text:
Mach 5 Arms Race: The U.S. Military Is Racing to Build Hypersonic Weapons
December 30, 2018 Topic: Security Blog Brand: The Buzz Tags: MilitaryTechnologyWorldHypersonic WeaponsRussiaChina
This hypersonic weapons acceleration is taking place within a high-threat global environment. Alongside Russia, China has also been visibly conducting hypersonic weapons tests, leading some to raise the question as to whether the US could be behind key rivals in this area.
Key point: This hypersonic weapons acceleration is taking place within a high-threat global environment. Alongside Russia, China has also been visibly conducting hypersonic weapons tests, leading some to raise the question as to whether the US could be behind key rivals in this area.
The Russian hypersonic weapons test is shining light upon an aggressive US plan to prototype, test and deploy hypersonic weapons on an expedited schedule -- to defend against enemy attacks by fast-tracking an ability to launch high-impact, high-speed attacks at Mach. 5 - five times the speed of sound.
"We would like all the resources we can build into the kill chain to hit any target or hold it at risk with hypersonic weapons," Gen . Timothy Ray, Air Force Global Strike Command, said at the Air Force Association Air, Space & Cyber Conference in September.
Russian President Vladimir Putin is, according to numerous news reports and Russia's own state news operation, calling the test a tremendous success, adding that the weapon is "invincible" and ready to enter service next year.
The actual technological capacity of the new Russian weapon has not, as of yet, been verified by public US reports.
Legitimate or not, a Russian weapon traveling at hypersonic speeds, naturally, would better enable offensive missile strikes to destroy targets such and enemy ships, buildings, air defenses and even drones and fixed-wing or rotary aircraft -- depending upon the guidance technology available.
A key component of this is the fact that weapons traveling at hypersonic speeds would present serious complications for targets hoping to defend against them – they would have only seconds with which to respond or defend against an approaching or incoming attack.
In fact, while emphasizing the current Air Force push for hypersonic weapons, Ray raised this precise concern.
"The challenges becomes your ability to defend against hypersonic weapons - they are not easily defendable," Ray told an audience at the AFA Conference.
Along these lines, the advent of hypersonic weapons is a key reason why some are questioning the future survivability of large platforms such as aircraft carriers. How are ship-based sensors, radar and layered defenses expected to succeed in detecting tracking and intercepting or destroying an approaching hypersonic weapon traveling at five-times the speed of sound?
Hypersonic weapons will quite likely be engineered as "kinetic energy" strike weapons, meaning they will not use explosives but rather rely upon sheer speed and the force of impact to destroy targets, developers explain.
A super high-speed drone or ISR platform would better enable air vehicles to rapidly enter and exit enemy territory and send back relevant imagery without being detected by enemy radar or shot down.
A drone or unmanned ISR platform traveling at hypersonic speeds would better enable air vehicles to rapidly enter and exit enemy territory and send back relevant imagery without being detected by enemy radar.(Mitchell Institute for Aerospace Studies report on Hypersonic Weapons HERE)
Although potential defensive uses for hypersonic weapons, interceptors or vehicles are by no means beyond the realm of consideration, the principle effort at the moment is to engineer offensive weapons able to quickly destroy enemy targets at great distances.
Scientists explain that speed of sound can vary, depending upon the altitude; at the ground level it is roughly 1,100 feet per second. Accordingly, if a weapon is engineered with 2,000 seconds worth of fuel – it can travel up to 2,000 miles to a target, former Air Force chief scientist Gregory Zacharias told Warrior in a previous interview.
The service recently awarded a second deal to Lockheed to expedite prototyping of a hypersonic weapon, called the "Air Launched Rapid Response Weapon," Air Force news reported.
The effort involves two separate trajectories, including the Air-Launched Rapid Response Weapon and a Hypersonic Conventional Strike Weapon. The Air Force has now awarded developmental deals for both systems to Lockheed.
The most recent award was cited recently in the service's "Around the Air Force" new report, which said that Air Force Secretary Heather Wilson is "moving as fast as possible" when it comes to hypersonic weapons.
Recent thinking from senior Air Force weapons developers had held that US hypersonic weapons might first be deployable by the early 2020s. Hypersonic drones for attack or ISR missions, by extension, were thought to be on track to emerge in the 2030s and 2040s, senior service officials have told Warrior Maven.
Now, this aggressive new Air Force hypersonic weapons prototyping and demonstration effort is expected to change this time frame in a substantial way.
A "boost glide" hypersonic weapon is one that flies on an upward trajectory up into the earth's atmosphere before using the speed of its descent to hit and destroy targets, senior officials said.
The Hypersonic Conventional Strike Weapon effort involves using technologies which have not yet been integrated for air-launched delivery, an Air Force spokeswoman told Warrior Maven earlier this year.
These kinds of propulsion and weapons technologies are currently informing the exploration of hypersonic drone platforms able to surveil, strike and defend.
Lockheed's Skunk Works division is currently working with the Pentagon on the SR-72 hypersonic drone, designed to travel at Mach 6. Visions for this platform, according to reports from Popular Mechanics and Aviation Week, incorporate engineering the drone for strike missions as well. Current plans call for a "Flight Research Vehicle" to be constructed in the early 2020s, with a full-scale version to be in service sometime in the 2030s, the Av week report states.
Senior Air Force weapons developers have explained the rationale in terms of not waiting many more years for a "100-percent" solution if a highly impactful "90-percent" solution can be available much sooner.
Often referred to as "agile acquisition" by Air Force senior leaders, to include service Secretary Heather Wilson, fast-tracked procurement efforts seek quicker turn around of new software enhancements, innovations and promising combat technologies likely to have a substantial near-term impact. While multi-year developmental programs are by no means disappearing, the idea is to circumvent some of the more bureaucratic and cumbersome elements of the acquisition process.
A report in Popular Mechanics sites Chinese State Media as having announced a successful test of a new "wave-rider" hypersonic vehicle.
"The hypersonic vehicle that detached from the booster rocket flew for 400 seconds, achieving a maximum speed of Mach 5.5 to 6 ( 4,200 to 4,600 miles an hour) and reaching an altitude of 100,000 feet," the report says.
Also, a report in The Diplomat earlier this year outlines Chinese DF-17 hypersonic missile tests in November of last year.
In an essay from earlier this year titled "Hypersonic Missiles: A New Proliferation Challenge," Rand scholar Richard Speier further specifies the seriousness of hypersonic missile threats.
"They are able to evade and conceal their precise targets from defenses until just seconds before impact. This leaves targeted states with almost no time to respond…..Hypersonic missiles require a reconsideration of traditional second-strike calculations, as they have the potential to decapitate a nation's leadership before it has the opportunity to launch a counter attack," Speier writes.
Kris Osborn previously served at the Pentagon as a Highly Qualified Expert with the Office of the Assistant Secretary of the Army - Acquisition, Logistics& Technology. Osborn has also worked as an anchor and on-air military specialist for National TV networks. He has a Masters degree in Comparative Literature from Columbia University.
This first appeared in Warrior Maven here.
Image: Creative Commons.
North Korea: We Asked 27 Experts What They Think Will Happen in 2019
by Harry J. KazianisJohn Dale Grover


Green, red, and white glass; mosaic glass technique. Circular green cane slice with 7-pointed white star outlined in green and white with red ring in center. Cane slice mounted on square piece of cardstock with "220" written on reverse.


