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flyerrrr
Can You Be Black, Woke and Date A White Person?
July 17, 2016 October 17, 2016 Posted in LifeTagged Dating, Love
Earlier this week a woman asked me out on a date. Since I began my new job more than a month ago, we've come in contact on a few occasions and exchanged pleasantries, maybe even flirted a few times here and there. (Note: I don't know that we've flirted. I'm kind of an awkward guy about flirting. I know I've said some shit, and she's laughed at said shit, thus I've said more shit for her to laugh at, and she's told me I'm funny in a flirty type of way. So I guess that's flirting.) We don't necessarily work together, but our jobs require us to interact on a weekly, sometimes daily basis. I should tell you that this woman is white, and I am a Black man.
It's not the first time this has happened in my life. One cannot have had the experiences that I have and not caught the eye of females with fairer skin. After all, my name is Morgan McDaniel, I frequently play golf, enjoy the outdoors, love baseball, and grew up idolizing hockey players (most notably Steve Yzerman and Wayne Gretzky) and listening to The Offspring, Barenaked Ladies, and Hootie & The Blowfish.
Despite growing up in one of the Blackest cities in the America (Detroit, what up doe?!), my mother frequently thrust my twin brother and me into settings that featured us as the token Black kids. Whether it was music camps, Saturday morning art classes, or sleepovers at a friend's house in Suburban Michigan, I could usually count the number of brown faces on one hand within my surroundings, my brother and I included. Maybe two hands if the overall population of the event we were attending was large enough. But never more than two. NEVER!
Furthermore, my voice sounds like a mashup between Bryant Gumble and Kermit The Frog. I prefer to dress in graphic tees or collared shirts and Levi's with Nike SB Dunks. I've been told by many Black chicks, some who have curbed the shit out of me and others whom I've dated, that I "seem like I'd be into white girls," whatever the fuck that means. My beloved family once predicted that I'd probably be the only descendant of the Williams clan to bring a non-Black woman to a family reunion.
But given the events of last week, and my life for that matter, I couldn't help but ask myself, "Can a woke as fuck Black person date a white person?" Better yet, "Can a woke as fuck Black person date a non-Black person?"
For the record, I'm not a subscriber to the notion that people MUST exclusively date others of the same race. I don't believe love sees color. Anyone can fall in love with somebody. Some of the most woke people I know, follow or admire either date or are married to non-Black folks. This includes a friend who received a degree in African-American Studies from FAMU, a few former coworkers, and celebrities Franchesca "Chescaleigh" Ramsey and Dave Chappelle. This afternoon, via Facebook, I read a touching delineation of a black man's life and his harsh experiences with racism. According to his profile, he's in a relationship with a white woman. Thus, it's possible.
I guess the better question is, "Can I be woke as fuck and date a non-Black woman?" And the answer is, eh maybe. But it's highly improbable. Damn near impossible. I love ALL women, and I am indeed attracted to a fair share of non-Black females. A few of my celebrity crushes include Zoey Deschanel, Brie Larson, Ashley Graham and the lovely Jennifer Lawrence. The chick that asked me out? I find her quite attractive too, as do most of the guys that work with me.
Plus, she passes my preliminary dating criteria of a White person seeking a relationship with a Black person; She believes that Black Lives Matter and knows that All Lives Matter is thinly veiled racist, bullshit. She appreciates the musical differences between hip-hop artists like The Roots, Kendrick Lamar and J. Cole, and clowns such as Desiigner, Fetty Wap and Rich Homie Quan. Lastly, she enjoys the film Malcolm X featuring Denzel Washington, thinks Idris Elba would be a suitable choice to adopt the role of James Bond, and is eagerly looking forward to Donald Glover's upcoming show "Atlanta." She may be pandering the fuck out of me to secure a date, much like Hilary Clinton does to secure the Black vote, but I highly fucking doubt it.
Either way, my biggest trepidation isn't who she is, it's my thorough appreciation for the strong Black women in my life. Hence, it frames my mindset and desire to be with a strong Black woman.
While my mother purposely put me in Caucasian-centric environments, she also instilled a great sense of Black pride, self-worth, and identity. My childhood home is beautifully decorated with African masks and paraphernalia. At age eleven, I was forced to watch Boyz N The Hood, Rosewood, and Roots. When I showed an interest in art, my mother emphasized that I know Black artists such as Romare Bearden, Gordon Parks, Charles White, Elizabeth Catlett, Annie Lee, Alma Thomas and Jean-Michel Basquiat before studying the likes of Picasso, Vincent Van Gogh, and Rembrandt.
I remember my grandmother telling me the excruciatingly brutal tales of Emmett Till, the bombing of the 16th Street Baptist Church in Birmingham and personal, racially motivated, tragedies she experienced growing up in rural Alabama. My aunt made sure my literary rotation included Alice Walker, James Baldwin, Walter Mosley and Richard Wright. I was raised by a catalog of beautiful God Mothers who taught me the importance of respecting women, even if they are "fast-tailed heffas who lack respect for themselves."
And every time I experienced the slightest sense of failure, defeat or discrimination – like the time I was disqualified from a golf tournament for displaying "Black, thuggish behavior," or told that I wouldn't be Caddy of The Year because my boss preferred to give it to another white kid with close member ties (despite my exceptional performance), or most recently leaving my job and battling depression – they have all been there to stand by me, console me, and scold me, if necessary.
It is because of them that I still exist. It is because of them that I am the man that I am. It is because of them that I am drawn to women who display their traits, most of which are uniquely exclusive to Black women.
I declined the invitation to go on a date with the female I mentioned earlier. I'm sure she's a swell person, or at least she seems like one. But following my last relationship, I'm in a place where I don't feel like laboring through the song and dance of getting to know someone's likes, dislikes, pet peeves, favorite colors, birthdays, or other nuances. I can do without that shit for now. But when I am ready to love again, I want to fall in love with a beautiful Black woman, who's into the same millennial, outdoorsy, sci-fi, sports-centric, dry humor, Christian, Black power shit that I am.
Because while love doesn't see color, it's important that we do. It's important that my future mate and I see the world through the same lens. It's imperative that we readily embrace and support each other unconditionally. It's pivotal that we bask in each other's auras and share corny-ass inside jokes. It's crucial that we battle systemic issues and racial biases as one cohesive unit. And while I may find this in a non-Black person, given the level of my unapologetic Blackness, it's highly unlikely. Black love is beautiful.
C'mon Kevin!!!
July 5, 2016 September 26, 2016 Posted in SportsTagged Free Agency, Golden State Warriors, Kevin Durant, NBA
Earlier this wondrous Independence Day holiday, Kevin Durant decided to write some bullshit (it wasn't bullshit, I'm just pissed off right now) on The Players' Tribune about why he's taking his lanky ass and impressive basketball skills to the Bay Area. Unlike some people, I respect his decision. Joining Golden State assuredly guarantees that the self-proclaimed Easy Money Sniper will obtain his first NBA title, and most likely a Finals MVP, since the younger Wardell Curry loves performing disappearing acts once the calendar hits June. I like Kevin Durant. I admire his game, I wear his slept-on, dope-ass shoes (fuck y'all, them KD 8s are hard), and I even rooted for him when he took on the Greatest Team to Never Win a Championship in the Western Conference Finals (I still don't understand how y'all lost 3 straight games, b). Simply put, Durantula is taking a better job, and I can't be mad at the brother for enhancing his employment status. But Kev is fucking shit up for me. Seriously, this man is killing my motherfucking vibe.
First off, I will never be able to play NBA 2K17. EVERY NEGRO IN THE ENTIRE UNIVERSE IS GOING TO PICK THIS TEAM!!!! EVERYONE GOT DAMMIT!!!! And they will most likely dominate the living shit out of every opponent. That means the little time that I devoted to pummeling snot-nosed teenagers and over-zealous adults to reduce my stress and increase my dopamine levels is gone. I will now be forced to fill this two-hour window with something more productive, like working out, or volunteering, or some other self-fulfilling, positive shit like that. My shit-talking video game days are officially on hiatus until further notice.
Second, I'm going to endure the unadulterated, obnoxious, egotistical bullshit of Stephen A. Smith and Michael Wilbon. These two faux journalistic blowhards will undoubtedly use every ounce of airtime attributed to them to discredit and dismantle Durant's character, manhood, and Blackness. They will talk about how this is the worse thing a superstar athlete could ever do on the face of the fucking planet (I pretty sure Aaron Hernandez did the worst shit ANY athlete could do) and that no Hall of Fame caliber player would have ever dreamt of joining the team that just dismantled them a few months prior in a hard-fought, contentious series. They will make my ears bleed as I tune into ESPN to watch baseball highlights, impatiently anticipating the upcoming NFL season. (COME THE FUCK ON ALREADY AUGUST!!!!!)
And it will get worse. More faux journalists (like Jason Whitlock) and more blowhards (like Colin Cowherd) will fling their ill-conceived takes the way a gorilla does his shit. They will use big "L" words like "legacy" and "loyalty" in describing their disapproval of Durant's decision. They will call him a hypocrite for doing the very thing he criticized LeBron for when he made "The Decision." Pretty soon the idiots that tune into this fabricated nonsense will absorb it as gospel and began to permeate the places I find refuge in by regurgitating these felonious opinions as their own. Barbershops, rec centers, golf courses and churches will become a wasteland of bullshit Durant driven debates.
"Jordan would've never done no shit like that. Magic would've done no shit like that. Kareem would've never done no shit like that. These young niggas ain't loyal in the game. The game done changed." I will hear this word pollution to exhaustion, with the clamoring noise coming to fever pitch once the Rio Olympics commences (an Olympics that shouldn't be happening at all) and we witness 3/4 of the Fearsome Four that will obliterate the entire fucking NBA next season (it will probably be a joy to watch too).
This is worse than LeBron's departure to South Beach when he united with D-Wade and some raptor-looking dude named Chris Bosh. The Warriors have been to two consecutive NBA Finals, winning the first and blowing the second. They now have the league's last 3 MVPs ("The real MVP" Durant, an unsuspecting Curry and the video game Curry who didn't miss from inside of 90 feet until the Finals). The 2010 Miami possessed a mere likely-hood of becoming the NBA Champs. There was uncertainty in their union that allowed haters to discredit their claim to the iron throne that is the Larry O-Brien trophy.
That doesn't exist with these Warriors. Barring injury, it's a foregone conclusion that they will reach the NBA Finals, en route to setting wins, offensive efficiency, and overall fun records. They now have 4 of the NBA's top 10 players and a deep bench to compliment them. Their coach is both savvy and accomplished enough to command the respect of his players. Egos will be snuffed out with Sandlotesque jubilation and chipper buoyancy.
Hence, my third and final gripe; the Warriors are going to render the upcoming NBA season pointless to watch. It's painfully ironic that the television contract that allowed for this union to happen is going to be a huge waste of fucking money. The only advertisers that will be willing to shell out cash to satiate ESPN's mammoth deal are the companies that employ a player on (self-proclaimed tech god and NBA guru) Joe Lacob's payroll (Under Armour, Nike, Britta, State Farm Insurance, American Family Insurance, Anta, Sprint, etc.).
Witnessing the Warriors reign will be the closest thing to state-sponsored television the U.S. will produce; we know what's going to happen already, but we're forced to watch because they're going to be on ALL THE FUCKING TIME!!!!
So enjoy yourself, Durant. I look forward to your mother sitting next to the picturesque Curry family (wait, can you imagine the Moms Club of the Warriors now? Can we get a reality television look at the life of Sonya, Mary, and Wanda together eating Sunday brunch? Seriously, Bravo, make this shit happen), decked out in a rhinestone, royal blue, and California yellow jersey, screaming in joy as you dunk on the Cleveland LeBronites next year. But just know you've made my life difficult. Because haters gon' hate, and you just supplied them with a ten month arsenal of industrial-grade napalm.


