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5 Progressions Blues Guitar Players MUST Know
In these lessons, Chris Buono digs deep into the what, how, whys and wherefores of blues progressions. You will learn how to play progressions in various keys and forms to freshen up your jam session or rehearsal!
Check out this selection of free blues guitar lessons from Chris Buono's Guitar Lab: Blues Progressions for some sonic freshness!
Sussy Strut
Download the tab, jam track & notation for this blues progression.
In this first segment many of the core approaches to Blues Progressions will be laid out for you, so listen up. In order to start kickin' around ideas, it's important you have a solid foundation in the basic 12-bar blues progression. The one we have here is so basic the only IV chord in sight is the double-bar instance at bars 5 and 6.
Throughout this course we'll be taking a deep look into the chords you'll be playing. From basic grips to extended altered excursions we're going to cover a lot of ground, so you'll have plenty of firepower. To get started, this segment will dole out the skinny on the core of most every chord in Blues Progressions: the b5 interval between the 3rd and b7th. This is the crux of a dominant 7th chord, which is the backbone tonality of these 23 progressions. Following that probe we'll take a first look into extending those dom7 chords into phat-sounding 9ths and 13ths.
The third and final segment will be the first of many times I'll introduce a signature approach to a progression. In the case of Sussy Strut you have a simple approach to changing things up by way of dom9sus4 chords as well as moving triads.
Ford-ward
A great way to get your hands fretting some new blues is to check out modern players who are pushing the envelope and taking the style to new places. One such beloved artist is guitarist/singer Robben Ford. While Ford is all about the real deal he's more known for his modern approaches to blues playing. Evidence of this is all over his soloing but when you take a look beneath what's he playing (or singing) over you'll uncover some real slick progressions. This quirky 6-bar blues is a great example of Ford's hipness. Taken from a tune called "Ragged Road" from the Handful of Blues CD done with his rhythm section The Blueline, this six bar jam in B feels great.
There's a lot to swallow in this one in addition to wrapping your inner clock around a 6-bar progression. Listen for what's called an "anticipation" in bars 1, 2 and 5. This is where a chord that is meant to be played in the next bar on the downbeat is played on the last upbeat of the preceding bar "anticipating" the change. When you get to the third phase of the progression you'll be treated to some uncommon voicings. Though they're a little left-field for most they stay true to the voice leading standards this course adheres to and will serve as some great candy chords to have in your bag. That said, just like combining concepts and transposing changes, to get even more out of this course try to substitute these new voicings in the other progressions.
For the Bird
Continuing with the jazz vibe we have a super-charged blues progression courtesy of Charlie Parker. This set of changes is from a tune of his called Blues For Alice. From the series of chromatic ii-Vs starting in bar 6 to the brisk 164 BPM you're getting into some s#%t with this one! An underlying concept called back cycling is lurking within the changes. In the upcoming Back Cycling segment you'll get full picture as to what that is, but in the meantime think of it this way: A series of V chord cadences that eventually lead up to a final resolution.
While these last three progressions were played in more of a jazz context that's not to say they can't be played in another style. Try dropping these, as well as all the other progressions throughout the course, in various styles. If you feel like an entire progression isn't making the adjustment all that well try taking pieces of it and combining it with others. Take the first fours bars of one, the middle of another and the final four of yet another and see what you get. In the end you're making your collection of blues progressions that much more robust.
Hurricane Allman
Throughout the course we've delved into many standard blues tunes and gave them the once over. There was Freddie Free ("Freddie Freeloader"), The Wes Coast ("West Coast Blues") as well as the immediate three we just went over. Of all of them no set of changes is more admired than the treatment T-Bone Walker's "Call it Stormy Monday" received courtesy of the Allman Brothers on their seminal live album, Live at Fillmore East. If you listen closely to Duane Allman (I mistakenly called out Greg in the video) as he introduces the tune he first credits the song incorrectly to Bobby Bland but then quickly makes good and cites T-Bone Walker. The reason is because the changes the Brother's are throwing at you in their version was never actually played by T-Bone Walker. The genesis of their changes was taken from a Bobby "Blue" Bland record that included "Stormy Monday" called Here's The Man (good lookin' out, guys!)
If you don't know this progression in this form already, drop everything and learn this from top to bottom. These changes are a lot of fun to comp as well as solo over and everyone truly digs them. While you're at it check out how Duane and Dickie Betts play the changes with the cleverly placed sliding 6ths and more–essential stuff!
As the name implies this minor blues progression goes for broke and throws a sizable bag of tricks at you in 12 bars. You have Dorian IV7 chords in bars 2 and 5, a back cycling ii-V in bar 8 that sets up the bVI7 chord, which by the way is a cool twist on what was just played in the same bar in the previous set of "Thrill is Gone" changes; and a tritone m7 sub at beat 3 of bar 11 to a half step resolution down to the iim7 chord that is 50% of the final cadence. Man, that IS massive.
Continuing to live up to the name of this progression, a massively important chordal approach in regards to minor jams in general is laid out for you in the third chorus–quartal harmony. In quartal harmony you have chords that are built upon stacked 4ths. They afford you and the soloist massive flexibility, to say the least. While this is not the first time we've played these type of chords here in Blues Progressions, we're gonna geek on it for real this time around to make sure you know what's what. Regardless, be sure to key in on the who, what, how, and why of this approach and get it into your bag if you haven't already.
If you're getting a taste of great things to come, there are 23 progressions in the full course in addition to the accompanying 167-page manual features lead sheet charts with pint-sized chord grids beneath the chord symbols for quick reference and fingerings, for all 23 progressions. Bust out of your rut with Buono's full course!
chord inversionschord progressionschordscompingdouble stopsrhythmstrumming
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Increasingly, we are seeing young entrepreneurs promoting start-ups emerging in various sectors of the economy. These entrepreneurs engage in independent business management not exclusively but additionally. In other words, they are employees but decide to invest. How to become an entrepreneur in these conditions?
The question of what an entrepreneur may look like is totally obvious to some, and even stupid to others. At first glance, you must have an idea behind this question, if not an answer to that question. And yet to think more closely, the answer is totally relative and incorporates several significant elements.
An entrepreneur literally is someone who undertakes. But everyone around you is undertaking. You undertake to travel, to build your house, to cook a meal, to go to the fields, to go out in the country, to walk around, to make family and professional visits, to organize a party, to set up a business, expand your business into other cities or countries, create a product, make a real estate investment, and many more.
Thus, you may notice that everyone undertakes at some point something or activity. Is an entrepreneur defined by the fact that he undertakes an activity, or by the fact that he concretizes his idea of undertaking? Is an entrepreneur defined by the fact that a person declares his activity or is registered with the relevant administrative structures? Is an entrepreneur also defined by the fact that a person runs an activity or company with employees?
Can you also define an entrepreneur as being an employee of a private structure, or a national or international civil servant or a person who has a liberal activity? Can the entrepreneur also be defined as an individual who makes non-commercial profits (NBC) or industrial and commercial profits (BIC)? Above all, to fully understand the concept of entrepreneurs mentioned in this article, you must distinguish between self-employed and entrepreneurship.
Entrepreneurship is about entrepreneurship. Each individual undertakes or plans to do something at some point in their life. There is no one who does not take in his life, even the smallest men. Entrepreneurship is much more focused on meeting individual or individual needs and the pursuit of the self-interests of the individual undertaking. Deciding to go on a vacation in Miami is like doing business in the same way as cultivating your fields in the countryside.
On the other hand, entrepreneurship always concerns the action of entrepreneurship, but here for the sake of economic and financial profitability. This is about creating your company or setting up a profitable project in the short and long term. Entrepreneurship involves the creation of wealth.
Becoming an entrepreneur in this article is about everyone who has decided to create wealth. The definition of the contractor depends on the sector of activity concerned. For the economist, you will be an entrepreneur if you create economic and financial wealth (reducing the unemployment rate, creating jobs, increasing income, increasing national income, etc.). For the lawyer, you will be an entrepreneur if you are registered in the commercial register, or registered in the trade system with all the conditions that go in that direction.
For an athlete, an entrepreneur is like a coach. According to MeltyGroup President Alexandre Malsch, " the entrepreneur is a coach, who must do everything to put the best players on the field to win the game ." However, an entrepreneur must have the following characteristics: goals to achieve, passionate, continually taking risks, inventive and creative, patient, knows how to adapt to any situation, autonomous, organized, manager, perseverant and determined, visionary.
An entrepreneur, whatever the definition you give him, must have at least the characteristics mentioned above. They are not exhaustive, but at least they are main characteristics. In theory, there is a difference between the status of self-employed and the status of an entrepreneur. In practice, the self-employed person is generally considered to be a person who has an activity independent of his main duties, either as a civil servant or as an employee. The entrepreneur is considered as the manager of a company that is dedicated to this activity entirely and employs a staff.
But in this article, we must understand entrepreneur as any person who is subject to a particular social regime and whose legal structure corresponds to the administrative laws. As an entrepreneur, you can belong to a one-man limited liability company (EURL), a sole proprietorship, a limited liability company (SARL), a car company, a public limited company (SA), a SASU (simplified joint stock company), SAS (simplified joint-stock company), etc.
The status of self-employed is different from that of freelance and self-employed. If you are self-employed, you do not actually have social status because a self-employed worker is not subject to a special scheme in the same way as a freelancer. As against a self-contractor or to be just a micro-entrepreneur (designations adopted since 1 st January 2016) is subject to the status of micro-entrepreneur. Consider in this article the entrepreneur as the self-entrepreneur.
Therefore, how to become an entrepreneur while being an employee? Is it possible to be an official and employed or self-employed and entrepreneurship?
The status of entrepreneur may be possible for you who are salaried. It is possible to combine the two functions or at least two statuses regardless of your activity (commercial, craft or liberal) and regardless of the type of contract (CDD, CDI, interim, etc.). however, there are exceptions for certain activities. First of all, you need to know how to become an entrepreneur before knowing the conditions under which as an employee you can make the choice of contractor status.
To be a micro-entrepreneur is to be subject to the microenterprise regime. This scheme is itself subject to the tax regime of the microenterprise which stipulates that to be considered as an entrepreneur, it is necessary to achieve an annual turnover excluding taxes (CAHT) maximum of 82 200 € with regard to the commercial activities or 32 900 € for services or liberal activities. Among these liberal activities depend on industrial and commercial profits or non-commercial profits.
But since January 2018, these amounts have been doubled to € 170,000 and € 70,000 respectively for commercial activities and services. This condition relating to turnover is the sine qua non to be considered as self-employed. If your turnover is just one euro, the maximum amount will be changed immediately to the individual business plan and you lose all the privileges associated with self-employment status.
As another condition, you must also have a registration in the RCS (Trade Register of Companies) for commercial activities or trades directory (RM) for craft activities. These two regimes enter into the configuration of the simplified social micro scheme.
As an example of activities under the microenterprise regime, you have lawyers, ushers, accountants, restaurants, cafes, bakeries, scientific and literary activities, sports professionals, doctors, etc.
Two clauses are generally recommended to become an entrepreneur as an employee.
You do not have to mix your employee hours with the hours of your entrepreneur activity. This guarantees loyalty to your commitments to your employer. Many people use their hours of work to conduct their self-employed activity and find alibis and compromises to deceive their boss. It's an unfair game.
Likewise, you do not have the right to take the material and equipment made available to you for your work as an employee for use in your microenterprise. It is "unfair " your business in the eyes of the taxman and your boss. The equipment itself of your company as an employee should not be used for the purposes of your microenterprise.
In addition, you do not have the right to speak badly of your boss and even of his company where you are an employee neither to a competitor nor to his customers in order to win them all. It's " delocalizing " your activity.
In addition, you are entitled to inform your employer of the creation of your micro enterprise that it touches the same sector of activities or not. In this wake, if you intend to provide your products to its customers, you must inform him in order to have his approval and support.
This duty of loyalty is not limited to just when you are an employee of your employer. Even after leaving the structure, you do not have the right to discredit or to exercise your business unfairly towards your boss at any given time.
Some employers recruiting you will introduce into your contract a clause prohibiting any form or possibility of starting a business by employees until breach of contract. It is therefore impossible in this case to be able to choose to become a self-employed entrepreneur because it is pretending the clauses that you have signed. These clauses prevent you from engaging in any independent activity unless you decide to terminate the contract with the employer.
Of course, these clauses must respect the right to work, otherwise, you can withdraw from this signed contract.
For example, in exceptional cases, if there is no non-competition clause in your contract, you may at any time consider certain liberal activities. According to the law of August 4, 2008, you have the right as a self-employed entrepreneur with a salaried main activity to carry out a complementary activity with the customers of your boss without his agreement.
If you respect these two main conditions, you can consider becoming a contractor being an employee. However, there are limits and exclusions to this form of work. There are certain professions that cannot be accumulated as employees such as the professions such as lawyers, medical professions, auditors. The same applies to agricultural activities which have a special status and which are not authorized to exercise being subject to the self-employed scheme.
In addition, public servants and civil servants may choose to become self-employed under certain conditions. As a full-time employee, obtaining approval from your supervisor or line manager is required to conduct a self-motivating activity. But this should not exceed three years. If you are a part-time auto entrepreneur, you will always need to make your hierarchy aware of your ambition.
However, before deciding to be an entrepreneur as an employee, you must measure the advantages and disadvantages.
By becoming an entrepreneur as an employee, you earn more money, you gain more personal experience, and even improve your productivity as an employee. In addition, you discover your potential and your know-how which makes you more efficient, more efficient and more organized in your tasks as an employee. Indeed, the time is allotted to you and every minute that you have is put to profit. Thus, you increase your diligence and the sense of responsibility which can earn you promotions as an employee.
The main disadvantage is that your expenses in terms of social contributions and the tax on your income increase.
How to become a self-employed person when you are employed in bonds but who become more comfortable once you have mastered them. There are more advantages to combining the two statutes than disadvantages. So do not hesitate and get started!
Next articleEntrepreneurs: Is It Worth It?


