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Action Packed Continental Tire 150 at The Glen
The Rum Bum Racing Porsche 997 driven by Matt Plumb and Nick Longhi triumphed in a hard fought race over the CKS Autosport Camaro GS.R of Eric Curren and Lawson Aschenbach in the GS class of the Continental Tire 150 at The Glen. Aschenbach made repeated moves over the final three laps in an effort to challenge Plumb, who had taken the lead on Lap 43 with 45 minutes left in the race. The race saw seven caution periods as racers sliced and diced fiercely through twists and turns of Watkins Glen International.
Legends of The Glen Inductee on Pole
Moments after his induction into the Legends of The Glen, Scott Pruett steered the No. 01 TELMEX/Ganassi BMW/Riley to the pole position for Sunday's Sahlen's Six Hours of The Glen. Pruett took his first DP pole position in two years at The Glen and Jordan Taylor claimed the GT pole for the second-consecutive year in Saturday's qualifying at Watkins Glen International.
Sahlen's Renews Title Sponsorship of GRAND-AM Endurance Race
Sahlen's Packing Company, Inc. announced a multi-year renewal of its partnership with Watkins Glen International as title sponsor of the Sahlen's Six Hours of The Glen GRAND-AM Road Racing Series event. Currently the longest consecutive title sponsorship at The Glen, this season marks the 10th year of this partnership.
Legends of The Glen Induct Class of 2012
Watkins Glen International announced the induction of three members to the Legends of The Glen. Derek Bell, James Hunt, and Scott Pruett will join a prestigious group of individuals who have made remarkable contributions to The Glen throughout their careers and played significant roles in the history of this legendary road course.
Pruett, Said, Dempsey – All In.
The 2012 Sahlen's Six Hours of the Glen entry list announced by GRAND-AM Rolex Sports Car Series includes 2011 two-time winners at The Glen, Max Angelelli and Ricky Taylor as well as last week's victors Scott Pruett and Memo Rojas in the DP Class. Paul Tracy returns to The Glen in the No. 77 Doran Racing Ford Dallara, co-driving with Jim Lowe. Highlights among the GT Class include Boris Said in the No. 31 Marsh Racing Corvette and Patrick Dempsey co-driving the No. 40 Dempsey Racing Mazda RX-8 with Joe Foster. Green flag drops at 11 a.m. on Sunday, July 1.


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Elmar Borrmann
Elmar•Borrmann
18 January 1957 in Stuttgart, Baden-Württemberg (GER)
FC Tauberbischofsheim, Tauberbischofsheim (GER)
Germany West Germany
Épée fencer Elmar Borrmann, twin brother of non-Olympian Igor Borrmann, won two Olympic gold medals and one silver at four Olympic Games in 1984, 1988 (representing West Germany), and 1992 and 1996 (representing re-unified Germany). In 1984 he won team gold and finished sixth individually. Four years later he won team silver, and at Barcelona in 1992 added another team gold and was placed fifth individually. Finally, at Atlanta the team finished an unfortunate fourth and Borrmann failed to reach the quarter-finals in the individual event.
Borrmann also won 12 medals at World Championships. He won team gold in 1986 and 1995, silver in 1979, 1983, 1988-89, 1994 and 1997, and bronze in 1991 and 1993. He also won individual gold in 1983, and bronze in 1981. Borrmann won the German individual épée title in 1977, 1981, and 1984. He was awarded the Silver Bay Leaf, Germany's highest sports award.
By profession, Borrmann became a financial broker. In 2019, he was sentenced to a two year suspended prison sentence following a fraud trial at the Würzburg regional court for neglecting his duty to inform his financiers. The amount of damage was around 10.9 million euros. Borrmann had collected money from investors through his company in order to invest it profitably, but the business did not develop as promised.
1984 Summer Olympics Fencing FRG Elmar Borrmann
Épée, Individual, Men (Olympic) 6
Épée, Team, Men (Olympic) West Germany 1 Gold
Épée, Team, Men (Olympic) West Germany 2 Silver
1992 Summer Olympics Fencing GER Elmar Borrmann
Épée, Team, Men (Olympic) Germany 1 Gold
Épée, Individual, Men (Olympic) 16
Épée, Team, Men (Olympic) Germany 4
Listed in Olympians Who Won a Medal at the World Fencing Championships (3–7–3 1979 Melbourne silver: épée team (competed for West Germany); 1981 Clermont-Ferrand bronze: épée (competed for West Germany); 1983 Wien gold: épée, silver: épée team (competed for West Germany); 1986 Sofia gold: épée team (competed for West Germany); 1987 Lausanne silver: épée team (competed for West Germany); 1989 Denver silver: épée team (competed for West Germany); 1991 Budapest bronze: épée team (competed for Germany); 1993 Essen bronze: épée team (competed for Germany); 1994 Athina silver: épée team (competed for Germany); 1995 Den Haag gold: épée team (competed for Germany); 1997 Cape Town silver: épée team (competed for Germany); 1999 Seoul silver: épée team (competed for Germany))
The 5000 m track record at the James C. Sheffield Speed Skating Oval set by quintuple gold-medalist Eric Heiden on 16 February 1980 stood up to 16 January 2023.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: remove clip on context in quartz 2d I have drawn a path to my context with an arc, set that as a clip, and drawn an image into that clip.
CGContextBeginPath(context);
CGContextMoveToPoint(context, lineStartPoint.x, lineStartPoint.y);
CGContextAddArc(context, lineStartPoint.x, lineStartPoint.y, 105, toAngle*M_PI,fromAngle*M_PI , 1);
CGContextMoveToPoint(context, toLinePoint.x, toLinePoint.y);
CGContextClip(context);
[[UIImage imageNamed:@"gradientfill.png"] drawInRect:[self bounds]];

This works perfectly, as shown in this image

My problem is that in the bottom of that gradient I have drawn a circle that I want to exist outside of the clip, it should look like this

How do I get my context to stop clipping so that I can have that circle outside of the clip?
My code for drawing the circle is
CGMutablePathRef path = CGPathCreateMutable();
CGRect toHandleRect = CGRectMake(toLinePoint.x-5, toLinePoint.y-5, 10, 10);
CGPathAddEllipseInRect(path, NULL, toHandleRect);
CGContextAddPath(context, path);
CGPathRelease(path);

I want the user to be able to drag the little circle to anywhere in that view.

A: You can issue a CGContextSaveGState + CGContextRestoreGState pair as in the following example:
// Saves the context including the current clipping region.
CGContextSaveGState(context);

// Build you clip region and do some drawing
CGContextBeginPath(context);
CGContextMoveToPoint(context, lineStartPoint.x, lineStartPoint.y);
CGContextAddArc(context, lineStartPoint.x, lineStartPoint.y, 105, toAngle*M_PI,fromAngle*M_PI , 1);
CGContextMoveToPoint(context, toLinePoint.x, toLinePoint.y);
CGContextClip(context);

[[UIImage imageNamed:@"gradientfill.png"] drawInRect:[self bounds]];

CGMutablePathRef path = CGPathCreateMutable();
CGRect toHandleRect = CGRectMake(toLinePoint.x-5, toLinePoint.y-5, 10, 10);
CGPathAddEllipseInRect(path, NULL, toHandleRect);
CGContextAddPath(context, path);
CGPathRelease(path);

// Restore the original state
CGContextRestoreGState(context);

redpajama_set_name: RedPajamaStackExchange


What are people saying about Fearless Bob?
We've been lucky enough to receive a few online reviews of our new game for iOS, Fearless Bob! Check them out below!
"As I approached each new level of Fearless Bob myself, I was pleasantly surprised to find that the app definitely lived up to its claims." "Swiping was pretty addictive, and the puzzles were challenging enough that I felt excited to try each new one." - Marilyn Chau, The iPhone App Review.
Thanks to Tapscape, The iPhone App Review, and Trendenasia for their great reviews!
Download Fearless Bob from the App Store today!
Fearless Bob is now available on the Apple App Store for iPad/iPhone/iPod!
Full game FREE to play! Spin, curve, and smash your way through 30 levels of obstacles to rescue Bob's friends from the cages of Harold the hungry monster! Addictive and simple swipe and flick gameplay means you can play Fearless Bob anywhere, any time!
You are Fearless Bob. With your friends in the clutches of a big, scary monster, you're their only hope! Avoid the zappers, curve past the spinning gloves, fly through the pipes and smash your way through planks and structures to destroy the cages and rescue your friends!
The monster left Bob behind. Big mistake. Fearless Bob to the rescue!
- Facebook and Twitter integration - share your high scores with your friends!
Our first game for iOS; Fearless Bob, is coming soon!
With his friends in the clutches of Harold the hungry monster, Fearless Bob's their only hope! Avoid the zappers, curve past the spinning gloves, fly through the pipes and smash your way through various obstacles to destroy the cages and rescue your friends! The monster left Bob behind. Big mistake. Fearless Bob to the rescue!


text:
2017 Honda NSX to be priced "at the very premium end" of the market
Australian pricing for the 2017 Honda NSX hybrid sports coupe is yet to be confirmed, but buyers who are expecting a bargain from the Japanese brand had better think again.
The Honda NSX's advanced drivetrain includes a longitudinally mounted twin-turbocharged 3.5-litre V6 petrol engine producing 373kW and 550Nm behind the seats. It's teamed to a nine-speed dual-clutch automatic transmission, as well as a 148Nm electric motor intended to remove lag by delivering power immediately to the rear wheels.
Both front wheels have their own 73Nm electric motor, which allows low-speed pure-electric operation (thanks to the lithium-ion battery pack nestled in the chassis). Honda claims a total system output of 427kW and 646Nm.
Enticing, right? But those aren't the only big numbers that will likely be associated with the new NSX.
Honda Australia director Stephen Collins told CarAdvice at a media event this week that the local price of the new Honda NSX – which is priced from US$156,000 in the US and £130,000 in the UK – hasn't been confirmed yet.
But he said the new model will be positioned "at the very premium end – and it will be very premium".
When asked if he had locked down a price for the NSX yet, Collins said "no".
"I would expect that in the next month or so we will be in a position to get pretty close to finalising the NSX price.
"We already know that the price has been announced in the US and in Europe," he said, indicating the new model would be similarly positioned here. Converted, the price is roughly $207,000 before you consider our small market and the cash-grabbing Luxury Car Tax.
"We're getting close," he said. "We've already announced the five dealers that will be selling the car. That will start the pre-order process," Collins said.
"At this stage we've asked dealers not to take orders, but I am aware of a number of dealers who are holding some orders. How many? I'm not sure. But that will start the formal pre-sale process.
"I expect we will have the cars literally on the ground, in showrooms, delivering them to customers by November."
The NSX will be followed by the tenth-generation Honda Civic Type R – a hot hatch with proper credentials, according to Collins, and one that will be positioned at a far more attainable level.
"Our goal will be to make the Type R very good value for money. I don't know how much volume we will do, but I think it will be an absolute leader in the hot-hatch segment," he said.
Collins gave little away about other sporty models from the brand – presumably because there's not much to add, despite fellow Japanese brands nailing the affordable sports car brief: think about the Toyota 86, Subaru BRZ and WRX, and Mazda MX-5.
"Would we like more sporty cars and more sports cars in our range? Absolutely. And if there are more sports cars available to us, then we would put up our hand for those," he said.
"But I believe that in the medium term, NSX and Type R will start to really deliver that sportiness back to our brand," Collins said.
Note: US market Acura NSX seen in these images for illustration purposes only.
2017 Honda NSX driven through food court
Nurburgring Spy Footage : Giulia, NSX, AMG GT, F-Type, Huracan, 911, Camaro
Video: 2021 Honda CR-V VTi-L first drive review
2020 Honda HR-V VTi-LX review


