Circuit de Nardò.

Notes et références

Voir aussi

Liens externes

 fiche technique Mercedes C111

C111
Véhicule à portes papillon
Automobile des années 1970

redpajama_set_name: RedPajamaWikipedia


southwest corner of Fahnestock SP.
used for many famous buildings in Manhattan.
west side of Bull Hill.
return via a bike path with good views of the Hudson.
Bull Hill. Be prepared for some off trail hiking.
June 13 6pm Peekskill Walt Daniels AT South Mountain Pass Moderate A loop using the AT and Osborn Loop.
Strenuous Two hikes in one. Objective Blueberries.


text:
Ivan Levačić (Virje, 25. kolovoza 1931.), bivši je jugoslavenski biciklist. Natjecao se u muškoj cestovnoj utrci biciklista (pojedinačno) na olimpijskim igrama u Rimu 1960. Nevio Valčić i Ivan Levačić podijelili su plasman od 12. do 33. mjesta, svi su na cilj stigli 20 sekundi poslije pobjednika. Levačić je rođen u Virju, a radio je kao majstor. Izučio je strojobravarski zanat.

Prema Sportskim novostima najuspješniji biciklist Jugoslavije svih vremena.

Izvori

Hrvatski biciklisti
Životopisi, Virje


text:
Hot & Not: October 27th – November 2nd
By Tyler Kerdman November 6th, 2013
1. Toewsing the Senators
Jonathan Toews is not an offensive juggernaut. He likely will never lead the league in goals, or even points. Coming into Tuesday's game against the Ottawa Senators, the captain of the Blackhawks had 9 points in 12 games, a modest yet uninspiring point total. However, it's a consensus that Toews is considered a top 10 forward in the game, with many (including myself) believing that he is in the top five in that category. What makes him so valuable to his team is his ability to take control of a game. Whether it's killing penalties, controlling the powerplay, or scoring a timely goal, Toews seems to do everything right when needed. This was certainly seen on Tuesday in Canada's capital.
Down 4-2 to the Ottawa Senators, Captain Serious recorded a natural hattrick to give the Blackhawks the lead in the third, propelling Chicago to a narrow 6-5 victory. This was added to his primary assist on the team's second goal, making him apart of almost every goal in the offense-heavy game. While Chicago is one of the most balanced teams in the league, things obviously cannot go right every game. Sometimes the goaltending will post a .865 sv%, Patrick Kane will go pointless, and the penalty kill is ineffective. And on those nights, Toews will step up and help Chicago steal an undeserved win, and he certainly did just that against the Sens.
2. Philliping Fantastic
Being the best player on the Toronto Maple Leafs comes with some added responsibility and criticism. The expectations are even more heightened when the best player signs a $64 million contract, and Phil Kessel did just that. Despite the critics of the deal and of Kessel himself, he has performed masterfully thus far, scoring a hattrick and recording 14 points in 12 games entering last week. Heading to Edmonton on Tuesday, he continued on the torrid pace that he set in the days prior.
In a 4-0 victory over the Oilers, Kessel scored 2 goals and added 2 assists to lead the Toronto Maple Leafs. It was his 5th four-point night of his career, and gave him 18 points on the season, putting him on pace for career numbers in both goals and points. It's very easy for hockey fans to make fun of Kessel, but there is no denying that if he continues to play like he has for the first few weeks of the NHL season, that contract will be completely worth every single penny.
3. Stepping up to the Matt
It was late on Sunday the 27th when news broke that Matt Moulson had been traded, along with a 1st and 2nd round choice, to the Buffalo Sabres for Austrian winger Thomas Vanek. To many, the trade was inconceivable. Moulson had been a security blanket for franchise forward John Tavares, and was suspected to receive a contract to entice JT to remain in Brooklyn later in his career. However, the 30 goal scorer, the "product of Tavares", was sent to the team with the worst record in the league. Despite unlikely playoff chances and apart from the new contract, Moulson had something to prove: that he was more than just a product of a top-end center. Last week, he certainly proved that he was a true goal scorer.
In his first game, Moulson scored 2 goals, and added 2 helpers in their game against Anaheim to net 4 points in his first 3 games as a Sabre. While his efforts weren't enough to propel Buffalo to a victory, it once again was an example of Moulson defying the odds. Not drafted into the OHL, being drafted 263rd into the NHL, signing as a free agent and going straight to the AHL, and being left unsigned by the Kings was never enough to get Matt Moulson to quit, and when he finally reaches his potential in a good situation he still cannot be recognized for his success. He is a criminally underrated player, and will hopefully continue to prove in Buffalo that he doesn't need a franchise forward beside him in order to be a good NHL player.
1. Ray Emery
(Photo courtesy of bobfina72/ Flikr.)
It is rare for the number one "not" moment of the week to be a true embarrassment. Sometimes it can be a bad goal, which is mostly attributed to bad luck. Other times it can be a bad performance, which is embarrassing for the player but a solid game can turn that notion around. Occasionally it represents a bad hit, which is seen commonly in the NHL and one of the negative consequences of playing a sport on a small surface with players hitting upwards of 30 kilometres per hour. However, Friday night consisted a true embarrassment to the sport of hockey. Losing 7-0 to the Washington Capitals, a fight broke out between Simmonds and Wilson, causing Ray Emery to skate 200 feet down the ice, and begin mercilessly pounding on Braden Holtby.
This is not an ant-fighting, nor a pro-fighting debate. This is a human-rights issue. Ray Emery is an amateur boxer, and quoted to be a "top 5 fighter" in the NHL, still being a goaltender. There is no reason, nor desire, for Holtby to fight Emery. But it didn't stop the Flyers goalie from grabbing the Capitals netminder, punching him repeatedly, and punch him in the back of the head while he was down. Even ignoring the fact that punching people in the back of the head is completely illegal and very dangerous, you cannot fight an unwilling combatant. That's not a fight. That's assault. It is irrelevant that's "on the ice", to fight anyone that is unwilling and unprovoked is an assault. Emery skated down 200 feet to fight a player with no desire or involvement in the play, and told him that "it's happening and to protect yourself". Had Holtby suffered a concussion or any sort of trauma because of the incident, Emery would be in a lot of trouble. But he skated away scot free because of a lack of precedent and no specific rule (probably because nobody ever imagined a goaltender would be so crazy and attack an opposing goaltender).
He can blame it on the Flyers' culture, the owner, the GM, or the coach. He could feel that it was 7-0 and a spark needed to be ignited. But Ray Emery should be embarrassed for his lack of self-constraint and his borderline illegal and unlawful behaviour. The league has a desire to crack down on the amount of concussions and head injuries, seeing the scary past incidents in the NFL. Maybe they should pay more attention to what Ray Emery did, and punish that foolish and dangerous display.
2. Feeling Blue
While some teams flourished this week, others faltered. And nobody faltered quite like the Columbus Blue Jackets did. In their three games, the Blue Jackets went winless, scoring 5 goals and allowing 11 in two games against Pittsburgh and one against Anaheim. Obviously, the quality of opponents for Columbus was high, and likely contributed to their poor record. However, they are fighting for a playoff spot in a pretty underwhelming Metropolitan Division, and even managing to get 2 points would make a large difference.
Mostly, the issue appears to be untimely goals. The Blue Jackets allowed goals within the first 120 seconds in two periods against the Ducks, and the winner with less than three minutes to go. In their first meeting against the Pens, Pittsburgh scored three quick goals in the first five minutes of the second period, and the second meeting saw a third period goal scored 47 seconds in put the game out of reach. The Blue Jackets had an inability to prevent early-period goals from hurting their team, and it hurt their performance this week.
3. Delayed Takeoff
The week also didn't go well for the Winnipeg Jets. Following a gritty win against the Dallas Stars, the Jets went winless on the week, losing three games to the Avalanche, Blues, and the Blackhawks. While the loss in Colorado wasn't bad, and the Blues game ended on a final-minute powerplay goal, losing three in a row is something that Winnipeg can't afford to do in such a competitive race for the playoffs where every point matters. Some of the blame could be pinned on Pavelec, who finished with a .848 sv% in his two starts (including stopping only 9 of 13 against the Blackhawks), or perhaps on the inability of the special teams to shut down the opposition in timely situations. Regardless, the Jets are a team with depth and talent, but need to manage to find points every week, or they'll find themselves on the outside looking in.
Ray Emery