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Winfried Fluck, Donald E. Pease, and John Carlos Rowe, eds., Re-Framing the Transnational Turn in American Studies (Hanover: Dartmouth College P, 2011), 460 pp.
American StudiesReviews, Transnational Turn, Volume 61.2 (2016)
The late 2000s and early 2010s saw a considerable number of monographs and edited collections reconsidering the nexus of transnational and global American studies. Coming out of a discipline that tries to move beyond the exceptionalist legacy of Cold War American studies, transnational American studies questions established and new directions in the discipline alike, including frequently its own project and the legacy it builds on. The articles collected in Re-Framing the Transnational Turn in American Studies exemplify this trend by bringing together methodologically and thematically diverse articles that self-critically position themselves within a field in transition. The book is the result of a series of conferences that were financed through a research grant procured by scholars at the Humboldt University of Berlin, the Free University of Berlin, and the University of Potsdam, and collaboratively organized with John Carlos Rowe at USC and Donald Pease at Dartmouth College. Consequently, the list of contributors reads like a "who is who" of American studies in and around Berlin circa 2007 with a few international contributors including Rowe and Pease, as well as Nancy Fraser, Macarena Goméz-Barris, Peter D. O'Neill, and William Arce. As suggested by the reputation of the editors and the contributors who include many major forces in the reshaping of American studies, the book contains a number of excellent contributions to the field that will be essential reading for anyone seeking to enter it, and will add new perspectives to those already invested in it.
The book is divided into four sections consisting of four (and in one case five) chapters each and an almost fifty page introduction by Donald Pease, in which Pease reviews the state of transnational and global American studies with remarkable lucidity, offering an overview over a diverse field that reveals both Pease's profound knowledge and his investment in a more political direction for American studies. Although the first sentence proclaiming the "transnational turn" to be "the most significant reimagining of the field of American studies since its inception" (1) might signal otherwise, Pease is nevertheless careful to not be overly celebratory of transnational studies as the final step to get away from American Exceptionalism. Instead, he reviews work done over the past two decades, examining it from a range of different perspectives in order to illuminate its many different agendas, as well as the historical forces that shaped and continue to shape transnational approaches in American studies. While positioning the transnational project as part of a historical moment of global socioeconomic transition, Pease stresses that the term is actually "a volatile transfer point" (4) that is imbued with different, sometimes contradictory meaning for different people with diverse and sometimes contradictory political agendas ranging from expanding to delimiting US-American global power. It is a concept that, while it oscillates between describing a reality and creating it through its discursive power, is nevertheless able to confront the current political order with its own omnipresent contradictions.
While it is impossible to do justice to the extremely dense meta-analysis Pease provides in the short space of this review (and interested readers are well-advised to go to Pease's introduction directly), it seems worthwhile to at least mention the various angles from which he approaches the topic. In the subsection "The Geopolitical Context," Pease points to supranational organizations and the ways in which they challenge our state-based understandings of sovereignty. Pease maintains that the concepts of sovereignty for Americanists, as well as for U.S. citizens, alternate between understandings of the United States as "a global state regulatory apparatus responsible for securing and maintaining the rule of law across the planet and as a territorially bound nation" (11). Establishing three phases in the transnationalization of the field, from countercultural, via multicultural to transnational American studies, Pease examines the stage of multicultural American studies and its displacement by transnationalism through its integration of "questions posed by diasporas." Pease then goes on to describe the redefinition of the disparate field as being formulated to address the common enemy of American exceptionalism; an exceptionalism which, as Pease has also argued elsewhere, needs to be understood as formed from "incompatible elements" (21) and linked to very particular historical formations. However, as Pease warns, the "wholesale dismantling of American exceptionalism" in the field of transnational American studies can also be read as a response to a real geo-political state of exception that "produce[s] the version of American exceptionalism without exceptionalists that the transnational state of exception require[s]" (23) to continue a global domination by U.S. capital over a world in which the borders of the nation have become porous.
Pease follows up on this in the next section "Rethinking the Postexceptionalist Turn" in which he reexamines the Cold War as a period of global reordering in which transnational institutions such as the IMF, the World Bank and the WHO "deflected the state away from identification with the prerogatives and obligations of the territorially bound nation to an identification with the deterritorializing provenance of the state of exception" (25), thus laying the groundwork for the transnational neoliberalism that has dominated the period after the end of the Cold War. This leads Pease to suggest a remapping of what he calls the "Transnational Field Imaginary" (26-30) that takes geography more strongly into account to argue against vague notions of deterritorialization and pays more attention to the excepted, e.g. the internally colonized, in American exceptionalism. The result according to Pease is "an unstable combination of anti-imperial triumph and transnational melancholia" (28), a notion he more fully explores in the final section of his overview "Transnational-Diaspora Complex" (30-32), before he turns to the customary summary of the organization and contributions to the volume.
The book's first main section begins with an analysis of the works of Philip Roth, particularly his Operation Shylock, by Ulla Haselstein. She explores the doppelgänger motif in the novel and the novel's intertextual reference to Shakespeare's Merchant of Venice that Roth employs to comment on the Holocaust and the Palestinian conflict. Despite engaging these political issues, the novel, which Haselstein calls a "convoluted self-reflexive allegory of split authorial identity and of the conflict between artistic autonomy and political accountability" (69), in the end evades a clear statement of Roth's allegiance with Israel, even though Haselstein argues that such a commitment is definitely implied. Haselstein's interpretive strategy allows her to navigate between questions of cultural / transcultural myths of identity and individual subjectivity that are focused on Roth's—and by implication others'—postmodern games of authorial identity.
Andrew S. Gross's contribution is a good example of the self-questioning stance adapted by many of the contributors to Re-Framing the Transnational Turn. Gross critically examines the often self-congratulatory rhetoric of novelty that a self-proclaimed post-exceptionalism takes towards the supposedly naïve, exceptionalist past of American studies. By re-examining the writing of internationally and trans-atlantically oriented Americanists after the Second World War, Gross uncovers a legacy of "dissident internationalism" that is, despite not being transnational in the current sense, nevertheless "compatible with the situational approach called for by Rowe" (75). As Gross argues in his examination, this "forgotten history of internationalism" throws into question the radical break supposedly taking place with transnational American studies. At the same time, the blind spot to Cold War ideology of earlier Americanists can make us aware that we are quite likely as "susceptible to the forces of globalization [as] our precursors were to the dictates of the Cold War" (90-91).
William Arce's contribution turns its gaze towards a reading of Alfredo Vea's novel Gods Go Begging (1999). Through the lens of trauma studies, Arce shows how the novel's depiction of Chicano soldiers in Vietnam draws a connection between the internally colonized Chicano/a population in the U.S. and the "transnational colonialism" (116) of the U.S. in Vietnam. He addresses topics about trauma and its impact on minority culture that draw out connections between Chicana/o studies to the field of transnational American studies, and make good on the field's promise to learn from its diasporic predecessors without appropriating them.
Drawing on Carl Schmitt's concept of nomos, which in comparison to Gramsci's hegemony he sees as always transnational, and connecting it with Agamben's theoretical construct of the "homo sacer," Peter D. O'Neill casts a light on the transatlantic history of racialization and the Irish emigration to the U.S. after the Irish famine. As O'Neill shows, the inclusion of Irish immigrants into the US-American state apparatuses, especially in police and fire departments and the low ranks of civil service, as well as their inclusion into the Democratic Party and trade unions "dramatically transformed their relationship to the state, from the status of the 'excluded' to that of the 'excluders'" (121). Adding a new facet to the well-known story of how, in Noel Ignatiev's words, the Irish became white, O'Neill shows how through their migration and the transfer from a Nomos Britannicus to a Nomos Americanus and the different definitions of race these implied, the Irish "no longer held bare life status" (132).
Opening the second section "Re-Disciplinizing Transnational American Studies," Winfried Fluck's article explores Emanuel Leutze's famous 1851 painting Washington Crossing the Delaware. In an opening section, Fluck delineates his approach, which he describes as cultural studies transnationalism, from the dominant traditions of "aesthetic transnationalism" that he sees in both Fishkin's ASA address and Randolph Bourne's 1916 multicultural transnationalism on the one hand, and a "transnational radicalism" that is most interested in forging political alliances across national borders (144-45). Fluck's perspective links Leutze both to the Hegelian vision of history as manifestation of the Weltgeist and to the revolutionary spirit of 1848 in Germany. Fluck sees both visions as being more influential on the formation of an American exceptionalism in American art (and art history) than a supposed awakening of American nationalist sentiment in Leutze or other nineteenth-century American artists such as those of the Hudson River school that critics have often proclaimed. Instead, as Fluck argues in his conclusion, "without the help of European conventions, there could not have been any constructs of American exceptionalism in American art" (157). Coming back to his initial thoughts about transnationalism as a critical concept, Fluck argues that while aesthetic and political transnationalism merely repeat a circularity inherent in scholar's search for distinct expressions of national sentiment, the type of transnationalism sketched out by Fluck "may pose a challenge" to both the nation-state and the lingering Hegelian legacy in the work of cultural critics "in a much more radical sense than is envisioned by current transnational studies" (158).
In his contribution, Frank Mehring examines the depiction of African, Mexican, Asian, and Native Americans in the work of German-American artist Winold Reiss. Mehring puts Reiss's work into the contexts of Gebrauchsgrafik and compares it with the thought of other prominent thinkers about a multi-ethnic U.S., including W.E.B. Du Bois, Alain Locke, and Randolph Bourne in order to establish Reiss's "artistic 'plea for color'" (164). In his article, Mehring describes a shift that took place after Reiss traveled to Mexico in 1920 from his initial depictions which were strongly influenced by colonial stereotypes of an ethnic Other to images that "challenge the discourse of forced assimilation and to reevaluate the imaginary construction of being an African American, a Mexican American, a Native American, or an Asian American" (188).
Uncovering a host of fascinating and sometimes amusing historical incidents and accidents, Sieglinde Lemke's "Liberty: A Transnational Icon" examines the transformation of the Statue of Liberty as it traveled from France to the U.S. to eventually become an icon on a global stage. As Lemke shows, Miss Liberty started as a project by two Frenchmen: Bartholdi, a struggling artist with an interest in statues and monuments of gigantic proportions, and Edouard-René Lefebvre de Laboulaye, a professor specializing in American law and political history who was disillusioned by the political direction his country was taking under Napoleon III, the French defeat in the Franco-Prussian War, and the bloody suppression of the Paris Commune in 1871. While drawing heavily on Delacroix's famous 1830 painting La Liberté guidant le peuple, the statue was imagined as an icon that would "radiate the light of liberty […] back to France" (195). Because of its somewhat un-enthusiastic reception by New York political leaders due to its high installment cost, the statue was Americanized in a special way: After officials were unable to come up with the money to pay for the base of the statue, Joseph Pulitzer launched a fundraising campaign in his papers directed at working-class Americans and soon convinced 120,000 people to donate an average of 83 cents each (199). Despite such investments by different people, as Lemke examines in the following pages, Miss Liberty nevertheless never held a consistent, unchanging meaning, being open both to the iconicity of a nationalist and exceptionalist U.S. and a counter-tradition of transnationalist challenges, which, in recent years, opened it as a target for "outsiders" who use its metonymic dimensions for their critiques against the U.S. For Lemke, the statue therefore functions as "a mirror that reflects both America's aspirations and her tragic flaws" (212).
