The brainchild of a Russian entrepreneur, Andrey Andreev, the app was launched as back as and if the numbers suggest anything most downloaded cor and amongst the most visited dating sites in over 21 countries it is not the new kid around the block. That being said, a user who receive an invite from another user can connect for free. InBadoo received a new facelift when it underwent a few changes to its UI and design elements. With intelligent top ten dating apps for android and techniques, this app makes it quick for the users to find any suitable dating partner. No mentioning of women friendly apps like At Hello.
It is the complete filling up top ten dating apps for android a profile on this app that will offer you a brighter chance of getting matched quickly and rather efficiently. Everyone on the tinder is authenticated with FB profile. Bloomy is one of the very few android dating apps in India, which gives preference to the safety of its user and their dating websites for big and beautiful information over everything else.
It boasts over 40 million people although we're not sure how many of those are daily active users. These app allow us to chat with each other so that both user can know about each other more before dating. The best thing is that there are a lot of people joined on this so network so finding out the people near to you could be easily possible. Everyone needs dates, especially geniuses.
It uses a more traditional dating site method. Tannmaya das December 3, at 5: Clover search offers tons of filters so you can find the perfect person. It is a premium dating service which is catered to the more elite and tasteful creatures that roam the earth, at least according to its creators.
This app is being developed and furnished since the beginning of internet dating tend. Just look for all these apps, any of these could prove helpful to you for dating! Startups are all about innovative and brilliant new ideas, EliteSingles takes that point a bit too seriously. Our goal is top ten dating apps for android be a "Pioneer Digital Resource" for all kind of tech solutions across platforms. While the spontaneity of meeting someone who you knew nothing about was gone, the idea worked.
Its algorithm, which can also be inarguably called its unique selling proposition is that the app has the ability to connect you with a person in less than a minute. With the impressive feature of audio as well as video verification, the chatting within the app is what sets it apart from its contemporaries.
The app top ten dating apps for android that all members maintain a quick and rather regular response rate. Thank you for reading! Woo is a dating and matchmaking app, which focuses only on well educated professionals. You can connect and chat. Seems like a bad idea.
As a matter of fact, the app relies upon superior social discovery and believes in giving the complete control to the user. The matching algorithm is again based on your interests. I just use Tinder and Coffeely to meet rich sugar baby Reply. The app allows you to access your daily matches right on your phone. The League is pretty much EliteSingles on with a face lift. OkCupid is one of the most popular dating apps out there. The App has over million downloads worldwide and has made over 30 billion dating sites for interracial relationships till date.
You have to surf through the list of people finding to date and have some conversation worth if both of you feel good to talk each other then the step ahead could be raised by you to date each other.
It also boasts over million downloads and uses between all the various platforms. You can also make new top ten dating apps for android and can chat with them directly into the app. You will also like to check best Live TV Apps for AndroidGive a try to each of them one after one and explore which app suits you the best. Any busy person could easily get the chance to use the social network even once in a day.
Anastounding dating app, Moco seems to have made its mark, not just in the field of dating but also helping people meet new friends and socialising in a way that stands unmatched. A dating app which is how do you hook up a light switch towards video chatting with your matches, it dating sites for people in recovery its video chatting parts quite well.
Zoosk is available in 25 different languages across 80 different countries. For business owners, Instagram stories are bliss. Approximately 10 million users downloaded this app. Most of these experiences were frustrating, but a few stood out as being usable.
We can also create our attractive profile and upload some of our best images. About Us Contact Us. Only users we like can message us. Many have touted this as a way to weed out creepy people. Here under this article, we have discussed the best apps for Android that uses the social network to help people find the right person to date.
Unlike Tinder, Hinge is an app, which offers a top ten dating apps for android level of discretion to the user. You probably guessed that by now. Moreover, for you to find a match on this app, it is almost essential that you have a mutual friend on Facebook with your probable match. Your email address will not top ten dating apps for android published. It is, in top ten dating apps for android an app, which allows you to find your probable matches based on your preferences top ten dating apps for android sexual orientation.
However, it also takes into account the filters that you prefer. Sort of like Nintendo StreetPass for dating. That being said, considering the basic mind-set of the tier 2 and tier 3 audiences, many a dating apps in the nation have chosen to be called relationships app, wherein their ulterior motive is to help people find the love of their lives, rather than just a casual date!
Online dating is becoming one of the most talked-about phenomena of modern times. In homosexual matches, either one can go first. We never need to go anywhere to find exact match for us. We can easily find singles around us using this app. This app is will rated app that is fully advanced.
However, women get to initiate chats first. While that might not sound impressing enough, you can surely create an interesting enough profile summary top ten dating apps for android attract better matches.
In the league you get the opportunity to see other people, and if they seem interesting enough top ten dating apps for android can pick a chat with them. How eHarmony found you your soulmate was through a series of questions that you answered.
It'll ask you to subscribe to a monthly payment plan to top ten dating apps for android all the good features. Different crowd for real love. Top ten dating apps for android use the website and its form of matchmaking is still being replicated to this day. And the best part of the social network is that person could contact with unlimited members. Zoosk is an app that has become very popular recently. Well, eHarmony is the website for you.
Once a match is made, you get a private chat room with ice breaker questions. Every day at noon, men top ten dating apps for android get a curated list of women in their area.
Then it flips them and matches you with someone who is exactly the opposite cause opposites attract of you in your life choices. It's a more traditional dating app. POF is one of the most popular in list of Dating apps for android. You answer a bunch of questions about yourself and then find matches based on that information. In conclusion, we hope that you like this list of best Dating apps for android. To tell us about your with the above-listed apps, please log on to the comments section below!
We can search friends by locations and chat with them. Well, the top first app is the best as per our experience. This is a standard dating app.
Match Dating - Meet Singles. Android is a powerful operating system for smartphones. Matchify, is another app in the dating and relationship spaces, which matches you up with probable partners on the basis of a dynamic understanding of your interests.
Every day at noon, men and women get a curated list of potential matches. I am looking a women for long location based hook up app loving relationship. Azar is an online dating app which takes the idea of face-to-face and makes it a part of the service. The concept is simple, but effective.
Through these users, anyone could go for finding the right dating individual. It lets you rate your daily matches, exchange messages with people, and search for people. Check out the lists below to explore even more! News October 5, This is another dating app which you can have on your Android smartphone. T he life is becoming busier as the advancement is rising in technology and technical aspects.
At least the app is free to download. Bumble is yet another dating app, which will help you find matches, more or less in the same way as Tinder. This is a really intelligent working app that helps the users to get into top 50 free online dating sites with all those nearby people registered over this app.
It's worth checking out at least. It also provide invisible browsing mode. You can buy coins as in-app purchases. This was not something dating sites in the past had even thought of. It's worth picking top ten dating apps for android the app if you already use or intend to use the website. The app encourages users to play certain interesting games with their matches, such as Styletastic, Foodie Funda, Hocus Pocus etc. OKCupid is not just another dating app. We can easily find our match near about us.
There is also a subscription that is rather expensive. So have a look at all these apps that we had discussed just right below. Approximately 5 million users downloaded this app. Clover tries to combine multiple dating apps into one. It has powerful matching system to provide perfect match for us. Best dating sites nyc 2018 this app fails is in its marketing, where not even a single nerd is to be seen.
Bumble is a unique dating app that gives a lot of control to women. So, these were some of the best Dating Apps for Android devices. This app will always maintain our privacy and keep our data safe. The app certainly has its fair share of problems, but it should be usable for most things.
Top 5 Best Dating Apps for Android Whether you're seeking a soulmate looking for some fun or anything in between, here are the best dating apps for Android available right now! Bumble - Girl Power Bumble is a unique dating app that. A standout in a rich field of dating apps, Badoo (Android, iOS) features million-plus users from more than different countries, all sharing their profiles and photos as they search for matches. The app uses a lot of varied means to find interesting matches, from a Tinder-like swiping system to viewing the profiles of nearby users. Online dating can be stressful, time-consuming, and downright awful. Thankfully, the best dating apps allow you to streamline the process. We've picked out and tried some of the top dating apps available and we've broken them down for you right here. Whatever you're looking for, these apps can help.


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Sport, Leisure & the Arts
Celebration of Sport and Physical Activity
Bearley United FC
Bearley United FC were formed in June 2020, led by the efforts of villager Ed Foster. Starting a men's football team in any year takes a huge community effort, let alone in the middle of a pandemic. An initial idea of a new team for the village grew as word of mouth spread. The underutilised sports field and a passion for football was a guiding factor. Roll on six months and the team have 29 players' ages 18-33 years and are competing in the Stratford Alliance Division 2 league. Amateur football has inevitably been affected due to the pandemic and with limited game play (6 in total) there was always the risk that a team in its infancy could fold, but this was not the case for Bearley United FC. A thriving WhatsApp group, a New Year's Eve virtual get together and the start of mini challenges as lockdown 3.0 hit, limiting all face to face interaction. Challenge videos are being shared on social media and all of this has helped to contribute towards great community spirit and camaraderie amongst the players and supporters. In such a short time this team has been founded, developed and flourished.
Contact: The Leisure team
Bearley Ladies Table Tennis Group
CKMA Family Karate
Do3 Coaching
ILEAP Charity
Snitterfield Bowls Club
Stratford Athletic Club
Stratford Badminton Club
Stratford Table Tennis Club
Stratford Thunderbirds Netball Club
Survival 24:7
Walking for Health (Wellesbourne Group)
Xtreme Boot Camps

redpajama_set_name: RedPajamaCommonCrawl


(Reuters) – Newcastle United manager Rafa Benitez has not ruled out leaving the club this season if they do not strengthen the squad in the January transfer window.
Benitez's contract with Newcastle ends in June but the lack of new recruits to help the 17th-placed club retain its Premier League status has frustrated the Spaniard enough to consider his future at the Tyneside club.
"No, I cannot guarantee anything. I have not considered leaving," Benitez said when reporters asked him if he would stay on and see out his contract.
Benitez has been at loggerheads with club owner Mike Ashley over transfer strategy with three days left before the transfer deadline, but he does not want to abandon the club and its fans with the side two points above the relegation zone.
"I am a professional and I want to do things well. I decided to stay in the Championship, to do my job and finish my job in the way that I like to do things," Benitez added.