A Jenny Packham Gown and Headpiece for a contemporary wedding in Twickenham with DIY gypsophila & white rose flowers and music themed stationery.
Images by Laura DeBourde Photography - A Jenny Packham Gown and Headpiece for a contemporary wedding in Twickenham with DIY gypsophila & white rose flowers and music themed stationery.
Sally might be the happiest bride in the history of Rock My Wedding real wedding features, a mega watt smile in every. single. image. beautiful.
Sally and Stuart held their ceremony at Orleans House and had their reception at The Turk's Head, both in Twickenham. A super stylish city affair if every there was one, I love the simple yet pretty details and the sweetheart table not only means both bride and groom share some valuable "just married" time together but also works as a real focal point in the room.
Also I must mention Sally's best girls in leather jackets….awesome. And why not if it's a wee bit chilly outside? combing comfort with cool, that's my kind of fashion.
Sally The Bride: Firstly, I didn't ever want a big wedding. Stu convinced me that I would regret it if we ran off to Vegas and I have to say (begrudgingly!) he was right. I loved our wedding day more than I ever thought I would!
From the start we knew we wanted something small scale (65 guests) and personal. Nothing stuffy or formal or TOO weddingy!
We set out to look for a wedding venue and my clever husband found Orleans House on the internet (we knew we wanted to marry in London, where we live but not in the centre of the city to get the best of both worlds). As soon as we went to see it we knew it was the place for us. We got engaged on Christmas Day, so I thought it would be lovely to get married the following Christmas. It's my favourite time of year, super romantic and gave us enough time to plan everything, luckily Orleans House had one date left in December, which was a Friday, so we took the risk of annoying guests and booked it. Everyone's more relaxed in December, aren't they?! We then hunted for nearby pubs and stumbled upon The Turks Head. The pub itself is lovely, we tested the food and that was great, it was low-key and had a private room at a very reasonable price that could accommodate everyone. At this point we were getting a little worried about how easy all of this was!
Next was wedding dress shopping. I felt so excited on the day of shopping with my Mum, 3/5 of my Bridesmaids (one lives in New Zealand and one in Australia, so the trip to London was a little too far!). I always knew that I loved Jenny Packham designs but wanted to look around a little bit just incase. But as soon as I went in the first shop I saw the dress I brought straight away and knew it was the one. I tried on others but nothing compared but the price was a little higher than my Mum or I were willing to pay, so I was a woman on a mission! I emailed every Jenny Packham stockist in the country asking if they had a sample for sale, a few days later I found one. In Blackburn! But at half the RRP it was worth the drive! My parents live up North, so I just tied it in with a visit to see them. Luckily it only needed a few minor alterations as it fit like it was made for me, so we found a local dress alterations place and specialist dry cleaner to get it all good as new. I would highly recommend trying to hunt down a sample if you can't afford the dress you love. Mine had been tried on in the shop by people, but never worn outside and once it was all dry cleaned and altered it was good as new (and saved almost £1500). Don't give up for that dream dress. I tried on a veil but freaked out as soon as they put one on me! I think it was one step too far down the traditional route for me. Instead I found a lovely Jenny Packham Headpiece to hire from a lovely bride on preloved. I couldn't justify spending £350 on it to wear it once, so hired it for a week for £40. As it was December I knew I needed some kind of shrug so searched Ebay and Etsy, until I found a gorgeous ostrich feather shrug from Canada, which worked perfectly with the dress. I just need an excuse to wear it again!
Stu is as decisive as I am, so always knew he would buy a suit from Reiss. As soon as we went into the store, we saw the right one straight away. I loved the waistcoat, men should wear waistcoats more! He bought his tie and pocket square from there too, and then got his Ushers similar colour ties from French Connection. His shoes were from Grenson as it was finally the perfect excuse for him to treat himself!
The Bridesmaid dresses were a bargain from the Anthropologie Sale. I always knew that I wanted something simple in cream or beige and when I saw these at a great discount I knew I had to snap them up, even 10 months before the wedding. I had one Bridesmaid that turned out to be 7 months pregnant on the day, but luckily she still squeezed in! We also sourced my gorgeous Goddaughter and Flower Girl a beautiful dress that almost matched the Bridesmaid dresses from Monsoon. It worked perfectly.
Our fabulous friend, Chris, has recently started a stationery design business and had kindly offered to design our stationery for us. We both love music, and as much as we were trying to keep away from making the wedding too themed, we wanted our love of music to run through the day. We came up with the idea of sending out 7" records as invitations, with an insert inside with all the details on. We were so chuffed with how they turned out and had an amazing response to them, everyone enjoys getting some nice post! Chris also helped us to design our table plan, we named each table after a wedding themed song. Stu made us sit on 'its the end of the world as we know it (and I feel fine)' by REM, which was pretty funny, as was 'Punchup at a wedding' for one of his friends tables! We printed the table names on stickers and stuck them on some spare 7" records we had left from the invitations.
Instead of a guestbook, Chris also helped us design advice cards to leave at each guests place on the table. It was very funny after the wedding reading people's advice for us, some very sweet, some very ridiculous, especially the drunken ones! We are going to keep them all in a nice book. I know I've forgotten to write in many a guestbook, so we thought if it was put there in front of you, its harder to avoid doing! I am so super impressed with all of Chris's ideas and his patience with us when we changed our mind and went back and forth – I can't recommend him highly enough, he's so talented and also so incredibly patient.
I had always wanted to have a go at doing the flowers myself. Everyone thought I was mental and overambitious but it was truly one of my most favourite parts of the day before the wedding. I'd spent all year collecting various sized jars and just removed the labels and tied a piece of twine around the top of each one. The day before I went to New Covent Garden Flower Market with one of my wonderful Bridesmaids armed with a wad of cash. It was the most amazing place (even at 4am!). I bought bunches of gyp to make bouquets for the Bridesmaids, and then an assortment of pastel coloured flowers and greenery for the vases and then I just carried a single white hydrangea, as my dress was so ornate I didn't need much else and they had a bit of a personal reason too.
We got back to my flat and had so much fun arranging them all. The two Bridesmaids staying with me kept taking it in shifts as they both had jet-lag from flying over from the other side of the world. My only stress with the flowers with the logistics of getting them to the venue. We ended up arranging a courier, but I was so scared they wouldn't get there in one piece! All my flowers in total cost less than a fifth of what a florist would charge and I was so pleased that I had managed to do it all myself, I think in a bigger venue or if you like complicated arrangements it wouldn't be worth the stress but if you want to keep in fitting with the low-key theme then I couldn't recommend it enough.
We also hired amazing giant light up S&S lights, which really made the room. We had a big stage at the back of the room that needed something to brighten it up and when I stumbled across these on RMW, I instantly fell in love. They were worth every penny and really brought the room to life. We also made a photo-booth area ourselves with a big vintage trunk and lots of collected fancy dress items. We got special frames printed that made it look like you were in a polaroid photo when you held them up and they were a huge hit later on in the evening. It's also funny watching people run around with random wigs and silly glasses on! It definitely added an element of silliness.
Now, lets talk about our lovely photographer, Laura. Finding a photographer was one of the most stressful parts for us. We knew we wanted someone unobtrusive that wouldn't shout at us or make us go off for hours to have a personal photoshoot, we wanted someone to be a part of our day and capture everything in a reportage style. After plenty of searching on the internet and lots of emails with lots of people we set up a meeting with Laura. After we met her we cancelled all of our other meetings as she definitely understood where we were coming from and was happy to fit into what we wanted whilst also giving us a few wise words. She was amazing on the day, and fit in a treat. She was constantly snapping away but never felt as if she was in the way, or being too bossy! We love our photos so much and couldn't be happier with the way they turned out. I think its just really important to find someone that understands what you like and what you don't like and will fit in with all your guests.
Food was always pretty low down on the list for us. We absolutely love food and cooking and eating out, but I rarely remember a wedding based on its food. We skipped canapés and gave people retro 80s crisps with their drinks, which went down a storm! We had a picnic hamper full of all the classics such as frazzles, monster munch and space raiders! Then at The Turks Head we had sharing boards on each table, which gets people talking ago one another and then we had given the guests the option when we sent out the invitations, of Pie and Mash, Sausage and Mash or Fish and Chips. All great pub classics! Dessert was a cake buffet. Lots of our amazing friends kindly offered (or were cheekily asked) if they would bake up a cake, or a sweet treat for dessert. We had an amazing array of so many lovely cakes. The main one was made by our chef friend, Dan, where we placed our lovely handmade cake toppers of us two and our cat, Dolly (she had to feather somewhere!). Later on in the evening the staff came out with bowls of chips and sausage or bacon buttes to help soak up some of that booze!
Music wise, we spent months making a Spotify playlist that two of Stu's Ushers kindly DJ'd for us. I had made playlists for the wedding breakfast and drinks as well, as we like to always have some background music. When we were out one night in Angel on Halloween last year, we'd stopped off for a burrito and a margarita and were absolutely in love with a mariachi band playing outside to old classics, such as Madonna 'Like a Prayer'. Stu isn't one to dance but even he was dancing round with my on the street and said 'I want them to play at our wedding'. It was a rather last minute decision but luckily they were free and came along. They just burst out into the room and took everyone by surprise! It was one of my favourite parts of the day, especially when they serenaded me. They only did a 30 minute set towards the start of the evening but it definitely got everyone in the party mood!
We also thought carefully about music for the ceremony. I walked down the aisle to The Cinematic Orchestra 'To Build a Home' – we both love this song and I well up as soon as I hear it now. We signed the register to Ryan Adam's cover of 'Wonderwall' and 'Friday I'm in Love' by The Cure, as that seemed quite fitting for our Friday wedding! We then walked back up the aisle to 'White Wedding' by Billy Idol! Our one other song choice that we thought carefully about was when they announce please welcome the new Mr and Mrs Cooney before the wedding breakfast, I am a huge Eric Prydz fan and so wanted 'Pjanoo' as its pretty uplifting and a bit fun to announce the soppy romance is over and we can have a party now!! I nearly forgot to mention our First Dance, was is another fairly important song choice! We chose Queens of the Stone Age, 'Wanna make it wit chu' after months of deliberating and trying to agree on a song we both love but that isn't too obvious, or cheesy. That was one of the hardest decisions!
One final note is transport. We booked a big double decker bus to take us from Orleans House to the reception venue, which was great fun. It also took all the Bridesmaids to the ceremony, along with my Mum and the photographer but got stuck in bad traffic,even though it set off at the same time as the car I was in with my Dad! They arrived half an hour late, the Registrar said they normally only wait fifteen minutes and leave but as this was such an unusual situation and both the Bride and Groom were there, they would wait! I was an absolute bag of nerves but someone managed to sneak me a little glass of prosecco to have whislt I waited for my favourite girls to arrive, I'm so glad my Mum was on that bus as well , as the Registrar agreed we couldn't start without her!
Writing all of this has made me so so sad it is all over. Everyone says it but I really do think that you should view the 'wedmin' (my husband hates that word!) as part of the wedding . Enjoy the whole lead up to it, all the planning is so exciting! I would say that you should think that anything is possible, I managed to get my dream dress at a fraction of the price, and we managed to save money on lots of other things, it just takes time to shop around. Above all else make sure your day represents you, and enjoy it! I spent the first few hours worrying that everything was OK, and everyone was having a good time, until I took a step back and told myself that I need to enjoy it as well!! It's such a wonderful day with all your favourite people in one room, just make sure you have fun and make sure you find time for your new husband too. We chose to have a little table for two for dinner, which was lovely as we could sit at the front of the room, watching everything and actually getting to speak to each other alone for a few minutes.
So elegant and the wedding dress is so pretty, food looks delicious.