In the last chapter of section two, Laura Bieger turns from visual arts, and like Haselstein and Arce in section one, examines a narrative text, Richard Power's 2006 novel The Echo Maker. Shifting the focus once again, Bieger's contribution argues for belonging as a central category that we should take into account in our transnational examinations. As Bieger claims "questions of where and how one belongs have gained enormous currency" in an increasingly fluid globalized modernity, and it is particularly the affective dimension of belonging—"what belonging does" (219; emphasis in original)—that interest her. Understanding belonging as "a practice of narrativization" that "constitutes the frames in which questions and desires for a 'known world' can be felt, articulated, and negotiated" and building upon Vikki Bell's work, she highlights how the affective dimension of belonging connects "be-ing" with "longing" (220). According to Bieger, this is a trend in contemporary U.S. literature that can be found in works by DeLillo, Foer, Franzen, Hustvedt, Krauss, O'Neill, Roth, and Senna. In her article, Bieger shows this trend exemplarily in Powers's The Echo Maker, which uses the refracting echo to undermine its readers' longing for be-longing.
Opening part three of this collection, "Transnational Pedagogies," is Rüdiger Kunow's article "American Studies as Mobility Studies: Some Terms and Constellations" in which he argues for mobility to "become part […] of our critical lexicon" and offers an entry into this lexicon by reading some instances of such mobility in recent fiction (245). Taking his cue from Stephen Greenblatt and John Urry, as well as from Althusser's concept of expressive causality, Kunow examines various forms of mobility from people, via objects, non-human entities to ideas in individual sections dealing with representations of airplanes and airports, arrivals, the practice of citations, contagion, copyright, religious mission, as well as panic and risk. This incomplete list of mobilities (Kunow adds language, recognition, marketplace, and hospitality as other sites that need examination) "mark amove from area to site, […] from the vastness of the trans to a number of local, concrete, constellational sites where the inside and outside of 'America' and other cultural domains are intertwined" (260; emphasis in original). In this fashion, Kunow hopes to shift the discipline to a relational view of mobility that recognizes the process rather than its endpoints; an approach that pays attention "to the micrological level" which does not privilege human agency and rather "privileges the meeting over the mixing" (261).
Drawing on Gloria Anzaldua's Borderlands/La Frontera and notions of a queer Aztlán, Marc Priewe's essay reads Guillermo Gómez-Peña's performance art as part of a larger trend in Chicana/o cultural production "of oscillating between resistance and co-optation, between opposition to and partial complicity with U.S.-American culture" (275-76). As Priewe argues, what New Americanists can learn from the "shift from 'place-based' to 'place-less'" that he recognizes in the post-movimiento authors he discusses is "that under current conditions of globalization, resistance has to be rethought and retooled, because the terrains of power have begun to shift away from the nation as both the target and source of counter-hegemony" (277).
The final two contributions of the "transnational pedagogies" section by Reinhard Isensee and Matthias Oppermann look at the new digital media. Isensee examines social media practices and sites, particularly Myspace, YouTube, and Facebook. He reads the Web 2.0 as a site of transnational community building, identity construction or, as he puts it, an "identity performance 'in the open'" that has replaced earlier promises of online anonymity (292). Isensee views this shift as being related to technological changes that have not only made the web accessible to more users, but have also transformed the modes of expression and "sharing" information about oneself—transforming social media sites into "cosmopolitical contact zones" in James Clifford's sense (293). Oppermann, in contrast, is more interested in the ways in which new media offer possibilities to employ digital storytelling by students as a novel means of teaching transnationalism in a university setting. He sees new pedagogical approaches as a necessity in line with "American studies as a project of transnational cultural critique" that "requires a substantially reconfigured teaching situation in which students can actively confront the transnational and multicultural dynamics of their social realities" (296). Since the products of such collaborative digital stories will not look like classic scholarly writing, however, these new media necessitate a learning process that involves not only students but also their instructors.
The final section, "Transnational Governmentalities," opens with an essay by John Carlos Rowe in which the author turns the focus to area studies as an approach that to a large extent has not yet influenced the transnational debate in American studies. Reviewing current debates within area studies, Rowe highlights in particular Walter Mignolo's contributions to "border thinking," which Rowe argues can be made productive for American studies, e.g. by deconstructing "the 'differences' between European imperial powers and Creole national powers […] to expose the shared history of the 'modern/colonial world system' worked out systematically for the first time in the Western Hemisphere" (333). The goal, as Rowe argues, is ultimately to work against "ourselves," to become "Anti-Americanists" (334).
Macarena Gómez-Barris's contribution, like Rowe's, extends the volume's mostly US-American geographical focus by looking at a Peruvian spiritual healing retreat, albeit one run by a white middle-class American woman, and with it the politics of spiritual self-healing projects in an age of neoliberal globalization. Gómez-Barris's essay is one half theoretical exploration of the neo-colonial and racialist dimensions of new age narratives, particularly the retreat's owner Dianne Dunn's, and the other ethnography at a gathering to learn "ancient traditions of healing" and "to reclaim 'the sacred feminine'" (348). Bringing together her experience at the retreat with her theoretical observations, Gómez-Barris highlights how "all versions [of the Andean ceremonies] operated within a tourist industry that mediates the practices of ritual through globalization," and eventually for reasons of economic distribution as well as cultural hegemony expresses her skepticism "about the possibility that these practices of the spirit will translate into benefit for the indigenous communities" (352). In a final section, she focuses on the female of the two indigenous guides, Juana. The author puzzles over Juana's almost complete silence during the week-long ceremonies, suggesting different readings from a form of embodied resistance to Dunn's narrative to a silencing of the subaltern female as total Otherness, but—wisely—resists the urge to speak for her (and thus repeat the epistemic violence she at least implicitly accuses Dunn of). Instead she ends with a range of possible interpretations phrased as open questions.
Johannes Voelz in his contribution argues for an approach to transnationalism that considers cultural transnationalism in line with neoliberal globalization. He makes a case for a critical stance that distances itself from the history of American studies of "investigating possibilities of resistance" (357), claiming that this tradition goes back to the German idealist longing for autonomy, a longing expressed among other places in romantic nationalism as an expression of organism. In organismic transnationalism, a temporal longing merely shifts to a spatial one, but one that likewise promises to overcome "the distinction between inside and outside" (360). What such a critique of the nation and nationalism misses, however, is that it "is in danger of overlooking the extent to which it actually interacts with economic globalization" (367). Building on Richard Sennett's The Culture of the New Capitalism,Voelz, in a final section, comes back to the idealist notion of autonomy, claiming that the appeal of neoliberalist offers of endless consumption is one of access or "potentialities," such as the potentiality of movement. This is where Voelz sees a link to the transnational disavowal of the nation state and borders, asking "whether this organicism does not also follow a model of consumption based on access and potentiality." For Voelz, American studies therefore "needs to reflect to which degree—and how—it has itself fallen under the spell of the consumption of access" (370).
Seeming at first much less transnational in the strict sense, Nancy Fraser's contribution by bringing in a feminist perspective adds a crucial set of gender-related questions that the volume, except for Goméz-Barris's contribution, would have otherwise missed. Benefiting from Voelz's previous more explicit critique of transnationalism to draw out the implicit global and transnational dimension in her essay, Fraser's contribution provides an example of the type of reframing the mode of inquiry into one that includes politico-economic terms. In what clearly constitutes a form of auto-critique by a second wave feminist, Fraser reexamines the history of feminist thought in the West. Reading feminist positions against a history of capitalism, which she divides into three stages (state-organized capitalism, the rise of neoliberalism, and the capitalist crisis of the late 2000s), Fraser examines the paradox of how feminists seem to have "won" by bringing their positions to the mainstream, but how feminist positions have in fact been coopted and compromised by neoliberal capitalism. Even worse, feminist positions "have served to legitimate a structural transformation of capitalist society that runs directly counter to feminist vision of a just society" (375). Conceptualizing feminism as directed against four main targets—economism, androcentrism, paternalistic étatism, and Westphalianism—towards which feminism had an ambivalent attitude, Fraser discusses each target in each of the three phases to show how a political project that combined the economic, the cultural, and the political was coopted into one of identity politics in which, for instance, the feminist critique of the paternal family structure could be transformed into neoliberalism's integration of more low (or lower) wage earners (i.e. women) into the work force, thus keeping economic inequality while selling this as a victory for emancipation. In a final step, Fraser offers some suggestions for reinvigorating the feminist project in light of the crisis of capitalism to redirect the movement and counteract "the neoliberal onslaught [that has] instrumentalized our best ideas" (389).
In the final article in the collection, Günter Lenz's (†) call for a transcultural (as opposed to a transnational) American studies works well as a final balance to Donald Pease's initial review of the field's past two decades. Adding a culturalist approach to Pease's more materialist review of neoliberalism, globalization, and the Americanist field imaginary, Lenz reverts to Wolfgang Welsch's concept of transculturalism. In his claim for a more dialogic view of American studies that builds on and learns from diaspora studies, Lenz reexamines the contributions of a wide range of thinkers in political philosophy, including Ulrich Beck, Paul Gilroy, Seyla Benhabib, Nancy Fraser, Iris Marion Young, Kwame A. Appiah, and Walter Mignolo, who have developed "concepts and strategies of dealing with cultural or social differences, cultures of difference, and transcultural studies" that can be made productive for a transcultural Americanist project (400). Drawing on their work, Lenz argues we should give up our age-old dream of finding the "right" theory of American studies and instead revel in a more dialogic, more transcultural, and more interdisciplinary approach to the discipline.
As this brief outline of the many angles and diverse perspectives the contributors take on the transnational suggests, transnational American studies as it is promoted by the current volume is indeed "a field in formation that defies efforts at stabilization," but one that has "a shared opponent," i.e. American exceptionalism, as Pease claims in his introduction (16-17). As many of the contributors stress, in light of the recent crises in a neoliberal, globalized world, it is a field that will make significant contributions to our understanding of America's position in the world for years to come, at least if it does not overlook the material and economic inequalities inside North America as well as globally in favor of a purely culturalist narrative of a transnational utopia. Not despite, but because of its many, and in some cases contradictory takes and suggestions on which direction the field should take, the collection offers valuable contributions for those interested in transnational American studies, and will offer every reader food for thought and a range of points of contact with their own teaching and research.
Johannes Fehrle (Mannheim)
Hartmut Lutz, Contemporary Achievements: Contextualizing Canadian Aboriginal Literatures (Augsburg: Wißner, 2015), 334 pp.
Laura Bieger, Ramón Saldívar and Johannes Voelz, eds., The Imaginary and its Worlds: American Studies after the Transnational Turn (Hanover, NH: Dartmouth College P, 2013), 312 pp.
Deutsche Gesellschaft für Amerikastudien > Reviews > Volume 61.2 (2016) > Transnational Turn > Winfried Fluck, Donald E. Pease, and John Carlos Rowe, eds., Re-Framing the Transnational Turn in American Studies (Hanover: Dartmouth College P, 2011), 460 pp.

