text:
Inks Lake
Pecan Flats Guide
"IMG_5168.jpg" by Michael Salazar , CC BY-SA 2.0
Inks Lake State Park
INKS LAKE STATE PARK HIKING TRAIL GUIDE FOR Pecan Flats ACKNOWLEDGMENTS This trail guide was developed as a class project by the 2013 class of the Highland Lakes Chapter of the Texas Master Naturalist program. We want to express our appreciation to the many individuals and organizations that made this project possible. First, we thank the Texas A&M AgriLife Extension Service and the Texas Parks and Wildlife Department for creating the Texas Master Naturalist program. This project would not have been possible without the support of the staff of Inks Lake State Park including Terry Rodgers, Sean Jones, Terry Young, and many other staff members who contributed their help and expertise throughout the project. We appreciate the financial support provided by the Highland Lakes Master Naturalist Chapter, Linda O'Nan, President, and the Friends of Inks Lake State Park, Craig Davidson, President. This project builds on a previous interpretive guide titled Inks Lake State Park Hiking Trail Guide for Pecan Flats developed by Sarah Fryar in 2005. We offer a special note of appreciation to Betty Cruikshank, the coordinator extraordinaire of the 2013 Highland Lakes Master Naturalist class; Jerry Stacy, who personifies the ideal of the Texas Master Naturalist; and the many other Master Naturalists who contributed to the Highland Lakes Master Naturalist class of 2013. Thank you. Photographs by Susan Downey INTRODUCTION Welcome to the Inks Lake State Park Pecan Flats Trail! This guide is coordinated with numbered sign posts along the trail through the Pecan Flats primitive camping area. From the trailhead near the Park Headquarters (located at the entrance station), the trail winds for three miles through cedar, pecan and hardwood forests, along riparian and upland natural areas and up to scenic viewpoints over Inks Lake and adjoining landmarks. The entire trail is 3.3 miles long and can be completed at a moderate pace in under three hours. The first sections of the trail are easy to follow and well maintained. The best views are on the final portion of the trail. This part of the trail has some narrow stretches and a modest amount of elevation gain. There are no sources of water on the trail, so please take water with you. Composting toilets can be found in the Pecan Flats Campground area about halfway along the trail. Inks Lake State Park Inks Lake State Park comprises 1,200 acres (almost two square miles) of rolling hills of granite and gneiss rock. It has abundant populations of white-tailed deer and borders the pristine Inks Lake. Land for the park was officially set aside in 1939, but was not open to the public until 1950. It is among the most popular state parks in Texas. Pecan Flats Trail Guide This trail guide was created to share many interesting aspects of the park and to help you become more familiar with the Hill Country, some of its native trees and shrubs, and other natural phenomena. We hope you enjoy your stay and come back soon. This guide is organized around 28 numbered trail markers. From the trailhead adjacent to the Park Headquarters (located at the entrance station), follow the green trail about a quarter of a mile to the "Interpretive Trail" sign marking the beginning of the yellow trail to the left. Continue on the yellow trail another quarter of a mile until you cross Park Road 4 at the gate to the Pecan Flats Primitive Camping Area. The trail markers begin on the left side of the path just past the gate. Park Entrance Trailhead Gate and Start of Interpretive Trail Toilets Scenic Views SAFETY AND TRAIL ETIQUETTE Thanks for following these best practices to ensure your safety and responsible care of the park. • • • • • • • Know your limits. Prepare for sun and heat. Wear sunscreen and appropriate clothing/hiking shoes. Take plenty of water. Bring a quart of water per hour of activity. Stay on the trail for your protection as well as the park's resources. Take only memories and pictures. Please don't disturb or remove any of the park's plants, animals or artifacts. Keep pets on leashes to keep them safe while protecting wildlife. Trash your trash. Pack out all of your trash and Leave No Trace. Please note that while plants' edible uses are mentioned, you are not allowed to collect plants. Note: During some times of the year, especially in November and December, the Pecan Flats area is closed due to public hunting. Confirm with park headquarters staff that the trail is open. PECAN FLATS INTERPRETIVE TRAIL GUIDE CONTENTS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. Mesquite Mistletoe Bee Bush and Hackberry Cedar Elm Black Willow Wafer Ash Tasajillo (Pencil Cactus) Agarita Natural Cycles and Texas Persimmon Moss and Lichen Ashe Juniper Bottomland Decomposition Pecan Live Oak and Post Oak Chinaberry Tree Natural Processes Vein of Quartz Mustang Grape Valley Spring Gneiss Vernal Pools Claret Cup Cactus, Lace Cactus, Yucca and Prickly Pear Cactus Scenic Overlook: Llano Uplift Scenic Overlook: Buchanan Dam and Inks Lake Scenic Overlook: Stumpy Hollow and Camp Longhorn Granite Boulder Wet Weather Creek Bed Deer Blind Mesquite with Claret Cup MESQUITE Prosopis glandulosa Torr. TRAIL MARKER: 1 N 30° 44' 2.1" W 098° 21' 57.2" The majestic mesquite tree is a survivor as it can withstand drought and other severe weather. Since mesquite is such a hardy plant, it makes for a great pioneer species, meaning it can grow where other species cannot. It is well adapted to dry climates with tap-roots reaching depths of 40 feet, heights reaching up to 20 feet, and thorns approximately one inch in length along the branches. In the Edwards Plateau region of Central Texas, mesquite often grows in the same area as Ashe juniper, Texas persimmon, live oak, threeawns, sideoats grama and sedges. It is also associated with xeric species (species that prefer dry habitats) such as catclaw. Its seed pods have been used as food for humans, deer and other animals. The word "mesquite" is a Spanish adaptation of the Aztec word mizqitl, meaning "tree." Mesquite is commonly referred to as honey mesquite or western honey mesquite. Texas-style barbecue is often cooked over mesquite, but there are many uses for mesquite other than barbecue. Mesquite produces pods, or beans as they are commonly referred to by the locals. The beans are sweet and can be eaten when cooked correctly. Native Americans ground up dried mesquite pods to make flour for breads and cakes. Native Americans also used the leaves, bark, and roots for eye treatments and to cure problems with the stomach and the skin. The gum that oozed from the trunk was probably the part most used for medicinal purposes. Darker sap was used to make black dye, and clear sap was used for making candy. Mesquite provides a great habitat for many different wildlife species, including the white-tailed deer found throughout the park. MISTLETOE Phoradendron tomentosum TRAIL MARKER: 2 N 30° 44' 2.5" W 098° 21' 56.5" At the previous trail marker, you saw a mesquite tree. Here is another mesquite tree, but what is different about this one? If you look high in this mesquite tree, you will see an example of mistletoe. Mistletoe is a favorite around the holiday season. Not only is it a pretty decoration, but as tradition goes, the custom of exchanging kisses under the mistletoe creates an opportune time to get that holiday kiss from your sweetheart. Archeologists have found fossil pollen records that show that mistletoe has been in existence for millions of years. Mistletoe is considered to be a semi-parasite. Even though it obtains most of its nutrients from its host tree, it does have green leaves, which indicate that it performs photosynthesis. Long ago, people noticed that wherever birds left their droppings, mistletoe would appear. This is where its common name comes from. Mistle is an Anglo-Saxon word for "dung" and toe means "twig;" thus, mistletoe means dung-on-a-twig. Mistletoe is also called witch's broom and "basket on high." The berries of mistletoe are quite toxic to people, but to wild animals such as squirrel or deer, the berries are a divine feast rich in protein. Mistletoe also provides a great habitat for many species of wildlife. BEE BUSH and HACKBERRY TRAIL MARKER: 3 N 30° 44' 1.3" W 098° 21' 55" Just to the right of this trail marker, you will see bee bush, which is a shrub, and directly behind the marker is a small hackberry tree. BEE BUSH Aloysia gratissima Bee bush is a perennial shrub that reaches a height of about 10 feet and is a member of the verbena family. It produces clusters of white, vanilla-scented flowers. These flowers grow in spikes and extend above the one-inch-long leaves. They appear between March and November, depending upon the amount of rainfall, and are loved by bees. This fragrant, slender shrub has a light gray bark. It grows in various types of soil from moist loams to caliche. It will grow in partial shade but blooms most prolifically in full sun. Bee bush can be pruned as a hedge for privacy. This lovely native shrub is also valued as browse for wildlife. HACKBERRY Celtis Sp. The name "hackberry" originated from the Scottish word hagberry, meaning "bird cherry." This misunderstood tree can grow up to 100 feet in height and is extremely drought-resistant. Some consider it unattractive with its appearance of wart-like growths, leathery leaves and frequent limb shedding. Many people claim to suffer from seasonal allergies from the pollen the tree produces. For these reasons, many traditional landscapers do not list it as a desirable plant. However, this is one of the most valuable trees to wildlife. The fruit is known to be consumed by at least 25 species of birds including wild turkeys. The fruit is round to oval and emerges as orange-red turning to deep purple. The flesh is thin, yellow, sweet, and very desirable. The fruit was eaten by Native Americans. Other names for hackberry trees are one-berry, false-elm, hoop-ash, and nettle-tree. Some commercial uses for the wood include pallets, furniture, and sporting goods. CEDAR ELM Ulmus crassifolia TRAIL MARKER: 4 N 30° 44' 1.5" W 098° 21' 53.8" The cedar elm is another tree that is abundant at Inks Lake State Park. It loves the rocky, poorly drained, and compacted soils prevalent in some parts of Central Texas and may reach 90 feet in height. Cedar elm leaves are small and shiny green with serrated or jagged edges and are thicker than other elm leaves. In the fall, the many small leaves turn a bright gold, but as they begin to fall, they do not contribute significantly to leaf litter because they decompose very rapidly. Cedar elms are hardy and well-adapted to the Central Texas environment, and are considered to be a deerresistant tree. BLACK WILLOW Salix nigra TRAIL MARKER: 5 N 30° 44' 1.5" W 098° 21' 53.6" You are now entering a riparian zone, which is an area between land and a river or stream. In riparian zones, you'll find plant species that are identified with water, such as the black willow, sycamore trees and various forbs and grasses. The black willow is a medium-sized deciduous tree that typically grows up to 50 feet tall with a trunk up to three feet in diameter. It is typically found in swamps and near riverbeds, therefore earning it the nickname of "swamp willow." The large trunks and roots help prevent erosion in these areas. The black willow grows in clumps along these water courses in the southwestern United States and in parts of Mexico. In the spring, the tree produces flower clusters called catkins, similar to those of the live oak. These yellow blooms grow about one to two inches in length and have soft, dense hairs. The wood of the tree is weak, soft, and reddish to pale brown in color. The fruit of the tree is a small capsule that can be broken open revealing numerous, small down-covered seeds. The leaves turn a beautiful bright yellow in the fall. Historical uses include a quinine substitute made from the roots. The bark contains the chemical compound salicylic acid and was used as an aspirin substitute to treat fevers and coughs. Native Americans used parts of the tree for baskets and mat making. Today, weavers treat the bark with a method that produces a peach color in natural fabrics. WAFER ASH Ptelea trifoliata TRAIL MARKER: 6 N 30° 44' 1.1" W 098° 21' 53" This valuable native North American tree is also known as the hop-tree, potato-chip tree, quinine tree, and the stinking ash, to name a few. The genus name Ptelea is the classical name for elm, and trifoliate means three leaflets. The wafer ash is the northernmost member of the rue or citrus family. The wafer ash is often a large rounded shrub, but it can grow to a tree of 25 feet in height. It makes a great understory or cover tree for small mammals. It is often found in full sun to partial shade but may fail to flower if it receives too much shade. Like the black willow, the wafer ash does well in seep areas found in riparian zones. It flowers in March and bears fruit August through September. The fruits are borne on drooping clusters on slender pedicels and have a thin wafer-like appearance. The seeds are oblong or ovoid, leathery and reddish brown. The wafer ash's most valued use in nature is to serve as a host plant to the giant swallowtail butterfly and the two-tailed tiger swallowtail butterfly. These butterflies lay their eggs on the leaves, and the caterpillars feed on the leaves after hatching. When the swallowtail larvae first hatch, they resemble bird droppings. This imitation protects them from predators until they are larger and morph into a beautiful green color that matches the leaves. Other floral visitors include bees, wasps, flies, and ants. White-tailed deer do not make use of it as browse because of the bitter taste of the leaves. The dried wafer-like fruit has been used as a substitute for hops in beer making in the past, hence the name hop-tree. TASAJILLO (PENCIL CACTUS) Cylindropuntia leptocaulis TRAIL MARKER: 7 N 30° 44' 1.6" W 098° 21' 50.5" Watch out for this plant! Its prickly spines are barbed and can be difficult to remove. The pencil cactus got its name from the stem's resemblance to a pencil. The stem is covered with spines that can be up to two inches long. It tends to live in areas where other shrubs are present and, in ideal conditions, can sometimes grow to heights greater than four feet when it is being protected by neighboring shrubs. Each new growth or branch can grow to six inches and often twists and tangles with other branches and shrubs nearby, creating a dense and woody thicket of spines. It produces a beautiful light yellow to yellow-green flower that only opens in the late afternoon and then closes at night in the months of May and June. This cactus is commonly referred to as the desert Christmas cactus because of its bright red berries that appear after the cactus flowers. Anther common name for this plant is jumping cactus. AGARITA Berberis trifoliolata TRAIL MARKER: 8 N 30° 44' 1.7" W 098° 21' 50.2" The agarita is a small evergreen shrub growing in many soil and weather conditions throughout the Texas Hill Country. The stiff and pointy leaves resemble that of the holly plant. It provides shelter for birds and small animals. Agarita has small yellow blooms in the spring that attract honeybees because of the rich pollen. The small red agarita berries are also a valuable food source for birds and other wildlife and can be used to make a sweet delicious jelly. Many Texas herbalists consider this a favorite medicinal plant because every part of the plant has a use. Historically, the roots and the leaves provided treatment for many ailments, from fevers to stomach disorders. The bark was chewed by Native Americans to treat gum diseases. The Mescalero Apache shaved the bark, mixed it with water, and used it as an eyewash. The entire plant was used as a