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Brexit report
The Smith & Williamson Brexit report surveys the views of the UK's leading entrepreneurs and scale-up business leaders to gauge their confidence in their business and the UK economy.
Subscribe to Brexit insights and events
How scale-up business can meet Brexit challenges
This special Brexit report examines how UK entrepreneurs and scale-up businesses have been affected by the EU referendum over the past twelve months.
Our study analyses what steps these businesses are taking to respond to difficulties and uncertainty in the market, while simultaneously predicting what challenges and opportunities await the scale-up business community.
We surveyed over 1,100 entrepreneurs and scale-up leaders over the past twelve months to map their confidence in their business and the economy.
The research focuses on a range of subjects, covering macro problems such as whether the UK economy might improve and if the government was truly supportive of private enterprise.
Our research drilled down to the specific issues affecting scale-up businesses, including whether the respondent's business was looking to increase headcount or if their appetite to borrowing had changed in the recent past.
These questions allowed us to get to the core concerns of UK entrepreneurs and scale-up business leaders, as well as helping them navigate these difficult times.
The results were encouraging: the entrepreneurial, and scale-up, community are apparently trying to shake off the negative effects of Brexit.
Fears linger around access to funding but, largely, Britain's businesses exude an air of confidence. Come what may, most scale-ups will not put their plans on hold and are looking to expand.
Insights and analysis
Brexit bringing a boost to scale-ups
Scale-up belief in government support may begin trending upwards, despite uncertainty, as measures taken over the past year start to take effect.
Innovation key to funding post-Brexit Britain
Entrepreneurial belief in access to funding and interest in borrowing is at a low – but is anxiety overshadowing a receptive market?
Scale-ups looking to build but lacking the blocks
Entrepreneurial ambitions not dented by Brexit, but access to talent is an increasing concern.
European competition not impacting UK confidence
Business is booming, despite Brexit uncertainty, according to entrepreneurs and scale-up leaders.
New frontiers beckon for post-Brexit business
It is clear from our research that entrepreneurs and scale-ups that do export are confident of increasing turnover, although there are some concerns about the financial health of non-UK trading partners.
Smith & Williamson Enterprise Index
The Smith & Williamson Enterprise Index analyses the confidence of owner-managers and entrepreneurs in the UK.
If you're looking for help in running your business, but don't know exactly what you need, here are some of the questions we answer on a daily basis.
Scaling-up and making the most of opportunities to achieve your business goals and maximise value usually requires specialist advice suited to each stage of your business journey.
With wide ranging capabilities in over 100 countries we deliver high touch, high quality, bespoke solutions to help both established and scaling businesses confidently expand, consolidate and compete in new markets.
Efficient, cost-effective and comprehensive outsourcing and back-office services can help you boost profits and reduce risk.


Born in Hubei, graduated from the Academy of Dance at MinzuUniversity of China.She danced with Beijing Modern and Contemporary Dance Company.In 2008,she joined TAO Dance Theater as the founding dancer. In 2013, she becamethe assistant of the artistic director in TAO Dance Theater, dealing with administrative works in TAO.From 2014, she became the project director and began to take over all the international and national projects of TAO. She became the company manager from 2015.
In 1998, she won the first prize in the 6th Beijing Dance Competition.
In 2003, she won the first prize in the 8th Beijing Dance Competition.
In 2003, she won the third prize in the Seventh Annual China National Dance Competition.
In 2005, she won the second prize in the 9th Beijing Dance Competition.
Born in Tianjin, Ma Yue is the director of design for the Shanghai Run Lan Lighting Design Co., Ltd. He majored in lighting design at the Shanghai Theatre Academy. In December, 2012 he joined TAO Dance Theater.
Born in Guizhou.Graduated from The University of Melbourne in 2013.2011 – 2015: Project Coordinator and Interpreter for Chinese projects.presented by Melbourne Festival.RHINOCEROS IN LOVE (2011).FAULT LINES (2012).NANJING PROJECT (2014).RIGHT & LEFT (2015).2012 – 2015: Production Assistant and Coordinator at Playking Productions Pty Ltd.CHO CHO (2012-2013): An English-Chinese bilingual musical theatre work co-produced with The National Theatre of China and Arts Centre Melbourne LEGACY 2 (2014). In August, 2016 she joined TAO Dance Theater.
Born in Harbin, Tai Yuanxu graduated from Jiamusi University with a Bachelor's degree of Emerging Media on the Internet in 2017. He joined TAO Dance Theater in October 2017.


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Number 308 | Marzo 2007
Sixty Days On: Signals, Seals and Superficiality
While Venezuela is pledging mammoth investments in Nicaragua and enough aid to guarantee the new government's social programs—some $400 million worth, to be more precise—the governing couple keeps emitting signals that feed uncertainty and concern.... continuar...
ARNOLDO ALEMÁN MEDDLES IN LIBERAL UNITY TALKS In an interview for the Univision TV network, broadcast on February 15 in Miami and repeated in Nicaragua, convicted former President Arnoldo Alemán... continuar...
Needed Reflections on the New Government's Communication Policy
What state publicity policy does the new government have in mind? For that matter, what were previous governments' policies? Why might new communications czar Rosario Murillo be at risk of seeing her decisions boomerang? What is our media's greatest ignored wealth? And what's life like for journalists and the media?... continuar...
The Government Wasn't Able to Change the Budgetary Policy
This economist, author of a study of the fraud-riddled bank collapses of 2000-2001 and the illicit domestic debt that resulted from them, offers his opinions on the 2007 national budget bill sent to the National Assembly by President Ortega.... continuar...
Rigoberta Menchú Bursts onto the Electoral Stage
"I want to open the way for a new direction in Guatemala," said Rigoberta Menchú on accepting the presidential candidacy and introducing her new social movement. Which political stage will she choose to dance on and what special interests are the numerous other political parties hiding?... continuar...
Crime and Corruption in the Guatemalan Police
The killing of three Salvadoran PARLACEN representatives in Guatemala has shown that Guatemala's security forces are still involved in crime, and led to tense relations with neighboring countries, especially El Salvador.... continuar...
A Portrait of the Region's Large Economic Groups
Central America's rapid "real" integration over the last 15 years, according to this author, has been led by the region's large economic groups, which originated with old capital but are now globalized and allied to the transnationals operating in the region. This second of three articles describes these groups, their history and their economic behavior, and ventures a projection of their future.... continuar...
Reform or Revolution? And the Left's Ethical Challenge
The neoliberal states we live in constrain all leftist projects of social justice and democracy. But there's some room for maneuver if we're clear about our principles, objectives and rhythms, and we act ethically. Our ethics must be much broader than just being anti-neoliberal.... continuar...