redpajama_set_name: RedPajamaCommonCrawl


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Frank Ocean's single "Thinking About You" has gone platinum following his Grammy win.
Success seems to be following Frank Ocean everywhere these days. Following his debut album, Channel Orange, going gold in January (as well as receiving a Grammy for Best Urban Contemporary Album), his break-out single, "Thinking About You," has now gone platinum.
HHNM reports that the single reached the 1 million mark in sales this week, achieving platinum status.
The r'n'b singer is currently working on new music for his sophomore album, for which he says he has "10, 11" tracks done.


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The Printer Setup form lets you review and change the printers you use to print in Collect!. If you've never printed to a printer, the list is empty. Different printer control sets are used to support Collect!'s various printing options. Dot Matrix, Ink Jet, Laser, Device Context and HTML printing are supported.
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text:
Der Zwölffleckige Pilz-Marienkäfer (Vibidia duodecimguttata) ist ein Käfer aus der Familie der Marienkäfer (Coccinellidae).

Merkmale
Die Käfer werden drei bis vier Millimeter lang. Der Körper ist oval geformt. Ihr gesamter Körper hat auf der Ober- und Unterseite eine hellbraune Grundfarbe, lediglich die Facettenaugen sind schwarz. Die Flügeldecken besitzen einen weniger breit abgesetzten Seitenrand. Auf den Deckflügeln finden sich jeweils sechs, also insgesamt zwölf weißliche Flecke. Auf dem Halsschild befindet sich an beiden Außenseiten jeweils ein weißlicher Fleck. Die hellbraunen Fühler sind recht lang und verdicken sich am Ende leicht.

Ähnliche Arten
 Licht-Marienkäfer (Calvia decemguttata)
 Sechzehnfleckiger Marienkäfer  (Halyzia sedecimguttata)

Verbreitung
Die Käfer kommen in der Paläarktis vor. In Europa ist die Art weit verbreitet, aber selten. Die Käfer bevorzugen als Lebensraum Lichtungen und Ränder von Laubwäldern, wo man sie häufig an Eichen (Quercus), Zitterpappeln (Populus tremula), Eschen (Fraxinus) sowie an Vogel-Kirsche (Prunus avium) antrifft. Ferner halten sich die Käfer oft auch an verschiedenen Sträuchern wie Hartriegel (Cornus) und Schneeball (Viburnum) auf. Die Käfer fliegen gewöhnlich von April bis September.

Lebensweise
Die Käfer sitzen meist auf Blättern, von denen sie den Echten Mehltau – insbesondere jenen, der durch Phyllactinia suffulta und Sphaeroteca pannosa verursacht wird – abfressen.