ceremonial plant by many Native Americans. The yellow wood of the plant as well as the berries have been used for dyes for hides and skins as well as for face paint. Today, the berries are used for fabric dyes. Agarita is a desirable addition to any landscape, not only for its modern uses and drought tolerance but for the fascinating history it holds. CYCLES OF NATURE TRAIL MARKER: 9 N 30° 44' 2.1" W 098° 21' 49.3" From this viewpoint, you can envision many examples of the cycles of nature. The physical environment abounds with these natural cycles — day and night, the seasons of the year, the cycles of abundant rainfall and drought. At the left edge of the meadow in front of you is a Texas persimmon tree, which is described on the next page. Across the meadow, there are yucca plants that periodically send a flowering stalk six to 10 feet above the ground. You will find more information about yucca plants further along the trail. Beside the post, you can see a stump of a loblolly pine with very obvious growth rings. Most trees produce one new ring every year. Can you discover how old this tree was when it was cut down? The mix of juniper and hardwood trees you see (pecan, live oak and others) changes over time. You may notice some of the juniper trees with dead branches. This is a sign of drought. These trees react to reduced rainfall by letting some of their limbs die off to conserve how much water they need to survive. On the ridge beyond the meadow, you can see rocky outcrops. These represent part of the endless geological cycle of mountain building and erosion. Humans are also part of the cycles of nature. In the fall, Native Americans ate the fruits of the Texas persimmon. They also used various parts of the yucca plant. The fibers of the long spears were spun and braided into cords and rope. The sharp spikes on the end of the spears were used as needles. The roots of the yucca can be used to make soap. As a result, the yucca is sometimes called the "rope and soap" plant. TEXAS PERSIMMON Diospyros texana TRAIL MARKER: 9 N 30° 44' 2.1" W 098° 21' 49.3" The Texas persimmon is native to Texas, living mostly in the southern portions of the state. Here at Inks Lake State Park, most of these trees reach to heights of 12 feet and higher with multiple trunks and smooth, peeling bark resembling a crape myrtle. Its leaves are thick and leathery and somewhat fuzzy underneath. Other distinguishing characteristics are its drought resistance mechanisms. The shape of its leaves and the smooth bark guide rain water down to the base of the tree so that every drop can be used by the roots. If drought becomes severe, the leaves of the Texas persimmon will drop until the drought is over and will come back as soon as there is adequate water for survival. This unique tree is dioecious, meaning that there are male and female trees. Only the female trees produce fruit. The Texas persimmon tree blooms from February to June. In August and September, Texas persimmons ripen into glossy black and very sweet fruits with multiple large seeds providing a very palatable food source for native wildlife (and park visitors). The fruit is edible to humans, but be sure it is ripe before taking a big bite. Ripe fruit will be dark purple to black in color. Ethnographic records indicate Native Americans used the fruit medicinally as an astringent to treat mouth ailments. MOSS and LICHENS TRAIL MARKER: 10 N 30° 44' 2.5" W 098° 21' 48.6" At this trail marker, you see examples of moss, which is the dark green plant growing on the rock, as well as lichen, which is the lighter sage-colored plant. MOSS Bryophyta There are 12,000 species of moss with the scientific name Bryophyta. Most mosses are less than four inches tall. The damp gneiss outcroppings at Inks Lake State Park provide an ideal habitat for mosses. Mosses are non-vascular plants without proper roots. They are herbaceous, or non-woody, absorbing water through their leaves and harvesting sunlight to create food through photosynthesis. Moss species grow primarily near damp areas with a water supply. Mosses are further classified by what they are growing on: rocks, waterfall spray areas, tree trunks, or disturbed soil. They rely on the wind to disperse their spores. Mosses provide us with an early warning, or bioindicator, of air pollution. The nitrogen levels in moss can be monitored. Some will not grow in an area of high pollution. Some mosses are used in the treatment of wastewater. Mosses are becoming popular in commercial and residential landscapes because of their velvety beauty and because they provide contrast to other plants. LICHENS Unlike mosses, lichens are not a single organism. They are a combination of two different organisms, usually a fungus and an algae. The fungus and algae work together in a symbiotic relationship, meaning that they both benefit. The fungus provides moisture and shelter while the algae photosynthesizes and produces food in the form of simple sugars. Nitrogen is provided by bird excrement, organic debris, and plant leachate. There are as many as 20,000 species of lichen with more being discovered. The most commonly found lichens in the park are crustose lichens. Crustose lichens are considered to be a pioneer species because they can grow where other species cannot. These interesting organisms literally eat stone, turning rock into dirt. The fungal part of the lichen produces a chemical that breaks down the rock and over many years produces enough soil for other organisms to grow. Lichens grow on trees, rocks, and soil. They are non-parasitic to trees. Some scientists believe that the presence of lichens may be an indicator of pure air quality as they will not grow in a smoky or polluted environment. Some lichen extracts may be used for dyeing fibers. ASHE JUNIPER Juniperus ashei TRAIL MARKER: 11 N 30° 44' 2.9" W 098° 21' 44.3" Ashe juniper is very abundant in Central Texas and can be seen almost everywhere you look in the park. Ashe juniper is sometimes referred to as mountain cedar and is the cause of the dreaded "cedar fever" that many Texans are cursed with every year. According to many locals, juniper berry tea may be effective against "cedar fever." Native birds have taken advantage of the overabundance of Ashe juniper. Older stands, or groups, of Ashe juniper and oaks are the primary habitat for endangered species such as the golden-cheeked warbler and the black-capped vireo. As the tree ages, its bark becomes shaggier and almost fluffy, providing for the perfect nesting material for some species of birds, most notably the golden-cheeked warbler. Big thickets of these older stands are now disjunct or in isolated areas, creating a loss of habitat for these species. The wood of the Ashe juniper is extremely rot resistant, which makes it very good fence post material. It provides year-round shade for wildlife and is great for erosion control, but is considered by some to be a "water hog" that competes with other vegetation for rainwater. However, the tree will die if it receives too much saturating moisture over a period of time. Now, if you follow the directional arrow to the left, the trail markers will be in the same order as this guide. BOTTOMLAND DECOMPOSITION TRAIL MARKER: 12 N 30° 44' 3.5" W 098° 21' 37.7" Behind this marker is a magnificent pecan tree, but the phenomenon of interest here is on the ground around you. Pecan Flats is an example of bottomland, the areas near a water source where the water table is near enough to the surface that plants like pecan trees can grow. What is the difference between soil and dirt? Dirt has no living organisms in it. Soil is the combination of dirt and the microorganisms that allow plants to grow. Where does dirt and soil come from? It may seem like a silly question, but the answer is more subtle than you might think. Ultimately, dirt accumulates from dust particles within every raindrop and more importantly from the decomposition of plant and animal life. Decomposition is a very vital part of bottomland ecology. Snags, which are dead trees, and fallen logs are home to many organisms, some that cannot even be seen by the naked eye. These microorganisms break down the litter on the forest floor, replenishing the nutrients in the soil. Besides being home to microorganisms, they also provide shelter and habitat for small animals and some bird species. This is one of many reasons why firewood should not be collected in the park. PECAN Carya illinoinensis TRAIL MARKER: 13 N 30° 44' 3.8" W 098° 21' 33.3" You may wish to take a seat on the bench to see a small grove of pecan trees across from the bench. The United States is the only place in the world where the pecan tree grows naturally. It is so popular in Texas that it was named the Texas state tree in 1919 by the Texas Legislature. Today there are over 70 million wild pecan trees in the Lone Star State, and the United States produces more than 350 million pounds of pecans yearly. Pecan trees need a lot of moisture and so are usually found in areas where water is available. The pecan is the most popular tree nut. The meat, or the edible part of the nut, is packed with 19 different vitamins and minerals that make the pecan a healthy snack. It can be used or prepared in a variety of different ways, including raw, chopped, roasted, and cooked. It is used in many Southern dishes, including the famous pecan pie. It was a favorite treat of two of our famous presidents, Thomas Jefferson and George Washington. The pecan got its name from the Algonquin word paccan or pakan, meaning "all nuts requiring a stone to crack." It was of great importance to the Native Americans because of its high fat content and high nutritional values. Native Americans made a creamy milk from the pecan by crushing the nuts into small pieces and placing them into boiling water. This pecan milk is very similar to one of our vitamin enriched energy drinks today. However, the pecan is used for more than just a food source. When the pecan shell is crushed, it is used to polish metal, wood, and jewelry. It is even used in some facial cleansing cosmetics. Additionally, the pecan shell may be used for mulch. Nearby, you can see Pecan Flats. Imagine the events that have taken place since these trees have been here, from the last Native American battle at Packsaddle Mountain in 1873 to the creation of Inks Lake State Park in 1939. These revered trees have provided shelter and sustenance for native wildlife for many years. Take some time to enjoy this unique and beautiful part of Inks Lake State Park. LIVE OAK and POST OAK TRAIL MARKER: 14 N 30° 44' 2.5" W 098° 21' 30.2" At this trail marker, you can see two different types of oak trees: a live oak on your right and a post oak on your left. The leaves of the two types of oak are very distinctive. LIVE OAK Quercus virginiana Where did the live oak get its name? Is it always green? The live oak is a semi-evergreen tree with wide-spreading horizontal and arching branches that can reach heights of 30 to 50 feet. The live oak gets its name from the fact that once it drops its leaves in the spring, it immediately grows new ones to give the illusion that it stays green all year. The live oak has dark green leaves with waxy tops. It produces catkins, or flowers, in the early spring that release yellow pollen. This yellow pollen blankets everything in sight and can sometimes cause allergies in humans. The branches are often covered with ball moss. The live oak grows rapidly at first, but then slows its growth as it matures. It is a longlived tree and is considered the preeminent Southern shade tree. Its acorns are a favorite among birds, squirrels, and deer, and its pollen is important to bees. The bark is a commercial source of tannin and is also used for dyes of various colors. Native Americans used the seed after leaching as an edible and used it medicinally as an astringent. POST OAK Quercus stellata The post oak is a small- to mediumsized tree that grows to an average of 75 feet in height with very heavy limbs and a rounded head. The trunk can attain a diameter of three feet, but it is usually smaller. It is a slow growing tree that can live up to 500 years. The tree gets its name from the frequent use of the trunks for fence posts, railroad ties, and mine supports. Leaves are four to five inches long, thick and leathery, and are dark green in spring and summer, turning golden in the fall. Male and female flowers are on the same tree and appear as the leaves emerge. Male flowers are drooping yellow catkins. Female flowers grow in small clusters and are reddish in color. The post oak grows in dry to sandy soils that are often nutrient poor. The acorns are about one-half inch long, are ovoid in shape, and ripen September through November. The post oak is often planted as a shade tree. Like other oaks, the acorns provide food for squirrels, deer, birds, raccoons and other small animals. The leaves are used for nest building by birds. Some animals use the tree cavities in the trunk or limbs as homes. Native Americans consumed acorns from many oak species, including those from the post oak. Parts of the tree were used to treat skin infections, fevers, dysentery, and canker sores. CHINABERRY Melia azedarach TRAIL MARKER: 15 N 30° 44' 2.1" W 098° 21' 29.6" Chinaberry is a native of Asia. Many consider it to be a bothersome invasive tree because of its widespread and prolific growth in Texas and towards the Northeast. Neither bees nor butterflies are attracted to the pollen. Birds will gorge on the fruit and act in a "drunken" manner after doing so, but are otherwise immune to its ill effects. The fruit is poisonous to humans with symptoms after ingestion including stomach pain, lack of coordination, pulmonary congestion, and vomiting. Chinaberry is an example of an "exotic invasive" species. Native species of plants and animals evolved with a balance between species. When species like the Chinaberry tree are brought from another area, the native species are not prepared to compete with the exotic species. As a result, invasive species spread without an ecological check on their growth. Other exotic invasive species include kudzu vine, Chinese tallow, Johnson grass, privet and feral hogs. Chinaberry is a member of the mahogany family. It grows to an average height of 45 feet. Other names for the tree are bead-tree, Indian-lilac, and pride-of-India. The word azedarach in its scientific name is an old Persian word meaning "noble tree." The leaves can sometimes grow up to two feet long. The tree flowers March through May with open, fragrant, purplish flowers. The fruit ripens in September and October and is fleshy, yellow, and smooth with three to five black seeds inside that are easily dispersed by birds. The main use for Chinaberry is the wood because it resists warping and fungal infections. The seeds were used for beads in the past before plastic became popular. NATURAL PROCESSES TRAIL MARKER: 16 N 30° 44' 2.0" W 098° 21' 29.2" At this viewpoint, you can see another oak tree. From the earlier description of post oak and live oak trees, can you tell what kind this one is? You may also be able to see a prickly pear cactus growing in the crook of the trunk. Cacti have evolved to be able to survive with very little water, in this case, just the amount of water that is available high in this oak tree. Throughout history, wildfires have been part of the natural environment. Sometimes caused by lightning, wildfires would spread quickly and last until they burned themselves out. Many plant species have adapted to the periodic occurrence of wildfires. Texas Parks and Wildlife uses prescribed fires to reduce the litter load and restore the environment. VEIN OF QUARTZ TRAIL MARKER: 17 N 30° 44' 0.4" W 098° 21' 30.7" Up on the rock, you will see several wide veins of a white, shiny mineral. This is the mineral quartz, which intruded into the surro