One thing that often appeals to us collectors is a sense of order. There's a strange sense of satisfaction to be gained from identifying something, learning its name, and placing it within a framework. Perhaps it's a hangover from the Victorian era, which was arguably the great period of classification, or maybe it's just human nature. Along with their immense visual charm and intricate printed detail, I guess this is one of the reasons why I find pot-lids so appealing.
Pot-lids are one of the earliest forms of visual advertising, being first made in the 1830s and continuing until the 1910s. Makers of all manner of products, from toothpaste to meat paste and the now almost amusing sounding 'bear's grease', (a healthy hair pomade, somewhat like hair gel), would package their wares in small ceramic pots with lids decorated with appealing images that, it was hoped, would help them sell more of their product. The same theory is still in action today, of course. Whilst the pot itself might show the name of the maker, or be otherwise decorated, the lid would bear an image that could often be totally unrelated to the contents.
It's here that we learn our first lesson. The interest and value is in the lid and the image on it! The rest of the pot doesn't really matter too much. And, with around 360 known images, there is a veritable smorgasbord of different patterns to choose from. However, enthusiasts have classified them into different categories, and most choose to focus on one area. These include famous personalities, old English scenes, shells, bears, other animals, and the picturesque Pegwell Bay, near Ramsgate in Kent. Bear subjects and Pegwell Bay tend to be the most popular, fetching from under £100 to over £1,000 – a rare 'Bear's Grease Manufacturer' lid with its somewhat gruesome image fetched around £3,000 in 2004. It's also worth knowing that other subjects that cross collecting areas, such as military personalities, can be highly popular–they just attract different types of collector. The artistic side matters too. Over 120 of the varied designs produced were taken from watercolours by Jesse Austin, and these can have a strong following today.
Perhaps unsurprisingly, the centre of production for pot-lids was in the ceramic heartland of 'The Potteries', in Staffordshire. A number of makers produced them, including F. & R. Pratt, T.J. Mayer, J.Ridgway and Brown-Westhead & Moore, with the former perhaps being the most prolific. Like the pot itself, the maker doesn't make much difference to value or desirability, but it's always nice to know, even though you'll need a reference book to help out.
Dating is a tricky subject, and it is near impossible to date a pot-lid precisely. Of course, if a lid commemorates a certain event, such as the Great Exhibition of 1851, one can say that it was produced around, but generally after, that year. Other pointers are based around shape and weight, but a number of other factors can apply. Colour came in during the early 1840s–beforehand most lids were monochrome. Earlier lids, from before 1860 tend to be flat (ter) and light in weight, being made from thinner pottery. Screw threads also generally indicate an early example. These also tend to have the best, and strongest, colouring and are often decorated with bear or Pegwell Bay subjects. Lids from the middle period of the 1860s to the mid 1870s tend to be more domed in profile and heavier in weight, whilst lids dating from after this tend to be yet heavier. The very latest lids, made from c1890 to the 1910s tend to be heavier still and are sometimes flat. The best advice here is to handle a few examples at a specialist dealer, auction house or, better, a club event where you'll also be able to pick up all sorts of useful advice and tips.
Now you know a little about the background, let's get to the nitty gritty. We already know that the early period from the 1840s-1860s is the most desirable period, and we know that certain subjects are more valuable than others. Like so many collectables, there are a number of other general guidelines and, for the sake of the space, I'd like to limit these to four; colour, quality, variation, and condition. The colour and quality of the printed image is important. Look for strong, rich or bright colours that are clearly demarcated and well-printed. Just like collecting anything that is printed in colours, the more colours there are and the finer the level of detail is, the higher the quality and value is likely to be. 'Registration', where each colour of the design matches up with another is also important factor. Blurred images where one or more colour plate was printed slightly out of kilter from the rest is a bad sign. 'Crazing', or the fine network of lines that glaze takes on over time, can affect value, and crazing with large segments is often an indication of a later lid. Fakes are known. One good tip is that if you can feel the glaze over the glossy glaze, it's a fake, as originals were printed under the glaze.
Condition is, as ever, highly important, but perhaps in a more unusual way. Cracks and chips to the flange under the lid do not affect value considerably, mainly as they cannot be seen. However, if the damage affects the rim and image itself, this is serious and can reduce value by up to 70% or more. Restoration is the same, although collectors will often disregard this on an extremely rare lid. As I said above, it's the image that collectors look for and if this is damaged, noses are turned up and shoulders shrugged. Many admirers and collectors will put circular wooden frames around lids, so that they can be displayed on a wall. If you see one of these at a fair, be a little suspicious. Yes, it might be old, but it may also be concealing damage. This isn't a reason to tear the thing apart, so politely ask the vendor and I'm sure they'll help. The same goes for very dirty lids, as the grime can often conceal a crime!
However, the real money is reserved for variations– just like many Corgi or Dinky toys. These can manifest themselves in a number of ways, the most common being the border and wording. Fancy borders varying from 'rope twist' to a green 'seaweed' can add considerably to value. It's the same for wording advertising the maker, contents or retailer. Also look for minor variations in the details of the image. Pratt's 'Lobster Sauce' showing a startled cat, dead fish and inkwell on a desk usually fetches up to £50 when a window appears on the left of the image. Without the window but with a 'fancy' border and wording, the value can leap to around £200! As there are so many variations, and not all lids are found with the same types of variation, I really advise you to invest in a copy of the book listed below, which lists all pot-lids with their own reference numbers. No, I'm not on commission, but I was once told by an eminent dealer that the expense of buying a good reference book is usually paid back in a few (then more educated) purchases – believe me when I say that I have found this to be 110% true!
Most pot-lids can be found for under £100, quite often under £30-50, making them an affordable area to collect, as well as a highly varied one. But if you know what you're looking for, you can really cash in. With the general trend in our world moving from the 'antique' to the 'modern', now is the time to check out those recently forgotten 'antique' collectables. Pot-lids still attract a strong number of dedicated collectors, particularly in the US, and the market shows no signs of dying out. Recently, my colleague Andrew Hilton of Special Auction Services in Berkshire sold the Leslie Crowther collection of pot-lids. Ring any bells? Thought it might. Well, it's true to say that if the 'price is right' and you know what you're doing – you can really go potty over pot-lids!