While we have an online store (click on the "Gift Shop" link above to visit), most of our devotees come in person to our little store, directly to the side of the Shrine. Each week we sell hundreds, even over a thousand candles alone, plus various other devotional items, like statues, rosaries, medals, booklets, and so forth. Many first-time visitors are surprised to see just how much we have dedicated to our patron saint, and we often get new items coming in.
If you're visiting us, please do stop by — our Director and volunteers would love to see you!


mSB - Can I sign up for a subscription giving me access to all of the portal's music scores?
Yes. You can indeed purchase a monthly subscription that will allow you to access all the tabs available from the mySongBook website. Note that you will still have the possibility to purchase any tabs even in subscription mode and therefore own them permanently offering you the possibility to print the tabs as the print features are not available in subscription mode.


text:
Thursday، 21 December 2017 - 01:40 PM
After the success of the 30th of June revolution and the election of president Sisi in Egypt and president El Sebsi in Tunisia ,the Egyptian- Tunisian political relations witnessed improvement. Mutual understanding is the hallmark of Egyptian-Tunisian relations. The two countries hold identical views with regard to issues related to the Palestinian question, Iraq, Sudan and Lebanon .
Hereinfter, we expose to the most important stations of relationships between the two countries at the political level:-
Sisi / Sebsi
The Egyptian-Tunisian relations have witnessed a general development especially in the field of combating terrorism, following the success of the 30 June Revolution and the election of President Abdel Fattah Al Sisi as President of Egypt, who is keen to develop the Egyptian, Arab, international and regional relations after the period of political instability in Egypt since January 2011, and also after the election of Beji Caid Essebsi as President of Tunisia, who in his turn pledged to develop bilateral relations with Egypt, stressing that Egypt is the cornerstone of Arab relations and must remain so.
After a five-year hiatus, the joint Egyptian-Tunisian committee, chaired by former Prime Minister Ibrahim Mahlab and his Tunisian counterpart Habib Essid, was held in September 2015 in Tunisia to promote joint cooperation between the two countries.
Mahlab has signed 17 agreements and memorandum of understanding with the Tunisian side in various fields, including industry, trade, education, tourism, manpower, economic supervision, radio, television, culture and traditional industries.
On 4/7/2017, the meetings of a joint Egyptian-Tunisian consular committee wrapped up in Cairo. The two sides discussed ways of boosting cooperation in the consular fields to facilitate the affairs of the two countries' citizens. They also discussed the security, labor and cultural cooperation.
On 20/2/2017, Egypt, Tunisia and Algeria signed on the Tunisia Ministerial Declaration to support the political settlement in Libya.
Morsi / Marzouki
The relations between the two countries were characterized by coldness during the period of Marzouki's rule of Tunisia. During this period, the new session of the Egyptian-Tunisian Higher Committee was held under the chairmanship of the prime ministers of the two countries to activate the programs and cooperation agreements, particularly in the economic, telecommunications and information technology fields, and to exchange experiences related to modernizing local industries and increasing their ability to compete against foreign products.
They also discussed ways of cooperation in renewable energy projects, especially in the field of solar, seawater desalination, rationalization of energy consumption, oil, education, scientific research, transfer of technology and cooperation in marketing the two countries' products in the international markets.
Mubarak / Zein al-Abedin
Generally speaking ,the period of the rule of former President Mubarak, which lasted 30 years, was characterized by its interest in the internal affairs on the expense of the Arab issues following the so-called political realism, which could not embark with the events driven by other parties Arab or foreign. In spite of that, the political relations between Egypt and Tunisia were characterized in this period by strength and understanding being reflected in the similar stances of the two countries on various issues of mutual interest, foremost of which are the Palestinian cause, the Iraqi issue and the situation in Sudan and Lebanon.
The two countries have also been keen to consult and coordinate stances in various international and regional forums to achieve their common interests. For example, the mutual support for the Egyptian and Tunisian nominations in the various regional and international organizations.
In the framework of the bilateral relations between the two countries during this period, we point out the following:
-The establishment of a joint supreme committee chaired by The prime ministers of both countries. It meets annually in Egypt and Tunisia alternately and the round was held in Egypt in 30 June-1 July 2007.
-The sub-Committees for Technological and Scientific Cooperation, for Religious Affairs, for Technical Affairs, for Tourism, Customs Affairs, for Consulate Affairs and for Transport witnessed intensive activity during 2005-2006.
-The 10th session of the Political Follow-Up and Consultation Committee was held on March 6-7, 2007 Bin Ali welcomed the Egyptian foreign affairs minister and the visit had a positive effect on the mutual relations .
Abdel Nasser / Bourguiba
Since 1957, Egyptian-Tunisian relations had been tense specially after the Tunisian opponent Saleh Ben Youssef resorted to Egypt and launched an opposition movement against the Tunisian regime.
Later, in 1965, the tensions were increased after Bourguiba's famous speech in the Palestinian city Jericho and his call for dialogue with Israel on basis of the 1948 partition decision of Palestine, which Abdel Nasser considered as an exit of the Arab row.


text:
THE TIMES MAGAZINE
I was featured as one of "the most successful" love coaches in the UK in The Times magazine in Feb 2017 in a piece about millennial dating habits + behavior.
FABULOUS MAGAZINE, THE SUN
My love story with my fiance Joe and my signature love-coaching program 'Get Your Soulmate' were featured in April 2018 in Fabulous magazine (part of The Sun).
WOMEN'S HEALTH MAGAZINE
I was featured in Women's Health magazine in November 2017 talking about sex & love addiction in millennial women.
REVEAL MAGAZINE
I was interviewed in Feb 2016 as an expert in a feature about the quarter-life crisis.
YOU MAGAZINE
In May 2018 I was asked to write a piece on the words that will save your relationship for You magazine.
Throughout 2018 I was featured as a Dating and Relationships expert in series of articles for BBC Three.
EVENING STANDARD MAGAZINE
Addictive Daughter was featured in ES magazine in Sept 2016 in a piece about how young Londoners are choosing digital therapy over regular therapy.
Addictive Daughter was featured in a 6-page spread in The Saturday Times magazine in Oct 2015 for a piece about therapy + life-coaching for the millennial generation.
Addictive Daughter was featured in a 6 page spread in You Magazine in May 2016 in a piece about our book 'The Inner Fix'.
Addictive Daughter was featured in Look magazine in 2014 in a piece about helping celebrities overcome their quarter-life crises.
Addictive Daughter was listed as "one of the top 3 resources" for millennials in Marie Claire magazine in 2014 - we were described by them as "irreverent British gurus."
Addictive Daughter was featured in The Telegraph in May 2016 in a piece about our book 'The Inner Fix'.
HELLO MAGAZINE
Addictive Daughter was featured in Hello magazine in 2014 in a piece about self-care for 20-somethings - a collaboration we worked on with Origins skincare.
Addictive Daughter was featured in OK! magazine in 2013 in a piece about respecting your boundaries around alcohol.
Addictive Daughter was featured in The Huffington Post in 2014 as a top resource for millennials.
DOCUMENTARY - A ROYAL HANGOVER
Addictive Daughter featured alongside Russell Brand in a documentary about the binge-drinking culture in Britain.
Addictive Daughter featured on Channel 5 news in 2014, talking about the binge-drinking culture in Britain.
I was featured in The Huffington Post in 2016 alongside my mum in a piece about growing up surrounded by active drug addiction. The interview was part of The Duchess of Cambridge's 'Young Mind's Matter' series.
Addictive Daughter was featured in Miss Vogue magazine in 2014 in a piece about cures for anxiety + overwhelm.


text:
Kri (Cree) – plemię Indian kanadyjskich
 Język kri (Cree) – język Indian Kri
 Cree – polski zespół grający rocka o silnym zabarwieniu bluesowym
 Cree – pierwsza płyta zespołu Cree
 Cree – jezioro w Kanadzie
 Cree – rzeka w Szkocji

Zobacz też
 KRI

redpajama_set_name: RedPajamaWikipedia


text:
Хлопча́тник Стёрта, или Пустынная роза Стёрта () — вид многолетних растений из семейства Мальвовые ().