text:
#include <linux/pci.h>
#include <linux/acpi.h>
#include <linux/init.h>
#include <linux/irq.h>
#include <linux/dmi.h>
#include <linux/slab.h>
#include <asm/numa.h>
#include <asm/pci_x86.h>

struct pci_root_info {
	struct acpi_device *bridge;
	char *name;
	unsigned int res_num;
	struct resource *res;
	struct list_head *resources;
	int busnum;
};

static bool pci_use_crs = true;

static int __init set_use_crs(const struct dmi_system_id *id)
{
	pci_use_crs = true;
	return 0;
}

static int __init set_nouse_crs(const struct dmi_system_id *id)
{
	pci_use_crs = false;
	return 0;
}

static const struct dmi_system_id pci_use_crs_table[] __initconst = {
	/* http://bugzilla.kernel.org/show_bug.cgi?id=14183 */
	{
		.callback = set_use_crs,
		.ident = "IBM System x3800",
		.matches = {
			DMI_MATCH(DMI_SYS_VENDOR, "IBM"),
			DMI_MATCH(DMI_PRODUCT_NAME, "x3800"),
		},
	},
	/* https://bugzilla.kernel.org/show_bug.cgi?id=16007 */
	/* 2006 AMD HT/VIA system with two host bridges */
        {
		.callback = set_use_crs,
		.ident = "ASRock ALiveSATA2-GLAN",
		.matches = {
			DMI_MATCH(DMI_PRODUCT_NAME, "ALiveSATA2-GLAN"),
                },
        },
	/* https://bugzilla.kernel.org/show_bug.cgi?id=30552 */
	/* 2006 AMD HT/VIA system with two host bridges */
	{
		.callback = set_use_crs,
		.ident = "ASUS M2V-MX SE",
		.matches = {
			DMI_MATCH(DMI_BOARD_VENDOR, "ASUSTeK Computer INC."),
			DMI_MATCH(DMI_BOARD_NAME, "M2V-MX SE"),
			DMI_MATCH(DMI_BIOS_VENDOR, "American Megatrends Inc."),
		},
	},
	/* https://bugzilla.kernel.org/show_bug.cgi?id=42619 */
	{
		.callback = set_use_crs,
		.ident = "MSI MS-7253",
		.matches = {
			DMI_MATCH(DMI_BOARD_VENDOR, "MICRO-STAR INTERNATIONAL CO., LTD"),
			DMI_MATCH(DMI_BOARD_NAME, "MS-7253"),
			DMI_MATCH(DMI_BIOS_VENDOR, "Phoenix Technologies, LTD"),
		},
	},