While trout fishing, I've had the opportunity to check out many of our local runs. To be frank, the observations thus far are somewhat discouraging. The only place I've seen any number of herring is at Wareham.
Last fall I read a report sent to me by John Sheppard, Ma DMF chief anadromous biologist. He said in spite of all their efforts, and efforts by local towns, they expected another precipitous decline in 2019.
Why were they expecting a decline? It seemed like the runs had been taking off the last few years.
It is really to early to determine how well the runs will be this year . Many of the runs have herring in the front waters where they come in from the ocean and as of yet have not reached the actual runs where they go into fresh water ponds to reproduce. I have seen normal activity in some of the runs here on the cape side of the canal . and especially one that is in another town where they are jammed pack in the feeder streams leading up to the jump off spot to fresh water. It will be another several weeks before we actually can get a true count on the herring that will be filling the ponds soon.
A couple runs had modest increases. But the dozens of small runs all over the cape and SE Ma are barely hanging on. Some have died off entirely like the Redbrook run in Pocasset.
The hope is new and more restrictive sea herring harvest practices will help our river herring rebound. But that's a 5 year plan at best if at all.
Ah that makes sense. Looking at the reports on SOL and the fishing magazines I was under the impression numbers were up across the board. But I can easily imagine how the small runs are still struggling.
Two weekends ago in Middleboro.
At the in laws for Easter and took a walk down to the pond. Small tributary no bigger than 4 ft across loaded with herring. Had to unblock the river from debris in several spots so they could continue their journey. The state is concerned with the populations so why am I having to help them on their journey???
Just stopped into the Pembroke Herring run for a minute and saw several pooling around just below the falls. Those fish really have their work cutout for them with all that rain we just had.....wow! This was only my second time there and finally it was during the run. It was nice to see some fish at this run. Overall it really looks like a nice run and kudos to all who maintain its upkeep. Great job guys!!!


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Fagun Thakrar, Critically Acclaimed British-Indian Hollywood Actress invited to Prestigious Opening Night Gala at the 72nd Cannes Film Festival 2019 and winner of Best Dress Title. Fagun Thakrar is a critically acclaimed British- Indian Actress, Writer-Director and Activist. Fagun was invited to the Prestigious opening night gala ceremony and premiere at the Cannes Film Festival held at the Grand Theatre…
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April 22, 2019 April 22, 2019 Editorial
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March 11, 2019 Editorial
International Women's Day India Business Group Chamber of Commerce celebrated the International Women's Day on the 6th of March at Su Casa in Bandra West, Mumbai IBG felicitated notable top women celebrities Abha Singh (Lawyer and Social Activist), Sanyogita Atrey (Chairperson of 18Sg), Rekha Chaudhari (Global Wellness Ambassador for India), Mayra Johnson (NGO Activist), Elsie Gabriel (Global Speaker on Climate…
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December 15, 2018 December 15, 2018 Editorial
A dentist by profession and a singer by passion, Priyanka Goyat is an ideal woman who maintains a perfect balance between her occupation and hobby. Belonging to an academically excellent family, with a father being an IRS officer she was bound to take up a profession which required lot of intellectuality, but it was her hard work that she could…
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December 10, 2018 Editorial
Dr Batra's celebrates the 12th annual Positive Health Awards at the Royal Opera House, Mumbai Honours the Positive Health Heroes and the indomitable spirit of exemplary citizens Mumbai, December 6th, 2018: Dr Batra's Multi-Specialty Homeopathy is a brand that goes beyond its service goals as a medical organization and is committed to actively supporting social causes. With that aim in…
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Sridevi, Shashi Kapoor, Vinod Khanna to be honoured at IFFI 2018
November 17, 2018 Editorial
Legendary actress and India's first female superstar Sridevi to be honoured at IFFI 2018 IFFI 2018 will also pay homage to veteran actors and filmmakers such as Shashi Kapoor, Vinod Khanna, M.Karunanidhi and Kalpana Lajmi GOA, 17th NOVEMBER 2018: After ruling the hearts of millions of Indians over her fifty-year career, the late superstar of the Hindi and the South film industry, Sridevi bid adieu to…
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Kickboxing – Saqib Saleem's new passion
September 5, 2018 Editorial
Saqib Saleem packs a punch with kickboxing! Looks like Saqib Saleem is in the mood to kick butt! Riding high on the success of his biggest release this year, Race 3, the talented actor has recently taken up kickboxing. Sources suggest that Saqib has started training in kickboxing since a month and has been following it up rigorously. It's learnt…
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Shama Sikandar, Sahil Khan Flag off Mud Skull Rally
May 28, 2018 July 9, 2018 Editorial
Shama Sikandar & Sahil Khan Flagged off Mud Skull's 4 by 4 Off Roading Rally 27th May 2018, Mumbai: A luxurious car event "Off Roading" was organized by Mud Skull 4 by 4 in Mumbai. There was a car rally which includes almost 100 SUVs cars from Bandra sea link to Nariman Point on 27th may, 2018. The event was…
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Andheri gets the trippiest party venue: LSD – No Limits
May 18, 2018 May 18, 2018 Editorial
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Neeta Lulla to design costumes for Ashutosh Gowariker's PANIPAT
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redpajama_set_name: RedPajamaCommonCrawl


2.0 teaser is finally out: Welcome back Chitti!
"That's going to be one EPIC battle between @rajinikanth & @akshaykumar! Looking forward to this! Good luck for #2Point0 @karanjohar @shankarshanmugh @apoorvamehta18 @DharmaMovies @LycaProductions @arrahman #2Point0Teaser", tweeted Bollywood actor Anil Kapoor.
Yes, Rajinikanth-Shankar's magnum-opus 2.0. Robot 2.0 teaser is finally out. The two stars will be sharing screen space for the first time in the movie which will hit the screens on November 29, 2018.
Akshay Kumar will be seen playing Dr Richard, aka Crow Man in the film and the Hindi version will be presented by filmmaker Karan Johar.
Flying mobile phones, gigantic bird which is presumingly being controlled by Crow Man aka Dr Richard, the visuals are spectacular. Akshay is barely seen in the one-minute-long teaser, however, he doesn't fail to leave a lasting impact.
Hahaha! But our favourite Chitti, the Robot will save the world against Akshay Kumar the villain. The 2.0 teaser gets 10 out of 10 from the Kids Logic team. Check out the video here and share with us how much you would like to give to the teaser.


In the "Show" drop-down menu, make sure to select the format that your image is in.
1. Go back to "Tools," then "Comment and Markup," and select "Stamps." Navigate to "My Stamps," the new category you created. Select your image.
You should now see your image overlaying your PDF document. Move your mouse to the general area where you want your image and click. Your image is now stamped onto your document.
Click once on your image to select it. There should be a light blue border around the image. You can now use your mouse to re-size the image or drag it to a different part of your PDF document.


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text:
Grosvenor Square Riots, 1968
An anti-Vietnam war demonstration, Grosvenor Square, London, England, 1968 © David Hurn / Magnum Photos
Grosvenor Square Riots, 1968 / Vintage Press Prints
A selection of vintage press prints that document the Anti-Vietnam War protest in which police and protesters fought outside the American Embassy in Grosvenor Square, London.
"The anti-Vietnam War march to the American Embassy in London was one of the most iconic political events of the late sixties: I wanted to cover the whole march, from start to finish, so I used a bicycle to get about. I captured the leaders en route, but I knew that there was a good chance that something would kick off in Grosvenor Square, so I raced ahead, got there two hours before the marchers did, and was inside the police line when they arrived. I got smashed across the head by a demonstrator for my trouble."
11 silver gelatin press prints – 20 x 29cm
Quote by David Hurn from the book 'The 1960s Photographed by David Hurn' published by Reel Art Press, 2015 Copyright © in format Rare Art Press Ltd., 2015
David Hurn Biography
The Beatles - A Hard Day's Night, 1964
Aberfan Disaster, 1966
Churchill's Funeral, 1965
Smash And Grab, 1969
Complete Wales Work, 1962 - 2014
Photographs: 1956 - 1976
Land of My Father, 1967 - 1999
Living in Wales, 1995 - 2003
Carvings And Controversies, 1992 - 1994
'The Great British Seaside: Photography From the 1960s to the Present'
Herne Bay, 1963
DAVID HURN HOME


Join us for three days of riding in the beautiful Upper Valley of New Hampshire and Vermont. From our rally headquarters in Hanover, N.H., we'll explore the quiet roads, quintessential New England towns and dramatic views along both sides of the Connecticut River. Saturday's lunch at King Arthur Flour promises to delight bakers and eaters alike, and we'll have plenty of opportunities to sample local versions of cyclists' other primary food groups, beer and ice cream.
We will be based out of the Marriott Group Hotels located just outside the campus of Dartmouth College. Combining modern amenities with a convenient location, the Marriott staff is looking forward to hosting the 2017 ETR.
Your Durham, N.H.-based hosts — Susan Hollinger and Beth Potier, along with their captains David Hollinger and Brent Bell — called this area home for a combined 30-plus years, many of those spent on bikes. Together with volunteers from the NEWTS (New England Wicked Tandem Society), we're putting together a terrific weekend of riding and socializing.
As we finalize details for a weekend of good riding, fellowship, and food, we thank you all for your patience in waiting to sign up for the "best weekend of the summer".
REGISTRATION: Sorry, we're completely full for ETR 2017 and do not have a waiting list. We hope you'll join us in 2018!