Растение было обнаружено английским исследователем Чарльзом Стёртом во время путешествия по Австралии в 1844-45 годах. Ботаническое имя было дано австралийским ботаником Джеймсом Виллисом в 1947 году.

Ботаническое описание

Многолетний кустарник высотой около 1 метра (в природе), при культивировании высота может достигать 2 метров, продолжительность жизни до 10 лет.

Листья овальной в формы и приблизительно 5 см длиной, тёмно-зелёные с чёрными точечными штрихами.

Цветы диаметром до 12 см, лепестки длиной до 5 см, окраска варьирует от розового и сиренево-малинового с красным основанием.

Плод — капсула, приблизительно 1 см длиной и содержит много маленьких семян, покрытых короткими шелковистыми волосами.

Цветение круглогодичное, но достигает пика в декабре—январе.

Распространение и экология
Встречается в южной части Северной территории, на северо-востоке Южной Австралии, западе Квинсленда и Нового Южного Уэльса и севере Западной Австралии.

Хлопчатник Стёрта произрастает на каменисто-песчаной почве, вдоль сухих русел ручьёв, оврагов и ущелий. Это означает, что растение может запасать воду и выдерживать длительную засуху. Адаптация растения к этим условиям включает:
 сильная внутренняя структура, это предотвращает поникание растения и уменьшает испарение влаги.
 малое число устьиц, или они защищены, что также означает уменьшенную потерю влаги; устьица найдены на нижней стороне листа.
 растение может запасть воду в стволе, корневой системе или листьях, что уменьшает потребность в дождевых осадках.
 глубоко уходящая корневая система, позволяющая добраться до водоносных слоев.
 семена растения не функционируют прежде, чем они прорастут.
 в растении содержится ядовитое вещество госсипол, которое уменьшает шанс быть съеденным травоядными животными.

Культура и искусство

12 июля 1961 года Правительством Содружества Хлопчатник Стёрта был объявлен цветочной эмблемой Северной Территории. В Исполнительном Утверждении в июне 1975 года Лидер партии большинства в Законодательном собрании Северной территории подтвердил этот вид как цветочную эмблему. Начиная с предоставления самоуправления Северной территории, в 1978 году, растение было включено в различные знаки отличия и таким образом стало символом региона.

Почтовые марки с изображениями Хлопчатника Стёрта в качестве эмблемы Северной Территории были выпущены 1 октября 1971 года, 27 апреля 1970 года и 28 сентября 1970 года, номиналами 2, 4 и 6 центов соответственно. Они дополнили набор из шести марок, выпущенных в 1968 году, изображающих цветочные эмблемы штатов Австралии. Предоставление самоуправления штату было ознаменовано выпуском 19 июня 1978 года почтовой марки номиналом 18 центов, на которой Хлопчатник Стёрта был изображён ниже карты Австралии с очерченной Северной Территорией.

См. также
 Список цветочных эмблем Австралии

Примечания

Ссылки
  Проверено 06 апреля 2009 г.
  Проверено 06 апреля 2009 г.
 Floral Emblem of the Northern Territory (eng)

Хлопчатник
Флора Австралии
Таксоны растений, названные в честь людей


text:
Quality litters headline Ipswich Puppy Auction
Quality lots from the likes of Fernando Bale, Barcia Bale and new kid on the breeding block Thirty Talks headline the 32nd edition of the Ipswich Puppy Auction at the Ipswich Greyhound Racing Club this Sunday.
Club manager Merv Page said he expected a full grandstand when the sale begins at 10am, with all 218 lots scheduled to go through the sale eligible for the 2020 Ipswich Puppy Auction Series.
"It's one of the longest-running auctions in Australia and there is some very well-bred dogs in this year's catalogue," he said.
Click here to view the auction catalogue.
Click here to view the Auction flyer.
"One of the standouts will by four pups by Dyna Double One and 2012 Melbourne Cup-winning bitch Got A Moment.
"There will also be 18 lots by 2016 Brisbane Cup winner Thirty Talks, and a litter out of eleven-time winner Vegas Bound."
Page said one of the new additions to the sale this year was that commissions (12%) for pups that fetch $8000 or more would be capped at $960.
"The reason for that is if somebody doesn't intend to sell their dog but the bidding gets up towards $20,000 it gives them the opportunity to change their mind, rather than having to pay a hefty commission on the sale," Page said.
Racing Queensland Chief Operating Officer Adam Wallish said there was never a better time to get into greyhound ownership.
"Earlier this year Racing Queensland announced it had extended its sustainability payments and reimbursements for Queensland-bred greyhounds," he said.
"These payments total up to $1500 with payments of $500 payable for a Queensland-bred greyhound having its first race start, a further $500 for a greyhound that wins a maiden and another $500 for a greyhound that wins a novice event.
"These payments are to be split 50/50 between the owner and breeder."
Full rebates to the cost of female breeding registration, DNA analysis for named female greyhounds and the cost of litter registration within four months of whelping are also available to Queensland-licensed breeders.


13428 W Sunny View Dr, New Berlin, WI 53151-6038 - Beautifully updated sought after New Berlin ranch home. Spacious and bright living room opens to the dining area and the magnificently updated cook's kitchen with custom cabinetry, stainless steel appliances and a bank of cabinets. A natural fireplace will warm you on those chillier days/nights in the family room. Endless summer entertaining in the park-like back yard. Tons of updates include windows, remodeled kitchen, dining, entry from garage and half bath, luxury vinyl flooring, refinished original hardwood floors in bedrooms, updated patio, fire pit and landscaping. Move in ready. 1 year home warranty. Great location!


For the next step, Wumart Group and AGS will establish an effective seafood supply chain to introduce Norway's high-quality and low-price seafood, including salmon, codfish, herring, and king crab, to Chinese consumers.
AGS is a specialized producer and trader of Norwegian seafood and the company maintains close relationships with many major seafood producers in Norway. It provides various high-quality seafood products to the global market and it currently supplies products to Asian countries and regions like South Korea, Vietnam, and Hong Kong.
To meet the demands of Chinese consumers, Wumart Group is reinforcing its global direct procurement strength, including direct procurement of durians from Southeast Asian countries like Thailand; direct procurement of milk and bear from European countries like France; and direct procurement of seafood from North European countries like Norway.


Bitcoin is the biggest bubble in town….. or is it? When everyone from the local hairdresser to dog groomer are talking about it and throwing money in willy nilly, it's only a matter of time till it implodes.
But what's the deal? Should we be investing in it or will it be a distant memory in a few years?
Interestingly, Bitcoin (or cryptocurrency) has been around for a while – it was invented in 2008, and is the world's first decentralised digital currency, as the system works without a central bank or single administrator.
It's the fastest, lowest cost and most secure form of currency ever created and the finite economic properties of gold with the ease of use of a credit card.
st are electronic currencies — pure data entries in electronic ledgers — created and transferred by networked computers with no one in charge.
The technology behind Bitcoin is pretty impressive. Since its introduction almost a decade ago, bitcoin has spurred the most impressive burst of entrepreneurial activity since the first wave of investment in the worldwide web. As the dotcom bubble proved, even the most exciting long-term technology can also inflict serious long-term losses on you if it gets overvalued.
Bitcoin has already enjoyed two extreme bubbles. During 2013, when it gained almost 5,500 percent. Now it is doing it again, and causing the next round of mania. Top investors have warned that as amazing as the technology could well be, "there is no possible valuation scheme that would justify raising its price fivefold through the first 11 months of this year, and then another 70 percent in the last week" (John Authers, Financial Times).
The most obvious is that you can make some serious coin investing in Bitcoin.
Bitcoin is free from government interference and manipulation, so there's no Federal Reserve System to increase interest rates.
Bitcoins cannot be forged, nor can your client demand a refund. Good news for investors.
Bitcoin still isn't that secure. Investors may think that digital wallets are secure, but cryptocurrency exchanges and wallets continue to get hacked regularly.
There may not be any value in bitcoin at all. The value behind bitcoin is the blockchain technology, which has been replicated by other digital currencies. Many of those have actually built better and user-friendlier versions.
It's impossible to actually value bitcoin. Bitcoin is a global craze. Because so many new people are buying it (and have no idea what it is!) it's impossible to accurately value.
We'll leave it with you. Go forth and Bitcoin (or not).


We like to think of researchers as being able to dive straight into their lab experiments immediately following a 'eureka' moment of inspiration. If only that were true; unfortunately, researchers, like professionals in many other fields, often confront some substantial administrative, legal and paperwork challenges in completing their daily tasks – in this case, in transforming hypotheses into experiments, and experiments into potential remission strategies for HIV.
Investigators in all domains, including HIV cure and remission studies, have faced the reality of legal restrictions and piles of paperwork that can stand between them and the compounds they need to conduct their studies. Such restrictions are a particular problem for studies, like those of many of the most promising strategies in HIV remission research, that involve therapies from multiple companies. Each pharmaceutical company has their own individual legal framework for making their drugs available, and unique restrictions on how those drugs can be combined in research studies with those from other companies, meaning that some promising remission studies have been delayed by months, or even years.
With thousands of people becoming newly infected with HIV every day, such obstacles have been a sobering reality for researchers...a reality that has slowed the pursuit of some of the most promising avenues of HIV remission research.
Now, however, thanks to an unprecedented new agreement with five leading pharmaceutical companies -- negotiated by the International AIDS Society (IAS) Towards an HIV Cure Industry Collaboration Group (ICG) -- those days, and delays, are finally over. The new pact, known as a Common Material Transfer Agreement, (cMTA), eliminates a maze of legal restrictions on the use of drugs in cure research studies, clears some major bottlenecks for investigators, and provides a critical boost to efforts to develop new remission or cure strategies for HIV.
By providing a simplified, unified process for the donation and use of drugs in HIV cure and remission studies, the new cMTA clears the way for faster, more effective approaches to achieving full viral suppression of SIV in non-human primate models. Those approaches, if proven effective, could one day lead to a new generation of HIV cure or remission studies in people.
Five industry leaders in HIV research – Bristol-Myers Squibb, Gilead, Johnson & Johnson, Merck, and ViiV Healthcare – participated in three years of IAS-led negotiations to achieve this groundbreaking agreement. The cMTA is the result of an exceptional spirit of openness and partnership between industry representatives, researchers and advocates involved in the negotiations – the same spirit of collaboration we will need moving forward to overcome the scientific challenges to achieving HIV remission.
The cMTA comes at a key time in HIV cure research as NHP models now allow researchers to investigate strategies in animal models on ARV's. Such models are highlighted in the 2016 Global Scientific Strategy: Towards an HIV Cure, developed by a multi-disciplinary International Scientific Working Group, under the guidance of the IAS, as a key priority in the research agenda.
As successful cure or remission strategies will likely require the use of multiple therapies, the cMTA also allows investigators to combine antiretroviral drugs from different companies in research studies, something that previously required the negotiation of multiple agreements. And, with an eye toward the future, the cMTA also requires research institutions that take advantage of its provisions to provide non-exclusive licenses for potential cure breakthroughs to all parties who request them -- setting a framework for even greater advances in collaborative research in the future.
Developing shared solutions to research problems has been at the center of the work of the IAS Towards an HIV Cure Industry Collaboration Group. Our members believe that HIV cure and remission research present scientific challenges that can only be met through approaches that speed research and break down divides between geographic boundaries, areas of scientific discipline, and the public and private sectors.
The road to HIV cure or remission will be long and full of scientific obstacles. We want to free investigators to focus on overcoming those scientific hurdles, without spending excessive time grappling with legal challenges and corporate paperwork. With the new cMTA in place, we have every reason to believe that the long road to achieving an HIV cure just became a bit shorter.
For more information on the common Material Transfer Agreement, please visit the IAS Towards an HIV Cure website.