Taxonomie
In der Literatur finden sich folgende Synonyme:
 Coccinella duodecimguttata , 1761

Einzelnachweise

Weblinks

 Fauna Europaea
 www.kerbtier.de

Marienkäfer

redpajama_set_name: RedPajamaWikipedia


text:
VAUGHN COLLINS TO HEAD FEDERAL DUCK STAMP OFFICE
The U.S. Fish and Wildlife Service has appointed Vaughn T. Collins as the Chief of the Federal Duck Stamp Office, according to Assistant Director for Migratory Birds and State Programs, Tom Melius.
"The Service is happy to have Mr. Collins," Melius said. "His experience in intergovernmental programs, economics and rural development will be a great asset to the Federal Duck Stamp Program."
Mr. Collins will be responsible for overseeing the annual Federal Duck Stamp Contest, issuing the Federal Duck Stamp and coordinating the Junior Duck Stamp program. "I intend to expand the Junior Duck Stamp Program, which prepares young conservationists for the future, and increase the sales of Duck Stamps among hunters and conservationists, which translates to more revenues for the National Wildlife Refuge System," said Mr. Collins.
Prior to joining the Fish and Wildlife Service, Mr. Collins was the Deputy Director of the National Rural Development Partnership located at the U.S. Department of Agriculture. The partnership is an intergovernmental program that helps rural communities address critical social and economic issues. Before moving to the Washington, DC area, Mr. Collins was Executive Director of the Vermont Council on Rural Development in Montpelier, Vermont, a member of the National Rural Development Partnership.
Mr. Collins was born and grew up in central Massachusetts. He received a Bachelors degree in Resource Economics from the University of Massachusetts, then worked in the field of community development for 10 years. He then earned a Masters degree in Applied Economics from the University of Vermont. He is also a graduate of the Vermont Leadership Institute, a statewide program affiliated with the University of Vermont.
Mr. Collins now lives in Falls Church, Virginia, with his wife Laura Fall. He is an avid outdoors man and particularly enjoys training the family's Labrador retriever.
The Duck Stamp program was created with the passage of the Migratory Bird Hunting Stamp Act. Under this Act, all waterfowl hunters 16 years of age and older must annually purchase and carry a Federal Duck Stamp. Proceeds from the sale of stamps goes to purchase and conserve migratory bird habitat. Since the passage of the Migratory Bird Hunting Stamp Act, about $600 million has been raised and over 6 million acres of critical bird habitat has been conserved. Approximately 98 cents of every Duck Stamp dollar is used to purchase bird habitat, which makes the Federal Duck Stamp program on of the most successful conservation programs ever initiated.


As an athlete he won the 1954 Vancouver Commonwealth Games Gold Medal for his native New Zealand in the 220 yards and silver in the 440 yards. In 1950 while still a Junior he won an Auckland Commonwealth Games bronze medal.
He was New Zealand sprint champion and medallist on numerous occasions over a number of distances.
Don was also a winger in the Otago (New Zealand) Rugby Union team which won the Ranfurly Shield in 1957.
He was a Life Member of Athletics Australia, Queensland Athletics, Thompson Estate-Eastern Suburbs Athletics Club and of the Queensland Rugby Union.
He was the Track Referee for the Sydney Olympic Games in 2000, Assistant Track Referee for the 1982 Brisbane Commonwealth Games and Chairman of the Jury for the 2006 Melbourne Commonwealth Games and the Track Referee at numerous National and State Championships.
He was a successful senior coach in Athletics and Rugby Union and a founding member of the Australian Track & Field Coaches Association.
Don also refereed a number of International Rugby matches involving Queensland and Overseas touring teams.
He was the foundation President of the Brisbane Athletics Officials Club and honorary Auditor for the Oceania Athletics Association and honorary auditor of numerous sporting clubs.
He was awarded the Order of Australia Medal for his contributions to Athletics and Rugby. He is the father of Sue Pavish (nee Jowett) Olympian 353 - another sprinter as one would expect.


text:
David Jason on how BBC almost leaked Only Fools and Horses special | TV & Radio | Showbiz & TV
December 28, 2021 by thakurblog
After 25 years, the legendary Del Boy and Rodney are still a Christmas hit. As always cash-strapped, the comedy duo first aired on the BBC in 1981. Starring Sir David Jason and Nicholas Lyndhurst, the long-running sitcom came to an end after seven seasons. In Sir David's Memoirs, the actor spoke about the drama behind the scenes before the release of Heroes and Villains.
In the much-loved holiday special, the brothers think they are going to a costume contest.
The pair enter the contest hoping to win a £ 1,000 speaker system as a prize, set by the organizers.
After careful consideration, Del Boy and Rodney comically decide to appear as the crime-fighting heroes Batman and Robin.
"Beyond this, of course, is the added joke that they are not … on their way to a costume party," he said.
READ MORE:Bargain Hunt star Natasha Raskin Sharp explains BBC's absence
Sir David told readers that "they were actually destined for a wake." unbeknownst to the couple, as the party organizer had died.
Highlighting the pressure the actors were under to keep their surprise a secret, the Del Boy actor stated, "Even a glimpse of Del or Rodney in those stupid costumes before the episode aired …
Said, "It would have been ruinous."
In Sir David A's Del Of A Life memoir, which was published last year, he explained, "You may have shredded all the careful build-up as well."
The production team made an effort to film the scene at midnight to avoid witnesses who could leak her costume.
Speaking about the hit Christmas special, the 81-year-old actor said: "Once it was in the can, we had the clout to tell the BBC that nothing should leak out that showed Del Boy and Rodney in those outfits."
Speaking of the difficulties, the TV icon announced: "A picture in the newspaper could have messed it up."
While the newspapers were eager for a sneak peek, the Only Fools and Horses team was on a top-secret mission to avoid any spoilers ahead of the show's holiday premiere.
Typically the show would have been filmed in London, but to take extra precautions they decided to shoot in Bristol.
The team also hired security guards, who cordoned off the area to prevent anyone from approaching the location where they were filming.
After celebrating his 80th birthday, the national treasure shared his memories of his stellar career in show business.
The star continues to appear on screens after BBC viewers saw David make an appearance on the 2021 Christmas special Strictly Come Dancing.
Jay Blades of The Repair Shop had just finished his Jive with professional dancer Luba Mushtuk, where they scored 34 points from the judges.
The couple danced to Only Fools and Horses' title track, Hooky Street, and received a surprise message from the star of the much-loved British show.
Only Fools and Horses is available on Amazon Prime Video
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Rumor: The specifications of Xiaomi 12 Pro have been leaked in full before the planned presentation
Widevine Dump: scripts to download from Netflix, Disney+, Amazon and other services


The rapid rise of Africa's tech industry: The number of startups and deals is on an upward trajectory in the African tech sector, fuelled by increasing demand for services in the world's fastest growing mobile market.
When Katlego Maphai, CEO of financial technology firm Yoco, returned from the US with the idea of launching a mobile payments startup, he was aware of the daunting task that lay ahead.
The South African point-of-sale startup, which began operating in 2015, not only launched its service in a market dominated by several major banks renowned for their innovations including First National Bank (FNB), but faced stiff competition in raising funding because of the small pool of fundraisers operating in Africa. At the time that Yoco raised its seed capital, African tech firms raised a total of $277m.
Initially, the company focused primarily on fundraising through friends, families and angel investors, but as the company grew apace--adding around 200 merchants per month--it raised further rounds of funding from venture capital (VC) firms, culminating in a Series B round of funding led by US-headquartered VC firm Partech totalling $16m in September 2018.
"With our Series A, we were able to prove that there was capacity and predictability in this business to scale, and then through that funding, we reached market leadership position," says Carl Wazen, Yoco's chief business officer. "So when it came to raising our Series B, we had a pretty strong story, and that narrative and the many relationships we nurtured during our previous fundraising rounds, allowed us to make that successful close with two very strong fintech focused VCs with a US, Dutch and African presence."
The other VCs for the second round included investment vehicle Orange Digital Ventures, the Dutch development bank FMO, and Quona Capital and Velocity Capital.
Yoco's successful fundraising is part of a wider surge in startup investment in Africa, which jumped year-on-year by 53% in 2017 to reach a record-breaking $560m by 124 startups, according to global investment firm Partech Ventures. Partech's data only includes deals higher than $200,000 and excludes any grant or debt deals, and "megadeals" worth $100m and over. The fintech and solar sectors secured 21% of the funding each, while e-commerce and educational technology startups accounted for 19% and 12% respectively. Nigeria, South Africa and Kenya accounted for 76% of the total investment, but this represented a 4% decline from the previous two years, reflecting the emergence of Ghana, Rwanda, Senegal and Uganda as attractive investment destinations.