If you would like to get an idea of how much it will cost for a shipment to any of the ports we service, we are happy to provide an initial quotation.
To help us with providing you an accurate quote, please let us know as much as you can about what you would like to ship.
For cargo originating in the South Pacific please click here to open an email from your default email client (i.e. Microsoft Outlook) and request a quote from us. If using webmail simply email MSPinfo@matson.com with Website inquiry – Initial Quote Request in the subject line.
For cargo originating in the U.S., including Hawaii, please click here to open an email from your default mail client or email us at customerservice@matson.com.


text:
Phrases, Gilead, Groups/Organizations
You were there. All the time. But no one noticed you.
— June realizes the origin of Gilead[1]
Group / organization
The Sons of Jacob are the conspiratorial group that devised the philosophy and social structure for a totalitaran patriarchic theocracy and orchestrated the rise of the Republic of Gilead[2]
Before Gilead Edit
Professor Pieixoto depicts the Sons of Jacob as "top-secret Think Tank"[2].
A founder of a local Sons of Jacob chapter tells the Boston Globe in an interview he read about the community in a Facebook group and got into it because he wanted to help "the kids" to "get them out of gangs and away from their sinful families and into a better way of [life]"[1].
Andrew Pryce, another early group member who recruits Nick for the organization, blames the pre-Gilead culture of the United States, which he perceives as sinful, for the ongoing fertility crisis and describes his organization as a "group that wants to set things right, clean up this country"[3]. He mentions that the group has chapters in thirty states and that he is the leader of one of them.[3] Some members even seem to believe to be "doing God's work"[4] to "make the world better", yet admitting that "'better' never means better for everyone but always worse for some"[5][6]).
By later inquiries in the Boston Globe archives however, June discovers their actual internal militarized power structure, as well as their plan to curtail civil rights to seize power for themselves in a totalitarian regime, but also that this "old-fashioned group raises new hopes" in the wider populace by its religious propaganda[1].
The Sons of Jacob are managed by a junta called the "Committee", which "issued the orders" for "three strikes" of alleged terrorist attacks[4].
The U.S. government seems to sympathize with some ideas of the group since they ban vasectomies[7] and have husbands approve birth control prescriptions [8]. This may also suggest the group has members or contact persons in the administration, which could help to explain further events.
Prior to the attacks, the FBI is closing in on some of the conspirators[4].
Coup d'etat Edit
See also: President's Day Massacre
According to Offred, "'they' shot the president and machine-gunned the Congress, and the army declared a state of emergency". She adds "they blamed it on the Islamic fanatics" and that "the entire government" was "gone like that", making her wonder "how did 'they' get in". Later on "they suspended the Constitution" which they said "would be temporary". Moira suspects "they've been building up to this".[9].
According to Commander Waterford, the attacks consist of "three strikes" against "the Congress, the White House and the Court"[4].
At the time, the TV reports an attack of "20-30 guys with machine guns ... shooting from the galleries" (Luke) of the Capitol and that "martial law has been declared", as well as "an explosive has been detonated (at) the White House". U.S. army officials then announce that the "National Guard is being deployed" and "has been called in" from all over the country[10].
Similar to the book, June (as Offred) later recalls "'they' slaughtered Congress", "blamed terrorists", and "suspended the Constitution" which they said "would be temporary"[11].
In a flashback of A Woman's Place, several conspirators are then seen being tasked with "security" issues in a U.S.-flagged office (among them Mr. Waterford and Mr. Putnam) which seems to confirm the U.S. administration is under their control in the aftermath of the attacks. They also shut out female members from their political decisions at this point because they "won't let" women "forget their real purpose" again (Putnam)[4].
Commander Fred later refers to Nick that a "Field Commander" of the conspirators "took New York"[3], and a refugee mentions to Luke that "D.C. fell"[7], which implies some military resistance against the SoJ's takeover flared up at some time.
The Committee, now in charge of governance, uses the imposed martial law to establish a patriarchal, theocratic regime with its own paramilitary forces (known as Angels and Guardians), and later to take away women's civil rights to own property and to hold down a job[11].
The new regime eventually proclaimed the Republic of Gilead and ordered to detain and enslave fertile women as "Handmaids"[3]. It moved quickly to consolidate its power and reorganize society along a new militarized, hierarchical regime of Christianity-inspired social and religious fanaticism among its newly created social classes.
Despite the success of their coup d'état, the Sons of Jacob were unsuccessful in completely destroying the United States and its administrative structures, who established a government-in-exile in Anchorage, Alaska[12]. The Sons of Jacob were also unsuccessful in completely taking over the continental United States of America with armed resistance to the regime by the American people and the United States Armed Forces taking root in both the western and southern United States as well as a number of areas in SOJ/Gilead-controlled America becoming rebel enclaves (see Map of Gilead).
Present Time Edit
In the abandoned Boston Globe facility, June is seen listening to a recording of an interview with an early "Sons of Jacob" member and digging through newspapers cutting out clippings. She pins the clippings to the wall under categories like 'Origins of Gilead', 'Power Structure', 'Militarization' and 'Curtailment of Civil Rights'. Staring on an article under the latter category, she 'tells' the clippings in a voice-over "You were there all the time but no one noticed you"[1].
Known Members Edit
Commander Guthrie
Serena Joy (initially)
In an event of catastrophic occurrence that kills the President and many officials (like the above-mentioned terrorist attacks), the designated survivor would become the Acting President of the United States under the Presidential Succession Act (3 U.S.C. §19). It is possible that the designated survivor was a member of the Sons of Jacob, or that they were also sought out and murdered in the attacks.
The TV show "Designated Survivor" depicts an assassination of similar extent.
The freezing of women's bank accounts was largely attributed to financial records being stored electronically and labelled by sex[11].
Author Margaret Atwood has constantly been vocal about her basing the book on "events that had already happened around the world". In the early 1980s, a U.S. White supremacist group known as The Order had been known for criminal activities and for their pro-Aryan agenda. One notable member was the late David Lane. Activities included murder, robbery, racketeering, and terrorism. Their ultimate goal was to overthrow the United States government, and had secret military training camps designated specifically for this purpose. Though the Order's intentions weren't religious (like those of the Sons of Jacob in the novel), the society they had in mind--were they to have successfully overthrown the government--would have resulted in purification in terms of harsh ethnic persecution and expulsion of African Americans, Hispanic Americans, Asian Americans, and "race traitor" Whites as well as other minorities living in the United States. Similarly, The Order believed in emphasizing the role of White women within the home while heavily limiting it outside.
The Sons Of Jacob appear as those in power right after the "terrorist" massacres. This could mean the "designated survivor" belongs to the organization.
According to reports circulating inside Gilead, there are still pockets of resistance in California[13], Oregon, and Washington (along the West Coast)[14] and Florida[15][13], as well as the other Southern states and Chicago, Illinois[12], which are presumably larger than admitted by the regime's own propaganda. This indicates the Sons of Jacob were unsuccessful to take complete control of the continental United States (see "Theories"). Offred describes the scope of Gilead as currently uncertain. "The edges [...] vary, according to the attacks and counterattacks"[13].
The armed resistance to Gilead also solidifies the unpopularity of the Sons of Jacob and of the Republic of Gilead among the majority of the American people.
↑ 1.0 1.1 1.2 1.3 Episode 2.3, "Baggage"
↑ 2.0 2.1 The Handmaid's Tale (Novel), Epilogue, "Historical Notes on The Handmaid's Tale"
↑ 3.0 3.1 3.2 3.3 Episode 8, "Jezebels"
↑ 4.0 4.1 4.2 4.3 4.4 Episode 6, "A Woman's Place"
↑ Episode 5, "Faithful"
↑ XII Jezebels, section 32
↑ 7.0 7.1 The Other Side
↑ Episode 2.1, June_(TV_Episode)
↑ Episode 2.1, "June"
↑ 11.0 11.1 11.2 Episode 3, "Late"
↑ 12.0 12.1 Episode 2, ", Birth Day"
↑ 13.0 13.1 13.2 The Handmaid's Tale (Novel), section 5
↑ https://imgur.com/a/JHLDtzh
↑ Episode 1, "Offred"
Retrieved from "https://the-handmaids-tale.fandom.com/wiki/Sons_of_Jacob?oldid=11069"
Groups/Organizations