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Taken By Storm
Hypergallery
Vinyl. Album. Cover. Art: The Complete Hipgnosis Catalogue
The Lamb Lies Down on Broadway
Houses of the Holy
Electric Warrior
Deceptive Bends
Melt Polaroids
The Later Years - 1987-2019
Lovedrive
In Through the Out Door
How Dare You Gatefold
The Later Years - 1987-2019 Vinyl Sleeve
Difficult To Cure
Mr Lovepants
Atom Heart Mother
Ummagumma
Silk Torpedo
Jump On It
A Collection Of Great Dance Songs
Godley and Creme
Drastic Plastic
Vinyl Futures
The Original Soundtrack
Look Hear?
Greatest Hits 1972-1978
Bloody Tourists
Regular price $2,957.00 Save Liquid error (product-template line 120): Computation results in '-Infinity'%
This limited edition archival inkjet print revisits and reassembles the artwork created by Hipgnosis for the last album that Genesis would record with Peter Gabriel at the helm.
The Lamb Lies Down on Broadway was a change in artistic direction and could be described as the soundtrack to an unmade film, almost operatic in its scope. It concerns the strange journey of Rael, a New York City punk who goes through a series of metamorphoses and meets up with various strange characters along the way. The band accompanied this change in musical direction with a change of visual direction, bringing Hipgnosis their first opportunity to work with Peter Gabriel. Storm explained to Hypergallery how Hipgnosis responded to this challenge:
"We conceived of a story board or comic strip, but made of photographs.....a major part of this involved the character stepping outside the comic strip and taking a detached view, looking back at this life, a step considered necessary in the process of self-realisation. Thus the main character is seen literally stepping out of the picture, leaving a man-shaped white hole in his wake."
All the imagery was photographed in black and white negative, and the resulting prints were reassembled, adjusted in size, comped together and recopied to provide a single flat artwork. This is a monstrously difficult and painstaking process before the era of computers, but no less worth it. For a long while there was a mockup of this artwork on the wall at StormStudios, as he contemplated how to approach the layout for this print.
We think this is a stunning piece of work that celebrates a very special piece of musical and artistic history.
Signed by: Aubrey Powell, Storm Thorgerson and Peter Gabriel
Image size: 19.5 x 22.5 inches / Paper size: 26.5 x 33.5 inches
Edition size: 99
ABOUT AUBREY POWELL
Art Money it for £216/month, no interest
We partner with Art Money to make art more accessible
10 payments. 10 months. No interest
The Knebworth limited edition archival inkjet print was produced in an edition of 500 by the Hipgnosis founding team of Aubrey Powell and Storm Thorgerson.
The idea to revisit album cover artwork for publication as original, limited edition prints came from Storm Thorgerson in 2000. He had amassed a huge body of work from forty years of creating iconic covers and wanted it to be seen in fuller glory. Led Zeppelin's album In Through The Out Door was one of the album covers selected for publication, and this poster for their Knebworth shows along with it.
On two successive weekends in August 1979, Led Zeppelin performed their legendary concerts in the grounds of Knebworth House in Hertfordshire which would become their last-ever live shows in the UK. Following the untimely death of John Bonham these shows would, along with the album, become their unintentional swansong. The partners at Hipgnosis Studio, Aubrey Powell and Storm Thorgerson, had already worked on the album cover art for Houses Of The Holy, Presence and The Song Remains The Same. It was natural therefore that Aubrey Powell, 'Po' to his Zep friends, was thus asked to capture the band with his camera for posterity during the days surrounding the Knebworth event. The original approved photo was transferred to flat artwork at Hipgnosis and then carefully filed by Aubrey Powell in his West London archive.
Whilst reviewing the original artwork for the new Rockoptic limited edition Led Zeppelin prints, Po again came across the Knebworth piece, duly preserved and intact. Recently, with all of their original artworks paraded in the studio side by side, Storm and Po hit on the idea of designing a completely new piece that combines the icons and meanings associated with some of Led Zeppelin's finest hours in the summer of 1979. The result is a completely new artwork that incorporates the classic Knebworth band shot with the celebrated icons from the album, In Through The Out Door, and a watermark effect created by underlaying all of the recorded song titles in chronological order across the background. Set against the sky in the landscape is the celebrated label artwork for Swan Song, the band's record label, which was also a Hipgnosis creation. Visually constructed with the help of long time Hipgnosis colleague, Richard Evans.
Signed by: Aubrey Powell
ABOUT RICHARD EVANS
The Houses of the Holy limited edition archival inkjet print was produced in an edition of 500 by the Hipgnosis founding team of Aubrey 'Po' Powell and Storm Thorgerson. All remaining copies of this print are signed exclusively by Aubrey Powell.
The idea to revisit album cover artwork for publication as original, limited edition prints came from Storm Thorgerson in 2000. He had amassed a huge body of work from forty years of creating iconic covers and wanted it to be seen in fuller glory. Led Zeppelin's Houses of the Holy was an obvious contender. A number one album back in 1973 when that meant everything.
It was a landmark album long after its release; Dave Grohl (Nirvana, Foo Fighters) said in Q Magazine in 2003, "I became totally obsessed with Led Zeppelin, they were the first band I actually listened to. I put on Houses Of The Holy and just sat there." In the same issue, Toby Manning of Q Magazine wrote:
"Arguably one of the most intriguing pieces of sleeve artwork, Houses Of The Holy was also one of the most difficult to assemble. With Led Zeppelin's US tour breaking box office records previously held by The Beatles, the music press had to concede that they were now officially the biggest band in the world. In this respect, at least, they no longer had anything to prove."
Hipgnosis met the challenge of presenting this album with an epic idea inspired by Arthur C. Clarke's Childhood's End. Aubrey Powell remembered that:
"At the end of the book all of earth's children gather together to be taken off into space. I suggested we take a family to the Giant's Causeway in Northern Ireland and photograph them climbing the octagonal steps there so it looked like they were climbing up to be taken away. I decided to take a black and white photograph and hand tint it in the studio. I shot the children in various positions then cut them out of the photos and made a collage."
The original artwork was re-assembled for this edition and printed in stunning 6 colour pigment inks.
Image size: 26 x 14.5 inches / Paper size: 33 x 25.5 inches
This limited edition silkscreen print of T.Rex's Electric Warrior album cover art has been signed by Bill Legend, the drummer and only surviving member of T.Rex. The photograph from which Aubrey Powell developed the cover was taken by Keiron Murphy, most notably responsible for some the most iconic images of John Lennon. Beck chose this cover (for Vanity Fair in 2001) as one of his top 50 album covers, and no wonder. The iconic stance of Bolan in the photograph accentuated by the heavenly, electric glow that surrounds him seems to us to be a homage not only to T. Rex but to rock music in general.
Electric Warrior was the sixth album released by T.Rex but it propelled them into the charts becoming the biggest album of 1971 and one of the quintessential glam rock releases. It's appeal has lasted, though and it was ranked number 160 in Rolling Stone magazine's list of the 500 Greatest Albums of All Time in 2003. No wonder, as the album contains two of T. Rex's most popular songs, Get It On and Jeepster. Bolan, in a 1971 interview contained on the Rhino Records reissue, said of the album
"I think Electric Warrior, for me, is the first album which is a statement of 1971 for us in England. I mean that's. If anyone ever wanted to know why we were big in the other part of the world, that album says it, for me."
Printed on a textured and weighty Somerset tub paper. Stunning.
Signed by: Keiron Murphy, Aubrey Powell
The Meddle limited edition print was one of the very first selection of Pink Floyd album cover designs to be revisited and re-envisaged as an art print by Storm Thorgerson at the very beginning of this century.
The album artwork for Meddle, Pink Floyd's fourth studio album, was a straightforward affair technically speaking. Separate 5x4 photographs were taken of a human ear in close up and of ripples in a big tray of water. The two selected images were then sandwiched together. In preparing this fine art print Storm Thorgerson returned to the original two transparencies, cleaned them up and effected a precise copy of the original superimposition in the computer. The original composition was duplicated, but the definition refined, the colour fidelity and translucent quality improved. Old art rescued and enhanced by modern technology. What was not so straightforward were the meanings and implications. What was the design about? What relevance did it have? Somehow the cover seemed as obscure as the title. Why Meddle? Is that meddle as in interfering? Who or what is meddling with what? Is the band meddling with our minds? Is the water interfering with the ear? Was someone meddling in Pink Floyd affairs? Was it a misspelling? And so on and so forth. The relevance can't be simply water ripples like concentric waves of sound, that's too easy and not particular to Floyd, unless the design refers to repeated circles, like repeated sounds or echoes, which is the main track on the album, occupying a whole side of the vinyl.
There was no doubting the quality of the music. Meddle is a great album, much underrated, except by cognoscenti. Perhaps the same or similar could be said for the album art, now much enlivened in the refurbished state. Some meddling is worth it. This silkscreen print is a chance to see the full artwork as originally created, before it was cropped for the square format of the LP.
Signed by: Storm Thorgerson
This limited edition archival inkjet print is one of a collection of 10cc artworks published by Hypergallery in 2012. The collection, 10 of 10cc, celebrates the wonderful work produced by Hipgnosis and StormStudios for 10cc, from the early days and throughout their career.
Deceptive Bends was the fourth album cover designed by Storm Thorgerson and Aubrey Powell at Hipgnosis and by this time, in 1977, they were firmly established as 10cc's album cover designers. The idea was originally based on a signpost on the road to 10cc's Surrey recording studio 'Beware Deceptive Bends', but Hipgnosis turned this idea on its head with the reference to a diver suffering from the Bends. Is this a hallucination, is this deceptive bends? Aubrey Powell recalled:
"the diver's helmet was incredibly heavy and we had no air supply for the man inside. In the hot studio it became quite unbearable for him, especially as he was holding the girl. We had to keep stopping, taking the helmet off, and then putting it back on again; it was a b****y nightmare."
Customers purchasing 5 or more prints from the set will receive their prints in a beautiful archival portfolio with an accompanying booklet signed by Graham Gouldman.
Image size: 19.5 x 24 inches / Paper size: 26 x 33 inches
Melt Polaroids is one of a collection of limited edition archival inkjet prints published to celebrate a catalogue of truly remarkable and unique soundworks by Peter Gabriel. Melt Polaroids was the preparatory work by Storm Thorgerson for the Peter Gabriel 3 album cover art, Melt.
Storm Thorgerson, from Hipgnosis, introduced Peter to the work that Les Krims was doing with Polaroids. They began experimenting with hundreds of Polaroids, having fun squashing and squeezing and smearing the developing images, a technique later known as Krimsography. These are many of the results compiled by hand by Storm, who recounted the story for us:
"Since this procedure is dead easy we did it loads of times along with Peter Gabriel, disfiguring himself, by manipulating Polaroids as they developed. Peter impressed us greatly with his ability to appear in an unflattering way, preferring the theatrical or artistic to the cosmetic. Because we couldn't decide on a favourite, for they were all great fun, we used lots!"
"There was a photographer called Les Krims, who discovered that if you take a Polaroid and you squash it you can get the colours to run. We used to go after them with different objects and burnt matches, and coins, and fingers, and all sorts of things and it was a lot of fun because you had to get the timing right, but you got some wonderful effects out of the distortions."
Melt Polaroids comprises two editions: a smaller print (the edition of 100) and a larger print (the edition of 25). Every print in this collection has been signed by Peter Gabriel himself.
Signed by: Storm Thorgerson and Peter Gabriel
This limited edition archival inkjet print features the artwork from Pink Floyd's album The Later Years.
The Later Years project was begun by Pink Floyd Creative Director Aubrey Powell (Hipgnosis) when he was asked to design a box set reflecting on the years 1987 to 2019 and all the work that had been put out during that time by Pink Floyd - both audio and visual.
The front cover was an essential ingredient to the project and Aubrey decided to return to the surrealist style of Hipgnosis that had dominated the album covers of Pink Floyd since their inception.
He looked around for a designer to collaborate with and chose the portfolio of Johnson Banks, a London based design studio. Michael Johnson came up with an idea that involved a suited businessman walking through a sunny landscape surrounded by distorted street lamps. Aubrey changed the brief to a young girl instead of a businessman and settled on an evening mood reminiscent of a Martian landscape, with the street lights twisting and turning as the girl walked past them.
The influence of psychokinesis or the ability to move objects through the power of the mind was the thinking behind the fresh approach. A refection on the power that is Pink Floyd.
Having decided on an image and received the approval of the band, Aubrey picked photographer Rupert Truman to shoot the various ingredients of the cover. The picture is made up of several different photographs seamlessly joined together. The featured landscape was shot outside the desert town of Amboy in California.
The complicated process of post production was completed by Johnson Banks. There were many variations to choose from until Aubrey decided on the final picture.
Rupert Truman is a photographer and director of StormStudios. He worked closely with Storm Thorgerson for around 25 years, over which time he realised most of StormStudios output, photographing sleeves for Pink Floyd, Steve Miller, Ian Dury, the Cranberries and Biffy Clyro to name but a few. In recent years he has collaborated regularly with Aubrey Powell (Hipgnosis) on a number of projects.
Rupert chose the location near Amboy having come across this spectacular desert scenery on previous photographic trips. The crew stayed in the desert town of Joshua Tree and drove around 200miles a day to get there for dawn and dusk over several days. They were lucky with the weather - it snowed the day they left.
Printed in beautiful archival inkjet on a Hahnemühle fine art paper.
Signed by: Rupert Truman
Image size: 18.5 x 18.5 inches / Paper size: 24 x 24 inches
Available: Produced to order, allow for small delay
ABOUT RUPERT TRUMAN
This Scorpions album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. Lovedrive was the sixth studio album by the German heavy metal band, released in 1979. The cover caused some controversy upon the album's release and was subsequently banned, with later pressings of the album bearing a simple design of a blue scorpion on a black background.
"Not exactly the most politically correct scene you've ever seen. I thought it was funny", said Storm Thorgerson. In a 2010 interview, Scorpions singer Klaus Meine commented that "We just did not know it would be a problem in America, it was just sex and rock 'n' roll. It is odd that in America some of these covers were a problem, because in the 80's when we would tour here, we always had boobs flashed to us at the front of the stage. Nowhere else in the world, just here. We just did not think it would be a problem to put out a record like Lovedrive in America."
This is one of the few Scorpions album covers that was initially edited upon release in many places because of its controversial nature, only to have the original, uncensored art restored for the remaster series.
Anyone purchasing 5 or more prints from the set will receive their prints in a beautiful archival portfolio, screenprinted exclusively with a Hipgnosis logo designed by Aubrey Powell.
10cc's second album release, Sheet Music, marked the beginning of a lasting working relationship between the band and the Hipgnosis artists. Hipgnosis proposed their idea of a 2D/3D illusion in response to a request for a sleeve portrait. The photograph was taken in black and white and later hand coloured, to create this rather theatrical illusion!
This Styx album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. Pieces of Eight is the eighth studio album and second concept album by Styx, released on September 1, 1978.
The cover artwork featured an idea that is as rare now as it was then, putting middle aged women (mature glamour as Storm put it) at centre stage. Positioned in an unnatural collage these women seem out of sorts on this strange island, with their souvenir earrings juxtaposed against the majesty of the Easter Island heads. As Aubrey Powell said:
"This is very typical of the style of Hipgnosis whereby everything is impossibly sharp from front to back. And this was one occasion that we didn't actually go there; even we thought it a long way to go just for a background shot."
Image size: 26 x 14.5 inches / Paper size: 33 x 26 inches
Print type : Archival Inkjet (Giclée)
The Presence limited edition archival inkjet print was produced in an edition of 500 by the Hipgnosis founding team of Aubrey Powell and Storm Thorgerson. The idea to revisit album cover artwork for publication as original, limited edition prints came from Storm Thorgerson in 2000. He had amassed a huge body of work from forty years of creating iconic covers and wanted it to be seen in fuller glory.
Led Zeppelin's album Presence was among the first to be considered, with a cover that was able to match the stature of its contents - Stephen Davis, in Rolling Stone, 20 May 1976, said,
"Led Zeppelin's seventh LP confirms this quartet's status as champions of the known universe".
Hipgnosis' design for Presence was so successful that Swan Song sent out a limited edition of 1,000 three-dimensional plastic models of the obelisk to promote the album and Presence hit #1 on the Billboard album chart in the week of May 1st, 1976, giving the band its fifth career chart topper. Hipgnosis designer George Hardie told Q Magazine in 2003 that,
"The phrase back then was 'nostalgia isn't what it used to be'. We were interested in representing both that and the fact that with the advent of the television set, a living room now had two centres to it - the TV and the fireplace. We set about inventing something that was as important as both of these two objects called the object that could take centre place in a room. There was no brief…I used card and black velvet. We nicknamed it 'The Present'. The actual object, a hole in fact, wasn't present at all, but absent. The collage was shot using a Hasselblad camera with a 50mm wide-angle lens. On seeing the finished item the band were naturally overjoyed."
Storm Thorgerson said that,
"It was also designed to symbolise the overwhelming presence of Led Zeppelin's music. The band liked the concept so much that they decided to call the album Presence after the project."
The In Through The Out Door limited edition archival inkjet print was produced in an edition of 500 by the Hipgnosis founding team of Aubrey Powell and Storm Thorgerson. The idea to revisit album cover artwork for publication as original, limited edition prints came from Storm Thorgerson in 2000. He had amassed a huge body of work from forty years of creating iconic covers and wanted it to be seen in fuller glory. Led Zeppelin's album In Through The Out Door was an obvious contender. Storm Thorgerson recounted to Q Magazine in 2003 that:
"They were huge, mega huge in terms of sales, their reputation and their sound. We wanted to reflect that in our artwork, go way over the top. We wanted the cover to really stretch the listener's imagination. The band and Peter Grant kept saying how the LP was like a lick of new paint, a return to their bluesy rock roots, but updated with a different twist, so the colour was to represent that. It was like you were looking inside the bar through its dusty window and the smear was where you'd wiped the pane with your sleeve to peer through. Peter Grant said we could put it in a brown paper bag and it would still top the charts. So we did and he was right!"
The album, which was released with six different versions of the bar scene artwork available, became Led Zeppelin's final number one album in its second week on the Billboard chart, September 15, 1979. It vaulted over The Cars, The Knack and Supertramp's Breakfast In America. Storm wrote that,
"This is a design I love dearly to this day. The whole atmosphere is frozen in time and etched in the memory. The sepia quality was meant to evoke a non-specific past and to allow the brushstroke across the middle to be better rendered in colour and so make a contrast. This self same brushstroke was like the swish of a wiper across a wet windscreen, like a lick of fresh paint across a faded surface, a new look to an old scene, which was what Led Zeppelin told us about their album. A lick of fresh paint, as per Led Zeppelin, and the music on this album. It somehow grew in proportion and became six viewpoints of the same man in the bar, seen by the six other characters. Six different versions of the same image. As Robert Plant agreed later, it was very over the top, but then rock n' roll is over the top."
The edition was printed in stunning 6 colour pigment inks.
Regular price $10,842.00 Save Liquid error (product-template line 120): Computation results in '-Infinity'%
The Dark Side of the Moon silkscreen print was produced in an edition of 295 by the Hipgnosis founding team of Storm Thorgerson and Aubrey Powell.
The idea to revisit album cover artwork for publication as original, limited edition prints came from Storm Thorgerson in 2000. He had amassed a huge body of work from forty years of creating iconic covers and wanted it to be seen in fuller glory. Storm and his Hipgnosis partner Aubrey Powell (Po) worked towards producing prints from twelve Pink Floyd covers and The Dark Side of the Moon was obviously a prime candidate for inclusion.
Arguably one of the best known album covers in the world, it was ideal for silkscreen with its flat black background and vibrant spectrum of colours. George Hardie did the illustration, back in 1973, when he was working with the Hipgnosis studio on the original cover design. Storm Thorgerson recalled,
"The design is simply a mechanical tint lay, which means we drew outline shapes, black on white, and indicated what colours were to appear when printed. The prisms were airbrushed black on white and reversed by the printer. The idea itself was cunningly cobbled from a standard physics textbook, which illustrated light passing through a prism. Of significance was the simple, elegant layout against black - standard textbook illustrations did not do this. And then to connect this idea to their live show, which was famous for its lighting, and subsequently to connect this to ambition and madness, themes Roger was exploring in the lyrics; hence the prism, the triangle and the pyramids. It all connects, somehow, somewhere".
The Dark Side of the Moon was Pink Floyd's commercial-meets-conceptual equinox, of which David Gilmour says
"We knew that the package; the record and the cover and everything together; was going to be far, far stronger than anything we had done before."
The silkscreen edition was printed in 12 colours on Somerset paper by the esteemed Coriander Studios, London, UK
Print type: Silkscreen
The How Dare You inner gatefold photograph was somewhat prescient in depicting a party full of people talking on their phones rather than to each other; something we have probably all experienced to some degree these days. It was also a very clever way of getting the band on the cover without conforming to the usual conventions of band photography.
How Dare You was an album cover of coincidences. Hipgnosis hit on the idea of telephones as the subject for the cover art without knowing there was a song on the album called Don't Hang Up. This picture tells a story and it's up to you to write it - the retro split screen should put you in the right frame of mind!
It's a black and white photograph of two men reading a white map. The photograph was shot by Aubrey Powell/Hipgnosis in Iceland in 1981 and was originally presented as an idea for the Pink Floyd Animals cover in 1977.
The negatives lay unused and dormant in the Hipgnosis archive until last year 2019, when it was re-presented to Pink Floyd. They liked the fact that it was originally an idea for the band and had never been used before.
When Roger Waters left the band in 1987 and there were only two members left, David Gilmour and Nick Mason were searching for a way to continue Pink Floyd. The photograph by chance captured the moment of loss and uncertainty as to the creative direction the band would take without Roger Waters.
Image size: 19.75 x 14.5 inches / Paper size: 24 x 18.5 inches
Available: Produced to order, allow for small delay
This Rainbow album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. Originally put forward as a cover for Black Sabbath's 1978 album, Never Say Die!, the surgeons are posed in a mock rock'n'roll manner, parodying a similar narcissism which we found faintly ludicrous. Po's friend George Galatzon took the lead role whilst the backup surgeons were played by Peter, Storm, John Blake, Hipgnosis assistant George and his mate. The supporting surgeons are set back slightly from the lead surgeon, an effect achieved by spraying a thin layer of white paint, like a mist, over the entire photo after laying a carefully cut, clear, sticky mask over the image of the lead character so that it would not receive the spray. Richard Manning added hand colouring to enhance the green outfits and the yellow of the gloves.
Published in an edition of 90 by hgeditions in 2014
Signed by: StormThorgerson
This limited edition silkscreen print leaps off the wall and squeezes your cheek. It's the really unique result of collaboration between Ian Dury and Storm Thorgerson for Dury's 1998 album, Mr Lovepants.
Raconteur, humourist, art teacher, rock'n'roller and bon vivant Ian Dury employed Storm to design for an album called Different Strokes but he wasn't very enamoured with any of Storm's suggestions and dealt with this disappointment by telling his he'd changed that title to Mr Lovepants at the last moment:
"What do you think?"
he asked with a big grin…. Storm recalled
"As I walked down his front steps it struck me, literally between the eyes, that Mr Lovepants was not human but a dog, a dog who panted heavily, namely a boxer who wore boxer shorts. Ho ho, job done. The shorts had to be anatomically designed as one might imagine, a boxer being 'well hung' as they say. Custom made shorts had to be worn on the beach in Bermuda, of course, as in Bermuda shorts and decorated with triangles as in Bermuda Triangle of course. All this word association was right up Mr Dury's street."
The edition was printed on a Somerset paper by the esteemed Coriander Studios in London, UK. Each print has been numbered and signed in pencil by Storm Thorgerson.
The Atom Heart Mother limited edition print was one of the very first selection of Pink Floyd album cover designs to be revisited and re-envisaged as an art print by Storm Thorgerson at the very beginning of this century. This striking print celebrates Atom Heart Mother, a big breakthrough for Pink Floyd who, in 1970 managed to get to No.1 with one of the world's most progressive psychedelic albums featuring neither title nor band photo on the front; just a cow.
It was the first Pink Floyd cover not to feature the band's name on the cover, nor to contain any photographs of the band anywhere. This was a trend that would continue on subsequent covers throughout the 1970s and beyond. Storm Thorgerson took the picture using only two rolls of 120 film in the first field he came to driving north out of London. No graphics, no retouching.
"I wanted to design a non-cover, something that was not like other covers, particularly not like other rock or psychedelic covers; something that one would simply not expect. Not shocking, not mind altering, just unexpected. The cow was, in fact, more eye-catching than I had ever dared imagine; it was so different because it was so normal, so ordinary it stood out a mile. The cow was your regular cow, your standard cow, what every cow should look like. To Pink Floyd the cow seemed suitably resonant, but unrelated and certainly open to different interpretations."
This silkscreen print is a real stunner.
Art Money it for £271.20/month, no interest
The Animals limited edition print was one of the very first selection of Pink Floyd album cover designs to be revisited and re-envisaged as an art print by Storm Thorgerson at the very beginning of this century.
It is a stunning, richly coloured silkscreen print which honours both a keystone moment of Pink Floyd and Hipgnosis history, and a landmark building which has secured a fond place in the hearts of Londoners old and young. The inflatable pig was about 30ft long and 20ft high, and it was brought on site, to the wonderful 1920s architecture of Battersea Power Station by the River Thames, just upstream from the Houses Of Parliament. On day one the pig remained on the ground, neither inflated nor elevated. The initially reluctant pig made a rash break for freedom in the blue yonder on day two. Up from the power station and into the flight path to Heathrow Airport went the animal, en route for the media headlines and home in time for tea. Retrieved from a Kent farm and its bacon saved, the pig again faced the photographers and a film crew, now with a helicopter ready.
The finished artwork comprised a real inflatable pig in position on day three, with a real background from day one, when the sky was at hits most dramatic. Storm Thorgerson remembered:
"despite this minor comping of pictures, this minor sleight of hand, the principle of doing it for real served us well. At times the whole event had a ludicrous and spinal tap feeling to it, especially when faced with newspaper headlines blaring out that airline pilots were seeing flying pigs (had the world gone mad?). It was only by staging it for real that the essential dynamics of the building and the beauty of the dramatic sky were captured; a majestic background for a majestic pig. How splendid, how absurd, how Rock'n'Roll."
Animals rose (appropriately) to No.3 on the Billboard chart in February 1977. This silkscreen, printed on Somerset enhanced paper by the renowned Coriander Studios, has been very popular and availability is now low.
Signed by: Storm Thorgerson and Aubrey Powell
Image size: 26.5 x 17 inches / Paper size: 33 x 25.5 inches
Ummagumma is a limited edition silkscreen print that was one of the very first selection of Pink Floyd album cover designs to be revisited and re-envisaged as an art print by Storm Thorgerson at the very beginning of this century.
The Ummagumma album cover art relates to the idea that Floyd music was multi-layered, more intricate than most, and offered a depth, should you choose to explore it. A picture within a picture, a room within a room. It feels like you could step directly through the frame into the next room. A sort of hallucinatory feeling commensurate with Pink Floyd's music and with certain unspecified chemicals.
The edition was printed on a smooth Somerset paper and each print has been numbered and signed by Storm Thorgerson.
This Wishbone Ash album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives.
New England is the seventh studio album by the British rock band, one that would mark their Americanisation as they relocated from England to the Northeastern United States. The album cover idea came from Peter Christopherson, the third core member of Hipgnosis, whose own sexuality seemed to inform this thoughtful photograph. Storm Thorgerson said that:
"The image seemed to encapsulate the frontier sensibility favoured by the band; a sense of new horizons and starting afresh, an inherent feeling of adventure blending with the vulnerability of the youth's bare torso and the slightly phallic nature of the sharpened stick. Kept in black and white it became more allegorical, subtly sensual and elegiac."
This Strawbs album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. Aubrey Powell explains:
"A man is lured to a remote spot to answer a phone call only to find nobody on the line, the door jammed and the phone box slowly filling up with water. He will slowly drown and, no doubt, miss his deadline! As was often the case, Hipgnosis sold an idea and then had to work out how to do it within the budget. We had a, very expensive, reinforced steel and glass phone box built in my back garden in Wandsworth but forgot to ask them to fit a drain hole! The glass wasn't strong enough and the first attempt to fill the tank erupted in a burst pane and Hipgnosis being showered in shards of glass. It was also midwinter and there was no access to warm water. The man, a friend who was a competent swimmer but no stunt man, became stuck during one take and nearly drowned."
Doing it for real took a whole new level of meaning then! Anyone purchasing 5 or more prints from the set will receive their prints in a beautiful archival portfolio, screenprinted exclusively with a Hipgnosis logo designed by Aubrey Powell.
This Pretty Things album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. When The Pretty Things announced the title of their album Silk Torpedo, Hipgnosis, who had been commissioned for the cover art, immediately thought of Alberto Vargas, a well-known calendar girl painter much appreciated by the boys fighting abroad in WW2. His paintings were often copied by pilots decorating the fuselage of their jets, for luck, and the Hipgnosis studio paid their own homage with this fantastic sleeve design. Aubrey Powell told Hypergallery:
"We hired a glamour girl, had a torpedo made out of polystyrene by scenic artist Nick Pemberton, and found an old Motor Torpedo Boat moored near Norwich and used by the Sea Scouts."
It is such a fun image, and a beautifully delicate print. Anyone purchasing 5 or more prints from the set will receive their prints in a beautiful archival portfolio, screenprinted exclusively with a Hipgnosis logo designed by Aubrey Powell.
This Montrose album cover design is one of a collection of archival inkjet prints that we released in 2014, celebrating previously unpublished album cover art from the Hipgnosis archives. Jump On It saw Montrose at the height of their commercial success and this cover design by Hipgnosis really hit while the iron was hot!
The back cover images was of the backside, as it were. Simple but fun. We think that the snappy title in simple typography on striking, saucy (outrageous?) image was echoed in more recent times with The Strokes' release, Is This It.
Anyone purchasing 5 or more prints from the set will receive their prints in a beautiful archival portfolio, screen-printed exclusively with a Hipgnosis logo designed by Aubrey Powell.
This limited edition print was one of the very first selection of Pink Floyd album cover designs to be revisited and re-envisaged as an art print by Storm Thorgerson at the very beginning of this century.
It is a beautiful silkscreen reworking of the Wish You Were Here image that truly deserves to be seen on this scale.
"Speaking non-egocentrically, I still think the design for Wish You Were Here is great." Storm Thorgerson
The album itself is a sad and wistful indictment of insecurity. Thorgerson recalls that one theme, indeed one word, prevailed during the recording of the album at Abbey Road - absence. Nothing more poignantly, or powerfully illustrated this than the unexpected arrival of Syd Barrett at the studio during the vocal takes for Shine On You Crazy Diamond, having been absent for seven years. Storm told us,
"The handshake from the burning man is as empty or absent a gesture as you can get. The man is really on fire. He wore an asbestos suit under the cloth suit, which extends over the head, where a wig was attached. The first attempts at setting him alight were in the wrong wind direction. The flames were blown back and ignited his moustache for an instant. A close shave, one might say. The diver in the lake makes no splash, so is he there really? Or is he absent? The man in the desert is faceless, no features, no scruples or rather absent morality, so on and so forth. The whole album design was then hidden from public view by an opaque black shrink-wrap. In effect, this cover too was absent."
The album itself is a favourite of David Gilmour's, with its haunting central theme of Shine On You Crazy Diamond is never far out of consciousness.
Image size: 17.5 x 23 inches / Paper size: 25.5 x 33 inches
Prints are wrapped in acid free tissu