text:
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Issue fourteen.2 / Fall 2021
SUBMISSION Deadline: November 2020
Working Title: Science
Email: halscienceissue@gmail.com
Guest Editor: Sima Rabinowitz
Science is among the most creative of human endeavours. From ancient depictions of scientists and scientific phenomena to contemporary graphic novel formats, from Frankenstein to recent best-selling novels dealing with such themes as pharmacology and climate change, and from memoirs on scientific discovery to essays on "life in the lab," the people and ideas of science continue to capture our imaginations. Our science themed issue of Hamilton Arts & Letters will include poetry, creative nonfiction, fiction, hybrid forms, and artwork on STEM themes (Science, Medicine, Technology, Engineering, and Mathematics) broadly defined.
We seek work that incorporates ideas, language, characters, main or sub-themes, images, and artwork related to STEM expansively imagined and rendered. Artwork may include a broad range of formats and images across the issue's themes, including drawing, painting, illustration, appropriate medical imagery (for example, "brain art"), photographs, collage, among other forms.
STEM themes may be drawn from, but will not be limited to, a multitude of diverse disciplines in the natural and physical sciences, medicine, mathematics and statistics, computer science and informatics, cybernetics and artificial intelligence, and any branch of engineering. Submissions may incorporate, but are not limited to, themes and/or language related to theory, experimentation, practical application, STEM-related work, the stories of people engaged in STEM subjects or activity, STEM-related objects, instrumentation, and methods, or experimental/inventive exploration of scientific language, concepts, and images. We welcome work from writers, artists, and "sciartists" in all genres, as well as from members of the scientific community.
Co-produced or collaborative work is welcomed and encouraged. The issue will include diverse styles, approaches, themes, and forms, and, we hope, contributions from across North America and around the world. We will consider work in translation, provided the original and the translation are both provided and available for publication.
A small honorarium is offered for online publication with rights returning to creators upon launch of the magazine in the Fall of 2021.
Submissions close November 15, 2020. Notification of acceptance by February 15, 2021.
Send submissions or queries to halscienceissue@gmail.com
Issue fourteen.1 / Release Spring 2021
SUBMISSION Deadline: TBA
Working Title: THE HAMMER
In this issue HA&L returns to its beginnings with a focus on Hamilton.
Issue thirteen.2 / Release: Fall 2020
SUBMISSIONS ARE CLOSED
Working Title: TBA
A Mennonite lead issue with Guest Editor Grace Kehler including personal essays, short stories, interviews with Mennonite-Metis artists, and more!
Issue thirteen.1 / Release: Spring 2020
SUBMISSION Deadline: March 1, 2020
Issue Title: The World Out There
In this special issue Guest Editors Matthew Zantingh and Alec Follett focus on The Environment and The Arts.
Issue twelve.2 / Release: Fall 2019
Email: DisabilitypoeticsHAL@gmail.com
Issue Title: Imaginary Safe House
HA&L Canadian Disability Poetics Issue
As Canadian poetry publications have increasingly incorporated social justice mandates into their publishing programs, many magazines have published special issues devoted to the work of different identity constellations. In what is not intended to be a comprehensive list, special issues have been devoted to the work of Indigenous writers (Arc Poetry Magazine, CV2, the Malahat Review), the work of queer writers (Poetry is Dead, CV2, Malahat Review, Room of One's Own), poetry concerning issues of class (Poetry is Dead), and poetry by racialized writers (Room of One's Own). Even the relatively thornier subject of religion received a thinking-through in Canadian Notes and Queries. The objectives behind such initiatives is to represent the members, works, plights, and successes of various complex communities to an increasingly diverse readership.
Noticeably absent in the list above are issues focusing on poets living with disability/disabled poets. Both Poetry is Dead and Matrix Magazine published strong special issues focusing on mental illness, but notwithstanding these two important efforts, the more complex lived experience of disability has not had a platform in Canadian literature. When it comes to the accommodation and encouragement of persons with disability to participate in creative, care, and occupational spaces, Canadian publishing has demonstrated a significant lag behind other Western nations.
Disability activism in the arts has a long history in the United States, in part resulting in the publication of Beauty is a Verb: The New Poetry of Disability, a landmark anthology from Cinco Puntos press in 2011 that has functioned as a rallying flag for poets in that country. Following on the (w)heels of its success, The Right Way to Be Crippled and Naked: The Fiction of Disability was released in 2017 by Cinco Puntos. Other nations have proceeded to fill in their own gaps: Stairs and Whispers: D/deaf and Disabled Poets Write Back appeared in the UK from Nine Arches Press in 2017; that same year, Shaping the Fractured Self: Poetry of Chronic Illness and Pain from University of Western Australia Press appeared. All of these books do important work and have been well received. By no means do we intend to narrow the field of disability poetics to this linear narrative, for several other anthologies have appeared in several other countries. (Please see the Disability Literature Consortium for a more extensive list: https://dislitconsortium.wordpress.com). Yet for a nation like Canada, the traditional comparisons with the UK and Commonwealth are fair enough.
It is our sincere hope that the Hamilton Arts & Letters issue devoted to disability poetics will serve as a substrate and locus of energy for the eventual publication of a Canadian anthology on disability poetics that we intend to make inevitable. To that end, we invite all poets who self-identify as living with a disability or as disabled to submit up to 5 poems to DisabilitypoeticsHAL@gmail.com.
We are not interested in defining disability to others for the purposes of submission to this issue (we want to hear about your self-conceptions) but we will point out that we are interested in materials that concern both the so-called traditional "invisible" and "visible" disability categories. We are especially interested in submissions from queer and BIPOC poets who identify as living with disability or as disabled.
In addition to poetry submissions, we also are very interested in:
Reviews of books (either of poets with disability or reviews written by poets living with disability) up to 2000 words
Prose memoirs of significance by poets who live with disability up to 3000 words
Scholarly articles on Canadian disability poetics and Canadian poets who live with disability that aim for 5000 words
Non-print (sound; performance) renditions of poetry & visual poetry
Please send all document files in .doc format before April 30, 2019.
As with issue 11.2 (the "New Brunswick Poetry Issue") there will be some kind of print version of the Canadian Disability Poetics issue printed for purchase by Frog Hollow Press. Not all articles accepted for online publication can be included in the print version. A small honorarium is offered for online publication and a copy of the print volume in which a contributor's submitted work appears in will be provided to the contributor.
It is our hope that the poems, prose, and performances within the "Canadian Disability Poetics" issue bring forth crip consciousness in new and unexpected ways. Audio voicing of the text-based works in the issue will be made available online. We are looking into other ways to make the issue as accessible as possible.
Please query us if you have any questions: DisabilitypoeticsHAL@gmail.com
Issue twelve.1
Issue Title: Re:Creation Stories
An Indigenous led issue. Guest Editor: Johannah Bird (Anishinaabe Euro-Canadian and a member of Peguis First Nation in Treaty 1 territory). Query HA&L with your art, poetry, prose, and creative non-fiction.
Issue eleven.3
SUBMISSION DEADLINE: closed
Email: newbrunswickpoetryissue@gmail.com