Gen. Patton and Gen. Weyland photographed at Nancy, France, where Third Army Headquarters and XIX Tactical Air Command Advance Headquarters were stationed in the same area. Gen. Weyland commanded XIX TAC beginning in January, 1944. Gen. Patton assumed command of Third Army shortly after the Normandy invasion. Working together, it is fair to say, they advanced the science of close air support. Their joint operations enabled Third Army to advance faster than contemporary doctrine held possible, because they used close air support to control and dominate Third Army's flanks. Gen. Eisenhower, adhering more closely to contemporary doctrine, favored advancing across a broad front. This led him to apply resources relatively more evenly than Gen. Patton favored, and ultimately paused Third Army's advance. Gen. Patton, who had been engaged in a long-running feud with Field Marshall Montgomery, saw this as the result of a purely political attack by the Field Marshall.
Sometimes, what appears to be the result of divide and conquer, or some other political move by one's rivals or superiors, is not that at all. People make decisions for many reasons, and sometimes those reasons include differences in perspective. Gen. Eisenhower's view of the dangers of salients was based on contemporary military doctrine. Gen. Patton and Gen. Weyland had already moved on from there, but it is probable that even they did not yet fully appreciate the degree to which they had done so. What seemed to Gen. Patton as a political decision was, at least in part, due to the difference in how he and Gen. Eisenhower viewed war.
Photo courtesy U.S. Air Force Historical Research Agency.
Recently we've examined the behavior of uncooperative non-subordinates from the perspective of the non-subordinate, exploring both internal and organizational reasons for the behavior. We now turn to motivations related to the actions of supervisors.
As before, we'll use C as the name of the person who needs cooperation to carry out his or her responsibilities, and S as the name of the person subverting C. Here are some insights related to the behavior of the supervisors of C and S.
Unless C's supervisor declares to all that C has responsibility for the task in question, the problems C is experiencing could be the result of a misunderstanding. C's supervisor might have been inadvertently ambiguous, or might have chosen ambiguous wording to avoid conflict with one of C's peers.
When accepting any assignment that could offend others, C can ask for a supervisory commitment to make an unambiguous declaration to everyone whose cooperation C requires.
Some supervisors believe that competition is an effective tool for managing subordinates, using a technique I call divide and conquer. If S and C share a supervisor, S might be exhibiting behavior encouraged and even sought by their supervisor.
If so, C didn't create the problem, and C probably can't solve it. If C can't persuade S that the trouble between them is externally caused, C might have to move on.
C's best options are asking S respectfully for cooperation, and negotiating with S for cooperation. If they fail, commenting to S about the quality of S's cooperation is a tempting but dangerous course of action. S's resentment and anger are likely outcomes.
If S's supervisor is C's peer, or of lower rank, C's asking S's supervisor directly for help can be effective. If S's supervisor is of higher rank, C can ask C's own supervisor for help. Some are reluctant to ask for such help, for fear that they might be seen as weak. Such a response by C's supervisor to a request for help is probably out of line, because this kind of help is exactly what supervisors are best able to provide.
is essentialSs act on behalf of their supervisors, who are targeting C or C's supervisor. Coping with this situation is difficult indeed, especially when S has received deniable direction.
In these cases, the problem is not between C and S. It's between S's supervisor and C or C's supervisor. C would be wise to deal with it as such.
Would you like to see your comments posted here? rbrenepTjnQtMBEcyHNvMner@ChacdvmCGptVyGUGwBZKoCanyon.comSend me your comments by email, or by Web form.
I offer email and telephone coaching at both corporate and individual rates. Contact Rick for details at rbrenrJGBFcNaHvUViZcyner@ChacZsgnAtvtXqmYKusOoCanyon.com or (650) 787-6475, or toll-free in the continental US at (866) 378-5470.


text: Q: How can I delay the bluetooth permission bluetooth on android app? Im creating an android app, and it beggins with a zoom out transition. And it has a popup that ask the user to allow or not the use of bluetooth. The thing is i want to have a delay on that popup so the user can see the transition.

redpajama_set_name: RedPajamaStackExchange


This no doubt shook Retro Computers Ltd MD, Suzanne Martin and Director Dr. David Levy into action, as previously when the BBC attempted to cover this article last year, RCL threatened to take them to court over the article raised. This time however no such action appears to be on the horizon, especially given Indiegogo's deadline breach that RCL assured every console would be in backers hands by the end of May.
Just so everyone's clear, they originally stated the batch would be released between 8-12th last month, then slipped up during social media rant's to upset backers that they hadn't sent out any hardware due to licencing issues (which they'd not sorted out within the last 2 years), then setup a poll asking anyone (who wasn't blocked from their facebook page, in this case backers who hadn't complained for refunds) if they would like games/no games on the system, therefore breaching Indiegogo's policy on changing the terms of the pledge, while also highlighting that if they were still able to flash the units accordingly then the devices still remained incomplete.
The only reason RCL have presently extended the deadline is to show Indiegogo and the BBC that they are still looking to release the machine, no more, no less, in the hopes of the story being buried under other news.
Suffice to say from reading the social media outlets, there are a lot of unhappy backers crying out for Indiegogo to take charge of the situation and return the money from the toxic brand.
Whether this white lie is accepted by the news outlet and the Indie platform is another matter as RCL have so far manage to break multiple deadlines over the last 2 years. Which given the complete lack of images of the version 2 device, straying away from the Rick Dickinson design, to which most backers paid money for, and the promise of 1000 licence pre-installed games, it's starting to look bleak for the company.
On co-incidental news, Suzanne Martin has recently registered in April a new limited company 'Primate Limited', a media production company to which she is currently the only shareholder. Whether this is related to Retro Computers Ltd for production of footage, or has had assets transferred to it remains to be seen. But it does raise questions how a person can have time to run a 2nd limited company, but cannot resolve a manufacturing issue at their primary place of work.
Meanwhile, backers have been contacting, Watchdog, IGN, Eurogamer, Kotaku, Which and many, many more to raise aware to the situation to bring this situation to a wider public arena to gain traction and resolve this nightmare situation.
Media production company? Perhaps that's to handle all the photos of Vega+ units; boxed up and ready to be sent to backers?
Quite why they dont just file for bankruptcy and get it over with is beyond me.
This is pathetic. Suzanne Martin is a joke of a woman, an asbolutely miserable excuse for a human being. It's true that everyone who is a scammer or a cheat always blames others for their failings and she's been at this since day one, the repugnant pig that she is. Levy is a creepy old freak who knows about as much about technology as my hamster knows about genocide. Bunch of disgusting scumbags who need the jail, much like that guy in India who Suzanne falsely accused of buggery (who'd want to do anything like that with her?). Breaking rocks in the hot sun for the rest of their (hopefully short) days.
It's amazing that RCL can still offer the device for sale on their own website – now, there are probably some people out there who may think they have blown the original £1/2M and so this is an attempt to raise funds so that they can then produce a very limited run on the original device, send it to backers and state that they have fulfilled their promise of delivering their 'first batch' – some would even go so far as to suggest this has all the hallmarks of a Ponzi scheme – of course, I couldn't possibly say that myself, but hey, you know, people talk.


text:
Auryn (; stylized as AURYN) was a 5-member British-Spanish boy band founded in 2009. Signed to Warner Music, they sang in English and Spanish.

Members
The band is made up of five members that appeared previously on various talent show series in Spain. Various members of the band have taken part at different occasions in contests like Factor X, Veo Veo, La Batalla de los Coros and at Junior Eurovision Song Contest qualifications. Dani Fernández represented Spain in the Junior Eurovision Song Contest 2006.

Blas Cantó and Dani Fernández have studied trumpet and piano at musical conservatories / schools. Carlos Marco has studied vocal techniques at "Escuela Orfeo" in Alicante. Álvaro Gango has taken part in gospel and classical choirs and has worked as actor and David Lafuente has learned in musical bands.
 Blas Cantó Moreno (born in Ricote, Murcia, 26 October 1991)
 Daniel Fernández Delgado (born in Alcázar de San Juan, Ciudad Real, 11 December 1991)
 Alvaro Garcia-Gango Guijarro (born in Alcalá de Henares, Madrid on 2 October 1989)
 David Martin Lafuente (born in Pinos Puente, Granada on 3 May 1988)
 Carlos Perez Marco (born in Alicante, 4 February on 1991)

Destino Eurovisión 2011

Auryn  gained great popularity particularly after they took part in Destino Eurovisión, the selection process to represent Spain in Eurovision Song Contest 2011 reaching the final 3. In Heat 1 held on 28 January 2011, where contestants needed to perform an earlier Eurovision song, they sang a cover of "Fly on the Wings of Love" from the Olsen Brothers (the Eurovision 2000 winner for Denmark). They qualified to the next round by televoting. In the semi-final round held on 11 February 2011, contestants had to pick another Eurovision classic, they sang "Eres tú" originally by Mocedades that finished runner-up in Eurovision 1973 for Spain. They qualified by a decision of the jury to the Finals where they were one of the Top 3, the other acts being Lucía Pérez and Melissa. Each act had to sing three original songs, with the jury picking one original song from each artist. Auryn sang "Evangeline", "El sol brillará" and "Volver". The latter was picked as their final song. Eventually, the Spanish qualifying entry for Eurovision 2011 went to Lucía Pérez and her song "Que me quiten lo bailao".

Career
When the band was formed in 2009, they first gained attention through their online postings on YouTube including covers for Rihanna's "Umbrella" and Los Secretos' "Déjame". That was followed by an appearance on Destino Eurovisión 2011 (see above) where they finished in the Final 3, but failed to qualify for Eurovision 2011.