With the Society for St. John the Evangelist's beautiful and prayer-filled content, and the loving guidance of Lifelong Learning at Virginia Theological Seminary, your community can meet Jesus anew.
Small groups can have a far-reaching effect on the spiritual and community life of your congregation. Help your congregation meet Jesus and one another with the full Seven-Week Small Group Curriculum, or with the Five-Week Small Group Curriculum, written specifically for parish use on Wednesdays through Lent.
Young adults are at a unique crossroads in their life, and this guide to small group formation and Seven-Week Curriculum have resources that reflect the importance of community and discernment for young adults.
The Diocese can be more than just the administrative hub, it can also be the spiritual heart of the Episcopal Church in your area. With resources for a Quiet Day, in-person and online small groups, and helpful tips for involving your diocesan leadership, your diocese can be a source of both spiritual and organizational leadership.
Gathering two or more congregations offers opportunities to meet your neighbors and build community within a geographic area. In addition to a Seven-Week Small Group Curriculum, extra resources for cohering individuals from different communities are provided.
Online Small Groups provide flexibility, creativity and intimacy for people with alternative learning styles, or for those who need asynchronous meeting times but still wish to take part in relational ministry. We've created special resources to support online small group formation.
Strengthening the spirituality of older adults, often in parish leadership, can help to strengthen your whole community. We've created resources specifically for the formation of Older Adult Small Groups, and included extra exercises in the Seven Week Small Group Curriculum.
We know teenagers to be deep thinkers and deeply passionate. Meeting Jesus in the Gospel of John with this Seven-Week Curriculum will help them to articulate their faith and grow in self-understanding.
Help a child you know meet Jesus with this supplemental material.