Call For Papers: The New Brunswick Poetry Issue
In New Brunswick at the Crossroads (WLUP 2017), Tony Tremblay calls New Brunswick the "least studied" of the Canadian provinces. Pause for a moment: this means that New Brunswick is the junior partner of the Maritime region, a region whose competition for neglect under the literary nationalist project are, arguably, the prairie provinces and the North. Hamilton Arts & Letters wishes to offer a redressal of sorts with Issue 11.3, the forthcoming New Brunswick Poetry issue, in which Guest Editors Sue Sinclair and Shane Neilson curate a kaleidoscope of critical perspectives upon the English-language poetry of the province. We are looking for:
nonfiction essays
scholarly articles
about the English poets and poetries of New Brunswick. Questions we are interested in include: What does "being a Maritimer" mean? What does it mean to be a New Brunswicker or a poet from New Brunswick? What is the Maritime diaspora? Is there a national preference towards art and artists from other places of greater perceived literary power, or not? What is or should be the canon of New Brunswick poetry? We are also very interested in reading prose pieces about racialized, queer, and disabled authors by and about poets from New Brunswick. We are also interested in printing
a healthy collection of reviews about books by English poets who hail from the province.
Though we welcome contributions by New Brunswickers for this issue, we are particularly interested in prose by non-New Brunswickers because such inter-cultural work can create useful correspondences between art and artists. We hope that this perspective will recontextualize the poetry of the region in surprising ways. In addition to the prose complement of the New Brunswick Poetry issue, the editors will consider
unsolicited poems
for inclusion in the issue. Please query newbrunswickpoetryissue@gmail.com about the prospect of contributing prose along the lines described above. In your query, please clearly state how your proposed piece connects with a poet of/from/in the province.
Please send no more than 5 poems totalling no more than 10 pages to newbrunswickpoetryissue@gmail.com AS A SINGLE .doc ATTACHMENT. Poems sent in the wrong format, or embedded in an email, or as a series of separate attachments WILL NOT BE READ. In a cover letter, please state what your connection is to the province. You need not be a current resident.
Any queries or poems received after June 1st cannot be processed.
Email: HAL@HALmagazine.com
Working title: 10th ANNIVERSARY EXTRA!
Edited by Paul Lisson and Fiona Kinsella
FEATURING: Jeffery Donaldson • Bruce Elder • Kenneth Rexroth • BW Powe • Joseph Amar • Karen Barr • Susan McCaslin • Leonard Cohen • Alise de Bie • Roy Adams • JS Porter • John Robert Colombo • Simon Orpana • M. Teresa Santalucia • Richard Murphy • Yuan Hongri-Manu Mangattu • Ellen S Jaffe • PQL Audio Interviews • AND HA&L RAVE with Darrell Doxtdator • Jim Chambers • Miriam Clavir • Charles Criminisi •
Recent issues:
Issue eleven.1 / Release: Spring 2018
THREE PASSIONS
Guest Editor, Rick Stapleton. Guest Poetry Editor, Chris Pannell.
Peace and War. Love and Revolution. This issue celebrates the 50th Anniversary of the arrival of the Bertrand Russell archives in Hamilton. We invite you to submit to this special issue of Hamilton Arts & Letters magazine. Show us what you've got!
Issue ten.2 / Release: Fall 2017
CANADA? 150: STORIED LIVES
Guest Editor, Melissa Tanti. Guest Poetry Editor, Canisia Lubrin.
The writings collected in this issue consider community-engaged work as necessary though oftentimes problematically framed. Community-engagement has been taken up as one of a series of recent buzzwords being used to justify, design, and fund education, corporate responsibility, and governmental programs. Tanti explores the words we use, what they mean and convey, what they enable and enact, to what ends they are applied and what possibilities or limitations they create.
Canisia Lubrin curates a dynamic and powerful selection of poetry that locates where we are now.
Issue ten.1 / Release: Spring 2017
Guest Editors: Shane Neilson and Monica Kidd. Guest Poetry Editor: Klara du Plessis.
Hamilton Arts and Letters magazine has been publishing themed issues for over eight years. So far, the magazine has not devoted an issue to matters of health and medicine – until now. We invite you to submit to ASYLUM, a special issue of the magazine under the co-editorship of Dr. Monica Kidd and Dr. Shane Neilson.
Physicians and ill persons need new metaphors, symbols, and affects with which to interpret illness, otherwise the clinical discipline of medicine might strip away meaning from life and leave the body only with pathology to understand what is happening to the body and soul. Poets and authors tend to offer empathy and understanding as cure, a remedy equal to the evidence-based medicine physicians profess faith in. In the words of James Hunter Wood, Baton Rouge surgeon and Master of English literature, "… the hegemony of information [is] tantamount to the loss of story." Story — language, metaphors, symbols — "is the displacement of diagnosis with experience. It asks not 'What is it?' but 'What does it mean?'" Though patients and medical practitioners need diagnoses, neither group need not look solely to medicine for understanding of the human condition. After all, we all are born and we all die. Much art comes from the fact and shared circumstance of our mortality. Everyone has brushed up against illness, so we want everyone to feel welcome to submit – from future and current physicians, nurses, physiotherapists, occupational therapists, and pharmacists to patients and their loved ones. In particular, Hamilton Arts and Letters is open to the work of young writers.
We seek poems, reviews of poetry collections (2000 words or less), essays (4000 words or less), and visual art that concern:
personal illness, physical and/or mental
illness in the family
physicians, nurses, hospitals, allied health care providers, health care students
treatment, be that pharmacology, homeopathy, surgery, or psychotherapy
posthumanistic interventions (ie. nanotechnology)
palliation and end-of-life issues
recovery from illness
the representation of illness in popular culture
the illnesses of poets and illness as they manifests in the work of Canadian poets
Drs. Kidd and Neilson are established poets with several books published. Dr. Neilson is long-time editor of Frog Hollow Press, where he handles many manuscripts in the course of a year in both prose and poetry genres; Dr. Kidd has served on arts juries for organizations ranging from city and regional arts institutions to the Canada Council.
Issue nine.2 / Release: Fall 2016
Working Title: PLAY
Guest Editor: David Forsee.
Guest Poetry Editor: Annick McAskill.
It's your turn.
Consider playfulness {games}, what's in play {culture/politics}, the play's the thing {theatre}.
Issue nine.1 / Release: Spring 2016
Labour? The Environment? Earth Works? Cultural Heritage? Our Solar System? Travel? Sci-fi? Art of Poetry? Art of Life? Art of Death? The Bees' Knees? Guest Poetry Editor, Shane Neilson.
Issue eight.2 / Release: Fall 2015
ill met by moonlight
Guest Editor Shane Neilson delivers poetry with a punch, while Jeffery Donaldson reviews Shane's Manifesto of Fervourism. John Terpstra sheds light on the dark waters of Chedoke. Archivists, curators, and critics assemble an encompassing history of The (Young) Contemporaries: a group of artists representative of the ideal of collective art-making. All this and more!
Issue eight.1 / Release: Spring 2015
The Educated Imagination
Guest Editor, Joseph Adamson.
Northrop Frye (1912-1991) is arguably the most important intellectual Canada has produced and one of the most influential literary critics of the twentieth century. Frye authored of over 35 books, including The Modern Century and The Educated Imagination. In Issue eight.1 contributors respond directly to Frye's work or use this framework as a spring-board to present the unexpected.
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Description: Purple. Night bloomer (NOCTURNAL). Blooms can stay open till late morning 10 am-11 maybe even a little longer if overcast though. Grows HUGE! Thick 3 sided growth. Easy to grow. Hybridized by German Hybridizer Eckhard Meier, a cross of Hylocereus Undatus X H.stenopterus.Reg.