Based on the popularity they achieved, the band released their first single "Breathe in the Light" later in 2011 as well as their debut album Endless Road 7058 in 2012 both reaching the top 10 of the singles and album chart respectively. It won the "Best New Album" award at Televisión Española (TVE). Also spawning three top 10 singles, their follow-up album is Anti-Heroes was released in 2013 and went straight to number one on the album chart and has been certified platinum. Their third album "Circus Avenue" was preceded by the group's first number one single "Puppeteer" and reached number one on the album chart where it stayed for 5 consecutive weeks. The group released their fourth album "Ghost Town" in December 2015, seven months before going on hiatus.

Origin of the name
The band's name refers to the fictional talisman AURYN from Michael Ende book The Neverending Story, being two mythological serpents, symmetrical, that bite at each other's tails. The popular charm, when worn, allegedly gives the wearer the opportunity to fulfill all his wishes. Since the original word AURYN always appears in the book in all capitals, the band insists on naming its album titles in all capitals as well.

Solo projects
As the band went into hiatus in 2016, various members of the band launched solo projects. Blas Cantó signed to Warner Music Spain released his debut solo single "In Your Bed". They officially announced the breakup on 28 July 2016.

Discography
Studio albums

Singles

Other releases
 2011: "Volver" (Destino Eurovisión 2011)
 2011: "Evangeline" (Destino Eurovisión 2011)
 2011: "El sol brillará" (Destino Eurovisión 2011)

CD/DVDs
 2012: Endless Road, 7058
 2013: Anti-Heroes
 2014: Circus Avenue

Awards and nominations

References

External links

 YouTube

Spanish musical groups
Spanish boy bands
English-language singers from Spain
MTV Europe Music Award winners

redpajama_set_name: RedPajamaWikipedia


text:
Paul Leroy "Ox Blood" Howard (September 20, 1895 – February 18, 1980) was an American jazz saxophonist and clarinetist.

Early life
Howard was born in Steubenville, Ohio on September 20, 1895. He began on cornet, and also played oboe, bassoon, flute, and piano, but concentrated on tenor sax.

Later life and career
After moving to Los Angeles in 1911, he got early professional experience with Wood Wilson's Syncopators in 1916, Satchel McVea's Howdy Band, and Harry Southard's Black and Tan Band. Howard played in the bands of both King Oliver and Jelly Roll Morton when they toured California. He first recorded with the Quality Four in 1922-23, then played with Sonny Clay in 1925 before forming his own group, the Quality Serenaders, later that year. Among his sidemen were Lionel Hampton and Lawrence Brown (trombone). They played at Sebastian's Cotton Club from 1927 to 1929 and recorded for Victor Records before disbanding in 1930, when Les Hite picked up some of the members. Howard subsequently played with Ed Garland, Freddie Washington, Hampton again in 1935, Eddie Barefield (1936–37), Charlie Echols, and his own ensembles, including one that held a residence at Virginia's in Los Angeles from 1939 to 1953. He played throughout the 1950s. He died in Los Angeles on February 18, 1980.

Recording sessions
Howard's band participated in only 6 recording sessions:

April 16, 1929, Hollywood
50830-1-2 Overnight Blues - Victor rejected
50831-1-2-3 Quality Shout - Victor rejected

April 28, 1929, Culver City
50868-1 The Ramble - Victor V-38068 and Bluebird B-5804
50869-2 Moonlight Blues - Victor V-38068
50870-2 Charlie's Idea - Victor V-38070 and Victor 22001

April 29, 1929, Culver City
50830-4 Overnight Blues - Victor V-38070 and Victor 22001
50831-5 Quality Shout - Victor V-38122
50877-1 Stuff - Victor V-38122 and Bluebird B-5804

October 21, 1929, Culver City
54477-1-2 Harlem - Victor rejected
54478-1-2 Cuttin' Up - Victor rejected

February 3, 1930, Culver City
54477-3 Harlem - Victor 23354
54478-3 Cuttin' Up - Victor 23420
54585-1 New Kinda Blues - Victor 22660
54586-2 California Swing - Victor 23354

June 25, 1930, Hollywood
54847-3 Burma Girl - Victor rejected (released on a Victor LPM-10117 LP)
54848-1 Gettin' Ready Blues - Victor 23420

Source:

References

1895 births
1980 deaths
American jazz saxophonists
American male saxophonists
American jazz bandleaders
King Records artists
20th-century American conductors (music)
20th-century American saxophonists
Jazz musicians from Ohio
20th-century American male musicians
American male jazz musicians


text:
package ee.pardiralli.banklink;

import lombok.Getter;
import lombok.Setter;

import java.util.Map;

@Getter
@Setter
public class SEBResponseModel extends ResponseModel {
    private Bank bank = Bank.seb;
    private String serviceNumber;
    private String cryptoAlgorithm;
    private String senderID;
    private String recipientID;
    private String stamp;
    private String paymentOrderNo;
    private String paymentAmount;
    private String currency;
    private String recipientAccountNo;
    private String recipientName;
    private String senderAccountNo;
    private String senderName;
    private String paymentOrderReferenceNo;
    private String paymentOrderMessage;
    private String paymentOrderDateTime;
    private String signature;
    private String encoding;
    private String language;
    private String automaticResponse;

    public SEBResponseModel(Map<String, String> params) {
        this.paymentOrderNo = params.get("VK_T_NO");
        this.paymentAmount = params.get("VK_AMOUNT");
        this.currency = params.get("VK_CURR");
        this.recipientAccountNo = params.get("VK_REC_ACC");
        this.recipientName = params.get("VK_REC_NAME");
        this.senderAccountNo = params.get("VK_SND_ACC");
        this.senderName = params.get("VK_SND_NAME");
        this.paymentOrderDateTime = params.get("VK_T_DATETIME");
        this.serviceNumber = params.get("VK_SERVICE");
        this.cryptoAlgorithm = params.get("VK_VERSION");
        this.senderID = params.get("VK_SND_ID");
        this.recipientID = params.get("VK_REC_ID");
        this.stamp = params.get("VK_STAMP");
        this.paymentOrderReferenceNo = params.get("VK_REF");
        this.paymentOrderMessage = params.get("VK_MSG");
        this.signature = params.get("VK_MAC");
        this.encoding = params.get("VK_CHARSET");
        this.language = params.get("VK_LANG");
        this.automaticResponse = params.get("VK_AUTO");
    }

}

redpajama_set_name: RedPajamaGithub


Strategy description: The Walden Core Equity strategy is an actively managed, broadly diversified strategy investing in reasonably valued stocks of higher quality, large capitalization companies with sustainable business models. The strategy's objective is to generate competitive returns with less risk than the benchmark over full market cycles. The long‐term sustainability of a business is also connected, in part, to its treatment of customers, workers, communities, and the natural environment. Hence, in addition to traditional financial analysis, Walden evaluates companies on their environmental, social and corporate governance (ESG) performance. We evaluate practices relative to peers, improvement over time, management systems, and accountability through public reporting and responsiveness to shareholders. Walden advocates for improvements in portfolio company ESG practices through dialogues, meetings and shareholder resolutions. Walden's ESG engagement activities focus on areas that help better position companies in a competitive marketplace.


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It may be snoozin' time on the East Coast of America, but things are already getting heated in Hannover. Live from the CeBIT floor, we present to you ASUS' Dual Panel touchscreen PC. The show models were still very much conceptual, with the hinges showing signs of imperfections and the interface not quite ready to be touched by onlookers. We did spot that the units on hand were humming along on Windows 7, though. The on-screen keyboard looked great from where we stood, but it's tough to say how hard it would be to get used to banging out dissertations on a flat panel. At any rate, feel free to browse the gallery below -- and stick around, we'll be bringing you lots, lots more where this came from.


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POSTPONED: Selci with Ashley Velvet and Tomi.Nu
Performing ethereal, ambient pop tracks from two new albums, Selci hits the stage at the King Eddy with Ashley Velvet and Tomi.Nu.
About Selci
"She bridges the indie and electronic worlds with ease…all while finding her own artistic voice." – BeatRoute
"…atmospheric production and ethereal vocals give sonic vitality to the poignant narrative…a soundtrack of gorgeously touching music." – EARMILK
"…jazzy, ambient electronica crystallize into alluring pop songs" – Calgary Herald
"It's a disarmingly wondrous and beautiful pool to immerse yourself in — one you should." – The YYScene
Calgary-by-way-of-Winnipeg electro-pop singer-producer Selci bridges the seductive, iconoclastic electronics of FKA twigs and the minimalist-pop of James Blake to shape her sonic vision. While trained in opera, contemporary and classical musical styles, Selci uses ambience and rhythm to compose sounds
that exist on the fringes of pop music. Her debut 2019 EP Effervescence was mixed by esteemed sound guru Sylvia Massy (Prince, Kate Bush), and featured an array of rare instruments and equipment from the National Music Centre in Calgary. An exploration of electronic sounds and textures, the EP illuminated Selci's journey as a sound designer and her dedication to carving out more space for herself and other women in technical roles. Upon its release, it received praise from the Calgary Herald, CBC Radio, BeatRoute, and EARMILK; charted on college radio stations throughout Canada; and was featured
in The Sunday Times Hottest Tracks in the U.K. Selci is currently collaborating with Vancouver producer Neighbour on her second EP, A SOFT PLACE, which is set for release in June of 2020 on Inner Ocean Records.
About Ashley Velvet
Think TLC's 'Red Light Special,' mixed with hints of jazz and new wave. Ashley Velvet is all about the exploration of finding your true self through lust, heartbreak, and trauma.
https://ashleyvelvet.bandcamp.com/
About Tomi.Nu
Tomi Nu is a Filipino-Canadian artist from Calgary, Alberta. She is a self-taught artist who explores with multi-media, sharing her vulnerability and softness. She experiments with drum patterns and live instruments. Her latest release, Cancer Szn is an EP she wrote and produced, with all instruments and vocals by Tomi. Cancer Szn also includes a track by NOFAC3, featuring Tomi. Available on all platforms including Spotify and Apple Music.
Seating Disclaimer:
To accommodate as many live music fans as possible, we offer both seats and standing room at our shows. Seats are first come, first serve. We recommend arriving early if you'd like to be seated during the performance.
Price: $10 advanced, $15 at the door