text:
Have We Become Too Busy With Death?
by Timothy C. Morgan
What's the Good News?
We're Not in Kansas Anymore
By Nancy Pearcey
We Can Overcome
With Elward Ellis, Robert Franklin, Charles Lyons, John Ortberg, J.I. Packer, Edward Gilbreath, and Mark Galli
Nigeria: Islamic Law Raises Tensions
By Obed Minchakpu in Jos, Nigeria, with Compas Direct| January 10, 2000
Following the implementation of shari'a (Islamic law) in Zamfara state on October 27, four other states in northern Nigeria—Bauchi, Katsina, Borno, and Yobe—are preparing to adopt shari'a as their legal system. Thousands of Christians in Kaduna, led by the Christian Association of Nigeria, protested in the streets.
Observers say the states' decision is pushing Nigeria to the brink of a religious war. The crisis began over two decades ago, when Nigeria's Muslim political leaders moved to align the country with other Islamic nations, although half the population is Christian.
Muslims predominate in the north, with some estimates running as high as 90 percent of the region's population. But with a secular constitution, the states' move toward shari'a—which regulates Muslim life and prescribes punishments such as stoning and beheading—has divided the country even further.
Many Muslim religious leaders are unbending. "It is on the basis of freedom of worship that people in these states, who are predominantly Muslims, want to be governed by the laws of their religion," says Sheikh Abubakar Jibrin, the imam (Islamic cleric) of Fasfam Mosque in the northeastern city of Sokoto.
"Muslims in Nigeria are tired of unnecessary criticisms and outright attacks on us and our religion by those who should know better," says Sheikh Ahmed Sanusi Gunbi, another Islamic leader. "We are therefore prepared to shed blood to defend our religion."
Alhaji Balarabe Musa, a former governor of Kaduna state in northern Nigeria, insists shari'a is superior to the Nigerian constitution.
But Sunday Mbang, president of the Christian Association of Nigeria, says shari'a violates the constitution, and Catholic bishops have taken up the issue with ...
January 10 2000, Vol. 44, No. 1, Pg 26
This article is from the January 10 2000 issue.
Northern Ireland: Peace at Last?
Why We Like Harry Potter
Sometimes, God Wants You to Go with Your Gut
Our intuitions aren't infallible. That doesn't mean we should ignore them.
John Koessler
This article is from the January 10, 2000 print issue. Subscribe to continue reading.