	/* Now for the blacklist.. */

	/* https://bugzilla.redhat.com/show_bug.cgi?id=769657 */
	{
		.callback = set_nouse_crs,
		.ident = "Dell Studio 1557",
		.matches = {
			DMI_MATCH(DMI_BOARD_VENDOR, "Dell Inc."),
			DMI_MATCH(DMI_PRODUCT_NAME, "Studio 1557"),
			DMI_MATCH(DMI_BIOS_VERSION, "A09"),
		},
	},
	/* https://bugzilla.redhat.com/show_bug.cgi?id=769657 */
	{
		.callback = set_nouse_crs,
		.ident = "Thinkpad SL510",
		.matches = {
			DMI_MATCH(DMI_BOARD_VENDOR, "LENOVO"),
			DMI_MATCH(DMI_BOARD_NAME, "2847DFG"),
			DMI_MATCH(DMI_BIOS_VERSION, "6JET85WW (1.43 )"),
		},
	},
	{}
};

void __init pci_acpi_crs_quirks(void)
{
	int year;

	if (dmi_get_date(DMI_BIOS_DATE, &year, NULL, NULL) && year < 2008)
		pci_use_crs = false;

	dmi_check_system(pci_use_crs_table);

	/*
	 * If the user specifies "pci=use_crs" or "pci=nocrs" explicitly, that
	 * takes precedence over anything we figured out above.
	 */
	if (pci_probe & PCI_ROOT_NO_CRS)
		pci_use_crs = false;
	else if (pci_probe & PCI_USE__CRS)
		pci_use_crs = true;

	printk(KERN_INFO "PCI: %s host bridge windows from ACPI; "
	       "if necessary, use \"pci=%s\" and report a bug\n",
	       pci_use_crs ? "Using" : "Ignoring",
	       pci_use_crs ? "nocrs" : "use_crs");
}

static acpi_status
resource_to_addr(struct acpi_resource *resource,
			struct acpi_resource_address64 *addr)
{
	acpi_status status;
	struct acpi_resource_memory24 *memory24;
	struct acpi_resource_memory32 *memory32;
	struct acpi_resource_fixed_memory32 *fixed_memory32;

	memset(addr, 0, sizeof(*addr));
	switch (resource->type) {
	case ACPI_RESOURCE_TYPE_MEMORY24:
		memory24 = &resource->data.memory24;
		addr->resource_type = ACPI_MEMORY_RANGE;
		addr->minimum = memory24->minimum;
		addr->address_length = memory24->address_length;
		addr->maximum = addr->minimum + addr->address_length - 1;
		return AE_OK;
	case ACPI_RESOURCE_TYPE_MEMORY32:
		memory32 = &resource->data.memory32;
		addr->resource_type = ACPI_MEMORY_RANGE;
		addr->minimum = memory32->minimum;
		addr->address_length = memory32->address_length;
		addr->maximum = addr->minimum + addr->address_length - 1;
		return AE_OK;
	case ACPI_RESOURCE_TYPE_FIXED_MEMORY32:
		fixed_memory32 = &resource->data.fixed_memory32;
		addr->resource_type = ACPI_MEMORY_RANGE;
		addr->minimum = fixed_memory32->address;
		addr->address_length = fixed_memory32->address_length;
		addr->maximum = addr->minimum + addr->address_length - 1;
		return AE_OK;
	case ACPI_RESOURCE_TYPE_ADDRESS16:
	case ACPI_RESOURCE_TYPE_ADDRESS32:
	case ACPI_RESOURCE_TYPE_ADDRESS64:
		status = acpi_resource_to_address64(resource, addr);
		if (ACPI_SUCCESS(status) &&
		    (addr->resource_type == ACPI_MEMORY_RANGE ||
		    addr->resource_type == ACPI_IO_RANGE) &&
		    addr->address_length > 0) {
			return AE_OK;
		}
		break;
	}
	return AE_ERROR;
}

static acpi_status
count_resource(struct acpi_resource *acpi_res, void *data)
{
	struct pci_root_info *info = data;
	struct acpi_resource_address64 addr;
	acpi_status status;

	status = resource_to_addr(acpi_res, &addr);
	if (ACPI_SUCCESS(status))
		info->res_num++;
	return AE_OK;
}

static acpi_status
setup_resource(struct acpi_resource *acpi_res, void *data)
{
	struct pci_root_info *info = data;
	struct resource *res;
	struct acpi_resource_address64 addr;
	acpi_status status;
	unsigned long flags;
	u64 start, orig_end, end;

	status = resource_to_addr(acpi_res, &addr);
	if (!ACPI_SUCCESS(status))
		return AE_OK;

	if (addr.resource_type == ACPI_MEMORY_RANGE) {
		flags = IORESOURCE_MEM;
		if (addr.info.mem.caching == ACPI_PREFETCHABLE_MEMORY)
			flags |= IORESOURCE_PREFETCH;
	} else if (addr.resource_type == ACPI_IO_RANGE) {
		flags = IORESOURCE_IO;
	} else
		return AE_OK;

	start = addr.minimum + addr.translation_offset;
	orig_end = end = addr.maximum + addr.translation_offset;

	/* Exclude non-addressable range or non-addressable portion of range */
	end = min(end, (u64)iomem_resource.end);
	if (end <= start) {
		dev_info(&info->bridge->dev,
			"host bridge window [%#llx-%#llx] "
			"(ignored, not CPU addressable)\n", start, orig_end);
		return AE_OK;
	} else if (orig_end != end) {
		dev_info(&info->bridge->dev,
			"host bridge window [%#llx-%#llx] "
			"([%#llx-%#llx] ignored, not CPU addressable)\n",
			start, orig_end, end + 1, orig_end);
	}

	res = &info->res[info->res_num];
	res->name = info->name;
	res->flags = flags;
	res->start = start;
	res->end = end;
	res->child = NULL;

	if (!pci_use_crs) {
		dev_printk(KERN_DEBUG, &info->bridge->dev,
			   "host bridge window %pR (ignored)\n", res);
		return AE_OK;
	}

	info->res_num++;
	if (addr.translation_offset)
		dev_info(&info->bridge->dev, "host bridge window %pR "
			 "(PCI address [%#llx-%#llx])\n",
			 res, res->start - addr.translation_offset,
			 res->end - addr.translation_offset);
	else
		dev_info(&info->bridge->dev, "host bridge window %pR\n", res);

	return AE_OK;
}

static bool resource_contains(struct resource *res, resource_size_t point)
{
	if (res->start <= point && point <= res->end)
		return true;
	return false;
}

static void coalesce_windows(struct pci_root_info *info, unsigned long type)
{
	int i, j;
	struct resource *res1, *res2;

	for (i = 0; i < info->res_num; i++) {
		res1 = &info->res[i];
		if (!(res1->flags & type))
			continue;

		for (j = i + 1; j < info->res_num; j++) {
			res2 = &info->res[j];
			if (!(res2->flags & type))
				continue;

			/*
			 * I don't like throwing away windows because then
			 * our resources no longer match the ACPI _CRS, but
			 * the kernel resource tree doesn't allow overlaps.
			 */
			if (resource_contains(res1, res2->start) ||
			    resource_contains(res1, res2->end) ||
			    resource_contains(res2, res1->start) ||
			    resource_contains(res2, res1->end)) {
				res1->start = min(res1->start, res2->start);
				res1->end = max(res1->end, res2->end);
				dev_info(&info->bridge->dev,
					 "host bridge window expanded to %pR; %pR ignored\n",
					 res1, res2);
				res2->flags = 0;
			}
		}
	}
}

static void add_resources(struct pci_root_info *info)
{
	int i;
	struct resource *res, *root, *conflict;

	coalesce_windows(info, IORESOURCE_MEM);
	coalesce_windows(info, IORESOURCE_IO);

	for (i = 0; i < info->res_num; i++) {
		res = &info->res[i];

		if (res->flags & IORESOURCE_MEM)
			root = &iomem_resource;
		else if (res->flags & IORESOURCE_IO)
			root = &ioport_resource;
		else
			continue;

		conflict = insert_resource_conflict(root, res);
		if (conflict)
			dev_info(&info->bridge->dev,
				 "ignoring host bridge window %pR (conflicts with %s %pR)\n",
				 res, conflict->name, conflict);
		else
			pci_add_resource(info->resources, res);
	}
}

static void
get_current_resources(struct acpi_device *device, int busnum,
		      int domain, struct list_head *resources)
{
	struct pci_root_info info;
	size_t size;

	info.bridge = device;
	info.res_num = 0;
	info.resources = resources;
	acpi_walk_resources(device->handle, METHOD_NAME__CRS, count_resource,
				&info);
	if (!info.res_num)
		return;

	size = sizeof(*info.res) * info.res_num;
	info.res = kmalloc(size, GFP_KERNEL);
	if (!info.res)
		return;

	info.name = kasprintf(GFP_KERNEL, "PCI Bus %04x:%02x", domain, busnum);
	if (!info.name)
		goto name_alloc_fail;

	info.res_num = 0;
	acpi_walk_resources(device->handle, METHOD_NAME__CRS, setup_resource,
				&info);

	if (pci_use_crs) {
		add_resources(&info);

		return;
	}

	kfree(info.name);

name_alloc_fail:
	kfree(info.res);
}

struct pci_bus * __devinit pci_acpi_scan_root(struct acpi_pci_root *root)
{
	struct acpi_device *device = root->device;
	int domain = root->segment;
	int busnum = root->secondary.start;
	LIST_HEAD(resources);
	struct pci_bus *bus;
	struct pci_sysdata *sd;
	int node;
#ifdef CONFIG_ACPI_NUMA
	int pxm;
#endif

	if (domain && !pci_domains_supported) {
		printk(KERN_WARNING "pci_bus %04x:%02x: "
		       "ignored (multiple domains not supported)\n",
		       domain, busnum);
		return NULL;
	}

	node = -1;
#ifdef CONFIG_ACPI_NUMA
	pxm = acpi_get_pxm(device->handle);
	if (pxm >= 0)
		node = pxm_to_node(pxm);
	if (node != -1)
		set_mp_bus_to_node(busnum, node);
	else
#endif
		node = get_mp_bus_to_node(busnum);

	if (node != -1 && !node_online(node))
		node = -1;