text:
Овдје је наведен списак астероида под редним бројевима од 1—499. Имена су дата у облику на који се наилази у страној стручној литератури. Одговарајуће транскрипције имена на српски језик се налазе (или ће се налазити) у чланцима о специфичним астероидима.

Списак астероида (1—499)

 -{1 Ceres}-
 -{2 Pallas}-
 -{3 Juno}-
 -{4 Vesta}-
 -{5 Astraea}-
 -{6 Hebe}-
 -{7 Iris}-
 -{8 Flora}-
 -{9 Metis}-
 -{10 Hygiea}-
 -{11 Parthenope}-
 -{12 Victoria}-
 -{13 Egeria}-
 -{14 Irene}-
 -{15 Eunomia}-
 -{16 Psyche}-
 -{17 Thetis}-
 -{18 Melpomene}-
 -{19 Fortuna}-
 -{20 Massalia}-
 -{21 Lutetia}-
 -{22 Kalliope}-
 -{23 Thalia}-
 -{24 Themis}-
 -{25 Phocaea}-
 -{26 Proserpina}-
 -{27 Euterpe}-
 -{28 Bellona}-
 -{29 Amphitrite}-
 -{30 Urania}-
 -{31 Euphrosyne}-
 -{32 Pomona}-
 -{33 Polyhymnia}-
 -{34 Circe}-
 -{35 Leukothea}-
 -{36 Atalante}-
 -{37 Fides}-
 -{38 Leda}-
 -{39 Laetitia}-
 -{40 Harmonia}-
 -{41 Daphne}-
 -{42 Isis}-
 -{43 Ariadne}-
 -{44 Nysa}-
 -{45 Eugenia}-
 -{46 Hestia}-
 -{47 Aglaja}-
 -{48 Doris}-
 -{49 Pales}-
 -{50 Virginia}-
 -{51 Nemausa}-
 -{52 Europa}-
 -{53 Kalypso}-
 -{54 Alexandra}-
 -{55 Pandora}-
 -{56 Melete}-
 -{57 Mnemosyne}-
 -{58 Concordia}-
 -{59 Elpis}-
 -{60 Echo}-
 -{61 Danae}-
 -{62 Erato}-
 -{63 Ausonia}-
 -{64 Angelina}-
 -{65 Cybele}-
 -{66 Maja}-
 -{67 Asia}-
 -{68 Leto}-
 -{69 Hesperia}-
 -{70 Panopaea}-
 -{71 Niobe}-
 -{72 Feronia}-
 -{73 Klytia}-
 -{74 Galatea}-
 -{75 Eurydike}-
 -{76 Freia}-
 -{77 Frigga}-
 -{78 Diana}-
 -{79 Eurynome}-
 -{80 Sappho}-
 -{81 Terpsichore}-
 -{82 Alkmene}-
 -{83 Beatrix}-
 -{84 Klio}-
 -{85 Io}-
 -{86 Semele}-
 -{87 Sylvia}-
 -{88 Thisbe}-
 -{89 Julia}-
 -{90 Antiope}-
 -{91 Aegina}-
 -{92 Undina}-
 -{93 Minerva}-
 -{94 Aurora}-
 -{95 Arethusa}-
 -{96 Aegle}-
 -{97 Klotho}-
 -{98 Ianthe}-
 -{99 Dike}-
 -{100 Hekate}-
 -{101 Helena}-
 -{102 Miriam}-
 -{103 Hera}-
 -{104 Klymene}-
 -{105 Artemis}-
 -{106 Dione}-
 -{107 Camilla}-
 -{108 Hecuba}-
 -{109 Felicitas}-
 -{110 Lydia}-
 -{111 Ate}-
 -{112 Iphigenia}-
 -{113 Amalthea}-
 -{114 Kassandra}-
 -{115 Thyra}-
 -{116 Sirona}-
 -{117 Lomia}-
 -{118 Peitho}-
 -{119 Althaea}-
 -{120 Lachesis}-
 -{121 Hermione}-
 -{122 Gerda}-
 -{123 Brunhild}-
 -{124 Alkeste}-
 -{125 Liberatrix}-

 -{126 Velleda}-
 -{127 Johanna}-
 -{128 Nemesis}-
 -{129 Antigone}-
 -{130 Elektra}-
 -{131 Vala}-
 -{132 Aethra}-
 -{133 Cyrene}-
 -{134 Sophrosyne}-
 -{135 Hertha}-
 -{136 Austria}-
 -{137 Meliboea}-
 -{138 Tolosa}-
 -{139 Juewa}-
 -{140 Siwa}-
 -{141 Lumen}-
 -{142 Polana}-
 -{143 Adria}-
 -{144 Vibilia}-
 -{145 Adeona}-
 -{146 Lucina}-
 -{147 Protogeneia}-
 -{148 Gallia}-
 -{149 Medusa}-
 -{150 Nuwa}-
 -{151 Abundantia}-
 -{152 Atala}-
 -{153 Hilda}-
 -{154 Bertha}-
 -{155 Scylla}-
 -{156 Xanthippe}-
 -{157 Dejanira}-
 -{158 Koronis}-
 -{159 Aemilia}-
 -{160 Una}-
 -{161 Athor}-
 -{162 Laurentia}-
 -{163 Erigone}-
 -{164 Eva}-
 -{165 Loreley}-
 -{166 Rhodope}-
 -{167 Urda}-
 -{168 Sibylla}-
 -{169 Zelia}-
 -{170 Maria}-
 -{171 Ophelia}-
 -{172 Baucis}-
 -{173 Ino}-
 -{174 Phaedra}-
 -{175 Andromache}-
 -{176 Iduna}-
 -{177 Irma}-
 -{178 Belisana}-
 -{179 Klytaemnestra}-
 -{180 Garumna}-
 -{181 Eucharis}-
 -{182 Elsa}-
 -{183 Istria}-
 -{184 Dejopeja}-
 -{185 Eunike}-
 -{186 Celuta}-
 -{187 Lamberta}-
 -{188 Menippe}-
 -{189 Phthia}-
 -{190 Ismene}-
 -{191 Kolga}-
 -{192 Nausikaa}-
 -{193 Ambrosia}-
 -{194 Prokne}-
 -{195 Eurykleia}-
 -{196 Philomela}-
 -{197 Arete}-
 -{198 Ampella}-
 -{199 Byblis}-
 -{200 Dynamene}-
 -{201 Penelope}-
 -{202 Chryseis}-
 -{203 Pompeja}-
 -{204 Kallisto}-
 -{205 Martha}-
 -{206 Hersilia}-
 -{207 Hedda}-
 -{208 Lacrimosa}-
 -{209 Dido}-
 -{210 Isabella}-
 -{211 Isolda}-
 -{212 Medea}-
 -{213 Lilaea}-
 -{214 Aschera}-
 -{215 Oenone}-
 -{216 Kleopatra}-
 -{217 Eudora}-
 -{218 Bianca}-
 -{219 Thusnelda}-
 -{220 Stephania}-
 -{221 Eos}-
 -{222 Lucia}-
 -{223 Rosa}-
 -{224 Oceana}-
 -{225 Henrietta}-
 -{226 Weringia}-
 -{227 Philosophia}-
 -{228 Agathe}-
 -{229 Adelinda}-
 -{230 Athamantis}-
 -{231 Vindobona}-
 -{232 Russia}-
 -{233 Asterope}-
 -{234 Barbara}-
 -{235 Carolina}-
 -{236 Honoria}-
 -{237 Coelestina}-
 -{238 Hypatia}-
 -{239 Adrastea}-
 -{240 Vanadis}-
 -{241 Germania}-
 -{242 Kriemhild}-
 -{243 Ida}-
 -{244 Sita}-
 -{245 Vera}-
 -{246 Asporina}-
 -{247 Eukrate}-
 -{248 Lameia}-
 -{249 Ilse}-
 -{250 Bettina}-