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Q: Spring LdapContextSource different Domain Controllers I have multiple domain controllers configured and want to modify user attributes of users within all domains.
My config looks like this:
<bean id="writeLdapContextSource"
    class="org.springframework.ldap.core.support.LdapContextSource">
    <property name="url" value="ldap://123.12.123.3:389" />
    <property name="base" value="" />
    <property name="userDn" value="domainx\userabc" />
    <property name="password" value="secret124" />
    <property name="pooled" value="false"/>
    <property name="referral" value="follow"/>
</bean>

I can successfully modify users within the local domain. It's no problem.
But if I try to modify users in a different domain, I get an error message.
Note: the ldap service user "domainx\userabc" has the correct authorization to do modifications in all domains.
Examples:
1.) Modification of an attribute of an user in another domain
Caused by: javax.naming.OperationNotSupportedException: [LDAP: error code 53 - 00000057: LdapErr: DSID-0C04214C, comment: Error in attribute conversion operation, data 0, v1db1
2.) Changed the configuration to use Port 3268 instead of 389
Caused by: javax.naming.OperationNotSupportedException: [LDAP: error code 53 - 00002035: LdapErr: DSID-0C090B45, comment: Operation not allowed through GC port, data 0, v1db1
Note: I'am able to modify user attributes in the local domain. So my code for modification is correct.
Snippet:
DirContextOperations context = writeLdapTemplate.lookupContext(ldapUser.getDistinguishedName());
context.addAttributeValue(attributeName, attributeValue);
writeLdapTemplate.modifyAttributes(context);

This works perfectly for local domain users.
Anyone has an idea what to do to be able to modify users in the other domains?
I also checked the user with LDAP Browser and he is able to see all domains...

A: The Global Catalog (port 3268) provides a read-only "snapshot" of all entries in the forest. To perform write operations on an entry you will need to bind to its respective domain on port 389.
You can use the Global Catalog to query all available domains, then dynamically create LdapTemplates for each of those domains and use them to perform your modifications.


Upto 10% reduction in steel requirement is possible.
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Thermo-mechanical processing during manufacture of LRPC Strands produces a nearly straight strand, thereby eliminating necessity for extra post straightening treatment.
Applications : Prestressed Concrete Girders for road, river & railway bridges & flyovers, prestressed concrete domes, buildings, silos, hangars, aquaducts, viaducts & railway sleepers.


I've been busy with lots of Recent, New Shoots as well as a little Spring Cleaning lately, so I'm finally getting around to finish posting the last of the great shots from my trip to Buffalo in March to shoot my NHL NY RANGERS vs.the Buffalo Sabres. You remember the Sabres….they ARE NOT playing hockey anymore this season!
And after looking at all of these shots once more… I REALLY AM Pretty Awesome at Shooting Hockey, Aren't I? From The ECHL Little Leagues in Elmira NY, right up with the Big Boys in the NHL, I'll go head to head with anyone!!!!
Back to Elmira Jackals Hockey Tonight…Hoping to keep the 6 Game Winning Streak Going!
But before I head out to First Arena, I thought I'd add Part 2 of my NHL Experience this past Tuesday Evening, with much more to come!
GREAT Game & Fine Shooting on Tuesday Night, the RANGERS came out on top 4-2 in the end. Ran into countless Elmira folks who also shuffled on up to Buffalo. It was a beautiful drive…73 degrees in places along the way! A bit different from last years slog when it was around Zero going up, then -18 coming back! No Climate Change here folks!
Anyway…I'm working my way through the First Period now, of nearly 2000 shots, so here's just a tease till I get through all of them and post some full Blog Galleries! Hope you enjoy looking, as much as I did capturing. And make sure you click on each image, as they pop open pretty big!!!! God I Love What I do! PS: as usual, Thanks Jared for hooking me up!
I posted this on Facebook from the game, but I had the pleasure to meet and have dinner with the Buffalo Sabres Team Photographer Bill Wippert. Here I thought I've been shooting for the Jackals a long time now in season #16, but that's NOTHING! We're the same age, and Bill's been shooting for the Sabres for FORTY ONE FRIGGING YEARS!!! Unbelievable!
What a great way to get warmed up for my November 14th gig with 55 local Heroes, when we all fly down to Washington to take these boys on what most likely will be their last visit to the monuments honoring their heroic service to our country. Tonight's fundraiser at the Horseheads Legion was highlighted by the incredible "American Bombshells" Singing Troupe out of Brooklyn, NYC. These three gals were a great treat to our senses of both sight & sound! They sure did make those nicely tailored '40's Military Costumes look mighty fine indeed, and their singing wasn't bad either! But the thing that far surpassed both their visual and audio effect on everyone, was their genuine care for, respect and affection that they all showed while meeting and chatting with these grizzled old Veterans between their sets and after the show. They laughed, and chatted, and smiled with these guys, and I'm certain that by simply doing so, brought so many of these old boys back to life again tonight, when they felt once again like they did when they were young and in their prime, fighting for our country in some far away land! Prime Time!


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Sunny Singh (born Sunny Singh Nijjar, 6 October 1985) is an Indian film actor, former model, martial artist and theatre artist. His father is the award-winning action director Jai Singh Nijjar. He was born in a Punjabi Sikh family. He initially appeared in movies like Akaashvani, and appeared in the film Pyaar Ka Punchnama 2 in a lead role, helping him gain popularity. Recently, he appeared in the film Sonu Ke Titu Ki Sweety (2018), which was a major box office hit. In this movie, Sunny was in a lead role opposite Nushrat Bharucha and Kartik Aaryan.
Pyaar Ka Punchnama 2
(Hindi - 2015)
Sonu Ke Titu Ki Sweety
Jhootha Kahin Ka
Ujda Chaman
Jai Mummy Di
Adipurush
The Virgin Tree
'Ujda Chaman' all set to hit cinemas
Iratta - Puthuthayorith Song
Dear Vaappi - Trailer
Lovefully Yours Veda - Sneak Peek
Dasara - Teaser


Yesterday we announced the release of a new project that we've been working on, an interactive version of The Wall at the Vietnam Veterans Memorial.
The news spread fast and we've seen a tremendous response to the announcement. That's the good news.
The not so good news is that we're having trouble keeping up with the number of people who are coming to visit the site.
We're working to improve things, and hope you'll be patient with us.
In the meantime, you can learn more about The Wall project here.
This is a remarkable project and I am grateful for this tool devoted to the men and women who gave their lives in the Vietnam war.
I wish that there is a way to also dedicate space to those men and women who's deaths are not represented on the gorgeous sleek granite panels, but none the less, are honored each April by the Vietnam Veteran's Memorial Foundation for dedicating their lives to the military and for whom their deaths have been recognized as being directly attributed to their service during the Vietnam war.
My father is one of many, who are represented collateral deaths who's lives also should be recognized by this worthy site.
Thanks for making this point. We hope that people will use the site to honor others who have served. There are a few ways that you can do that on the site, but perhaps the best is the Story Pages.
Here are some examples of people using story pages to remember a loved one.
You can upload images to add to your page, add details and stories about the person and create a lasting tribute.
the war gave us many waking dead,I have a name that should be added to the wall even though he did not die until 30 Nov. 1985. Too many people were returned tp us and become the walking dead ane the society did nothing to help them or even the military.
The war sent too many walking dead back, and I have a name to add to list of the dead on the wall , he did not die until 1985 but his soul was laft in Vietnam in 1968, during his third tour.
The name is Leo Joseph Vorholt Jr., died 30 November 1985,12:55 of strss, dpression,and leucemia.
Bien Hoa, Jan to Dec 1970, I can't visit the traveling wall without bawling my eyes out!!! Lets try winning this one!
Once again Footnote shows us how to create a memorial with no boundaries – and the value of visitor input. I look forward to seeing the photos and comments left to further honor these heroes. I hope you will spotlight them regularly here.
And ground attacks so clear in your mind.
And many still have PTSD.
and scars both mental and real.
with honor it's no big deal.
and through it all still have our dignity.
For many it is all we have.
But we still carry each other.
And only yesterday it was '69.
Just a quick note to Moultrie Creek to say that you can watch as images, comments, Spotlights and other things are added to site, including those added to The Wall, on the new Member Discoveries page.
This is a fairly new addition to the site and we haven't had time to write a post about it, but it provides a nice view into what people are adding to the site.
From 66-69 I got lucky and served in a comm office in the Pentagon. Good, as I was just barely 18, not athletic, and probably would not have lasted long in VN. But one of the things we did was "process" EVERY death report of EVERY GI. I watched as the dates of birth reached my date and then got younger.
How many names are on the wall that passed through my hands? I can't say. But I can say I'm sorry I couldn't help, or do something.
My very best friend growing up was Jeffrey Lynn Morris.
He was a gentle, compassionate soul. He loved life and nature.
He taught me so many things, like holding frogs, bugs, snakes, and the importance of caring about the environment. His violent death was in direct contrast to the way he lived his life. He died forty-one (41) years ago and I still mourn the loss of a wonderful human being and my very best friend.
My father was a Marine in WWII and lost his arm at nineteen (19) in Okinawa. Whether I agree with a war or not, I cannot begin to convey the sincere gratitude I have for every man and woman that has served our Country. It is because of all of you that we have our precious freedom and I will never take it for granted. "Thank you" seems so inconsequential, but I mean it from the bottom of my heart.
my name is debbie i love your wall awesome.i found my dads name george f evans died in 1969 .thanks so very much from all of our family.