	/* Allocate per-root-bus (not per bus) arch-specific data.
	 * TODO: leak; this memory is never freed.
	 * It's arguable whether it's worth the trouble to care.
	 */
	sd = kzalloc(sizeof(*sd), GFP_KERNEL);
	if (!sd) {
		printk(KERN_WARNING "pci_bus %04x:%02x: "
		       "ignored (out of memory)\n", domain, busnum);
		return NULL;
	}

	sd->domain = domain;
	sd->node = node;
	/*
	 * Maybe the desired pci bus has been already scanned. In such case
	 * it is unnecessary to scan the pci bus with the given domain,busnum.
	 */
	bus = pci_find_bus(domain, busnum);
	if (bus) {
		/*
		 * If the desired bus exits, the content of bus->sysdata will
		 * be replaced by sd.
		 */
		memcpy(bus->sysdata, sd, sizeof(*sd));
		kfree(sd);
	} else {
		get_current_resources(device, busnum, domain, &resources);

		/*
		 * _CRS with no apertures is normal, so only fall back to
		 * defaults or native bridge info if we're ignoring _CRS.
		 */
		if (!pci_use_crs)
			x86_pci_root_bus_resources(busnum, &resources);
		bus = pci_create_root_bus(NULL, busnum, &pci_root_ops, sd,
					  &resources);
		if (bus)
			bus->subordinate = pci_scan_child_bus(bus);
		else
			pci_free_resource_list(&resources);
	}

	/* After the PCI-E bus has been walked and all devices discovered,
	 * configure any settings of the fabric that might be necessary.
	 */
	if (bus) {
		struct pci_bus *child;
		list_for_each_entry(child, &bus->children, node) {
			struct pci_dev *self = child->self;
			if (!self)
				continue;

			pcie_bus_configure_settings(child, self->pcie_mpss);
		}
	}

	if (!bus)
		kfree(sd);

	if (bus && node != -1) {
#ifdef CONFIG_ACPI_NUMA
		if (pxm >= 0)
			dev_printk(KERN_DEBUG, &bus->dev,
				   "on NUMA node %d (pxm %d)\n", node, pxm);
#else
		dev_printk(KERN_DEBUG, &bus->dev, "on NUMA node %d\n", node);
#endif
	}

	return bus;
}

int __init pci_acpi_init(void)
{
	struct pci_dev *dev = NULL;

	if (acpi_noirq)
		return -ENODEV;

	printk(KERN_INFO "PCI: Using ACPI for IRQ routing\n");
	acpi_irq_penalty_init();
	pcibios_enable_irq = acpi_pci_irq_enable;
	pcibios_disable_irq = acpi_pci_irq_disable;
	x86_init.pci.init_irq = x86_init_noop;

	if (pci_routeirq) {
		/*
		 * PCI IRQ routing is set up by pci_enable_device(), but we
		 * also do it here in case there are still broken drivers that
		 * don't use pci_enable_device().
		 */
		printk(KERN_INFO "PCI: Routing PCI interrupts for all devices because \"pci=routeirq\" specified\n");
		for_each_pci_dev(dev)
			acpi_pci_irq_enable(dev);
	}

	return 0;
}

redpajama_set_name: RedPajamaGithub


text:
The Pilgrim Papers A Pilgrim's View of Time and Space
The Pilgrim Papers A Pilgrim's View of Time and Space by Milton F Sanders
Author: Milton F Sanders
Published Date: 26 Aug 2011
Publisher: Xlibris Corporation
Format: Hardback| 236 pages
File Name: The Pilgrim Papers A Pilgrim's View of Time and Space.pdf
Download Link: The Pilgrim Papers A Pilgrim's View of Time and Space
This paper outlines the issues and challenges in the core of pilgrim cities which is justified as the surrounding place of worships or preferably the temple core that signifies changes in frequency and character of the pilgrims over the past few decades which reflect new pressures on the built environment of sacred sites based on literature Time. Martin Coleman. Abstract. The views of John Dewey and Kurt Von- negut are often This paper Billy Pilgrims experiences are not wrong or untrue, because the time does not consist of separate sections analogous to spatial d. He screams on paper, Make them stop. Listen: Billy Pilgrim has come unstuck in time, announces Vonnegut on his Vonnegut repeatedly articulates a desire for the self to break free of the deterministic bonds of history, time, and space, Moreover, observing Dresden through Pilgrim's perspective allows Vonnegut to Journalist Jeffrey R. Di Leo once asked Kurt Vonnegut about the situation of the world at that time, the mid-eighties. His question was not long I don't know if my being there in that place and at that time makes me a bad The Iran Cables: Secret Documents Show How Tehran Wields Power in Iraq because it forces a perspective so separate, or alien, that with a little luck we Through the little green eyes of Billy Pilgrim's Tralfamadorian captors, This article examines the contribution of guiding to pilgrims negotiation of space and experience of place in religious pilgrimage. Written from an anthropological perspective and limited to selected national, regional, and local Christian pilgrimages in Costa Rica, it focuses on the roles, including mediation, of persons, places, and especially texts oral, written, and environmental The novel features the author's perspective in the first and last chapters, and briefly throughout perspective of a fictional character, Billy Pilgrim, who has "come unstuck in time". from various points in Billy's life, but the main action takes place in Europe during the war. Following this opening, Billy Pilgrim's story begins. In flat words on a piece of paper, the character and situations are almost totally But, the film, by virtue of the silliness of his views, and the demented (or retarded) time in the novel, it also is clearly the axis upon which Pilgrim's life turned. The film, despite its wide swaths cut through time and space, It's not too early to be thinking about Thanksgiving! I picked up this plastic planter and thought hey, this shape would be the perfect pilgrim hat. A few short steps later, and it looks great! Take a look at how I did it. First I gathered my materials. You can find such fun fall craft items at the Each year at this time, schoolchildren all over America are taught the official Thanksgiving story, and newspapers, radio, TV, and magazines devote vast amounts of time and space to it. It is all The Great Thanksgiving Hoax | Mises Institute Letters & Essays But as soon as he abandons the idea of a linear and faithful Billy Pilgrim's story is instead a light, glass, and steel structure with its own Like Billy's perception of time, space in the suspended structure is Unlike other characters, Billy Pilgrim's life does not follow a linear path. Vonnegut portrays free will not as an abstract concept, but rather as a the firebombing of Dresden, and at the time Slaughterhouse five was published, in 1969, the The main purpose of this research paper is to determine that the use of the motif in A view of the devastated city of Dresden, Germany, seen in 1945 from the city hall. Hiroshima, or was it more akin to the absurdist plot thread of Pilgrim's alien abduction? one that would combine the story of Vonnegut's time with the historical events. It was a clean, quiet place with little visible activity. This paper examines the narrative Absurd, Literature of the to view a human being as an isolated the aid of Fauconnier's mental space theory, in which a conditional mental space is Billy Pilgrim's time leaps, then, are not so much.
Download to iPad/iPhone/iOS, B&N nook The Pilgrim Papers A Pilgrim's View of Time and Space
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Rimpiangiamo il vecchio muro
The Quest for Elvenwood or Penoit's Great Adventure
Burnett Frances H. Secret Garden (Sc)
Download Oxford Reading Tree TreeTops Classics Level 16 Moonfleet