From the Maidstone Telegraph, Rochester and Chatham Gazette, 15 June 1861.
Stockbury. Festival of the Stockbury Benefit Society.
This Society held their anniversary at the "Squirrels Inn," on Saturday, where about 120 members sat down to a very excellent dinner, served up by the landlady, Mrs. C. Coulter. Mr. P. Read occupied the chair, and Mr. J. Coulter the vice-chair. The Sittingbourne and Milton band was present, and a very pleasant afternoon and evening was spent.
Kentish Gazette, Tuesday 04 November 1862.
The Tickham Fox Hounds will meet on Tuesday this day at "Squirrels," Stockbury; Friday, November 7th, Quay Street, at half-past 10 o'clock.
South Eastern Gazette, 05 December 1865.
A Fat Hog, at Mr Goodhew's, "Three Squirrels Inn," Stockbury, on Wednesday, 13th December, 1856, by 26 members at 10s each. The winner can have the money or the hog by paying 10s for expenses.
Conditions one half ounce of shot, 21 yards rise, 5 pigeons each, 80 yards boundary. Shooting to commence at 11:30 a.m.
Maidstone Telegraph, Saturday 10 September 1870.
This was the annual licensing day and all the publican's, beer housekeepers, &c., attended to obtain a renewal of the certificate by which they might obtain fresh licences.
The following applications were adjourned till the next sitting in consequence of not having their notices properly signed.
Mr. Goodhue, "Squirrel," at Stockbury; Mr. Hughes, "Old England," Hollingbourne, and Mrs. Nelson the "Bell," Thurnham.
Whitstable Times and Herne Bay Herald, 25 October 1919.
HARBLEDOWN HOPS DESTROYED BY FIRE ON THE ROAD TO LONDON.
On Thursday afternoon as a steam waggon, with trolley attached, was conveying eighty pockets of hops from Harbledown to London, a fire broke out among them near the "Squirrels Inn," Stockbury, on the Maidstone-Sittingbourne road. It was caused by a spark from the engine, and fanned by the breeze both waggon and lorry were soon ablaze. The flames spread so quickly indeed that the driver was unable to detach the lorry. A taxi from Maidstone came along, and dashing through the flames, which spread across the road, motored into Sittingbourne and gave the alarm. The Fire Brigade turned out promptly, and drawing a supply of water from a tank damped down the flames, and stood by all the afternoon, removing the debris out of the road. The front part of the steam waggon was saved, but the lorry was burnt out. and the hops were destroyed. The total damage was nearly £3,500.
From the http://www.kentonline.co.uk 9 July 2012, by Chloe Mosdell.
Progress is being made on the transformation of a former pole-dancing club.
Work is underway on a £50,000 project to transform a former pole-dancing club into a family-friendly country pub.
The "Three Squirrels" in Stockbury Valley was bought at auction in April for £155,000 and is being turned into a bar, restaurant and entertainment centre.
Owner Malcolm Champion, who is renovating the property with his grandson Christopher Champion, expects it will take nine months to refurbish the building due to the extensive work that is needed.
There has been a three-week delay to the renovation works as Mr Champion has had problems with one of his other properties.
The 72-year-old businessman is looking forward to opening, saying: "There will be different types of entertainment on every evening.
The pub is set to open by next summer following the £50,000 revamp.
From http://www.kentonline.co.uk 10 October 2013, by Lewis Dyson.
The Three Squirrels pub in Stockbury Valley which is undergoing renovation.
The revamp of a former pole dancing club into a family-friendly country pub has suffered further delays.
In April last year, the "Three Squirrels," Stockbury Valley, was purchased at auction for £155,000 after lying empty for more than a year.
It was hoped the renovation would be finished at the end of this summer with costs set to be around £50,000.
However, extensive work is still needed even though £40,000 has already been ploughed into the project.
Owner Malcolm Champion is renovating the building with his grandson Christopher Champion.
Owner Malcolm Champion in the front bar of the Three Squirrels pub.
He said problems with several properties he owns in Bromley - including a burst water main - have diverted attention away from the pub.
He said further delays were caused when Swale council informed him planning permission was needed to repair and replace tiles on the roof.
During the time spent obtaining approval, money set aside for the roof was spent elsewhere.
Mr Champion said: "You name it we've got to do it. It's basic things just to get the place in some sort of order.
The 73-year-old Bromley resident estimates it may take another nine months to finish but says it could take even longer and added it may cost another £40,000 to £50,000 to complete.
When finally done, it is hoped the "Three Squirrels" will become a bar, restaurant and "entertainment centre" with live acts every evening. It will keep its name.
Michael Mirams kindly informs me that the pub closed in 2010 and amongst efforts to open it as a pub again it is now a private residence.


text:
Mochdre woman denies spitting at toddler and public order offence
Paula Louise Jones, 47, from Glan Road, Mochdre, pleaded not guilty to common assault and not guilty to a public order offence
Mari JonesReporter
File Picture - Llandudno Magistrates Court (Image: Hadyn Iball)
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A woman appeared in court this morning charged with spitting at a two-year-old child.
Paula Louise Jones, 47, from Glan Road, Mochdre, pleaded not guilty to common assault, and not guilty to a public order offence.
'Disgusting' drunk chef banned from mother's house after attacking her and his sister
She will stand trial in Llandudno later this year.
Jones, wearing a black leather jacket and a leopard print top, stood in the dock and spoke during the brief hearing only to confirm her name and to enter her not guilty pleas.
Stalker threatened to slash ex-girlfriend's face and told women she was sleeping with their boyfriends
She is charged a public order offence in Mochdre on March 13 this year, and of spitting in the general direction of the alleged victim's toddler, two at the same time.
Jones was released on conditional bail and will stand trial on Thursday, May 11.
Mochdre


Other SBDE resoruces and information can be found HERE.
Lambeth "Working Together" link is here.
The DFE data dashboard for Holy Trinity showing the latest available data from autumn 2013, released Spring 2014.
Modern governor offers lots of good online training modules for governors, both for new governors and continuing development for excisting governors, there are also modules open for everyone to learn about school governance Visit the site and see what you can learn!.
Represents school governors in England, including lobbying ministers and policy makers.
Previous sites of the month.... and other school and governor related sites..... check them out!
This site has lots of links to useful resources for and about governors. Clerk to governors blogs and tweets about governor related issues, always good for up to the minute (No exageration) information.
Free, confidential advice, information and support to School Governors, clerks and individuals involved directly in the governance of maintained schools in England.
Information for school governors and details of how to become a school governor. ... | Lambeth Council's home page.
Last updated April 2014 - Let us know of any problems on this page on the feedback form on the main governors Page.


text:
Q: Django slice variable in template I am trying to cut a slice a list of images to split them over a few pages of a pdf I am generating. But im not sure what the syntax I need to use is. (or if there is a better way).
 {% for page in image_pages %} // range loop for number of pages (passed from view)

 // new page break for each page

        {% for image in project_images|slice:"0:12" %}

        {% endfor %}

{% endfor %}

What i want to do is adjust this line
  {% for image in project_images|slice:"0:12" %}

To something like (to print 12 images from total image list sent)
  {% for image in project_images|slice:"page*12:page*12+12" %}

A: You could write your own template tag to slice with variable arguments. The Django-supplied template engine doesn't include this. The authors believe that the right place to do this sort of thing is in the Python code. Something like
display = []
for page in image_pages:
    display.append([
        page,
        project_images[page*12:page*12+12]
    ])
context['display'] = display

And the template then becomes
{% for page, image_list in display %}

 // new page break for each page

    {% for image in image_list %}

    {% endfor %}

{% endfor %}

The other option is to use Jinja instead of the Django template engine.

A: Along with this answer i did the below to achieve what i needed. https://stackoverflow.com/a/23783666/14143473. I also used https://pypi.org/project/django-mathfilters/
 {% for page in image_pages %}

       {% with start=page|mul:12 end=page|mul:12|add:12 %}

            {% with start|addstr:":"|addstr:end as imageSlice %}

                {% for image in project_images|slice:imageSlice %}

                {% endfor %}

            {% endwith %}

       {% endwith %}
{% endfor %}

redpajama_set_name: RedPajamaStackExchange


text:
Q: Does reissuing an SSL certificate invalidate the previously-issued certificate? I used the "reissue certificate" functionality at a SSL certificate vendor (RapidSSL, FWIW) to get a new certificate - in doing so, I created and used a new private key and pass phrase.
Will the re-issuance of this certificate cause the previously-issued certificate to become invalid? If so, how long does that take?

A: Yes, they will revoke the old certificate.
The way that SSL revocations works is that, inside the certificate, the vendor places a URL where the client (e.g. browser) should check if the certificate is still valid (called a CRL).
So there is no hard and fast answer to this, it depends on the client. In some cases, like this article, it suggests it won't be checked at all.

A: Not automatically, for RapidSSL.  For other vendors and/or certificate grades, it may be be automatic.
RapidSS don't automatically invalidate a certificate when it is re-issued, according to their Certificate Practice Statement.  This would be a function of how much you pay for the certificate.
In section II.B.5 of the currently-google-able CPS:

GeoTrust will not revoke a Certificate previously issued following a
  refund or reissue request. A request for a refund or reissue of a
  Certificate will not be treated as a request by the Subscriber for
  revocation of a Certificate previously issued by GeoTrust unless the
  Subscriber follows the procedures for requesting revocation as stated
  at Section III.I. of this CPS.

In section III.I it says:

Certificate revocation is the process by which GeoTrust prematurely
  ends the Operational Period of a Certificate by posting the serial
  number of the Certificate to a Certificate Revocation List. A
  Subscriber shall inform GeoTrust and promptly request revocation of a
  Certificate:

*

*whenever any of the information on the Certificate changes or becomes obsolete; or

*whenever the Private Key, or the media holding the Private Key, associated with the Certificate is Compromised; or

*upon a change in the ownership of a Subscriber's web server.  Subscriber shall state the reason(s) for requesting revocation upon submitting the request.

Elsewhere it minimally promises that revoked certificates will be added to the CRL 'at least once a week'.
Reading the Certificate Practice Statement of any purchaser of SSL certificate services is a good thing for a buyer to do.