This is the third and last movement of Vivaldi's Concerto in D major for flute, strings and basso continuo. Written in 3/4 time, it is vigorous and dance-like.
Find here the other two movements of the Concerto: the opening Allegro and the famous Cantabile.


Whether primate watching in Rwanda or cruising the Amazon River for dolphin sightings, exclusive safaris provide unbeatable wilderness access.
The perfect safari should involve plenty of up-close-and-personal encounters—ideally involving wild animals and not the strangers in the tent next door. Many high-end safari companies are responding to the yearning for even more exclusivity in what is already one of the world's most elite travel experiences, offering private excursions that allow guests to choose their travel companions, customize their itineraries and witness plenty of once-in-a-lifetime moments.
Andy Cluver, CEO of South Africa–based airline Civair, has organized private travel for scores of celebrities, royals and politicians. High-profile travelers including Bono, Richard Branson, Michael Jackson and Princess Diana have entrusted Civair with their vacation plans. And while some boldfaced names like Bill Gates have been low maintenance (the Microsoft founder opted to travel with just his wife, Melinda), others have asked for a little more. Privacy, security and a support network are key for many private-safari clients. Adventure outfitters are increasingly catering to guests who want to book an entire camp, boat, balloon or helicopter for themselves and their group.
Experiential travel is hot the world over, and a host of destinations are getting in on the act, which was pioneered—and perfected—in Africa. Safari companies today offer the chance to encounter a whole ark's worth of animals, from kangaroos and blue-footed boobies to mountain gorillas and crocodiles. A river safari down the Amazon with National Geographic/Lindblad Expeditions offers a look at mythic river monsters like piranhas (without a swarm of camera-happy passengers snapping at your heels). At Anantara in Thailand's Golden Triangle, guests learn to handle elephants in utterly tranquil surrounds. And at Wildman Lodge in Australia's Northern Territory, kangaroo safaris through the bush encounter a variety of marsupials. Whichever you choose, the experience is truly like nothing else.


DIY Garden Ideas – Many people have so many things in their homes that they have no place to put everything, this is where warehouses can come into play. A homeowner can build their own Garden Shed by buying a kit or by designing their own warehouse. In any situation, extra space is an indispensable accessory for homeowners.
Many homeowners like to build things themselves, their satisfaction is not disturbed. The following is a brief explanation of how to build your own DIY garden ideas Garden Shed: You will need nails, plywood, processed wood, band joists, galvanized nails, hammers, glasses, gloves, helper, braces etc. The basic design for DIY Garden Shed is around 9×13 'and can be arranged on concrete or wood. For this description I will use a wooden floor.
Carve a space on the ground where the four corners of the warehouse will be about 4 inches or more and fill these spaces with crushed stones as a base. Take 2×6 'wood that is treated for the outer edge and place the band connection on the wood and nail together. Secure pieces with 16d galvanized nails. The layout for the interior of the floor will begin with the first cross beam located around 15.25 "and each beam will be about 16" apart at each interval from that point. Then install 0.75 plywood "for the rest of the floor, make sure all the edges are straight. That's the article about DIY garden ideas.
Larger than life with this idea will diy shed door frame. A curse cursed because you like subscribe and backyard landscapes with diy vegetable garden ideas create the smallest outdoor furnishings finds and ideasdo it here with just will not mean that they could even the plant every. Diy small garden ideas, accommodate a zen garden in a unique garden homemade wood burning stoves and have a charm to transform even fit. Screen small garden water irrigation and most popular front and heaters plans will help you have all the tiniest yard and backyard landscapes with these sparkling clay pot ideas.


The weather was there, the crowds were there and the atmosphere was most definitely there! At the ASDA PORTRUSH CHARITY RAFT RACE in aid of the RNLI.
The new Portrush Lifeboat 'The William Gordon Burr' was shown off on her first PR exercise with 2nd Deputy Coxswain Des Austin at the helm, whilst the other 2nd deputy Cox Mark Mitchell did the commentary from the South Pier explaining about her history.
The craic amongst the rafters on the beach was great and when the Field Gun went off the race was on! However, nobody was going to beat those boys from the Hawthorne Inn! They were on a roll - all that practising on the River Bann had paid off.
All in all it was a super day.


text:
Michigan Lottery Connect
Michigan Lottery's 40th Anniversary Photo Gallery
Practice Responsible Giving this Holiday Season
Promoting Awareness for Problem Gambling
← Ingham County Educator Wins Excellence in Education Award from the Michigan Lottery
Ogemaw County Woman Wins $550,000 on Michigan Lottery's The Big Spin Show →
Saginaw County Man Wins $561,838 Fast Cash Prize
Posted on February 11, 2020 by MI_Lottery
Winning a $561,838 Diamond Wild Time Progressive Fast Cash prize from the Michigan Lottery has changed a Saginaw County man's life.
The 64-year-old player bought his winning ticket at the 1 Dollar Bargain store, located at 3787 North Michigan Avenue in Saginaw.
"I play Fast Cash all the time," said the player, who chose to remain anonymous. "I bought a few tickets and began scanning them at the machine. When I scanned this ticket and saw how much I won, I started screaming with excitement!"
The player recently visited Lottery headquarters to claim the big prize. With his winnings, he plans to help his family and invest.
"Winning this prize has changed my life," said the player. "It is really going to help with retirement."
Fast Cash games are a series of instant-win games that print from terminals at Lottery retailers. Fast Cash tickets range in price from $2 per play up to $20 per play.
Fast Cash games offer a progressive jackpot that can be won instantly. Every Fast Cash ticket gives players a chance to win all or part of the progressive jackpot.
All of the Fast Cash games feed into one jackpot, which grows with every ticket purchased. The current jackpot amount prints on each ticket, so players always know the amount of the jackpot up for grabs. The jackpot may be won at any time. As soon as the jackpot is hit, a new one starts to grow.
Available Fast Cash games are:
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Diamond Wild Time Progressive – Each $5 ticket offers players a chance to win prizes ranging from $5 up to $3,000 and 50 percent of the Fast Cash progressive jackpot.
50X The Cash – Each $10 ticket offers players a chance to win prizes ranging from $10 up to $5,000 and 100 percent of the Fast Cash progressive jackpot.
Doubler Wild Time Progressive – Each $10 ticket offers players a chance to win prizes ranging from $10 up to $6,000 and 100 percent of the Fast Cash progressive jackpot.
Jackpot Slots – Each $10 ticket offers players a chance to win prizes ranging from $10 up to $5,000 and 100 percent of the Fast Cash progressive jackpot.
Lucky 7s – Each $10 ticket offers players a chance to win prizes ranging from $10 up to $4,000 and 100 percent of the Fast Cash progressive jackpot.
100X The Cash – Each $20 ticket offers players a chance to win prizes ranging from $20 up to $10,000 and 100 percent of the Fast Cash progressive jackpot, plus $250,000.
Jumbo Jackpot Slots – Each $20 ticket offers players a chance to win prizes ranging from $20 up to $10,000 and 100 percent of the Fast Cash progressive jackpot plus $250,000.
Fast Cash prizes never sell out and there is no waiting for a drawing as all games are played immediately. In 2019, players won more than $61 million playing Fast Cash games.
Fast Cash games may be purchased at 10,500 retailers across the state.
This entry was posted in Fast Cash, Michigan Lottery, Winners List and tagged Anonymous, Fast Cash, Jackpot, Michigan Lottery, Public Relations, Winner, www.michiganlottery.com. Bookmark the permalink.
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text:
"""
    The Plaid API

    The Plaid REST API. Please see https://plaid.com/docs/api for more details.  # noqa: E501
    Generated by: https://openapi-generator.tech
"""

import re  # noqa: F401
import sys  # noqa: F401

from plaid.model_utils import (  # noqa: F401
    ApiTypeError,
    ModelComposed,
    ModelNormal,
    ModelSimple,
    cached_property,
    change_keys_js_to_python,
    convert_js_args_to_python_args,
    date,
    datetime,
    file_type,
    none_type,
    validate_get_composed_info,
)

class NameMatchScore(ModelNormal):
    """NOTE: This class is auto generated by OpenAPI Generator.
    Ref: https://openapi-generator.tech

    Do not edit the class manually.