redpajama_set_name: RedPajamaCommonCrawl


text:
Photobookstore
Tales of Tono
Reserve your copy of the definitive new edition
Order now more new arrivals
Alison McCauley
Buy now More new arrivals
Mark Mahaney
Polar Night
Order your copy of the new edition
buy now More new books
annual end of year feature:
Photobooks of 2021
Terre à l'Amende (signed)
Mark Power
Tales of Tono (new edition) signed
The Suffering of Light
Alex Webb
Modern Instances: The Craft of Photography (signed) pre-order
Gravity Begins at Home (signed)
Guy Bolongaro
Kanaval
Before this comes to pass (signed)
Rochelle Marie Adam
American Mirror
Philip Montgomery
We are Made of Grass, Soil, Trees and Flowers
Survey: Mountains
Shiho Yoshida
DECOTORA Hachinohe
Masaru Tatsuki
Last Best Hope (special edition)
Juan Aballe
Missing Pages
Peter Wendel
Le Livre de recettes / The Recipe Book
Lisa Garnier
Ronny Rønning
Ylandet & Människan / Howling & Humans
Helga Härenstam
GOST 2021
'The pictures in this book are the result of an invitation from Guernsey Photography Festival to participate in their artist-in-residency programme. I made four visits over the course of eighteen months before the work was finally exhibited on the island in Autumn 2018.
Territorially and politically, the Channel Islands, of which Guernsey is the second largest, are complicated. They're not part of the United Kingdom, but they are included in the British Isles and residents are entitled to UK passports; they've never be members of the European Union although the islands lie closer to the coast of northern France than that of southern England.
Guernsey is probably best known for its beach resorts, coastal cliffs, and a history of occupation by German forces during the Second World War, of which much physical evidence remains. It's also home to a thriving financial sector offering substantial tax incentives, and a workforce often on short-term contracts living slightly uncomfortably alongside those born and bread on the island.
The title of the work, Terre à l'Amende, comes from the profusion of signs which give notice of private land and warn of fines for trespassing. Land is a precious commodity in Guernsey – it's a small island (just 25 square miles) with a population of some 63,000 people. These signs, along with mile upon mile of walls and fences delineating private property, only served to reinforce my position as an outsider. However, while crisscrossing the island again and again on foot, it wasn't long before I developed a great fondness for this strange and essentially unique environment.
We had two family vacations on Guernsey when I was a child, and it continues to market itself as an idyllic holiday destination. However, once I started looking it wasn't difficult to see what might lie beneath this somewhat flimsy façade. Walking slowly and relying upon instinct as I sought to make sense of what I was seeing, anything became a potential subject: evocative objects, strange gestures, chance encounters, or even animals that happened to cross my path. Deviating from traditional picturesque representations of landscape, and this one in particular, I instead went in search of a contrary vision, one of an uneasy, unsettling place where all might not be as it seems.
This is not to suggest that these pictures describe what Guernsey is, or even what it looks like; they are – and can only ever be – an impression. In fact, the work might be less about Guernsey per se and more about the decisions taken when we make pictures. If, for example, a photographer or painter is commissioned by a tourist board to create a picture postcard, an idyllic version of a particular place, they will inevitably choose the right viewpoint, the right weather and the right time of day before finally pressing the button or making the first mark on canvas. In so doing they are suppressing a substantial percentage of the rest which is neither seen nor shown. I've simply worked at the other end of the same spectrum, intentionally revealing the opposite viewpoint and editing out the rest. That being so it could be argued that I've described Guernsey with the same lack of veracity as a picture postcard.
And yet Guernsey is no paradise. The local newspaper reveals a place with its own problems – domestic violence, poverty and other hardships - just like anywhere else. Given this, it might otherwise be said that these pictures offer a truer depiction of Guernsey than any postcard ever could.'
- Mark Power
Signed copy.
Akio Nagasawa 2022
Softcover, revised edition, 210 x 297 mm
This is the definitive edition of my "Tales of Tono"
– Daido Moriyama
After its initial publication by Asahi Sonorama in 1976, "TALES of TONO" was reissued in different versions by Kobunsha in 2007, and by Tate Publishing in 2012. However, these were paperback, pocket size editions, which I found somewhat unsatisfactory with regard to enjoying the pictures. For this new, re-edited version, we used larger format, and included 49 previously unpublished photographs that were not included in the first edition.
– from the afterword by Akio Nagasawa
Signed and numbered edition of 600 copies, with a silkscreen-canvas cover.
Due in stock 28th January 2022, reserve your copy now.
Regular price £125.00 Save Liquid error (product-template line 124): Computation results to '-Infinity'%
Thames & Hudson 2013
Hardback, reprinted edition
"The Suffering of Light" is the first comprehensive monograph charting the career of acclaimed American photographer Alex Webb. Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, "The Suffering of Light" provides the most thorough examination to date of this modern master's prolific, 30-year career.
2013 UK edition in fine condition.
Mack 2022
'Although the dream is a very strange phenomenon and an inexplicable mystery, far more inexplicable is the mystery and aspect our minds confer on certain objects and aspects of life.' Giorgio de Chirico
Stephen Shore's Modern Instances: The Craft of Photography is an experimental new memoir from one of the world's most prolific artists — an impressionistic scrapbook that documents the rich and surprising touchstones that make up over half a century of ground-breaking work. With essays, photographs, stories, and excerpts that draw on Shore's decades of teaching, this is an essential handbook for anyone interested in learning more about mastering one's craft and the distinct threads that come together to inform a creative voice. As much as offering meditation on the influences of a single artist, Modern Instances proposes a new way of thinking about the world around us, in which even the smallest moment can become a source of boundless inspiration — if only we pay attention.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
Due in stock early February 2022, reserve your signed edition now.
Here Press 2021
Set of softcovers, 1st edition
'Firstly, I try to stress the importance of home and the family: I feel they are terribly important.
And secondly, I try to stress the fact that the theory of gravity is a lot of nonsense.'
– Ivor Cutler, 1959
Guy Bolongaro (born Crewe, 1978) studied sociology before moving to London to become a social worker. Around 2014, burnt out by work and frustrated by his attempts at making documentary films in his spare time, he began taking photographs as a form of 'daily art therapy,' making images on his lunch breaks and walks home from work. A few years after the birth of his first child he shifted focus from the public sphere to the family cosmos, turning attention from his walking routes to his domestic routines.
Capturing the strange and vibrant moments within the daily maelstrom of childcare and child's play, and in documenting the cyclical patterns of family life, Bolongaro began a process of working through his feelings of ambivalence about how we live within the idealised 'family unit', attempting to persuade himself that family – or at any rate, his own – can work.
In the song from which 'Gravity Begins At Home' takes its title, the Scottish musician Ivor Cutler assures us that the theory of gravity is 'a lot of nonsense', and Bolongaro's photographs appear to support this notion – that when it comes to family, everything is up in the air: here objects (eggs, daffodils, lit candles) levitate, and children fly as though possessed. Here too are celestial bodies, mirrorings and doublings, games of scale, and collage-like overlappings and abuttings, alongside quieter, homespun scenes of domestic life (hair is brushed, telly watched, laundry folded).
Cutler suggests that the family is something 'terribly important'. Even if we accept this, then the importance of family is surely far from uncomplicated. So, while there are moments when the way we live together seems to defy the rules of gravity, we should continue to question the confines and strictures of the nuclear family model.
Composed of four expandable books held within a slipcase (finished with stickers applied by Bolongaro and his children) 'Gravity Begins At Home' gives us a dynamic, unsentimental view of family life: ambiguous, chaotic, unsettling and joyous in equal measure.
Hardback, 2nd edition
'Before Carnival, you never sleep, always dreaming of bringing pleasure, innovation and creation.'
– Fanel Saint-Helere & Frantz Denoujou (Flanbo Mardi Gras troupe)
Leagues away from the sequinned, sanitised, corporate-sponsored carnivals found elsewhere in the Americas, the Madigra troupes of the Haitian port town of Jacmel enact and subvert myth, legends and the nation's own histories, their improvisational costumes and surreal narratives a Vodou-charged blend of folk memory, political satire and personal revelation.
Here the Zèl Maturin, satin-clad devils in papier-mâché masks, hinged wooden wings clapping on their backs, do battle against Sen Michèl Arkanj and his army of pastors; further on the Chaloska in their cows'-tooth-adorned masks transform the feared early twentieth-century police chief Charles Oscar Étienne into a metaphor for the corrupting nature of absolute power.
At the crossroads the horned Lanse Kòd, their skin shining blacker than black with a mixture of cane syrup and charcoal, perform press-ups before running amok through the crowds. Meanwhile a trouser-clad donkey, led by the leaf-skirted Atibruno troupe, speaks into a mobile phone and eats fried plantain, to show the world that the peasants are as good as anyone, that all donkeys are important.
Here too are lone, idiosyncratic characters: Geralda, the single mother of a starving child, the mermaid-in-disguise Madanm Lasirèn, and Bounda pa Bounda, who plays out a Vodou vision revealed by a treetop-dwelling spirit.
Leah Gordon has been photographing Jacmel Carnival and recording oral histories with its participants since 1995. Her photographs in 'Kanaval' are stripped of kinesis and exuberance. She uses a sixty-year-old Rolleicord medium-format twin-lens-reflex camera, and shoots onto black and white negative film. The camera is mechanical, and once the film is loaded the shutter has to be physically cocked and the exposure set manually. She always asks permission and pays the participants for the chance to photograph them. A consensual reciprocity between the photographer and the sitter arises which leaves behind the commotion of the street and enters the more tranquil territory of a portrait studio. The time and space created allows for some of the historical narratives of the Madigra to seep through.
Revised and expanded second edition which includes many new photographs and oral histories, eleven years after its first publication.
More stock expected soon - reserve your copy now.
Tall Poppy Press 2021
Softcover, 1st edition, 92p
Sitting between the desire to leave and a love for those who've stayed, Before this comes to pass centers on the feeling of not quite wanting to be here but not really wanting to say goodbye. Rochelle Marie Adam's debut monograph is imbued with love and care, attention directed to what makes each person and place worth loving, but also worth leaving. Like a buoyancy one gains only from cutting ties, the cities and suburbs shown are both comfortable but also empty: profoundly solitary and overwhelmingly lived in. Adam's photos trace feelings of joy amidst an undercurrent of dread. As old friends become old friends, house mates because house bound and the suburbs now feel not just dull but desolate, Adam's work shows the subtle details that point to closeness, the worlds we build for ourselves through the things we own and the visibility of our relationships
Yet far from hard or critical, those shown are always viewed as connected, loved and noticed: even as domestic life itself may feel worrisome, those who live it are always photographed tenderly and kindly, with conviction and respect. Adams' work asks: what is the space between restless and settling down? What is the feeling between appreciation and worry? What do we make for ourselves when given the chance?
Swiss-bound edition of 150 copies. Signed copy.
Aperture 2021
"Montgomery's photographs capture the reality of Americans in crisis, in all our flawed, tragic, ridiculous glory." —Patrick Radden Keefe, author of Empire of Pain: The Secret History of the Sackler Dynasty
American Mirror is award-winning photographer Philip Montgomery's dramatic chronicle of the United States at a time of profound change. Through his intimate and powerful reporting and a signature black-and-white style, Montgomery reveals the fault lines in American society, from police violence and the opioid addiction crisis to the COVID-19 pandemic and the demonstrations in support of Black lives. Yet in his unflinching images, we also see moments of grace and sacrifice, glimmers of solidarity and tireless advocates for democracy. Like Dorothea Lange and Walker Evans before him, Montgomery has made an unforgettable testament of a nation at a crossroads.
Photographs by Philip Montgomery. Text by Patrick Radden Keefe and Jelani Cobb.
T&M 2021
Yamamoto is known for her portraits of young woman framed in subdued settings pierced by natural sunlight. With these photos, her interest lies in the universally human figure as organ/vessel concealed beneath the mask each individual subject dons from day to day. Since her work in Estonia in 2009, Yamamoto's practice has incorporated the unconventional process of visiting countries where verbal communication is a struggle for her, choosing subjects, clothing and locations on arrival and conducting her work by body language, without speaking. This act of photography, a multilayered blending difficult to imagine from the fixed tone of Yamamoto's works, bears fruit via its accumulated performing, as a collection of fragments unconsciously displayed by the girls.
The title "We are made of Grass, Soil, Trees, and Flowers" adds the word "flowers" to the title of Yamamoto's 2018 book, indicating the artist's desire to retain the concept employed in her prior work. For this book, Yamamoto leaves her previous main shooting location of Eastern Europe to present photos taken on a visit to Malawi in Africa, and Hokkaido and Okinawa in Japan. The places she visits and the cumulative sense of belonging in the innate culture, customs, and beliefs of the people who live there, are comprehensively taken on board and applied to her practice. As an extension of Yamamoto's previous work, these photographs pointing to a new expansion into more intimate viewpoints skillfully convey the photographer's quiet thrill at witnessing the moment when the gentle, generous light of nature intersects with the unselfconscious figures of the subjects who present themselves.
I have long explored what it is that narrowly persists in the body even after a person is stripped of all their affiliations; what it is that makes that person, that person. While accepting the preciousness of the characteristics and individuality we each possess, I wonder if perhaps upon diving beneath the ground on which we stand, we might find a network of connected roots that transcends all boundaries, as if to trace the very origins of human memory.
–− Ayaka Yamamoto, 2021
The Internet has become a part of our daily lives, we live with all kinds of "images" through many types of mediums. Therefore, it may be obvious that the "photograph" of a few decades ago is completely different from the "photograph" of today. Yoshida explores the possibilities of photography in the present in a variety of ways.
In this series, "Survey: Mountains," Yoshida approaches the subject of mountains.
She explored (surveyed) mountains through a complex combination of photographic processes, such as searching for images on the Internet, researching in a virtual space on Google Maps, and actually visiting the site to take photographs. Even the same mountain can be seen and perceived differently depending on the angle and method of approach. Also, the aspect of the mountain that Yoshida presented in her exhibition changed each time. Through the accumulation of many attempts, Yoshida formed the "mountain".
In this book, Yoshida has compiled not only photographs that she collected or actually took, but also photographs of the exhibition installation view. Cultural researcher Hiroki Yamamoto has also contributed to the book. This is a book that questions the way we look at the world today and the way images should be.
I look for somewhere I want to go, by searching for information and images, maps and aerial photographs on the internet, then photograph on-screen the images that come up, and armed with these, make my way to the actual location.
Sometimes that place is smaller than I imagined from the information gleaned earlier. Or perhaps the topography has changed. If occasionally I feel let down in this way, on other occasions I stumble upon scenes more stunning than anything I envisaged. And sometimes I gain nothing at all from the journey.
Just as lava accumulates to make a huge mountain, mountains photographed in various places accumulate on my little hard disk, forming an imaginary mountain.
In a space overflowing with mountain images and information, I felt the weight of an actual mountain, a mountain that surely ought not to be there. The task of giving shape to non-existent ground to define the contours of a mountain, is exactly like surveying.
− Shiho Yoshida
Decorated trucks, called DECOTORA. Drivers decorate the trucks that carry the things that are essential to our daily lives with their rich ideas and decoration skill. The decorations themselves were also drivers' way of life.
Masaru Tatsuki made his debut in 2007 with his series of photographs of decorated trucks and drivers, "DECOTORA." Since then, he has rarely photographed DECOTORA, but has instead photographed various parts of the Tohoku region and related things such Jomon pottery pieces, tracing the connections that began with DECOTORA series.
Hachinohe in Aomori Prefecture, Japan is said to be the birthplace of the DECOTORA (there are various theories about its origin), and it is also the place where Tatsuki photographed the series "FISH-MAN." This time, Tatsuki, who started his career as a photographer with DECOTORA, decided to photograph DECOTORA again for the reopening exhibition of Hachinohe Art Museum.
In the 14 years that have passed since the start of Tatsuki's career as a photographer, the world has changed and the decoration of DECOTORA has changed a lot with strict regulations. However, the fact that decorating trucks is a way of life for the drivers has not changed. And the fact that drivers support our daily lives will never change.
Through DECOTORA, Tatsuki has continued to see many things that we overlook, and this society itself. "DECOTORA Hachinohe" is different from "DECOTORA" released in 2007 in the way it is shot and the distance between Tatsuki and the drivers. However, what Tatsuki sees is the same.
This book contains 12 photographs and an essay by Tatsuki, who has never written about DECOTORA before, entitled "DECOTORA – A way of life."
Another Place Press 2021
Softcover, 1st edition with print
"Know ye, that on the right hand of the Indies there is an island called California very close to a side of the Earthly Paradise"
The Adventures of Esplandián, Garci Rodríguez de Montalbo (Seville, 1510)
Photographed in the city of Oakland, California, Last Best Hope is a visual essay that reflects on hope as a fundamental driving force of the human condition.
The images of Last Best Hope take reality as a starting point to create a fragmented narrative that is torn between idealism and delusion, between the search for a better life and the decay of a paradise that has long ceased to be one.
Special Edition, limited to 30 copies - each with an A4 limited edition inkjet print signed and numbered by Juan (see image)
The photo album that my mother put together stands on the shelf, portraying the family, relatives, holidays and everyday occurrences from my childhood. Over the years, the story of my family has become my own memories. What sort of photo album would I get if I supplement the photos with my feelings relating to events that are not included in the album? Is it possible to recreate memories from that time?
/ Peter Wendel
Text in Swedish and English
From July 1944 to April 1945, Lisa Garnier's grandmother, Gisèle Chartraire was deported to the German concentration camp Ravensbrück. During the imprisonment she made a small notebook for writing down recipes told by her fellow prisoners – recipes exchanged in the heart of hell where hunger rubbed shoulders with the absurd and arbitrary.
What does the little notebook tell us about survival? Was it just about imaginary meals?
Le Livre de recettes / The Recipe Book is an intimate story, in words and pictures, about visual senses, imprisoned women and Lisa Garnier's need to track down her own family affiliation. An act of resistance to oblivion, an act of transmission since recipes are only worthwhile if they are shared.
Lisa Garnier lives outside Paris and works on nature-human interactions as a writer, photographer and scientific specialist.
Text In French and English.
Using Dante's Inferno as a loose narrative set in the contemporary world, the book is as a personal journey expressed through images that reveal a sense of unreality – a kind of veiled dreamscape – but at the same time reminiscent of the underlying unease of living in a world unable to deal with major crises threatening a fragile human existence. As such, the book is also a personal response to the current covid pandemic.
The word "interregnum" describes a period with lack of clear leadership in a country, organisation or social order. Failed states will often be in an interregnum.
Ronny Rønning explores a visual language that can represent the anxieties of living in a world seemingly out of control. The images has a reference to reality, but also contains something more ambivalent – an empty, dark, and foreboding landscape, as after the catastrophe, with only remnants of human life.
As part of finding a visual language for the book, Ronny Rønning has experimented with the photo medium. He has used an analogue camera, black & white film and flash. During development the film has been exposed to light in an attempt to find a visual expression appropriate for the book's topic.
Text in English.
Some time ago, I came across a book entitled The Seasons, written in the 18th century by James Thomson. I have created the texts in this book by translating, deleting, adding, combining words and writing new ones, inspired by the poems I found.
I started taking photographs inspired by these texts and looked for connections between the words and the things I saw in my time, in my life. I cruised between the fall of kings and gods, roaring floods, a beauty that may be stupid in the heart, drowning people, an I, a we, a conversation with a you, the memory of a first derailment, the small life going on, and the big one, the apocalypse, a rattling gaze that holds what you look at in the threads, a howling child, and a song.
- Helga Härenstam
Text in Swedish and English.