This weekend, Music Box Theatre is offering a musical alternative to the generic cover bands making noise at Summer on Southport with its Summer Music Film Festival. Co-presented by WBEZ's Sound Opinions, the five-day fest features films covering various music styles—from breakdancing in Wildstyle to Detroit punk in A Band Called Death to air guitar foolery in Bill & Ted's Excellent Adventure.
Hosts Jim DeRogatis and Greg Kot will kick off opening night on Friday June 28 with a reception from 6 p.m. to 7 p.m., after which they'll introduce the new documentary Ain't in it for My Health about Levon Helm.
Other films screening from June 28 to July 2 include Festival Express with Janis Joplin, The Grateful Dead and Buddy Guy, and Ken Russell's cinematic treatment of the Who's rock opera Tommy starring Oliver Reed, Jack Nicholson and Elton John, as well as Downtown 81, Anton Corbijn Inside Out, In Search of Blind Joe Death, and more. For show times, visit www.musicboxtheatre.com.
The Paramount Theatre, on 23 E. Galena Boulevard in downtown Aurora, celebrates the summer with Classic Movie Mondays for just $1. Each Monday carries a different theme: Horror (first Monday), Comedy (second Monday), Romance (third Monday) and Action/Adventure (fourth Monday).
Sponsored by Waubonsee Community College, the series will screen Frankenstein (1931) and The Bride of Frankenstein (1935) on July 1; Naked Gun (1988) on July 8; Lucas (1986) on July 22; Lawrence of Arabia (1962) on July 29; Fast Times at Ridgemont High (1981) on Aug. 12; and Footloose (1984) on Aug. 19.
Doors open at 6:30 p.m. and the movie starts promptly at 7 p.m. without previews. For more information, visit www.ParamountAurora.com and look under the "Tickets" section or call the box office at 630-896-6666.
A special showing of After Words, the acclaimed film that explores the lives of people with aphasia, will be held at 7 p.m. Thursday, July 11 at the Mary and Leigh Block Museum of Art on the campus of Northwestern University, 40 Arts Circle Drive in Evanston.
Hosted by the Speech, Language and Learning Clinic and the Aphasia and Neurolinguistics Research Laboratory, Center for the Neurobiology of Language Recovery, the film by Emmy Award-winner Vincent Straggas features neurologist and author Oliver Sacks, Tony Award-winning actress Julie Harris, Grammy Award-winning musician Bobby McFerrin, and many others whose lives have been touched by aphasia.
Following the film is a panel discussion moderated by Becky Vlamis, producer/director at WBEZ with Cynthia Thompson, renowned Northwestern University Ralph and Jean Sundin Professor and aphasia expert; Belma Hadziselimovic, Northwestern University clinical faculty member and instructor in the communication sciences and disorders program; an individual with aphasia as well as a member of their family.
Advance $15 payment and registration are highly recommended. For more information, call the clinic at 847-491-5012 or visit http://AfterWords.Northwestern.edu.


In my unpopular Black opinion, Brown Sugar is way better than Love & Basketball.
The Libra in me is a sucker for romance, and the chemistry between Sidney Shaw (Sanaa Lathan) and Andre Ellis (Taye Diggs) just makes my heart quiver with envy.
Before I go any further, can I ask you a question? I am sure you are already thinking I am crazy for putting anything above Love & Basketball.
When is the last time you turned your Pandora to "90's Slow Jams" and vibed out thinking about your crush? Have you ever listened to Monica's "Angel" and thought, "Wow, I really love INSERT NAME HERE!"?
Watching Brown Sugar is my "90's Slow Jams," and, for awhile, I thought it was gonna be my life story.
Whenever I watched Brown Sugar, I saw myself unfolding with love in his arms. We were gonna be together—I knew it. He was gonna stop playing with my heart, and we were gonna get rid of the boundaries that defined our friendship. The one boundary that was clear, the friend-zone, was the one I was constantly trying to break through.
For years, I gave him my love in the form of sentimental "I love and miss you" text messages, gifts, and energy. I did the most because I was thirsty for whatever he could give me. There were no boundaries, at least on my part, in our relationship.
I felt stuck in a vibration of love, and I could not let the feeling go. But truthfully: I was avoiding a deep loneliness I felt inside because the men who showed love and affection in my life were very far and few between. I was clinging to whatever he was giving me out of lack of love for myself and fear that he would leave and I would never have that feeling again.
Eventually, I had a breakdown. I cried and I screamed and I cussed and I was vulnerable. I never wanted to admit what I knew was true: He wasn't worth it.
I realized that I never set healthy boundaries in my relationships. I was always so giving of my energy out of fear that they would leave me. I didn't want my story added to the "lonely Black Woman" narrative because I thought life with no man was no life at all.
I realized that I was the one who subscribed myself to that unhealthy cycle of unmet expectations.
I did not make space for myself to feel OK when those expectations weren't met. Space to breathe and to live alone (not lonely) and be okay in my own comfort and insecurity.
Since that breakdown—and breakthrough—I've learned to set healthy boundaries. I've learned to believe that I'm enough.
When you set the intention to love and care for yourself, life gets easier. Birds start flying high. The sun starts shinin' bright. Life becomes so beautiful—but don't let the beauty make you think that there aren't tough decisions to make.
Setting healthy boundaries is the next step after setting those magical intentions.
Setting healthy boundaries is the core of true self-love. You have to make space for yourself to feel without the influence of anyone or anything. Making the decision to set boundaries gives you creative control over your life. You get to decide what, when, where, how, and why those invisible lines are changing.
Setting healthy boundaries is the core of true self-love. You have to make space for yourself to feel without the influence of anyone or anything.
There was nothing but rainbows and lollipops in my head when it came to whatshisface. I was an open wound walking around thinking he was gonna come patch me up with "Good morning" texts, hugs, kisses, and "I love you's".
My lack of boundaries left me open to experience a lot of disappointment. I could have avoided it all if I would have opened my eyes and realized how unhealthy this relationship was. When it was time to set those boundaries, I experienced so much pain because I had to face what I had done to myself and make that space to heal my own wound.
Setting boundaries and being honest with yourself isn't fun, but it is necessary to your growth and your own peace of mind. Don't play victim to your feelings—reclaim your time by doing the serious stuff and getting rid of what doesn't serve you.
Setting healthy boundaries is about creating balance within yourself and your reality. You have to determine your relationship to all things in your life: career, significant others, family, school, money, friends, spirituality.
Since you are the creator of your reality, every choice you make is all about you. No one else, just you. And healthy boundaries must be set in all areas of your life because you don't want to drain yourself trying to satiate desires that are not in line with your true intentions.
Every choice you make is all about you. No one else, just you.
My intentions were never about me. They were rooted in the relationships that I had, particularly the ones I had with men, out of insecurity. I felt so insecure about my relationship with whatshisface that I couldn't accept it for what it was, the true value it added to my life, and the growth it offered.
Instead, I focused all my energy on my desire for us to create our own version of Brown Sugar. I forgot about my main source of power—myself—and I was damaged.
Your intentions should always be about unearthing your authentic self. You have all the agency to change those lines by changing your thoughts about yourself. You are worthy of everything that you desire, even if setting those boundaries means letting go of what you thought you needed.
You are making space for yourself to experience the fullness of you.
Making room for yourself by adjusting your boundaries is the ultimate form of love. Sometimes when you begin to pay attention to yourself, you force others to fall into themselves and question why you have become so particular about your happiness and reclaiming your time.
People may begin to see themselves in you and make those changes that are needed to experience the power and growth that comes with setting healthy boundaries.
I don't know what old boy is doing with his life right now. I actually hope that he is thriving. I hope he is growing and learning and finding the patience to deal with his own insecurities. I can only see what was going on from my point-of-view—and it was unhealthy. I may never understand his side, and I don't have to because the love I have for myself is way more vital than what I expected him to give me.
When you create that space and set those healthy boundaries, you are able to see into yourself and find the love you were looking for.
I will be honest: I am human. There are parts of me that still want to recreate my own version of Brown Sugar with him, but I am letting go of those expectations and moving forward with my life. My boundaries are not about him, but they are about my need to find peace and love within myself. I was caught up loving (read: obsessing) over him, trying to overstep boundaries, and force expectations—I wasn't living my life.
Everything we do is for love. Start loving yourself by setting healthy boundaries and watch your life change.
You are everything you are looking for.
Set those healthy boundaries and fall in love with yourself.
This article originally appeared on Soul Feminist.