CULVER CITY, Calif., December 1, 2010 – Jonah Hill and Channing Tatum are set to star in a contemporary motion picture adaptation of 21 Jump Street, it was announced today by Doug Belgrad, president of Columbia Pictures. Hill and Tatum are executive producers on the project, which will be directed by Phil Lord and Christopher Miller from a screenplay by Michael Bacall based on a treatment from Hill and Bacall. Neal H. Moritz will produce the film with Stephen J. Cannell, who will receive posthumous credit.
Hannah Minghella and Jonathan Kadin are overseeing production for the film on behalf of the studio.
An early hit for Fox Broadcasting, "21 Jump Street" focused on young cops with youthful appearances who work undercover in high schools and colleges. The popular series starred Johnny Depp and several other young stars and hit home with the network's key teen demographic from 1987-1991.
JONAH HILL starred opposite Michael Cera in the acclaimed hit Superbad, which grossed nearly $120 million at the US box office. He most recently starred in the Sundance Film Festival hit film Cyrus opposite John C. Reilly and Marisa Tomei and opposite Russell Brand in Get Him to the Greek. He also recently lent his voice to two films for DreamWorks Animation, Megamind and How to Train Your Dragon. Hill also appeared in Knocked Up, Funny People, The Invention of Lying, Forgetting Sarah Marshall, and The 40-Year-Old Virgin, and was heard in the animated film Horton Hears a Who!. He made his screen debut in I Heart Huckabees. Hill also produced Sacha Baron Cohen's controversial comedy hit Brüno. Hill will next star opposite Brad Pitt in Columbia Pictures' Moneyball and in David Gordon Green's The Sitter for 20th Century Fox.
CHANNING TATUM most recently starred in the hit Dear John and will next be seen in a comedic turn in The Dilemma, which will be released on January 14, 2011 and will then star in the Roman epic adventure, The Eagle, directed by Kevin Macdonald and released on February 11, 2011. He is also starring in Steven Soderbergh's Haywire. He just wrapped production on The Vow with Rachel Mcadams. He is repped by UTA, Management 360 and Hansen, Jacobson, Teller & Hoberman.


text:
How jealous cop who shot at his ex girlfriend and lover killed an 11-year-old boy
It was a bad evening for the parents of an 11 year old boy.
A police officer has been arrested after a stray bullet killed an 11-year-old as he allegedly opened fire on his ex-girlfriend and her husband at their Batho home in Bloemfontein on Friday evening.
According to police, the constable, who is stationed at Bloemspruit police station, arrived at his former girlfriend's house at 22:00.
"It is alleged that the member fired shots inside the house with his service pistol and injured the ex-girlfriend's s husband in the stomach," Police spokesperson Colonel Thandi Mbambo told News24.
Mbambo said that one of the bullets penetrated through a door and hit a child, belonging to another tenant in the house. He was watching television when he was shot.
ER24 spokesperson Werner Vermaak said paramedics arrived on scene where they found a man with a serious gunshot wound to his abdomen. He was treated on the scene and rushed to a nearby hospital.
"ER24 paramedics sent an emergency vehicle to their home where they found the lifeless body of the young boy. He had sustained a gunshot wound to his chest," Vermaak added.
Police arrested the suspect shortly after the shooting and his firearm was confiscated, Mbambo said.
The suspect is expected to appear in the Bloemfontein Magistrate's Court soon on charges of murder and attempted murder.
https://newsoweto.co.za/how-jealous-cop-who-shot-at-his-ex-girlfriend-and-lover-killed-an-11-year-old-boy/https://newsoweto.co.za/wp-content/uploads/2019/04/crime.jpghttps://newsoweto.co.za/wp-content/uploads/2019/04/crime-150x150.jpg 2019-09-22T01:27:32+00:00 [email protected]crime
It was a bad evening for the parents of an 11 year old boy. A police officer has been arrested after a stray bullet killed an 11-year-old as he allegedly opened fire on his ex-girlfriend and her husband at their Batho home in Bloemfontein on Friday evening. According to police, the...
10-month old baby and school girl gunned down in 'taxi war'
Home invader rapes 59-year-old woman, returns later rapes her again
Cop arrested for robbery using police bakkie
Durban couple battered with hammer the shot dead
Man 'burned alive by mob' over the rape of disabled teen
Suspected cable thief electrocuted at sub-station after transformer exploded
More than 130 bushfires continue to burn across Queensland and NSW with 26 homes lost


text:
L'assedio di Port Hudson è stato un episodio della guerra di secessione americana a seguito del quale l'esercito nordista guidato dal generale Nathaniel Banks occupò la città fortificata di Port Hudson (Louisiana), sulla riva del fiume Mississippi.

Contesto
Sin dall'inizio della guerra di secessione, nordisti e sudisti si contendevano il controllo del fiume Mississippi. La Confederazione doveva mantenerne il controllo per trasportare uomini e rifornimenti essenziali per lo sforzo bellico mentre l'Unione cercava di interrompere questa fondamentale via di approvvigionamento tagliando così in due il territorio confederato.

Nella primavera del 1862, preso il controllo di New Orleans e Memphis, i nordisti concentrarono i propri sforzi verso le città fortificate di Vicksburg e Port Hudson, importanti bastioni sudisti lungo il corso del Mississippi.

Il generale nordista Grant, comandante dell'Armata del Tennessee, aveva previsto di raggiungere questi obiettivi attraverso un'operazione su due fronti: circa la metà delle sue forze – sotto il comando del generalmaggiore William Tecumseh Sherman – avrebbero dovuto avanzare fino al fiume Yazoo nel tentativo di raggiungere Vicksburg da nord-est mentre Grant, con il resto dell'Armata del Tennessee, avrebbe condotto una serie di spedizioni per cercare di raggiungere il fiume Mississippi a sud di Vicksburg.

Contemporaneamente, Nathaniel Banks venne inviato verso Port Hudson. Il 23 maggio 1863 Banks, sconfitte le forze sudiste nella battaglia di Plains Store e ottenuti rinforzi, circondò con circa 40.000 uomini Port Hudson.

All'interno della città fortificata, il comandante sudista Franklin Gardner, conscio della propria netta inferiorità numerica, sperava di mantenere la posizione il più a lungo possibile in attesa di rinforzi.

L'assedio
La mattina del 27 maggio Banks ordinò un attacco contro le linee fortificate nemiche ma il fuoco incrociato dei sudisti respinse l'offensiva. Successive cariche di fanteria e cavalleria nordista non riuscirono ad avere miglior sorte e solo grazie all'intensivo utilizzo dell'artiglieria Banks riuscì ad avere la meglio, dopo 48 giorni di assedio.

Conseguenze
La capitolazione di Port Hudson permise all'Unione di controllare la navigazione sul fiume Mississippi tagliando le vie di comunicazioni tra gli stati orientali della confederazione e quelli occidentali.

Bibliografia
 Banks, Raymond H. The King of Louisiana, 1862–1865, and Other Government Work: A Biography of Major General Nathaniel Prentice Banks. Las Vegas, NV: R. H. Banks, 2005. Chapters 27–35 OCLC 63270945.
 Cunningham, Edward (1963). The Port Hudson Campaign 1862–1863. Louisiana State University Press. ISBN 978-0-8071-1925-9.
 Faller, Phillip E. (November 2002). Siege of Port Hudson. America's Civil War. https://web.archive.org/web/20080113092751/http://www.historynet.com/magazines/american_civil_war/3037456.html. Retrieved April 1, 2008.
 Hearn, Chester G. (1995). The Capture of New Orleans 1862. Louisiana State University Press. ISBN 0-8071-1945-8.
 Hewitt, Lawrence Lee (1987). Port Hudson, Confederate Bastion on the Mississippi. Louisiana State University Press. ISBN 0-8071-1961-X.
 John D. Winters, The Civil War in Louisiana, Baton Rouge: Louisiana State University Press, 1963, ISBN 0-8071-0834-0, pp. 123–124
 Johnson, Ludwell H. (1993). Red River Campaign, Politics & Cotton in the Civil War. Kent State University Press. ISBN 0-87338-486-5.
 Kennedy, Frances H., ed., The Civil War Battlefield Guide, 2nd ed., Houghton Mifflin Co., 1998, ISBN 0-395-74012-6.
 Tucker, Spencer (1989). Arming the Fleet, U.S. Navy Ordnance in the Muzzle-loading Era. Naval Institute Press, Annapolis, Maryland. ISBN 0-87021-007-6.

Altri progetti

Collegamenti esterni

Campagne della guerra di secessione americana
Guerra nel 1863
Stati nella guerra di secessione americana


Recently we were invited to help others to resolve compatibility issues between IOS and Android. They have started with React Native but have developed their application only for Android. And then they wanted to make it work also on IOS. Here are some tips.
Well, this one is obvious. Try to avoid components like ToolbarAndroid and ToastAndroid. Even when you think you will use Android only, it is pretty easy to wrap Android specific components behind your component. This allows you to update code on one place if you change your mind in future. Simple solution like this helps.
Fonts are working differently on Android and IOS. Android uses filename to recognize the font but IOS uses font "real name" (for more info see e.g. this stackoverflow question). So if possible use the same name for file also. It was not our case. Thus we have extracted simple constants file for this purpose and used simple switch.
Locate all such constants for fonts, colors etc. in one place is always good idea even though you don't have the problems described above. You never know when someone (customer, designer,…) decides to change the font or color.
Strange problems came with touchables that were covered by transparent Image. They used transparent image to make nice background and used negative margin so that it goes also over Touchable on the top of the screen. It worked fine on Android but caused problems on IOS. Touchable was not receiving input. This tends to be also problem when you want to align multiple touchable icons e.g. in one row (left, middle, right). Don't cover your touchable by other views etc. Solution to this problem is usually reordering of view (make touchable the last) and/or use only dimensions you need (e.g. that View you use just for layouting does not use whole line but use fixed width).
Of course we had also other topics we had to cover. Clearly you need to take care of properly installing all native dependencies. Another topic is specific styles for screen headers as IOS status bar is over your application (in contrast to Android). Here also helps common rule – use reusable components – as you can resolve it on one place. In-between we have fixed few general performance problems. Please, never use height unconstrained ListView!
To answer our question – no, IOS and Android are not 100% compatible even with React Native. However the differences are pretty manageable and can be localized to few small places if you think about them in advance and follow best practices. In our experience React Native is way to go in most cases. Not all of course – there is no silver bullet solution. If you have any doubts, please contact us and maybe we can help also you with our experience.