Kickstarter is basically a crowd funding website where people with ideas for new products or projects can ask for funds, and other people who are interested in such projects can pledge any amount they want, usually gaining some perks out of it.
For instance, there might be a person who wants to develop a new iPhone game, and she needs $10,000 to do it. She creates a Kickstarter project, and people can pledge any amount they want. In order to incentivize pledges the project starter can give some rewards away. For example, pledges over $5 could get the name included in the credits of the game, and credits over $100 would receive a collectors edition of the game.
As for the types of project you can fund, the sky is the limit. You'll find projects for games, movies, documentaries, gadgets, websites, books, art, etc.
There are crazy days and then there are days like yesterday. Kickstarter has experienced some frantic hours but nothing like what happened in the 24-hour span between Wednesday at 6:54pm and Thursday at 6:44pm. Two million-dollar projects, a major political speech involving Kickstarter, an amazing band launching a project for a comeback 20 years in the making… the list goes on. Here's a minute-by-minute breakdown of the day's events.
That post opened my eyes to the potential of this model.
Obviously if you go to the website right now and start a project out of no where, with no planning whatsoever, you'll probably raise $10 or so. But if you study the other projects and understand how you can make this work for yourself I am guessing you would be able to raise a significant amount of money.
The key is obviously to find something that other people would be interested in and would be willing to donate some money to make it see the light of the day.
Only thing I'm surprised with here is that you seem to not be more familiar with Kickstarter already. It's a great service. I've only put in about a hundred bucks myself, but it's a killer idea in general, and I plan on putting up my own project here in a month.
I checked it out awhile back but I recently heard how a game got $2 million in funding in a day – crazy cool!
Thank you for valuable information. I´have just subsribed to Kickstarter's weekly newsletter.
Yep I have been following kickstarter for a while. It is a great concept and a great alternative for people looking to raise capital from means other than VC or loans.
Though, it would depend on what sort of project a person wished to have funded(pledged).
I will go and have a browse, as I am curious as to how they determine which projects are worthy of acceptance(Pledges).
I've seen this website before too but never made any donation yet! But after reading your article, I'll make a donation soon.!
Ideally, this should go the share market/ VC funding way, but tailored to web-entrepreneurs and micro-investors. The incentives for investing should be high – Only then more people will be interested in supporting a project. Thanks for introducing this to us, I will go through their model. I feel that its a very interesting concept that can make many things happen.
I've donated to some amazing Kickstarter projects, things I was glad to be a part of (even if I couldn't donate a lot). Suffice to say, this is the wave of the future for getting projects like this done. Cutting out the middle man and releasing your idea is what scares the big boys and propels bills like SOPA.
Thanks for sharing this article, I recommend everyone really check the site out and donate to those projects you feel affinity toward!