John Brosnan (MPA '11) has taken over as the new foundation and corporate relations manager for Grist.org, the nation's leading green news site, headquartered in Seattle. John and his husband recently relocated to the West Coast after getting married in Minneapolis in May. John is formerly the director of land protection for the Minnesota Land Trust, where he oversaw land conservation programs across the state.


text:
Cowboys Camp: Why Dak & The QBs Are 'Seeing Red'
Dallas Cowboys Camp: Why Dak Prescott & The QBs Are 'Seeing Red'
FRISCO - Dak Prescott is "seeing red."
No, not due to any contract-negotiations unhappiness; the Dallas Cowboys QB is seeing red, as are the other three quarterbacks on the roster of new coach Mike McCarthy, because in a drastic change from Cowboys tradition, Dak and his guys rolled out to Friday's first on-field training camp practice here at The Star in Frisco wearing the different-colored jerseys.
It's obviously a McCarthy-instituted policy designed to alert defenders that QBs - given their value and vulnerability - are not to be put in harm's way.
Maybe, until the QBs look at themselves in the mirrored buildings that surround the backyard at The Star, or watch film of the workouts, it's more accurate to say that Dallas defenders like DeMarcus Lawrence are the ones seeing red.
READ MORE: Whitt - My Walk Through The Star - With Jerry's 'Grace'
READ MORE: Can 2 Rookies Become Immediate Starters?
READ MORE: Top 3 Position-Switch Candidates
READ MORE: Cowboys Camp: McCarthy Provides Glimpse Of New O-Line
READ MORE: How Griffen Fits Into New D-Line
READ MORE: Top 10 Camp Questions Needing Answers
McCarthy used this practice, as many NFL teams do, when he was in Green Bay. Hey, it worked OK for the likes of Brett Favre and Aaron Rodgers ... and despite Dallas' long tradition of doing no such thing - if it keeps $31.409 million man Prescott safe during practice session, it can work for the Cowboys.
Mike Fisher - as a newspaper beat writer and columnist and on radio and TV, where he is an Emmy winner - has covered the NFL since 1983 and the Dallas Cowboys since 1990. He is the author of two best-selling books on the Cowboys and is the Cowboys 'insider' as a radio personality on the team's flagship station 105.3 The Fan.


text:
Q: SwiftUI Text With minimumscaleFactor Always Reducing Text I'm running into a problem with some SwiftUI for widget code.  I want to create a Text component that scales the text down but ONLY if the text it contains won't fit.  However I'm seeing that it is down scaling the text all of the time.  Anyone know what I'm doing wrong?
 Text(verbatim: entry.records[0].value)
        .foregroundColor(.white)
        .font(Font.custom("SFCompactDisplay-Thin", size: 48))
        .minimumScaleFactor(0.75)
        .frame(minWidth: 100, idealWidth: 200, maxWidth: .infinity, minHeight: 48, idealHeight: 48, maxHeight: 48, alignment: .leading)
        .padding(.top, 0)
        .padding(.bottom, 12)
        .padding(.leading, 10)

A: It looks like running is normal after running your code. (Figure 1, Figure 2)
If you still have questions, remove maxWidth: .infinity,  and take a look. (Figure 3)

Please let me know what the end result is.
This is my test code.
struct ContentView: View {
    var body: some View {
        Text(verbatim: "Hello world Hello world Hello world Hello world Hello world")
        .foregroundColor(.black)
        .font(Font.custom("SFCompactDisplay-Thin", size: 48))
        .minimumScaleFactor(0.5)
        .frame(minWidth: 100, idealWidth: 200, minHeight: 48, idealHeight: 48, maxHeight: 48, alignment: .leading)
        .padding(.top, 0)
        .padding(.bottom, 12)
        .padding(.leading, 10)
    }
}

struct ContentView_Previews: PreviewProvider {
    static var previews: some View {
        ContentView()
    }
}

update #1

You can refer to this code for alignment issues. Use HStack for layout.
    HStack {
        Text(verbatim: "Hello")
        .foregroundColor(.black)
        .font(Font.custom("SFCompactDisplay-Thin", size: 48))
        .minimumScaleFactor(0.1)
        .frame(minWidth: 10, idealWidth: 120, maxWidth: 120, minHeight: 48, idealHeight: 48, maxHeight: 48, alignment: .leading)
        .padding(.top, 0)
        .padding(.bottom, 12)
        .padding(.leading, 10)
        Spacer()
    }

A: Your effect is due to given .frame limitation. In you don't want text to be scaled then don't limit frame for it, eg
Text(verbatim: "World")
        .foregroundColor(.white)
        .font(Font.custom("SFCompactDisplay-Thin", size: 48))
        .minimumScaleFactor(0.75)
        .frame(maxWidth: .infinity, alignment: .leading)     // << here !!

Note: 48 size of font is not equivalent to 48 points on screen.

redpajama_set_name: RedPajamaStackExchange


text:
Andrew McFadyen (born 1977)  is the Executive Director of The Isaac Foundation. He founded The Isaac Foundation, a non-profit organization, to fund viable and innovative research projects that aim to find a cure for MPS VI, a rare and progressive disease of which his eldest son, Isaac, was diagnosed. The Isaac Foundation has funded numerous international research grants since 2006, totalling well over $1 million.  Isaac, the McFadyens, and The Isaac Foundation, have been featured in articles in newspapers throughout the United States and Canada, includingThe Globe and Mail, The Independent, Kingston Life Magazine, and Sun Media.

McFadyen has led numerous advocacy efforts throughout North America, succeeding in having government decisions reversed.

He is a member of the NYU Working Group on Compassionate Use and Preapproval Access (CUPA). He is an associate fellow of the GE2P2 Global Foundation and is a member of its Independent Bioethics Advisory Committee (IBAC). The Committee provides bioethics consultative services to commercial and other biopharma organizations on clinical trials, expanded access programs for investigational medicines and therapies, and in other areas. In 2016, McFadyen testified as an expert witness to the US Senate Committee of Homeland Security and Government Affairs regarding "Exploring A Right To Try For Terminally Ill Patients". He has written extensively on the subject and has been quoted in news articles regarding the legislation.

McFadyen has contributed to shaping public policy throughout Canada with respect to availability of million dollar per-year treatments for children dying from rare diseases, and continues to work and support families as they deal with the struggles of diagnosis and its ramifications. McFadyen and The Isaac Foundation were featured in the fall edition of GO Magazine and the Clinical Leader for their work with families dealing with MPS diseases throughout Canada. In 2014, He was featured on Global National's Everyday Heroes segment. The Isaac Foundation has found public support and advocacy in musicians (John Mayer, Ron Sexsmith, The Tragically Hip, and Danny Michel), and sports figures (Toronto Blue Jays' pitcher, Roy Halladay).

In 2013, McFadyen created a second non-profit corporation called Equal Access for Rare Disorders to work toward fair and equitable access to treatments for children affected by rare diseases throughout Canada and the United States.

McFadyen is a former educator and writer, having taught for 16 years as a 7/8 teacher for the Limestone District School Board.  He received his Bachelor of Arts and his Bachelor of Education degrees from Queen's University. McFadyen is the author of the 2008 educational resource, The Educator's Guide to the Vinyl Cafe, planned and collaboratively written with Stuart McLean, host of CBC radio's The Vinyl Cafe. McFadyen has been a guest lecturer at Queen's University's Faculty of Education, lecturing to education students and to International Education Professors.  He is a Teaching Excellence Fellow for Queen's University's Interactive Technology program.

References

External links
 McFadyen's book at the CBC Store
 The Isaac Foundation

1977 births
Living people
People from Northumberland County, Ontario
Queen's University at Kingston alumni
Canadian chief executives

redpajama_set_name: RedPajamaWikipedia


text:
Q: What are the steps necessary to render my scene to a Framebuffer Object(FBO) and then render that FBO to the screen? I've got a fairly complicated scene with many GL_POINTS that I need to render.  The scene will be largely static, so I'd like to render it to a Framebuffer Object and then only update that FBO when my scene actually changes.  I'd then like to render the FBO to the screen each frame.
I've found examples that render an FBO into a texture.  I've found examples that render an FBO into a RenderBuffer (still not quite sure what that is).  I'm not sure what the steps are to achieve this.  Do I need to render to a texture and the draw the texture to the screen?
Can you please enumerate the steps (ideally even in pseudocode or actual code) to render my scene to an FBO and then draw that FBO to the screen.
draw() is sufficient for a placeholder for my own drawing functions.

A: I provide a minimal FBO example just for this
Basically the steps are: Create FBO with depth renderbuffer and color texture attachment. To render to FBO unbind the target texture, bind FBO, render to FBO. Unbind FBO, bind texture, render.