 -{251 Sophia}-
 -{252 Clementina}-
 -{253 Mathilde}-
 -{254 Augusta}-
 -{255 Oppavia}-
 -{256 Walpurga}-
 -{257 Silesia}-
 -{258 Tyche}-
 -{259 Aletheia}-
 -{260 Huberta}-
 -{261 Prymno}-
 -{262 Valda}-
 -{263 Dresda}-
 -{264 Libussa}-
 -{265 Anna}-
 -{266 Aline}-
 -{267 Tirza}-
 -{268 Adorea}-
 -{269 Justitia}-
 -{270 Anahita}-
 -{271 Penthesilea}-
 -{272 Antonia}-
 -{273 Atropos}-
 -{274 Philagoria}-
 -{275 Sapientia}-
 -{276 Adelheid}-
 -{277 Elvira}-
 -{278 Paulina}-
 -{279 Thule}-
 -{280 Philia}-
 -{281 Lucretia}-
 -{282 Clorinde}-
 -{283 Emma}-
 -{284 Amalia}-
 -{285 Regina}-
 -{286 Iclea}-
 -{287 Nephthys}-
 -{288 Glauke}-
 -{289 Nenetta}-
 -{290 Bruna}-
 -{291 Alice}-
 -{292 Ludovica}-
 -{293 Brasilia}-
 -{294 Felicia}-
 -{295 Theresia}-
 -{296 Phaetusa}-
 -{297 Caecilia}-
 -{298 Baptistina}-
 -{299 Thora}-
 -{300 Geraldina}-
 -{301 Bavaria}-
 -{302 Clarissa}-
 -{303 Josephina}-
 -{304 Olga}-
 -{305 Gordonia}-
 -{306 Unitas}-
 -{307 Nike}-
 -{308 Polyxo}-
 -{309 Fraternitas}-
 -{310 Margarita}-
 -{311 Claudia}-
 -{312 Pierretta}-
 -{313 Chaldaea}-
 -{314 Rosalia}-
 -{315 Constantia}-
 -{316 Goberta}-
 -{317 Roxane}-
 -{318 Magdalena}-
 -{319 Leona}-
 -{320 Katharina}-
 -{321 Florentina}-
 -{322 Phaeo}-
 -{323 Brucia}-
 -{324 Bamberga}-
 -{325 Heidelberga}-
 -{326 Tamara}-
 -{327 Columbia}-
 -{328 Gudrun}-
 -{329 Svea}-
 -{330 Adalberta}-
 -{331 Etheridgea}-
 -{332 Siri}-
 -{333 Badenia}-
 -{334 Chicago}-
 -{335 Roberta}-
 -{336 Lacadiera}-
 -{337 Devosa}-
 -{338 Budrosa}-
 -{339 Dorothea}-
 -{340 Eduarda}-
 -{341 California}-
 -{342 Endymion}-
 -{343 Ostara}-
 -{344 Desiderata}-
 -{345 Tercidina}-
 -{346 Hermentaria}-
 -{347 Pariana}-
 -{348 May}-
 -{349 Dembowska}-
 -{350 Ornamenta}-
 -{351 Yrsa}-
 -{352 Gisela}-
 -{353 Ruperto-Carola}-
 -{354 Eleonora}-
 -{355 Gabriella}-
 -{356 Liguria}-
 -{357 Ninina}-
 -{358 Apollonia}-
 -{359 Georgia}-
 -{360 Carlova}-
 -{361 Bononia}-
 -{362 Havnia}-
 -{363 Padua}-
 -{364 Isara}-
 -{365 Corduba}-
 -{366 Vincentina}-
 -{367 Amicitia}-
 -{368 Haidea}-
 -{369 Aeria}-
 -{370 Modestia}-
 -{371 Bohemia}-
 -{372 Palma}-
 -{373 Melusina}-
 -{374 Burgundia}-
 -{375 Ursula}-

 -{376 Geometria}-
 -{377 Campania}-
 -{378 Holmia}-
 -{379 Huenna}-
 -{380 Fiducia}-
 -{381 Myrrha}-
 -{382 Dodona}-
 -{383 Janina}-
 -{384 Burdigala}-
 -{385 Ilmatar}-
 -{386 Siegena}-
 -{387 Aquitania}-
 -{388 Charybdis}-
 -{389 Industria}-
 -{390 Alma}-
 -{391 Ingeborg}-
 -{392 Wilhelmina}-
 -{393 Lampetia}-
 -{394 Arduina}-
 -{395 Delia}-
 -{396 Aeolia}-
 -{397 Vienna}-
 -{398 Admete}-
 -{399 Persephone}-
 -{400 Ducrosa}-
 -{401 Ottilia}-
 -{402 Chloe}-
 -{403 Cyane}-
 -{404 Arsinoe}-
 -{405 Thia}-
 -{406 Erna}-
 -{407 Arachne}-
 -{408 Fama}-
 -{409 Aspasia}-
 -{410 Chloris}-
 -{411 Xanthe}-
 -{412 Elisabetha}-
 -{413 Edburga}-
 -{414 Liriope}-
 -{415 Palatia}-
 -{416 Vaticana}-
 -{417 Suevia}-
 -{418 Alemannia}-
 -{419 Aurelia}-
 -{420 Bertholda}-
 -{421 Zahringia}-
 -{422 Berolina}-
 -{423 Diotima}-
 -{424 Gratia}-
 -{425 Cornelia}-
 -{426 Hippo}-
 -{427 Galene}-
 -{428 Monachia}-
 -{429 Lotis}-
 -{430 Hybris}-
 -{431 Nephele}-
 -{432 Pythia}-
 -{433 Eros}-
 -{434 Hungaria}-
 -{435 Ella}-
 -{436 Patricia}-
 -{437 Rhodia}-
 -{438 Zeuxo}-
 -{439 Ohio}-
 -{440 Theodora}-
 -{441 Bathilde}-
 -{442 Eichsfeldia}-
 -{443 Photographica}-
 -{444 Gyptis}-
 -{445 Edna}-
 -{446 Aeternitas}-
 -{447 Valentine}-
 -{448 Natalie}-
 -{449 Hamburga}-
 -{450 Brigitta}-
 -{451 Patientia}-
 -{452 Hamiltonia}-
 -{453 Tea}-
 -{454 Mathesis}-
 -{455 Bruchsalia}-
 -{456 Abnoba}-
 -{457 Alleghenia}-
 -{458 Hercynia}-
 -{459 Signe}-
 -{460 Scania}-
 -{461 Saskia}-
 -{462 Eriphyla}-
 -{463 Lola}-
 -{464 Megaira}-
 -{465 Alekto}-
 -{466 Tisiphone}-
 -{467 Laura}-
 -{468 Lina}-
 -{469 Argentina}-
 -{470 Kilia}-
 -{471 Papagena}-
 -{472 Roma}-
 -{473 Nolli}-
 -{474 Prudentia}-
 -{475 Ocllo}-
 -{476 Hedwig}-
 -{477 Italia}-
 -{478 Tergeste}-
 -{479 Caprera}-
 -{480 Hansa}-
 -{481 Emita}-
 -{482 Petrina}-
 -{483 Seppina}-
 -{484 Pittsburghia}-
 -{485 Genua}-
 -{486 Cremona}-
 -{487 Venetia}-
 -{488 Kreusa}-
 -{489 Comacina}-
 -{490 Veritas}-
 -{491 Carina}-
 -{492 Gismonda}-
 -{493 Griseldis}-
 -{494 Virtus}-
 -{495 Eulalia}-
 -{496 Gryphia}-
 -{497 Iva}-
 -{498 Tokio}-
 -{499 Venusia}-