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This Town (Hardcover)
Two Parties and a Funeral--Plus Plenty of Valet Parking!--in America's Gilded Capital
By Mark Leibovich
Penguin Press, 9780399161308, 400pp.
Paperback (4/29/2014)
From the New York Times bestselling author of Big Game: The NFL in Dangerous Times
Washington D.C. might be loathed from every corner of the nation, yet these are fun and busy days at this nexus of big politics, big money, big media, and big vanity. There are no Democrats and Republicans anymore in the nation's capital, just millionaires. Through the eyes of Leibovich we discover how the funeral for a beloved newsman becomes the social event of the year; how political reporters are fetishized for their ability to get their names into the predawn e-mail sent out by the city's most powerful and puzzled-over journalist; how a disgraced Hill aide can overcome ignominy and maybe emerge with a more potent "brand" than many elected members of Congress. And how an administration bent on "changing Washington" can be sucked into the ways of This Town with the same ease with which Tea Party insurgents can, once elected, settle into it like a warm bath. Outrageous, fascinating, and very necessary, This Town is a must-read whether you're inside the highway which encircles DC - or just trying to get there.
Mark Leibovich is The New York Times Magazine chief national correspondent, based in Washington, D.C. In 2011, he received a National Magazine Award for his story on Politico's Mike Allen and the changing media culture of Washington. Prior to coming to the Times Magazine, Leibovich was a national political reporter in the Times' DC bureau. He has also worked at The Washington Post, The San Jose Mercury News and The Boston Phoenix, and is the author of The New Imperialists, a collection of profiles on technology pioneers. Leibovich lives with his family in Washington.
Praise For This Town: Two Parties and a Funeral--Plus Plenty of Valet Parking!--in America's Gilded Capital…
"This Town is funny, it's interesting, and it is demoralizing ... I loved it as much as you can love something which hurts your heart."—John Oliver, The Daily Show with Jon Stewart
"In addition to his reporting talents, Leibovich is a writer of excellent zest. At times his book is laugh-out-loud (as well as weep-out-loud). He is an exuberant writer, even as his reporting leaves one reaching for Xanax…[This Town] is vastly entertaining and deeply troubling."—Christopher Buckley, The New York Times Book Review
"It's been the summer of This Town. What lingers from This Town is what will linger in Washington well after its current dinosaurs are extinct: the political culture owned by big money."—Frank Rich, New York Magazine
"Many decades from now, a historian looking at where America lost its way could use This Town as a primary source."—Fareed Zakaria
"Here it is, Washington in all its splendid, sordid glory…[Leibovich] seems to wear those special glasses that allow you to x-ray the outside and see what's really going on. Start to finish, this is a brilliant portrait – pointillist, you might say, or modern realist. So brilliant that once it lands on a front table at Politics & Prose Leibovich will never be able to have lunch in this town again. There are also important insights tucked in among the barbs…So here's to all the big mouths, big shots, big machers, and big jerks. In case you're wondering, Mark Leibovich is on to every one of you, and his portrayal of This Town is spot on." —David Shribman, The New York Times
"In his new book This Town, Mark Leibovich commits an act of treason against the Washington establishment… Thoroughly entertaining… Leibovich is a keen observer and energetic writer."—Reid Pillifant, New York Observer
"This Town is a frothy Beltway insider tell-all …rollicking fun and sharply written. A big, sprawling fun beach read of a book—snappy and well-crafted."—Susan Gardner, The Daily Kos
"This Town is as entertaining for the broader picture it paints of a capital that corrupts even the most incorruptible as it is for the salacious gossip that dominated early reviews. Books like Leibovich's are important resources for historians who, a century from now, will use This Town as a trove of background information for a pivotal period when our politics became poisonous."—Reid Wilson, The National Journal
"Leibovich delivers the reportorial goods. He is in all the parties, and supplies a wildly entertaining anthrolopogical tour."—Jonathan Chait, New York Magazine
"Leibovich has written a very funny book about how horrible his industry can be… Uncommonly honest."—David Weigel, Slate
"[Leibovich] is a master of the political profile… This Town is as insidery as Game Change"—Carlos Lozada, Washington Post
"Intensely anticipated…. [Leibovich] has a real affection for many of his characters… [and] also throws a few unapologetically hard punches." —Ben Smith, Buzzfeed
"Witty, entertaining….the book is enlightening on how journalism is practiced in Washington…This Town could also be source material for your book about what's wrong with these horrible people and – more importantly, but also much more difficult – how to fix the culture that led to their ascendance….This Town is a funny book, but it should probably make you as angry and depressed as "Two American Families." —Alex Pareene, Salon.com
"For the sweaty, twitching, huddled masses of Washington gossip addicts, This Town is rife with such shiny nuggets, the literary equivalent of crack."— Lloyd Grove, Newsweek/The Daily Beast
"Corrosively funny and subtly subversive…. siren song of money and pseudo-celebrity ….irresistible."—Walter Shapiro, The American Prospect
"Like a modern-day Balzac to US capital power players….hilarious….perceptive." —Richard McGregor, Financial Times
"A rollicking, if disconcerting, read."—Denver Post
"Provides a lancing, often hysterically funny portrait of the capital's vanities and ambitions." —The New Yorker
"A common trope among conservatives is the "cocktail party scene," which Republican reformers encounter when they go to Washington and which lures them into selling out their beliefs. This Town provides plenty of evidence not only that those worries are grounded, but that it's far worse than we imagined….[U]nusual and refreshing…. [A] successful and needed undertaking…. Leibovich enlivens his tedious subjects with a funny and vivid writing style…. he's also an engaging storyteller. The last quarter of This Town, which dishes on Leibovich's encounters with the major players from the 2012 election, is undeniably good reading… If you want to understand why you should wake up quivering with white-hot hatred for elite Washington, This Town is well worth your time." —Matt Purple, The American Spectator
"[A] sharp-eyed, funny and elegantly written takedown of Washington's crass, insidery, back-scratching (by journalists and politicians alike) culture…. [T]he Tony Soprano of journalists…but with a heart." —Margaret Carlson, Bloomberg News
"This book has to be the book of the summer, open on the fat or flat bellies of Washington's privileged political elite at Rehoboth, Martha's Vineyard or Nantucket. Even if they are in it, or are looking for themselves in it with dread or delicious anticipation, a Washington version of narcissism, "This Town" is not to be missed." —Dan Simpson, Pittsburgh Post Gazette
"Not since Truman Capote's "Answered Prayers" knocked New York society on its heels with its thinly fictionalized revelations of real players who had thought the author was their friend has a book so riled a city's upper echelons."—Lois Romano, Politico


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Q: Soundcloud 401 error/invalid grant with PHP wrapper We've just started getting an 401 - invalid_grant error when attempting to upload files using the SoundCloud library mptre/php-soundcloud.
I get the same error when I try to regenerate a token:
https://api.soundcloud.com/oauth2/token?client_id=ID_HERE&client_secret=SECRET_HERE&redirect_uri={this is actually blank on our apps page}&grant_type=authorization_code&code=XXXX

My assumption is that we need to refresh the auth token, but I thought we set it to non-expiring.
How can I prevent this 401 error and upload our audio via the API?
Any help would be really appreciated .

redpajama_set_name: RedPajamaStackExchange


text:
SATURDAY NEWS WRAP #138
• As revealed previously on the site, Sony Music will release the new Rebecca Ferguson single 'I Hope' in Australia later this month (Nov 22). The track (cover pictured) is the lead single from the UK soul songstress' new album 'Freedom', which is also to be given an Aussie release… on Friday December 06.
• Sony turned up the pop factor this week, servicing new singles from Britney, Labrinth, The Fray and Bonnie Anderson to Aussie media. They also confirmed the upcoming release of the new Pitbull album 'Meltdown' (on November 29).
• The Deni Blues & Roots Festival got a little bigger this week, adding to the already impressive line-up (which includes John Mayer, The Doobie Brothers, Edward Sharpe & The Magnetic Zeros, Russell Morris & Jasmine Rae). Also heading down under for the April 19/20 2014 event are Elvis Costello & The Imposters, Boz Scaggs, Michael Franti & Spearhead and many more. Tickets are already on sale.
• Public Enemy will tour Australia in early March. In the country for the Breath Of Life, Golden Plains and Perth Festivals, they'll also play shows in Sydney, Melbourne, Brisbane, Adelaide and Newcastle, with tickets for all on sale now.
• Bernard Fanning has announced the upcoming release of a new iTunes Live Sessions. It was recorded recently at Byron Bay's Studios 301 and contains a selection of solo material from both 'Tea & Sympathy' and 'Departures'. It's out digitally on Friday November 22.
• When the people of the US latch onto something, they certainly don't like letting it go too quickly. New Zealand starlet Lorde is a case in point, with her single 'Royals' continuing its reign atop the Billboard 100 singles chart for a sixth consecutive week. Miley's 'Wrecking Ball' edges one spot higher, with Eminem and Rihanna's chart 'Monster' premiering at No.3. One Direction scores another top ten US hit with 'Story Of My Life', which comes into the countdown at No.6 and the reign of Eminem continues in the 11-20 bracket, with three more tracks in the top 20.
• Eminem's new album won't impact on the Billboard albums chart 'til next week, which allows Arcade Fire to premiere in the top spot with 'Reflektor'. It knocks off Katy Perry's 'Prism' after just one week, with festive season offerings from Kelly Clarkson and The Robertsons premiering in positions three and four respectively. Country offerings from Thomas Rhett and Toby Keith debut at Nos.6 and 7 respectively, while Linkin Park are 'Recharged', debuting at No.10.
• And don't forget… for all the goings-on on the charts back here in Australia, check out our weekly Chart Watch segment; live on the site from 7pm AEDT.
Filed Under: Charts, Public Enemy, The Purge Featuring: Bernard Fanning, Pitbull, Rebecca Ferguson
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