Nationalism as Result of Weak Colonisers?
I read Alvin Jackson's essay with delight and reservation: his central idea that "the Empire was both an agent of liberation […] and the shackles of incarceration" (p123, emphasis own) is certainly taken by me; yet, I oppose to his final argument for that notion rather strongly. Specifically, Jackson states that it is the "failure of the British to define Ireland either in fully metropolitan or colonial terms" (150) which had ultimately caused the "break [in] their hold over the island" (150).
This greatly disturbs me because it suggests that the colonized (here being the Irish) ought to accept their status as a colonial subject had the colonizer (the British) fully abrogated the colony's political vis-à-vis socio-cultural identity. To me, the very act of an Ascendancy rule is itself a cause for "patriotic feeling" (151) – regardless of "the ambiguities of British rule in Ireland" (151), if any. As many post-colonial writers and critiques have argued, the quest for decolonization starts (or ought to have started) from the very moment of colonization itself.
While the "irony" (135) of a colony participating in Empire may in many ways be seen as inevitable, it is certainly not ironic that the Union – which I perceive as euphemized colonization – would thereby invoke the sentiments of "nationalism and the revolt against imperial rule" (136). Such is indeed the central preoccupation that I discern from the growing consciousness of Stephen in Joyce's Portrait, of course, along with all the endearing aesthetics of modernist literature.
The immediate idea that occurred to me after reading how the narrator has used his "small rifle and poured shot after shot into [its] heart and down [its] throat" is: the elephant must die.
Although the narrator has confessed at the end that he "had done it solely to avoid looking a fool", I find this explanation to be a mere concealment for a bigger crisis: the loss of his white/colonizer's identity.
We can see this breakdown through a trajectory. At the beginning of the story, the narrator has evidently displayed anti-imperial sentiments, albeit guiltily. While already in a frantic mode of trying to detach himself from being a figure of the colonial "officer", he is also quite equally bound to exercise the power endowed in him to subdue "the evil-spirited little beasts" with "yellow faces". This ambivalence is further shown in his repeated declarations of not wanting to shoot the elephant despite having done so eventually.
This is where I see his identification with the colonizers being detached from him. One suggestion comes from how he has 'unknowingly' adopted the stance of a Burmese elephant: harmless when left alone, retaliates only when provoked. The point that I want to raise here is that he has already unconsciously identified himself with the elephant, although his 'ego' is blocking its entry into his consciousness. In other words, the narrator has unconsciously projected the workings of his own 'id' – here being the primal fear of death – onto the animal, thus his great reluctance at injuring it.
Yet, at the moment when he is suddenly made aware of his symbolic 'double', arguably through the sight of the elephant's "great agony" and "powerless[-ness]" in which he has earlier professed, his 'super-ego' now propels him to eliminate the trigger of that epiphany – the body of the elephant as the 'mirrored' image of his now-unidentified self.
From the point-of-view of psychoanalysis, the elephant is indeed a doppelganger which is also the harbinger of death.
This excerpt, taken from Alfred R. Wallace's record of his fieldtrip to Malaya in the years 1854 to 1862, reeks of that benevolent, white colonist mentality which was ubiquitous among his contemporaries. The notion of racial superiority – albeit woefully and wholly self-conceived – is evident in Wallace's physical comparisons between the 'Malayan races' and the 'high-class European[s]'. Not only are his commentaries utterly superficial, they are also imbued with the typical moral judgments, specifically in terms of the Malayan's uncultivated 'capability of civilization'. Literally speaking, Wallace may be congratulating them for having 'passed beyond that first stage of savage life', but his inherent sarcasm is simply too amusing to ignore.
The 'need' for the white men to bring their 'culture' to these savage lands, therefore, qualifies the colonial 'burden' for two primary reasons: to 'confer blessings on the afflicted' by a quasi-God figure with 'pure benevolence', as well as to inculcate the 'system' of trade among these 'semi-barbarous' brutes. The former is seen through Wallace's valorization of 'Rajah Brooke' as a 'superior being, come down upon earth' who, like 'Tuan' Jim, 'must go on' with his civilizing mission despite the burdens of being 'sneered at as an enthusiastic adventurer, or abused as a hard-hearted despot'. James Brooke is thereby transformed into the hero figure who is compelled to strive for a romanticized quest, one which is from the beginning deemed to futility.
To me, travel writing such as this is quite plainly written so as 'to excite wealthy amateurs to explore them [that is, the ruin mess of uncivilied lands] thoroughly' as well as to anchor the civilizing rhetoric among what Marlow called 'the priveleged reader[s]'.
It occurs to me – as much as I concede Chinua Achebe's argument on Heart of Darkness as epitomizing the "dominant image of Africa in the Western imagination" – that Achebe has unfortunately made himself a racist in this very essay. This is because Achebe, albeit his usual aplomb, has made the mistake of criticizing Conrad as a "thorough-going racist" instead of the book's narrator. To put it more specifically: how convincing is someone who, on the one hand, condemns an author for "inducing hypnotic stupor in his readers through a bombardment of emotive words" while using equally emotional language in that same debate? (For instance, he is convinced of "Conrad's purpose [as] letting the European glimpse the unspeakable craving in their hearts"; emphasis mine). To redress the atrocities of literary colonization through literature is without any doubt much more than showing the colonizers their barbaric reflection. This opinion of mine may be insubstantial, but it certainly isn't beside the point.
I must reiterate that I find Achebe's essay both cogent and insightful, especially in his reading of Marlow's anxiety as "the terrible risk of hearing grotesque echoes of its own forgotten darkness" instead of having simple contempt for traveling to the "heart of darkness". However, isn't Achebe's conflation of the racist Marlow as the direct mouthpiece for Conrad doing the same injustice Marlow does to Africans, on the basis of judging the latter's acts of non-modernity as "primordial barbarity"?
To me, Heart of Darkness is indeed a racist text; yet, both authors that are discussed here are, although to a different extent, racist.
rooted uneasiness between the English and the locals.
The essay 'Ruling An Empire' by Levine brings to attention a point in colonial history which interests me tremendously: how "British administrators NEEDED to stop and take stock, to consider with all possible seriousness what empire was and what it was not" (p.103; my emphasis). To me, this one insighful statement reflects the truer picture behind that disguised self-centredness as well as 'imperial supremacy'. The civilising mission as a white man's burden (because of its potential fatality) is less than convincing, although missionaries have indeed 'improved' the lives of colonised people (as Levine tells us).
Nonetheless, although missionaries were advocates of anti-slavery and education, "It was not imperialism as a philosophy that [they] criticised; their disapproval was reserved for imperial policies that to them did nothing to consolidate and extend Christianity into non-Christian environments." (p.121) Put differently, missionaries did see the local people as inferior, at least "in need of saving from their own ignorance and moral poverty". This, in my opinion, is highly contestable per se.
Simon Gikandi in this essay argues that Picasso, a canonical master of modernist art, has 'insensitively' refused – and perhaps even doing so with deliberate contempt – to acknowledge what the former claims as a pivotal constituent of modernity: Africanism. The paradox lies in how Africa's alleged primitivism has to be the anti-thesis to the cultured white men's civility (thesis) but can not take credit for its synthesis of modernity. The blacks, in short, are always the 'uncanny' Other – a 'threat', 'contaminant', a disembodied image.
This essay questions my assumed knowledge of 'modernism'. How much more realistic is a modernist work of art? How convincing would it be to argue that this term might merely be a taken-for-granted 're-appropriat[ion]' of the Other 'in its own image'?
Philippa Levine's essay evidences the exploitative nature of the East India Company as well as Britain's ulterior motives for colonizing the highly profiting lands of India. While this 'chartered corporation' had indeed began with a desire to control the monopoly of trade in India during its formative years, the power – both economic and political – it gained eventually crystallized and catalyzed Britain's 'imperial interest' to expand and conquer, making India the largest British empire in Asia.
British governance, therefore, became the central concern with and within this colony. It seems, to me, fashioned as a necessity Indians ought to receive, and received the Indians did. The implant of numerous British laws, acts and policies was arguably met with resistance only when it became an excess. Indeed, the British's intervention on India's "politics, economics, religion and culture [was] so fully coalesced' that the most noted rebellion occurred only in 1857.
Prior to the outbreak of this accumulated dissatisfaction, however, 'British definitions' of living were already grounded amongst the Indians. And especially with 'English-style education' being exponentially popular then even until today, one after-thought this essay gives me is to ask: how much of modernity is actually blatant 'westernization'?


"Let it be known the Mission Statement of First Choice Personnel, Inc. is to help every person who desires work to find a job that not only feeds the family but also the soul. We are dedicated to the hope of education and hold in high esteem the privileges it affords. Daily we give thanks to God for our customers and the business relationships that have helped to foster the successes of our dreams. We believe in honesty and the truthfulness without which we can not earn the respect of our fellow man. Our vision is not confined to this day but of the promise of what shall one day be." – Bonnie Stinson.