Литература
 -{JPL}- подаци о астероидима

Астероиди

redpajama_set_name: RedPajamaWikipedia


Determining what matters most when choosing a software vendor for your project is like asking what matters most when buying a new car. The answer is likely to be, "it depends." It depends on whom you ask. It depends on budget, needs, goals and sensibilities. So, where do you begin and what are the most important considerations?
FundCount was pleased to be a sponsor of the Family Office Fintech Summit in New York for the second consecutive year. One of the few industry events specifically focused on technology solutions for family offices and HNW individuals, the Fintech Summit attracted over 100 attendees on a snowy March day — a clear indication of the substantial interest in the market for this type of event.
Making Essential Upgrades to Ensure You Aren't Left Behind, a panel discussion including FundCount's Mike Slemmer, was the first of many engaging sessions throughout the day. Rounding out the panel were Melissa Mattison, Managing Director & Chief Operating Officer, Athena Capital Advisors and Chris Martinez, Managing Director, Oakbrook Solutions. Stephen Harris, publisher of Family Wealth Report, served as moderator.
Once internal priorities are in line, it's a matter of assessing "fit" based on the vendor's ability to meet a family office's unique requirements. Use cases provide insight into how a solution can solve a real-world challenge and due diligence will shed light on critical factors such as security, business recovery and financial stability. However, an alignment of culture is equally important for the overall chance of success.
Download highlights from all conference sessions by FWR's editor, Tom Burroughes.
We welcome the following new clients to the FundCount family in 2018!
Platinum Fund Servicing is a new fund administrator, based in Orange, California, focusing on loan funds and loan servicing for institutional clients. Paget-Brown Trust Company is a fund administrator based in Grand Cayman, Cayman Islands, providing services to a wide range of institutional investment firms. And finally, a large and diversified family office, based in Vancouver BC, Canada will use FundCount for both investment and operating company entities.
Replacing a legacy accounting system that is closely integrated with other front and back-office systems is a complicated process that most firms try to delay as long as possible. But ultimately this becomes necessary in order to move the business forward.
Institutional Trustee and Custodian, Benefit Trust, approached FundCount when they reached that tipping point. They wanted a feature-rich, scalable system that would interface with existing applications and support a wide range of investment vehicles.
With FundCount, Benefit Trust can perform all core portfolio accounting functions and run financial reporting in a single system. Processes that were once manual are now automated, introducing efficiencies not previously possible with their legacy system. Client reports can be easily customized and automatically generated, saving time and reducing error. Even more important, FundCount's reporting enables Benefit Trust to provide clients with the highest level of customer service.
Growth is in the Air!
FundCount is kicking off spring with the hiring of three new Java developers and one QA engineer. They'll join a hard-working team of employees committed to enhancing FundCount software and making clients smile. At the same time, FundCount's back-office operations is moving into larger offices to support current and future growth.
FundCount continues to shine! In addition to being named Best Fund Accounting and Reporting Systems Firm in the HedgeWeek Global Awards, FundCount is honored to have won two categories in the WealthBriefing Swiss Awards: Best Client Accounting and Best Client Communications. And, we took the title of Fund Accounting Firm of the Year in the US, Asia and Switzerland in the ACQ5 Awards.
Winners will be announced in the coming months.


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More than 160,000 displaced as violence in southern Syria continues
By Nabih Bulos
July 1, 2018 — 2.22pm
Beirut: More than 160,000 people have fled their homes in a Syrian government assault in the country's south-west, the United Nations said, as negotiations for rebel capitulation in the region and to avoid clashes that could embroil Jordan and Israel broke down on Saturday.
Calling on the same playbook it used to subdue other rebel enclaves, the Syrian government and its Russian backers have made quick gains in the southwestern province of Deraa.
The strategic region, one of the last remaining bastions of rebel control, borders Jordan and links to the Israeli-controlled Golan Heights.
With the campaign in its 11th day, government troops, backed by Russian and Syrian airstrikes and artillery clearing their path, easily captured a few towns in a collapse of rebel lines.
A war monitor, the Syrian Observatory for Human Rights, reported that 116 people had been killed since the fighting began on June 19.
An initial flood of about 50,000 earlier this week rose to more than 160,000 people fleeing their homes, the UN Office for the Coordination of Humanitarian Affairs said in a report on Friday.
Many of the displaced have settled in the fields near the Jordanian-Syrian border and in Qunaiterah province, close to the Golan Heights.
Children with their family belongings in the back of a truck fleeing from Daraa, southern Syria. Credit:AP
"We've managed to get [the refugees] assistance despite the difficulty of using the land crossing offered by Jordan," said Mohammad Hawari, a spokesman for the UN's refugee agency in Jordan.
He said about 34,000 people had been provided with basic assistance, including tents, plastic protectors, blankets, mattresses, water, as well as basic foodstuffs and hygienic materials.
Jordan, which already hosts more than 1 million Syrian refugees, insisted it was "at capacity" according to Ayman Safadi, the country's foreign minister, and "cannot host more".
"Before we speak of enforced migration of Syrians away from their land, we should speak of protecting Syrians in it," Safadi said on Twitter Friday.
In response, Jordanians in recent days have posted under the hashtag #Open - Our - Borders, urging the government to allow the refugees in.
Israel also said it would not allow Syrians to cross into its territory. On Friday, however, the Israeli army's Arabic-language spokesman, Avichay Adraee, uploaded a video that showed Israeli soldiers opening the barrier to the Syrian side of the Golan Heights, before conducting a nighttime aid delivery of about 300 tents and several dozen tons of food.
Though Israel maintains a public policy of non-intervention in the Syrian conflict, it has for years treated war wounded in its clinics and given assistance, including military, to various rebel factions in the Golan Heights. Observers estimate that, at its height, about 600 people weekly were bused into Israeli-held territory.
This photo released by the Syrian Civil Defence White Helmets in Daraa, shows civil defence workers carrying a victim from a house, after shelling by Syrian government forces, in the town of Nawa, Daraa, southern Syria. Credit:AP
Israel has also launched repeated strikes against the Iranian-affiliated battlefield allies of Syrian President Bashar Assad, whose ground troops have been bolstered by militiamen from Iraq, Iran, Lebanon and Afghanistan.
Earlier this week, the Syrian government announced four corridors for residents in the enclave to reach government-held areas. The United Nations said Friday that an estimated 768 families had used the passageways.
Other residents in towns still under rebel control dispatched envoys to discuss terms of surrender with the government in a bid to spare them from what they describe as "barbaric" airstrikes.
The state-run Syrian Arab News Agency reported on Saturday that a string of towns, including Tafas and Mzeireeb, had entered into "reconciliation", Damascus' euphemistic term for the restoration of state rule in exchange for a general amnesty. (Critics dismiss reconciliations as surrender, where residents who refuse to live under Assad's government are forced to leave, while those who remain are conscripted or persecuted.)
Meanwhile, efforts to avert what the United Nations warned could become a humanitarian catastrophe failed on Saturday when rebel representatives walked out of negotiations with a Russian delegation. Moscow has taken the lead in negotiating a handover agreement between the government and the rebels.
Earlier Saturday, a six-man committee of opposition civilian and military leaders met with a Russian military delegation in the Syrian town of Busra Al-Sham, rebel spokesman Colonel Ibrahim Jabawi said.
It followed a meeting the previous day in Amman, where the Russians held "in one hand a carrot and in the other hand a stick," Jabawi said.
Initial terms stipulated the rebels relinquish their heavy weapons. State institutions would return to the area, while the rebels would administer and secure the city with Russian military police oversight. There would be no forced resettlement for rebels unwilling to reconcile.
But on Saturday, Jabawi said, the Russians came with new conditions: The rebels were to give up all of their arms, including light weaponry, while the opposition would hand over lists of rebels' names so as to move forward with their reconciliation with the government, but with Russian oversight. They would also hand over the Naseer border crossing.
The rebels refused, Jabawi said.
"The Russians had given us conditions that no reasonable person or free revolutionary could accept," he said.