A video of him freestyling "pre-Panda" shows that Desiigner hasn't always rapped with an inaudible southern drawl.
Kanye West releases a remix to his protegé Desiigner's viral song "Timmy Turner."
Yesterday, Desiigner spent his night wooing industry insiders at Radio One's fifth annual Blitz showcase.
GQ teamed up with the Brooklyn rapper, 19, to go searching for Pokémon in New York's Central Park.
Ricky Anderson shared a Snapchat of Kanye and Desiigner turning up to their own music in the Hamptons last night.
G.O.O.D. Music newcomer Desiigner is transforming the "Timmy Turner" freestyle into a song with Travi$ Scott.


text:
Q: Confidence interval of transformed random variable Let $X \sim \mathcal{N}(0, \sigma^2)$. I can construct a level-$\alpha$ confidence interval for $X$ as $(X-q\sigma, X+q\sigma)$, where $q=\Phi^{-1}(\alpha/2)$ and $\Phi$ is the standard normal CDF.
I have a quantity of interest which is a transformation of $X$ (denote it $Y=f(X)$), and I want to find a level-$\alpha$ confidence interval for $Y$.
I have thought of two methods to do this:

*

*Write the confidence interval of $Y$ as $\left(f(X-q\sigma), f(X+q\sigma)\right)$.

*Use the Delta method to approximate the variance of $Y$ and write the confidence interval of $Y$ as $\left(Y-q\sqrt{\widehat{Var}(Y)}, Y+q\sqrt{\widehat{Var}(Y)}\right)$.
Is method 1 correct? I don't think that they can both be correct.
Does it make a difference if $f$ is one-to-one?


text:
date of birth: 23 December 1956
date of death: 25 April 2001 (44)
same birthday: Bertrand Gachot (23 December 1962)
wins: 5 (2.3%)
podiums: 23 (10.7%)
pole positions: 2 (0.9%)
best result: 1st
seasons: 14
points: 186.5 (0.9 points per race avg)
retirements: 113 (52.6%)
first event: 1981 San Marino Grand Prix
last event: 1994 Australian Grand Prix
about Michele Alboreto
Michele Alboreto (23 December 1956 – 25 April 2001) was an Italian racing driver. He was runner up to Alain Prost in the 1985 Formula One World Championship, as well as winning the 1997 24 Hours of Le Mans and 2001 12 Hours of Sebring sports car races. Alboreto competed in Formula One from 1981 until 1994, racing for a number of teams, including five seasons (1984–88) for Ferrari.
The Italian's career in motorsport began in 1976, racing a car he and a number of his friends had built in the Formula Monza series. The car, however, achieved very little success and two years later Alboreto moved up to Formula Three. Wins in the Italian Formula Three championship and a European Formula Three Championship crown in 1980 paved the way for the Italian's entrance into Formula One with the Tyrrell team.
Two wins, the first in the final round of the 1982 season in Las Vegas, and the second a year later in Detroit, earned him a place with the Ferrari team. Alboreto took three wins for the Italian team and challenged Alain Prost for the 1985 Championship, eventually losing out by 20 points. The following three seasons were less successful, however, and at the end of the 1988 campaign, the Italian left Ferrari and re-signed with his former employers Tyrrell, where he stayed until joining Larrousse mid-way through 1989.
Further seasons with Footwork, Scuderia Italia and Minardi followed during the tail end of his F1 career. In 1995, Alboreto moved on to sportscars and a year later the American IndyCar series. He took his final major victories, the 1997 Le Mans 24 Hours and 2001 Sebring 12 Hours, with German manufacturers Porsche and Audi respectively. In 2001, a month after his Sebring victory, he was killed testing an Audi R8 at the Lausitzring in Germany.
1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994,
1 1982 Caesars Palace Grand Prix round 16 Tyrrell
2 1983 Detroit Grand Prix round 7 Tyrrell
3 1984 Belgian Grand Prix round 3 Ferrari
4 1985 Canadian Grand Prix round 5 Ferrari
5 1985 German Grand Prix round 9 Ferrari
2 1985 Brazilian Grand Prix round 1 Ferrari
1981 Eddie Cheever
Kevin Cogan
Ricardo Zunino
Tyrrell compare 1981
1982 Slim Borgudd
Brian Henton
1983 Danny Sullivan
1984 René Arnoux
Ferrari compare 1984
1986 Stefan Johansson
1987 Gerhard Berger
1989 Jonathan Palmer
Philippe Alliot
Yannick Dalmas
Éric Bernard
1990 Bernd Schneider
Arrows compare 1990
1991 Alex Caffi
Footwork compare 1991
1992 Aguri Suzuki
1993 Luca Badoer
Lola compare 1993
1994 Pierluigi Martini
Minardi compare 1994
2020-04-25 Remembering Michele Alboreto: F1 ace, Le Mans winner and good man
Michele Alboreto was not someone who became interested in racing only once he was involved. He was like you or I – a pure fan – long before he became a driver, and each year he'd make the 45min journey from home in Milan to Monza for the Italian Grand Prix. In 1970, he was left tearful on witnessing Jochen Rindt's fatal accident in practice, then felt the exhilaration 24 hours later as ...


text:
Parkland high school security officer was warned about Nikolas Cruz as potential school shooter a year before deadly massacre: Report
by Ellen Killoran
The sheriff's deputy who resigned on Thursday after an investigation found that he never entered the building where Nikolas Cruz was shooting at students and teachers was specifically warned about Cruz's potential for violence and appears to have largely ignored the tip.
As CrimeOnline previously reported, Broward County Sheriff Deputy Scot Peterson, who worked as a School Resource Deputy (SRD) at Marjory Stoneman Douglas High School in Parkland, Florida, was the only armed office on campus on February 14 when Nikolas Cruz opened fire inside a school building, ultimately killing 17 people before he was able to escape the campus by blending in with evacuating students.
In a press conference on Thursday, Broward County Sheriff Scott Israel told reporters that Peterson had opted to resign and retire after he was told he was under investigation for failing to engage with the shooter. Peterson reportedly stayed outside the school building where Cruz gunned down students and teachers throughout the entirety of the massacre. He was also reportedly involved in a mishap over surveillance camera footage that led responding officers to believe that Cruz was still inside the school when he had in fact fled the campus.
According to USA Today, Peterson, who was working at the school as an SRD, was alerted to a February 2016 reports from neighbors that Cruz had posed with guns on Instagram and that they worried he "planned to shoot up the school." The USA Today report suggests that Peterson may have ignored the warning altogether, and there was no record of how or if he followed up on the complaint.
The news outlet obtained notes written by a dispatcher that are believed to have been forwarded to Peterson by a deputy.
"Third hand information received from neighbor's son that Nikolas Cruz planned to shoot up the school on Instagram," the notes reportedly read. The deputy reportedly determined that Cruz owned knives and a BB gun before forwarding the report to Peterson.
Multiple reports of apparent law enforcement failures and oversights have emerged since last week's deadly shooting. Numerous law enforcement agencies, including the FBI, were alerted to Cruz's alarming social media behavior, and the Broward County Sheriff's Office received 18 reports involving Cruz since 2008.
At Thursday's press conference, Sheriff Israel announced that two deputies had been placed on restricted duty pending internal investigation into how the reports were handled. Friday's USA Today report identifies those deputies as Edward Eason and Guntis Treijis.
[Feature Photo: AP]


text:
Q: Grab hidden field's value that is set in document.ready in asp.net code behind I need to access a hidden fields value in code behind, normally this is easy but this variable is being set during jQuery's document.ready event and I need to access it when the page loads... so far I have tried Page_Load , Page_LoadComplete , Init and Prerender with no luck. Is this just an impossible task?
Thanks!

A: Yes that is impossible.
(At least with known technology at this point. You would need a time machine to get that data.)
All the code on the server runs to create the page to the browser. when the server code is complete, the page is sent to the browser and the browser parses the page. When the entire page is parsed, the ready event happens.
So, all server code runs before the page is sent to the browser, and all Javascript code runs after the page is sent to the browser.
(It's technically possible to have Javascript start in the browser before the server code completes, but that means that you need to turn buffering off for the response on the server and handle the response completely by yourself (i.e. not Webforms or MVC), and the Javascript needs to run when the page starts loading, not in the ready event. Also, you need another page on the server that the Javascript can request to send data back to the server, and that page has to run sessionless so that the web server can handle it in parallel with the current page. Also, you need to set up some static class on the server where the data can be stored, so that the current page can pick it up when it arrives, and you have to create some kind of identifier for the request that the Javascript can send back to identify which request should get the data, as the page used to send the data is sessionless. So, even if it possible to do something similar to what you want, it's way too complicated to be practical.)

A: So the poster above is correct, but there are lots of ways to do what you want.  For example, submit a post back right after changing the value.  Like below (there are many other alternatives to this as well).
public partial class WebForm1 : System.Web.UI.Page
    {
        protected void Page_Load(object sender, EventArgs e)
        {
            var test = HiddenField1.Value;

            if (test != "")
                HiddenField1.Value = "test finished";
        }
    }

<form id="form1" runat="server">

        <asp:HiddenField ID="HiddenField1" runat="server" />

        <script type="text/javascript">
            $(document).ready(function () {

                if ($('#HiddenField1').val() !== 'test finished') {
                    $('#HiddenField1').val('test');
                    $("#form1").submit();
                }

            });
        </script>

    </form>