Picking Out Your Wedding Bands - Shane Co.
Wedding bands represent unity, harmony and the eternal beauty of your love. To help you find the perfect rings for your happily ever after, we put together a guide with expert tips to make your shopping process much easier!
Don't wait until the last minute to pick out your wedding bands! It's best to start the search six months before the wedding. This will give you extra time to get your ring sized and to add a unique engraving, if you'd like.
Shane Co. has wedding bands that match any budget. A simple gold wedding band is going to cost a lot less than a platinum band with diamonds. Before you start shopping, discuss how much you want to spend with your partner.
You and your partner will likely wear your wedding bands every day, so you should make sure the bands fit into your daily lifestyles. Platinum or alternative metals like cobalt are great options for those who live an active lifestyle.
Deciding what style you are naturally drawn to before you start shopping can help you narrow down the options. Maybe you admire little details and would prefer a band with a vintage look. If you love color, you might want a band with rubies or sapphires. On the contrary, a clean, polished style could catch your eye.
Wedding band shopping is a lot more fun and productive if you go together. Some couples coordinate the wedding bands to match, while others select completely different styles. Either way, visiting the store together will give you both more insight into which bands to choose. Ready to start shopping?
Visit your local Shane Co. or go to ShaneCo.com to find the perfect wedding bands to celebrate your love.
Will joined the Shane Co. team in April 2014, when he took on the role of Merchandise Liaison for the Duluth store. He prides himself on helping customers find the perfect jewelry for life's most special occasions. His favorite thing about working for Shane Co. is meeting interesting people all day and getting to be a part of their love stories. When he is not working in the store, Will enjoys listening to music and playing his guitar.


text:
require 'pathname'

module SassListen
  module Adapter
    class Config
      attr_reader :directories
      attr_reader :silencer
      attr_reader :queue
      attr_reader :adapter_options

      def initialize(directories, queue, silencer, adapter_options)
        # Default to current directory if no directories are supplied
        directories = [Dir.pwd] if directories.to_a.empty?

        # TODO: fix (flatten, array, compact?)
        @directories = directories.map do |directory|
          Pathname.new(directory.to_s).realpath
        end

        @silencer = silencer
        @queue = queue
        @adapter_options = adapter_options
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


That depends. You can create charts in the Standatd Edition but if you need to create Pivot Charts based on pivot tables you will need the Professional Edition. Pivot tables are a power excel feature worth learning. If you don't know anything about it, it is worth checking out the Excel help. Do you need to create charts based on summarised data. i.e. Like how may help desk call of a particular type each month?