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The TOJ SC205 and TOJ SC206 are very similar sports prototype race cars, designed, developed and built by German racing team and constructor, Team Obermoser Jörg; constructed to the FIA's Group 6 category and specification of motor racing, specifically the European 2-Litre Sportscar Championship, in 1977 and 1978, respectively. Together, they won a total of 6 races, scored 28 podium finishes, and clinched 2 pole positions, plus an additional 12 class wins together. Like its predecessor SC204, it was powered by a naturally-aspirated  BMW M12/7 four-cylinder engine; producing .

References

Sports prototypes
24 Hours of Le Mans race cars


Batch ball mill is also called ceramic ball mill, with drying work and wet working by batch. It is used for fine grinding of feldspar, quartz, clay, ore, etc.
Ceramic ball mill from Hengrui heavy machinery, the fineness of product is uniform but it works with less energy. It can do wet mills and dry mills.
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The chinaware ball mill is made of ceramic for its whole body. Its small capacity leads to its application in the small amount of trial and discontinuous production.
Ball mill Ball Mill Application Ball Mill is widely used in powder making production line in industries, like mining,building materials and chemistry industries.
Find great deals on eBay for ceramic ball mill grinding mill. Shop with confidence.
Ball Mill The rubber lined ball mil are mainly used for the porcelain powder grinding, ore benefication of metal mine, and nonmetal mineral hill.


A brou-ha-ha started when Buzzfeed ran a series of photos and videos entitled "The 33 Fiercest Moments From Beyoncé's Halftime Show." That post got 1,171,292 total views.
The next day, Buzzfeed published an email from Beyonce's publicist, asking them to take down the "unflattering" photos. That got even more views than the original post: 1,479,629 total views.
Perhaps the publicist was pressured by her client, or someone else with a financial interest in Beyonce. We'll never know.
But she, and her agency, should have known that her email would end up being published. Bloggers, including this one, (who has reformed, somewhat, since early snarky days) have a long and proud history of calling out ridiculous demands by everyone from Mattel (long a favorite of mine) to Jack Daniels, whose Cease and Desist letter went viral.
Here's the bottom line: three days in Internet time is like three dog years. If the publicist hadn't sent the email the news would have moved on. By making an issue of beautiful, Amazonian, Beyonce looking like the amazingly fit warrior she is, the publicist made a mountain out of a mole hill, and a case study out of a blog post.
My bet: she didn't have the stones to stand up to whoever was telling her to send that email. And, of course, few mere mortals would.
So what do you get in that situation? Dumb and dumber. And some really cool photos which will be online forever.


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Browse > Home / News / Three Israelis test positive for coronavirus on quarantined vessel
Three Israelis test positive for coronavirus on quarantined vessel
Three Israelis aboard a cruise ship quarantined off Japan's coast tested positive for coronavirus on Sunday, making them the first Israeli nationals confirmed to have been infected with the virus, according to Israel's Health Ministry.
Diamond Princess Photo: Wikipedia
Japanese authorities informed the ministry regarding the Israelis, reporting that each of the three shows mild symptoms. Other Israeli passengers aboard the vessel are currently being tested for the virus, the actual name of which is SARS-CoV-2.
According to Japan's health minister, there are 355 confirmed cases of SARS-CoV-2 infection among the 1,219 individuals who have been tested, including 73 individuals who tested positive but are not showing symptoms.
According to Israel's Foreign Ministry, two of the three infected Israelis have been removed from the ship to receive treatment from a doctor sent to Japan by Israeli Health Minister Ya'akov Litzman.
"We are negotiating with the Japanese regarding the return home of all the other [Israelis]," said Litzman at the weekly Cabinet meeting on Sunday. "Our working premise has been that corona will arrive and we have made all the preparations."
According to Israeli news site Walla, the Israelis aboard the quarantined ship are calling for more transparency and asking Israel to secure their release.
"Take us from here, throw us in some hangar in Israel," said quarantined Israeli Shalva Dahan, according to the report. "I don't care if I'm there for a month, but why leave us here, why not update us with what's happening? Why do we have to get updates from the news? I saw what was going on on the deck—many ambulances, army, police. I said, enough, I'm going to my room, I don't want to see this anymore."
"I'm nervous, I don't know what's happening," Lena Samuelov told Israeli public broadcaster Kan. "Everyone I know on the ship is not infected."
Nicole Ben-David told Ynet, "We didn't get any notification from the ship's crew, doctors or the embassy. That only clarifies our point that this quarantine could be wrong and that we should have left. We were naive, we listened to the Japanese authorities. We are in danger at the moment if people are still being infected."
News of the infected Israelis occurred the same day that China's death toll reached 1,665, with the number of new cases dropping for a third consecutive day.


Hey guys, we finally have some new Us Versus Them back in the shop! A lot of you guys keep asking where's the UVT, and now we can finally say that we have some back in stock. Check out the 2 different colorways of the "Bolt" pocket tee, "Wavy" tee, and the "Midnight" raglan.
It's 100 degrees, so we finally ordered some products that weren't flannels or outerwear.
Us Versus Them: "Bolt Pocket Tee" in Charcoal Heather ($39). This pocket tee is 100% cotton, features matching bolt stripes on each sleeve and sports "Us Versus Them" embroidered details over the pocket.
Us Versus Them: "Wavy Tee" in White ($26). This tee features a large front graphic printed on 100% cotton.
Us Versus Them: "Midnight Raglan" ($39). This raglan crewneck is 100% cotton, and features an Us Versus Them logo embroidered over the left breast.
A close up of the "Bolt Pocket tee" ($39) embroidery detail. This is the Navy version.
Sizes of Us Versus Them usually sell out pretty fast at the shop. Stop by and cop some before they're all gone!
My Thoughts on Kendrick Lamar's "i"