#include <GL/glew.h>
#include <GL/glut.h>

#include <stdlib.h>
#include <stdio.h>
#include <math.h>

void init();
void display();

int const fbo_width = 512;
int const fbo_height = 512;

GLuint fb, color, depth;

int main(int argc, char *argv[])
{
    glutInit(&argc, argv);
    glutInitDisplayMode( GLUT_RGBA | GLUT_DOUBLE | GLUT_DEPTH );

    glutCreateWindow("FBO test");
    glutDisplayFunc(display);
    glutIdleFunc(glutPostRedisplay);

    glewInit();

    init();
    glutMainLoop();

    return 0;
}

void CHECK_FRAMEBUFFER_STATUS()
{
    GLenum status;
    status = glCheckFramebufferStatus(GL_DRAW_FRAMEBUFFER);
    switch(status) {
    case GL_FRAMEBUFFER_COMPLETE:
        break;

    case GL_FRAMEBUFFER_UNSUPPORTED:
    /* choose different formats */
        break;

    default:
        /* programming error; will fail on all hardware */
        fputs("Framebuffer Error\n", stderr);
        exit(-1);
    }
}

float const light_dir[]={1,1,1,0};
float const light_color[]={1,0.95,0.9,1};

void init()
{
    glGenFramebuffers(1, &fb);
    glGenTextures(1, &color);
    glGenRenderbuffers(1, &depth);

    glBindFramebuffer(GL_FRAMEBUFFER, fb);

    glBindTexture(GL_TEXTURE_2D, color);
    glTexImage2D(   GL_TEXTURE_2D,
            0,
            GL_RGBA,
            fbo_width, fbo_height,
            0,
            GL_RGBA,
            GL_UNSIGNED_BYTE,
            NULL);

    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MIN_FILTER, GL_LINEAR);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAG_FILTER, GL_LINEAR);
    glFramebufferTexture2D(GL_DRAW_FRAMEBUFFER, GL_COLOR_ATTACHMENT0, GL_TEXTURE_2D, color, 0);

    glBindRenderbuffer(GL_RENDERBUFFER, depth);
    glRenderbufferStorage(GL_RENDERBUFFER, GL_DEPTH_COMPONENT24, fbo_width, fbo_height);
    glFramebufferRenderbuffer(GL_DRAW_FRAMEBUFFER, GL_DEPTH_ATTACHMENT, GL_RENDERBUFFER, depth);

    CHECK_FRAMEBUFFER_STATUS();
}

void prepare()
{
    static float a=0, b=0, c=0;

    glBindTexture(GL_TEXTURE_2D, 0);
    glEnable(GL_TEXTURE_2D);
    glBindFramebuffer(GL_FRAMEBUFFER, fb);

    glViewport(0,0, fbo_width, fbo_height);

    glClearColor(1,1,1,0);
    glClear( GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT );

    glMatrixMode(GL_PROJECTION);
    glLoadIdentity();
    gluPerspective(45, 1, 1, 10);

    glMatrixMode(GL_MODELVIEW);
    glLoadIdentity();

    glEnable(GL_LIGHT0);
    glEnable(GL_LIGHTING);

    glEnable(GL_DEPTH_TEST);
    glDisable(GL_CULL_FACE);

    glLightfv(GL_LIGHT0, GL_POSITION, light_dir);
    glLightfv(GL_LIGHT0, GL_DIFFUSE, light_color);

    glTranslatef(0,0,-5);

    glRotatef(a, 1, 0, 0);
    glRotatef(b, 0, 1, 0);
    glRotatef(c, 0, 0, 1);

    glutSolidTeapot(0.75);

    a=fmod(a+0.1, 360.);
    b=fmod(b+0.5, 360.);
    c=fmod(c+0.25, 360.);
}

void final()
{
    static float a=0, b=0, c=0;

    const int win_width  = glutGet(GLUT_WINDOW_WIDTH);
    const int win_height = glutGet(GLUT_WINDOW_HEIGHT);
    const float aspect = (float)win_width/(float)win_height;

    glBindFramebuffer(GL_FRAMEBUFFER, 0);

    glViewport(0,0, win_width, win_height);

    glClearColor(1.,1.,1.,0.);
    glClear( GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT );

    glMatrixMode(GL_PROJECTION);
    glLoadIdentity();
    gluPerspective(45, aspect, 1, 10);

    glMatrixMode(GL_MODELVIEW);
    glLoadIdentity();
    glTranslatef(0,0,-5);

    glRotatef(b, 0, 1, 0);

    b=fmod(b+0.5, 360.);

    glEnable(GL_TEXTURE_2D);
    glBindTexture(GL_TEXTURE_2D, color);

    glEnable(GL_DEPTH_TEST);
    glEnable(GL_CULL_FACE);

    glEnable(GL_BLEND);
    glBlendFunc(GL_SRC_ALPHA, GL_ONE_MINUS_SRC_ALPHA);

    glDisable(GL_LIGHTING);

    float cube[][5]=
    {
        {-1, -1, -1,  0,  0},
        { 1, -1, -1,  1,  0},
        { 1,  1, -1,  1,  1},
        {-1,  1, -1,  0,  1},

        {-1, -1,  1, -1,  0},
        { 1, -1,  1,  0,  0},
        { 1,  1,  1,  0,  1},
        {-1,  1,  1, -1,  1},
    };
    unsigned int faces[]=
    {
        0, 1, 2, 3,
        1, 5, 6, 2,
        5, 4, 7, 6,
        4, 0, 3, 7,
        3, 2, 6, 7,
        4, 5, 1, 0
    };

    glEnableClientState(GL_VERTEX_ARRAY);
    glEnableClientState(GL_TEXTURE_COORD_ARRAY);

    glVertexPointer(3, GL_FLOAT, 5*sizeof(float), &cube[0][0]);
    glTexCoordPointer(2, GL_FLOAT, 5*sizeof(float), &cube[0][3]);

    glCullFace(GL_BACK);
    glDrawElements(GL_QUADS, 24, GL_UNSIGNED_INT, faces);

    glCullFace(GL_FRONT);
    glDrawElements(GL_QUADS, 24, GL_UNSIGNED_INT, faces);

    glDisableClientState(GL_VERTEX_ARRAY);
    glDisableClientState(GL_TEXTURE_COORD_ARRAY);

}

void display()
{
    prepare();
    final();

    glutSwapBuffers();
}

A: Here is alternative example which does not require textures:
// copy framebuffer
if(fboUsed)
{
    glBindFramebuffer(GL_READ_FRAMEBUFFER, fboId);
    glBindFramebuffer(GL_DRAW_FRAMEBUFFER, 0);
    glBlitFramebuffer(0, 0, TEXTURE_WIDTH, TEXTURE_HEIGHT,
                      0, 0, screenWidth, screenHeight,
                      GL_COLOR_BUFFER_BIT,
                      GL_LINEAR);
    glBindFramebuffer(GL_READ_FRAMEBUFFER, 0);
 }

Replace variables in blit with your own.
Apperently frame buffer 0 is front buffer.
fboId is your frame buffer number.


text:
Q: How does one use the read function in Scheme? I know how it works syntactically, but the console doesn't let me enter values I think I'm confused about how Scheme works with user input.  I want to just read some values from the console that the user inputs as the script runs.  For example, if I wanted to add a user's value to 3, I was under the impression I could use:
(+ 3 (read))

I could also enclose it in a display function to see the output.  This is what I expected, but when I try to do it, it only waits for the next code in the console.  I am trying biwascheme.org and ideone.com as the interpreters.
So, I am hoping to find out the very basic way to force the console to wait for the user input and then put it into the (read) spot.  How?

A: You need to use a runtime that actually supports reading from standard input. Most web-based runtimes probably won't support that (though Ideone seems to let you specify standard input contents ahead of time (not interactively), see example).
You should install Racket. The DrRacket program will actually give you a nice prompt whenever read is called.

A: I have found that repl.it's online programming environment for biwascheme does support reading user input using the (read) function, although it doesn't seem to be documented on the biwascheme reference.
As an example, in a Scheme repl on repl.it, type this on the left-hand side:
(define (user-says-y)
  (eq? (read) 'y))

(define (take-user-input)
  (if (user-says-y)
      (print "entered y!")
      (print "did not enter y!")))

Save, run and then call the function from the terminal on the right-hand side:
> (take-user-input)

If you enter y you'll see the entered y! message, if you enter n you'll see the did not enter y! message.
Magic.


Financially distressed consumers often look for assistance to help get them out of debt. Seeking this type of assistance can be a good idea, but it can also trap unsuspecting consumers. Some debt relief services, especially non-profit credit counseling services, are legitimate, but many companies are simply rip-offs. Our work focuses on strengthening consumer protection laws and provides relief for those who are harmed, as well as helping consumers evaluate the different types of services.


The political left is always harping about extreme weather and global warming. It goes together, like Red Bull and Vodka, for these people. They can't talk about global temperatures anymore since the UK Meteorological Office reported in October 2012 that they've stagnated for the past 16 years.
So, they've pivoted towards extreme weather. Mother Jones posted a story last September about a study from the National Oceanic and Atmospheric Administration (NOAA) that linked extreme weather to global climate change.
Yet, NOAA posted Monday that the 2013 hurricane season was its calmest in 30 years. Additionally, we've seen the quietest tornado season in nearly 60 years; the creation of 19,000 Manhattans-worth of sea ice; and the Arctic ice cap, which was supposed to be completely gone by this year, grew by 920,000 square miles.
In 1975, the same people warned about "global cooling" and were wrong. They might be wrong now, but it's safe to say that the jury is still out on global climate change, or whatever you want to call it now.


text:
The Complementary Natures of Beauty and Melancholy
Parker J. Palmer
In the American midwest where I live, it's autumn — a season of great beauty and deep melancholy, at least for me.
At moments — as I walk down my street, through a nearby park, or in the more distant woods — I am stopped in my tracks by endless arrays of color and form, light and shadow, that no artist could fully capture. At other moments — as I see the leaves drop and the dark skeletons of the trees emerge — I am laid low by the brevity of life and the way all green, growing, and glorious things sooner or later pass away.
But the older I get, the more I find that these two feelings complement rather than compete with each other.
The fact that all things die makes me even more grateful for the beauty we can find in nature and human nature. And if, in that gratitude, we are willing to cultivate the earth and the human community, what falls to the ground around us and among us can help create the conditions that allow the beauty of new life to arise.
I love the way Rilke puts it in this poem: "…there is Someone, whose hands, infinitely calm, hold up all this falling." What can I say but praise be and amen.
by Rainer Maria Rilke
The leaves are falling, falling as if from far up,
as if orchards were dying high in space.
Each leaf falls as if it were motioning "no."
(Excerpted from Selected Poems of Rainer Maria Rilke. Read the full poem here.)
Parker J. Palmer was a columnist for On Being from 2014 to 2018. He is a Quaker elder, educator, activist, and founder and senior partner emeritus of the Center for Courage & Renewal; his latest project is The Growing Edge. His books include Healing the Heart of Democracy: The Courage to Create a Politics Worthy of the Human Spirit and Let Your Life Speak: Listening for the Voice of Vocation. His latest book is On the Brink of Everything: Grace, Gravity, and Getting Old.
beauty, Gratitude, grief, melancholy, Poetry
Things Could Have Been Otherwise
by Parker J. Palmer
With the wisdom of Jane Kenyon, a contemplation on gratitude and ordinary grace in our own finite lives.