    Attributes:
      allowed_values (dict): The key is the tuple path to the attribute
          and the for var_name this is (var_name,). The value is a dict
          with a capitalized key describing the allowed value and an allowed
          value. These dicts store the allowed enum values.
      attribute_map (dict): The key is attribute name
          and the value is json key in definition.
      discriminator_value_class_map (dict): A dict to go from the discriminator
          variable value to the discriminator class name.
      validations (dict): The key is the tuple path to the attribute
          and the for var_name this is (var_name,). The value is a dict
          that stores validations for max_length, min_length, max_items,
          min_items, exclusive_maximum, inclusive_maximum, exclusive_minimum,
          inclusive_minimum, and regex.
      additional_properties_type (tuple): A tuple of classes accepted
          as additional properties values.
    """

    allowed_values = {
    }

    validations = {
    }

    @cached_property
    def additional_properties_type():
        """
        This must be a method because a model may have properties that are
        of type self, this must run after the class is loaded
        """
        return (bool, date, datetime, dict, float, int, list, str, none_type,)  # noqa: E501

    _nullable = True

    @cached_property
    def openapi_types():
        """
        This must be a method because a model may have properties that are
        of type self, this must run after the class is loaded

        Returns
            openapi_types (dict): The key is attribute name
                and the value is attribute type.
        """
        return {
            'score': (int, none_type,),  # noqa: E501
            'is_first_name_or_last_name_match': (bool, none_type,),  # noqa: E501
            'is_nickname_match': (bool, none_type,),  # noqa: E501
            'is_business_name_detected': (bool, none_type,),  # noqa: E501
        }

    @cached_property
    def discriminator():
        return None

    attribute_map = {
        'score': 'score',  # noqa: E501
        'is_first_name_or_last_name_match': 'is_first_name_or_last_name_match',  # noqa: E501
        'is_nickname_match': 'is_nickname_match',  # noqa: E501
        'is_business_name_detected': 'is_business_name_detected',  # noqa: E501
    }

    _composed_schemas = {}

    required_properties = set([
        '_data_store',
        '_check_type',
        '_spec_property_naming',
        '_path_to_item',
        '_configuration',
        '_visited_composed_classes',
    ])

    @convert_js_args_to_python_args
    def __init__(self, *args, **kwargs):  # noqa: E501
        """NameMatchScore - a model defined in OpenAPI

        Keyword Args:
            _check_type (bool): if True, values for parameters in openapi_types
                                will be type checked and a TypeError will be
                                raised if the wrong type is input.
                                Defaults to True
            _path_to_item (tuple/list): This is a list of keys or values to
                                drill down to the model in received_data
                                when deserializing a response
            _spec_property_naming (bool): True if the variable names in the input data
                                are serialized names, as specified in the OpenAPI document.
                                False if the variable names in the input data
                                are pythonic names, e.g. snake case (default)
            _configuration (Configuration): the instance to use when
                                deserializing a file_type parameter.
                                If passed, type conversion is attempted
                                If omitted no type conversion is done.
            _visited_composed_classes (tuple): This stores a tuple of
                                classes that we have traveled through so that
                                if we see that class again we will not use its
                                discriminator again.
                                When traveling through a discriminator, the
                                composed schema that is
                                is traveled through is added to this set.
                                For example if Animal has a discriminator
                                petType and we pass in "Dog", and the class Dog
                                allOf includes Animal, we move through Animal
                                once using the discriminator, and pick Dog.
                                Then in Dog, we will make an instance of the
                                Animal class but this time we won't travel
                                through its discriminator because we passed in
                                _visited_composed_classes = (Animal,)
            score (int, none_type): Represents the match score for name. 100 is a perfect score, 85-99 means a strong match, 50-84 is a partial match, less than 50 is a weak match and 0 is a complete mismatch. If the name is missing from either the API or financial institution, this is empty.. [optional]  # noqa: E501
            is_first_name_or_last_name_match (bool, none_type): first or last name completely matched. [optional]  # noqa: E501
            is_nickname_match (bool, none_type): nickname matched, example Jennifer and Jenn.. [optional]  # noqa: E501
            is_business_name_detected (bool, none_type): If the name on either of the names that was matched for the score was a business name, with corp, llc, ltd etc in the name. While this being true confirms business name, false means it was either not a business name or Plaid could not detect it as such, since a lot of business names match owner names and are hard to detect.. [optional]  # noqa: E501
        """

        _check_type = kwargs.pop('_check_type', True)
        _spec_property_naming = kwargs.pop('_spec_property_naming', False)
        _path_to_item = kwargs.pop('_path_to_item', ())
        _configuration = kwargs.pop('_configuration', None)
        _visited_composed_classes = kwargs.pop('_visited_composed_classes', ())

        if args:
            raise ApiTypeError(
                "Invalid positional arguments=%s passed to %s. Remove those invalid positional arguments." % (
                    args,
                    self.__class__.__name__,
                ),
                path_to_item=_path_to_item,
                valid_classes=(self.__class__,),
            )

        self._data_store = {}
        self._check_type = _check_type
        self._spec_property_naming = _spec_property_naming
        self._path_to_item = _path_to_item
        self._configuration = _configuration
        self._visited_composed_classes = _visited_composed_classes + (self.__class__,)

        for var_name, var_value in kwargs.items():
            if var_name not in self.attribute_map and \
                        self._configuration is not None and \
                        self._configuration.discard_unknown_keys and \
                        self.additional_properties_type is None:
                # discard variable.
                continue
            setattr(self, var_name, var_value)

redpajama_set_name: RedPajamaGithub


text:
A Soapbox For Weirdos: When Public-Access TV Was Good
By Keith E. Lee, June 19th 2014
Most every major metropolitan area in America seems to have a nonprofit cable television station. Hundreds of public-access TV production facilities were launched in the 1970s after the Federal Communications Commission compelled cable systems in the top 100 US TV markets to offer the public free access to the airwaves. Cable companies and local municipalities agreed to set aside a portion of a cable operators' franchise fees to finance the facilities where residents could produce original programming.
Now in this age of smartphones, YouTube, Google, and Windows Movie Maker, practically anyone can produce original content with relative ease. Browse the Internet and you'll find an endless supply of videos that feature people ranting, dancing, singing, or performing skits. And there are cats—lots of cats. You name it, and most likely it can be found online. And when a video goes viral there is instantaneous access to thousands, or potentially millions of eyeballs.
Long before YouTube, your local public-access TV station was the only outlet for original homemade video content. And it took much more effort and perseverance to produce something that only a handful of people would see.
When I lived in Atlanta, I loved to watch the local public-access channel, which was called People TV. Airing content from a wide variety of oddball characters, People TV was far more entertaining than anything on commercial television at the time. There were the inaudible call-in shows with communists and local luminaries such as Hosea Williams, outré religious sects seeking to spread their message of salvation, and stoner drag queens. A parade of weirdos all had a home on PTV.
I've created a YouTube playlist from old VHS tapes of some of the stuff that I enjoyed years ago, back when the channel was good.
[youtube https://www.youtube.com/watch?v=R1pBV90rWyg?feature=player_detailpage&w=640&h=360%5D
Keith E. Lee
Atlanta Hosea Williams Public-Access TV YouTube
A Day In The Life Of Harley, An Atopic Dermatitis Advocate
100 Short Creepypasta Stories To Read In Bed Tonight
Here's How Much Money The 'Bachelor In Paradise' Contestants Are Losing Right Now
Poetics And Politics: Ezra Pound's Influence On The Rise Of The Alt-Right
50 Truly Terrifying Creepy Stories That'll Scare You Into Perpetual Insomnia
The Rise of Antisocial Media, Why Reddit And YouTube Are Gen Z's Favorite Hangouts


For over 26 years, the VANGEST group specialized companies have developed unique expertise for the design, engineering, prototyping, tooling and manufacturing of automobiles for their customers. This integrated set of expertise has now been applied, for the 1st time, to create a 100% Portuguese racing car, an bold project for the research and development of new processes, technologies and materials to reach more opportunities in the global market.
The VANGEST BY JH12 GRANDESIGN was born of the combined desire of Carlos Oliveira, president of the VANGEST group and longtime off-road race driver, and João Ornelas, managing director of GRANDESIGN, to replace the old Mitsubishi Pajero with which Carlos Oliveira ended 25th place in the 2003 Paris-Dakar rally, with a demonstrator of the VANGEST group's extended expertise in automotive design, engineering and product development.
Thus was born the project of a new off-road racecar, to prove its worth by racing in Portugal's Off-road Championship.
competence of VANGEST specialized companies: "one of the main reasons for this project is to show our skills in automotive design and engineering".
With composite bodywork designed by GRANDESIGN – the design company of the VANGEST group – the VANGEST JH12 BY GRANDESIGN is a 4X4 racing car with a 280hp BMW 3.0 biturbo diesel engine and steel spaceframe chassis, a real demonstrator of the extended capabilities of the VANGEST group, to be put to the test in the national off-road championship.


text:
InterDyn – Socius and PCMS IT Advisor Group Receive Microsoft's 2008 Partnering to Succeed Award
CINCINNATI, OHIO – Today, business partners InterDyn – Socius and PCMS IT Advisor Group proudly announced that they have won the FY2008 Microsoft Partnering to Succeed award for Microsoft's 4-state Heartland Area and the 18-state Central Region. This award recognizes both companies commitment to collaborate with multiple partners to help solve customers business issues.
PCMS and Socius have developed a strong business relationship over the years enabling them to focus on their individual core competencies; yet at the same time, offering clients more complete Microsoft solutions said Matt Scherocman, PCMS vice president of consulting services. "Partnering is a big part of PCMS business model and has been a key element in our success. It all comes down to helping the client with their technology issues. When we suggest a partner's solution because it makes the most sense, the client begins to see us as more than a reseller – they see us as a trusted advisor."
"We are delighted to receive this award alongside our trusted business partner, PCMS," said Jeffrey R. Geisler, CPA, InterDyn – Socius CEO and senior managing director. "The word Socius is Latin for partner; partnership is our goal and the essence of our business. Receiving this award confirms that we are living up to our commitment to be a true partner to Microsoft, to other organizations that we work alongside, and, most importantly, to our clients."
Awards were given in a number of categories covering every aspect of the Microsoft Partner Program. The Partnering to Succeed award is the only recognition of joint efforts of Microsoft Partners. While InterDyn – Socius and PCMS share over two dozen clients, they were specifically honored for their work with a major beverage distributor which centers around integrating, centralizing and standardizing HRIS, Time and Attendance and Payroll systems in order to increase staff productivity through easier data collection and improved communication between internal functional departments and to external vendors and agencies.
In winning the Partnering to Succeed award for the Heartland Area, InterDyn – Socius and PCMS became eligible to receive awards on the regional level. They surpassed the award winners from the other three areas in the Central Region to receive the regional recognition and become eligible to compete on a national level. All awards will be formally presented at Microsoft's Worldwide Partner Conference in July 2008.
About InterDyn – Socius:
InterDyn – Socius is a strategic business consulting partner that provides comprehensive business management solutions to help companies leverage technology to accelerate their growth and profitability and compete more successfully in today's economy. As a Gold Certified Microsoft partner and the recently named 2008 Microsoft Dynamics GP Partner of the Year, InterDyn – Socius represents the most trusted accounting, enterprise resource planning (ERP), business analytics, and customer relationship management (CRM) technologies on the market. Backed by more than 24 years of award-winning experience, InterDyn – Socius proudly serves clients in Ohio and the surrounding area from its offices in Cincinnati, Columbus, and Cleveland, Ohio.
For more information, visit www.socius1.com.
About PCMS IT Advisor Group:
PCMS delivers technology consulting and services to companies in greater Cincinnati, Columbus and Dayton. PCMS IT Advisor Group specializes in network infrastructure management, security and 24/7 tech support, and was the 2006 winner of Microsoft's Worldwide Partner of the Year for Licensing Solutions. The company, based in Cincinnati since 1993, is the North American headquarters for PCMS Group Plc, based in Coventry, United Kingdom. The company also provides application development, business analytics, technology services and support for retailers and other North American customers.
For more information, visit PCMS IT Advisor Group at http://www.itadvisorgroup.com, or call 513-587-5123. For media inquiries, contact Terrin Williams at 513-587-3102 or via e-mail at terrinw@itadvisorgroup.com
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controllers/single-post-interdyn-socius-and-pcms-it-advisor-group-receive-microsofts-2008-partnering-to-succeed-award.php


text:
VERROCCHIO
Sculptor and Painter of Renaissance Florence
City: Florence
Museum/Gallery: National Gallery of Art
Artist: Andrea del Verrocchio
Ir a la versión en español
September 15, 2019 through January 12, 2020
Andrea del Verrocchio, Putto with a Dolphin, c. 1465/1480, bronze, overall: 73.03 cm (28 3/4 in.) base: 125 cm (49 3/16 in.) Museo di Palazzo Vecchio, Florence.
Andrea del Verrocchio (c.1435–1488), the innovative artist,
painter, sculptor, and teacher whose pupils included Leonardo da Vinci,
Pietro Perugino, and likely Sandro Botticelli as well.
As a sculptor, Verrocchio was the most important figure in Renaissance art between Donatello and Michelangelo, making works of unprecedented technical accomplishment and breathtaking naturalism and beauty.
By the time he was about 30 years old, Verrocchio had emerged as a master of the first rank and the Medici began to entrust him to make the most important bronze sculptures in the city: first, around 1465, a statue of David with the Head of Goliath, made as a kind of complement to or rival of Donatello's earlier bronze of the same subject.
DAVID WITH THE HEAD OF GOLIATH
With its elegant design, tensely graceful movement, and absorbing facial expressions, it may be Verrocchio's earliest statue in bronze and probably was made for Piero de' Medici, the father of Lorenzo the Magnificent.
Andrea del Verrocchio, David with the Head of Goliath, c.1465. bronze with traces of gilding, overall: 120 cm (47 1/4 in.) Museo Nazionale del Bargello, Florence.
CHRIST AND SAINT THOMAS
In 1467 awarding Verrocchio the most prestigious sculpture commission of late-15th century Florence, the bronze group of Christ and Saint Thomas for an outdoor niche on Orsanmichele, the church and grain reserve at the center of Florence. Taking 16 years to complete, the sculpture, upon its unveiling in 1483, was declared to be "the most beautiful work there is".
LEFT: Andrea del Verrocchio, Christ and Saint Thomas, Orsanmichele, Florence, modern copy in exterior niche.
RIGHT: Detail
LADY WITH FLOWERS
Andrea del Verrocchio, Lady with Flowers, c.1475/1480, marble, overall: 60 x 48 x 25 cm (23 5/8 x 18 7/8 x 9 13/16 in.) Museo Nazionale del Bargello, Florence.
Andrea del Verrocchio and assistant, Alexander the Great, c.1480/1485, Carrara marble, overall: 55.9 x 36.7 x 11 cm (22 x 14 7/16 x 4 3/8 in.) framed: 88.9 x 71.8 x 8.6 cm (35 x 28 1/4 x 3 3/8 in.) National Gallery of Art, Washington, Gift of Therese K. Straus.
SLEEPING YOUTH
Andrea del Verrocchio, Sleeping Youth, c.1470–1480, terracotta with traces of polychromy, overall: 36 x 67 x 25 cm (14 3/16 x 26 3/8 x 9 13/16 in.) Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst, bpk Bildagentur / Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen / Antje, Voigt / Art Resource, NY.
Andrea del Verrocchio, Madonna and Child, c.1475, terracotta relief with traces of polychromy and gilding, overall: 86 x 66 cm (33 7/8 x 26 in.) Museo Nazionale del Bargello, Florence.
Andrea del Verrocchio and assistant, Angel (from Pair of Angels), c.1480, terracotta, overall: 36.5 x 32.8 x 5.5 cm (14 3/8 x 12 15/16 x 2 3/16 in.) Musée du Louvre, Départment des Sculptures, Paris
Andrea del Verrocchio and assistant, Angel (from Pair of Angels), c.1480, terracotta, overall: 37 x 34 x 4.5 cm (14 9/16 x 13 3/8 x 1 3/4 in.) Musée du Louvre, Départment des Sculptures, Paris.
GIULIANO de' MEDICI
Andrea del Verrocchio, Giuliano de' Medici, c.1475/1478, terracotta with traces of polychromy, overall: 61 x 66 x 28.3 cm (24 x 26 x 11 1/8 in.) National Gallery of Art, Washington, Andrew W. Mellon Collection.
BUST OF CHRIST
Andrea del Verrocchio, Bust of Christ, c.1470/1483, polychrome terracotta, overall: 68 x 71.2 x 40.6 cm (26 3/4 x 28 1/16 x 16 in.) Private collection, Photo: Yale University Art Gallery.
MONUMENT OF CARDINAL NICCOLÒ FORTEGUERRI
Sketch Model. Terracotta
Andrea del Verrocchio, Sketch Model for the Monument of Cardinal Niccolò Forteguerri, 1476, terracotta, overall: 39.4 x 26.7 cm (15 1/2 x 10 1/2 in.) Victoria and Albert Museum, London.
PUTTO POISED ON A GLOBE
Terra cruda
Andrea del Verrocchio, Putto Poised on a Globe, c. 1480, terra cruda (unbaked clay) over iron armature on gilded wood base, overall: 75 x 38.3 x 23 cm (29 1/2 x 15 1/16 x 9 1/16 in.) National Gallery of Art, Washington, Andrew W. Mellon Collection
Andrea del Verrocchio, Madonna and Child, c. 1465/1470, plaster with traces of polychromy, overall: 84.4 x 60.5 x 10 cm (33 1/4 x 23 13/16 x 3 15/16 in.) framed: 87.9 x 63.7 x 14 cm (34 5/8 x 25 1/16 x 5 1/2 in.) depth: 10 cm (3 15/16 in.) Allen Memorial Art Museum, Oberlin College, R.T. Miller Jr. Fund, 1944, Bridgeman Images.
As a painter, he formed a direct link in the central chain of Florentine painting
between his master, Fra Filippo Lippi, and his own pupil, Leonardo da Vinci
Andrea del Verrocchio, Madonna and Child, c. 1465/1470, tempera, oil, and gold on panel, overall: 75.8 x 54.6 cm (29 13/16 x 21 1/2 in.) framed: 105 x 82 cm (41 5/16 x 32 5/16 in.) Staatliche Museen zu Berlin, Gemäldegalerie, bpk Bildagentur / Staatliche Museen, Berlin / Jörg P. Anders./ Art Resource, NY.
SAINT JEROME
Andrea del Verrocchio, Saint Jerome, c.1465, tempera on paper glued to panel, overall: 40.5 x 26 cm (15 15/16 x 10 1/4 in.) framed: 60.5 x 47 x 7 cm (23 13/16 x 18 1/2 x 2 3/4 in.) Gallerie degli Uffizi, Palazzo Piti, Florence
Verrocchio and pupils
Verrocchio generally took a collaborative approach to painting, employing younger masters to execute his pictures from his designs before coming in at the end to put the finishing touches on the works. Among the artists known or believed to have spent time in this capacity are Leonardo, Botticelli, Domenico Ghirlandaio, Perugino, Lorenzo di Credi, and others.
A collaborative approach to painting in a master's workshop was not new in Renaissance Italy, although Verrocchio seems to have organized this painting production more thoroughly than any other painter before. Verrocchio was highly regarded in his lifetime as a painter, working for the Medici and other discerning patrons, and he was praised by contemporaries as the "spring" from which other painters drank "whatever they have that is good."
Painting was less his principal focus, and yet he was active and innovative in this field as well. His best-known work is his Baptism of Christ (c. 1472–1474, Gallerie degli Uffizi) made with Leonardo da Vinci, who was still his student and assistant at the time, likely in the early 1470s.
Andrea del Verrocchio and Leonardo da Vinci
The Baptism of Christ, circa 1475, Oil on panel, Height: 177 cm (69.6 in.) Width: 151 cm (59.4 in.)
Gallerie degli Uffizi
MADONNA AND CHILD WITH TWO ANGELS
Andrea del Verrocchio and assistants Leonardo da Vinci and Pietro Perugino
Andrea del Verrocchio and assistants (Leonardo da Vinci and Pietro Perugino) Madonna and Child with Two Angels, c. 1470/1474, tempera on panel, overall: 97 x 71 cm (38 3/16 x 27 15/16 in.) framed: 127 x 102 x 9 cm (50 x 40 3/16 x 3 9/16 in.) The National Gallery, London, Bought, 1857.
Attributed to Andrea del Verrocchio or Pietro Perugino
Attributed to Andrea del Verrocchio or Pietro Perugino, Madonna and Child, c. 1470/1472, tempera and gold on poplar wood, overall: 75.6 x 47.9 cm (29 3/4 x 18 7/8 in.) framed: 88.8 x 61 cm (34 15/16 x 24 in.) Staatliche Museen zu Berlin, Gemäldegalerie.
Andrea del Verrocchio, Leonardo da Vinci, and assistants
Andrea del Verrocchio, Leonardo da Vinci, and assistants, Tobias and the Angel, c. 1470, tempera on panel, overall: 84.4 x 66.2 cm (33 1/4 x 26 1/16 in.) framed: 110 x 98 x 15.5 cm (43 5/16 x 38 9/16 x 6 1/8 in.) The National Gallery, London, Bought, 1857.
THE VIRGIN ADORING THE CHRIST CHILD
("The Ruskin Madonna")
Andrea del Verrocchio and Domenico Ghirlandaio
Andrea del Verrocchio and Domenico Ghirlandaio, The Virgin Adoring the Christ Child ("The Ruskin Madonna"), c. 1475/1480, tempera and oil on panel transferred to canvas, overall: 106.7 x 76.3 cm (42 x 30 1/16 in.) framed: 141.5 x 110.5 x 10.5 cm (55 11/16 x 43 1/2 x 4 1/8 in.) National Galleries of Scotland, Edinburgh, Purchased with the aid of the Art Fund and the Pilgrim Trust, 1975.
Domenico Ghirlandaio, Madonna and Child, c. 1475, tempera on panel transferred to hardboard, painted surface: 70.8 x 48.9 cm (27 7/8 x 19 1/4 in.) overall size: 73 x 50.2 cm (28 3/4 x 19 3/4 in.) framed: 115.6 x 89.2 x 7.6 cm (45 1/2 x 35 1/8 x 3 in.) National Gallery of Art, Washington, Samuel H. Kress Collection.
Piermatteo d'Amelia
Piermatteo d' Amelia (in Verrocchio's workshop?) Madonna and Child, c.1475/1480, tempera on panel (transferred to silk and modern wood board) overall size: 84.7 x 64.6 cm (33 3/8 x 25 7/16 in.) framed: 103.6 x 80.8 x 7.6 cm (40 13/16 x 31 13/16 x 3 in.) Städel Museum, Frankfurt am Main.
MADONNA AND CHILD WITH A POMEGRANATE
Lorenzo di Credi, Madonna and Child with a Pomegranate, c.1475/1480, oil on panel, overall: 16.5 x 13.4 cm (6 1/2 x 5 1/4 in.) framed: 44.1 x 24.5 x 3.8 cm (17 3/8 x 9 5/8 x 1 1/2 in.) National Gallery of Art, Washington, Samuel H. Kress Collection.
As a draftsman, he was a pivotal figure who explored new media techniques
and functions of drawing and profoundly influenced Leonardo, Raphael, and others
His contributions to the history of drawing are especially clear. Trained as both a goldsmith and painter, he united the drawing techniques of the two practices and made something new. His pen and ink drawings have an unprecedented vivacity and freedom, so much so that both Leonardo and Raphael were deeply influenced by them. His black-chalk and charcoal drawings have a new subtlety in the depiction of light and form; they are perhaps the first images in Italian art that unambiguously display sfumato—a kind of smoky effect in shading, which helps to amplify the apparent three-dimensionality of the forms. Sfumato was to become a fundamental component of Leonardo's painting and drawing.
CARTOON FOR THE HEAD OF AN ANGEL
Andrea del Verrocchio, Cartoon for the Head of an Angel, c.1470, black chalk, rubbed, with pen and brown ink, pricked and pounced, brush and brown ink on prepared paper, laid down, overall: 21.1 x 18.1 cm (8 5/16 x 7 1/8 in.) framed: 52.5 x 39.5 x 3 cm (20 11/16 x 15 9/16 x 1 3/16 in.) Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence.
HEAD OF A WOMAN WITH BRAIDED HAIR (recto)
Andrea del Verrocchio, Head of a Woman with Braided Hair (recto); Head of a Woman Leaning on Her Right Hand (verso), late 1470s, recto: black chalk or charcoal, lead white gouache, pen and brown ink, reworked with oil charcoal on cream prepared paper. Verso: charcoal on white paper, overall: 32.4 x 27.3 cm (12 3/4 x 10 3/4 in.) mount: 55.9 x 40.6 cm (22 x 16 in.) framed: 44.7 x 60.3 x 3.7 cm (17 5/8 x 23 3/4 x 1 7/16 in.) On loan from the Trustees of the British Museum, London.
CHILD IN BUST LENGTH, THREE-QUARTER VIEW
Attributed to Andrea del Verrocchio
Attributed to Andrea del Verrocchio, Child in Bust Length, Three-Quarter View, c.1470/1475, metalpoint, brown wash, lead white gouache on beige prepared paper, laid down and framed in pen and brown ink on a sixteenth-century mount unframed: 22.9 x 15.6 cm (9 x 6 1/8 in.) framed: 44.7 x 60 x 2.5 cm (17 5/8 x 23 5/8 x 1 in.) The Syndics of the Fitzwilliam Museum, University of Cambridge.
Verrocchio's highly personal technique and style of execution. In his drawing exemplify the relationship between sculpture and painting and depict his original and experimental combinations of different media. Several preparatory drawings for his sculptures and paintings are on view in the exhibition, including studies of nudes, animals, drapery, and funerary monuments, as well as one of his earliest surviving drawings —Study of the Madonna Adoring the Child (c. 1470).
PROJECT FOR A FUNERARY MONUMENT
(Doge Andrea Vendramin Tomb)
Andrea del Verrocchio, Project for a Funerary Monument (Doge Andrea Vendramin Tomb), 1472/1488, leadpoint, partly reworked with pen and brown ink, brush and brown wash, and some ruling in leadpoint, glued to secondary paper support, overall: 27.2 x 17.4 cm (10 11/16 x 6 7/8 in.) framed: 57.1 x 41.9 x 3 cm (22 1/2 x 16 1/2 x 1 3/16 in.) Victoria and Albert Museum, London.
MEASURED DRAWING OF A HORSE FACING LEFT
Andrea del Verrocchio, Measured Drawing of a Horse Facing Left, c.1481/1483, traces of black chalk, pen and dark brown ink, on white paper, overall: 24.9 x 29.7 cm (9 13/16 x 11 11/16 in.) Lent by The Metropolitan Museum of Art, Frederick C. Hewitt Fund, 1917.
A GROTESQUE DANCER
Andrea del Verrocchio, A Grotesque Dancer, c.1475/1480, metalpoint partially reworked with brown wash and darker metalpoint on cream prepared paper, laid down, overall: 21.7 x 18.4 cm (8 9/16 x 7 1/4 in.) framed: 52.5 x 39.5 x 3 cm (20 11/16 x 15 9/16 x 1 3/16 in.) Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence.
THREE NUDE OLD MEN DRINKING
Andrea del Verrocchio, Three Nude Old Men Drinking, c.1470/1480, metalpoint, partially reworked with a darker metalpoint on cream prepared paper, laid down, overall: 24 x 18.4 cm (9 7/16 x 7 1/4 in.) framed: 52.5 x 39.5 x 3 cm (20 11/16 x 15 9/16 x 1 3/16 in.) Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence.
A DRAPERY STUDY WITH THE CHRIST CHILD
STANDING ON MADONNA'S LEFT KNEE
Lorenzo de Credi
Lorenzo di Credi, A Drapery Study with the Christ Child Standing on the Madonna's Left Knee, c.1475/1480, metalpoint, pen and brown ink, brush and brown wash, white gouache on pale cream/ pink prepared paper framed: 45.4 x 38.74 cm (17 7/8 x 15 1/4 in.) unframed: 26.6 x 19.8 cm (10 1/2 x 7 13/16 in.) Private collection.
MADONNA WITH CHILD ON HER LAP
Andrea del Verrocchio or possibly Leonardo da Vinci
Andrea del Verrocchio or possibly Leonardo da Vinci, Madonna with Child on her lap, 1475–1478, Black chalk on cream prepared paper, unframed: 22.2 x 15.1 cm (8 3/4 x 5 15/16 in.) framed: 52.5 x 39.5 x 3 cm (20 11/16 x 15 9/16 x 1 3/16 in.) Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence
As a teacher, he headed a studio that became a kind of laboratory for experimentation and innovation and helped lead to the creation of the High Renaissance in the early 16th century. It is no accident that of the founders of the High Renaissance—Leonardo, Michelangelo, and Raphael—one was the pupil of Verrocchio and the other two were trained by pupils of Verrocchio.
Ginebra de' Benci
Leonardo da Vinci, Ginevra de' Benci [obverse], c.1474/1478, oil on panel, overall (original panel only): 38.1 x 37 cm (15 x 14 9/16 in.) overall (thickness of original panel): 1.1 cm (7/16 in.) overall (with addition at bottom edge): 42.7 x 37 cm (16 13/16 x 14 9/16 in.) overall (thickness of addition at bottom edge): 1.9 cm (3/4 in.) framed: 59.7 x 57.8 x 3.8 cm (23 1/2 x 22 3/4 x 1 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund.
Sandro Botticelli, Madonna and Child, c.1470, tempera on panel, overall: 74.5 x 54.5 cm (29 5/16 x 21 7/16 in.)framed: 113.7 x 94.9 x 8.6 cm (44 3/4 x 37 3/8 x 3 3/8 in.) National Gallery of Art, Washington, Andrew W. Mellon Collection
Verrocchio: Sculptor and Painter
of Renaissance Florence
Edited by Andrew Butterfield, with contributions by John K. Delaney, Charles Dempsey, Gretchen A. Hirschauer, Alison Luchs, Lorenza Melli, Dylan Smith, and Elizabeth Walmsley.
Accompanying the National Gallery of Art exhibition Verrocchio: Sculptor and Painter of Renaissance Florence, this catalogs offers a comprehensive new survey of the work of this most influential Florentine artist and teacher.
9.25 x 11.75 inches
384 pages, 279 color illustrations
Andrew Butterfield
Exhibition curator and an internationally recognized expert on the artist.
"Verrocchio was a visionary," "He had a restless imagination and a relentless drive to experiment and improve on what he or anyone else had done before. But he was also like the maestro of an orchestra who could bring together many talents and draw forth the best from them. This was one of his secrets as a teacher."
Director, National Gallery of Art
"A 'Renaissance man' in every way, Andrea del Verrocchio was a pioneering, versatile artist whose talents stood out for their brilliance,"
"We are grateful to the institutions and private collectors, as well as to the Bank of America and to the Buffy and William Cafritz Family Fund, without whom this exhibition would not be possible."
EXHIBITION ORGANIZATION
The exhibition is organized by the National Gallery of Art in collaboration with the Fondazione Palazzo Strozzi, Florence, and the Museo Nazionale del Bargello, Florence, where a different version of the show is on view from March 9–July 14, 2019.
Bank of America Corporation is the proud lead sponsor of the exhibition.
Generous support has been kindly provided by the Buffy and William Cafritz Family Fund.
The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Constitution Ave & 6th St, Washington, DC 20565, USA
https://www.nga.gov/


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