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Home > Blog > Ask our experts > Ask our experts :: Identifying an occupation from a family portrait
Ask our experts :: Identifying an occupation from a family portrait
Our resident experts are on hand to answer your queries. Here, Inside History reader Beth Venning asked military historian Neil Smith for help in identifying the occupation of her grandfather, George Pearce, based on clues in a family photograph.
Our research officer at the Milton Ulladulla Family History Society suggested I send my photo to Inside History to see if it could be identified. The photo (above) is of my grandparents, George and Elizabeth Pearce. It was taken around the early 1900s in England. In the 1911 Census, George was listed as a garage proprietor and motor man. I'd love to know more about his uniform and possible occupation at the time of the photo. The initials on the cap are GR and there is a crown underneath. The collar has a silver "2" each side. I doubt it is military. I'd appreciate any help in this matter — mysteries are such fun to solve!
Neil Smith says: This is a difficult question to answer. George is certainly not wearing a military uniform. I have considered all clues, the studio setting and even his facial appearance. The dark blue serge tunic and trousers aren't definitive. His cap style is common and probably includes a coloured band. I suspect the "GR" stands for King George V. He wears no ribbons that might suggest a military background. No pattern can be discerned on the metal uniform buttons and he carries a chain attached I believe to a whistle. The number "2" on his collar suggesting a district doesn't help. The buttons on his sleeve don't help either nor do the embellishments on his epaulettes, which may simply be similar to those on his cap. There are no clues from his trousers or footwear to indicate service as a driver or in some other mounted capacity.
So what might he be? The monarch's badge suggests British Government employment. But George's attire doesn't match the police, railways or postal services c1900. My suggestion is that he was a courier or security officer with a bank — perhaps the Bank of England. It could be illuminating to backtrack through earlier census records in an effort to solve the puzzle.
Lieutenant Colonel Neil C. Smith AM is head of Mostly Unsung, which publishes on a range of Australian and British military history.


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Das Lauenburger Privileg bezeichnete das Recht der Bürger der Stadt Lauenburg, die Eisenbahnverbindung zwischen Lauenburg und Büchen im Südosten des heutigen Bundeslandes Schleswig-Holstein kostenlos zu nutzen, wenn sie auf der Berlin-Hamburger Bahn fahren wollten. Die Lauenburger wurden beim Fahrpreis so gestellt, als ob Lauenburg direkt an der Berlin-Hamburger Bahn liegt. Das Privileg bestand von 1851 bis 1937 und wurde im Jahre 1883 auf den Güterverkehr ausgeweitet.

Die Berlin-Hamburger Eisenbahn-Gesellschaft musste, um 1845 ihre Stammstrecke von Berlin nach Hamburg durch den Norden des Herzogtums Lauenburg bauen zu dürfen, einen kostenfreien Bahnanschluss für die Stadt Lauenburg herstellen und betreiben. Diese Stichbahn Büchen–Lauenburg, die seit dem 1. November 1878 ein Abschnitt der Bahnstrecke Lübeck–Lüneburg ist, wurde am 15. Oktober 1851 bis zur Palmschleuse und am 1. Juli 1853 bis zum Bahnhof Lauenburg eröffnet.

Die Bürger konnten sich Ausweiskarten ausstellen lassen, die sie als Einwohner der Stadt Lauenburg auswiesen und zur kostenlosen Fahrt berechtigten. Das Privileg der unentgeltlichen Fahrt zwischen Lauenburg und Büchen galt nur, wenn man bei der Fahrt nach Büchen eine gültige Fahrkarte für die Berlin-Hamburger Bahn ab Büchen und bei der Fahrt nach Lauenburg eine Fahrkarte bis Büchen besaß. Durch ein Urteil des Reichsgerichtes wurde das Privileg im Jahre 1883 auch auf den Gütertransport ausgedehnt.

Die Fahrt war kostenpflichtig, wenn man nur auf dem Abschnitt Lauenburg–Büchen oder nach Lübeck fahren wollte.
Als etwa vier Kilometer westlich von Büchen an der Berlin-Hamburger Bahn die Station Müssen eröffnet wurde, ergab sich für die Lauenburger Bürger allerdings eine Möglichkeit, preisgünstiger nach Lübeck zu kommen. Sie lösten eine Rückfahrkarte Lauenburg–Müssen zum Preis von 0,50 Reichsmark, fuhren aber nicht nach Müssen, sondern kauften in Büchen eine Rückfahrkarte nach Lübeck. Die Fahrt Lauenburg–Büchen hätte eigentlich 1,20 Reichsmark gekostet, durch das Privileg verringerte sich der Fahrpreis um 70 Pfennig. Die Königlich-Preußische Eisenbahnverwaltung, die ab 1884 durch die Verstaatlichung der Berlin-Hamburger Eisenbahn-Gesellschaft deren Rechtsnachfolger war, sah darin einen Missbrauch des Privilegs. Den verfolgte sie sowohl straf- wie auch zivilrechtlich durch jeweils zwei Instanzen vor dem Amtsgericht Lauenburg und dem Landgericht Altona, das zu der Zeit das zuständige Landgericht für den Kreis Herzogtum Lauenburg war. Die Strafkammer des Landgerichtes urteilte 1895, dass keine betrügerische Absicht vorlag, weil der Beklagte von der Richtigkeit seiner Rechtsauffassung überzeugt war. Die Zivilkammer urteilte 1896, dass es ausreichend sei, eine Fahrkarte für die Berlin-Hamburger Bahn zu lösen, um in den Genuss des Privileg zu kommen. Es sei nicht erforderlich, auf der Hauptbahn zu fahren.

Die Stadt Lauenburg stimmte am 30. April 1937 gegen Zahlung von 60.000 Reichsmark durch die Deutsche Reichsbahn einer Aufhebung des Privilegs zu.

Vorgeschichte
Für die Planung der Streckenführung der Bahnstrecke Berlin–Hamburg im Jahre 1844 durch das Herzogtum Lauenburg, das zur damaligen Zeit zum Königreich Dänemark gehörte, waren insgesamt sechs Trassen untersucht worden. Eine davon, die sogenannte Uferlinie, sollte entlang der Elbe von Boizenburg über Lauenburg und Geesthacht nach Bergedorf führen. Diese Trasse wurde von der Stadt Lauenburg und Dänemark bevorzugt, weil beide ein großes Interesse daran hatten, die Stadt an das deutsche Eisenbahnnetz anzuschließen. Die Berlin-Hamburger Eisenbahn lehnte diese Variante allerdings ab, weil sie als gefährlich und kostspielig galt. Sie bevorzugte eine Trassenführung über Büchen und Schwarzenbek durch den Sachsenwald nach Bergedorf.

Die Streckenführung über Schwarzenbek wurde am 21. Juni 1844 durch den dänischen König Christian VIII. unter Auflagen genehmigt. Die Berlin-Hamburger Eisenbahn musste sich verpflichten, die Stadt Lauenburg mittels einer von der Hauptstrecke Berlin–Hamburg abzweigenden Bahnstrecke anzuschließen und diese Stichbahn gleichzeitig mit der Hauptbahn zu eröffnen. Ferner, diese Bahn zu betreiben, zu unterhalten und den Bürgern Lauenburgs und der Vorstädte die kostenlose Fahrt zwischen Lauenburg und Büchen zu gestatten, wenn diese die Berlin-Hamburger Bahn nutzen wollten. Alternativ wurde der Eisenbahngesellschaft eingeräumt, sich mit der Stadt über eine Vergütung für die Befreiung von dieser Verpflichtung zu einigen. Die Berlin-Hamburger Eisenbahn bot der Stadt Lauenburg daraufhin 150.000 Taler Entschädigung an. Die Stadt ging aber davon aus, dass sowohl eine Bahnstrecke Lübeck–Büchen als auch eine Strecke von Lüneburg bis an die Elbe gebaut werden würde und lehnte deshalb die Entschädigung ab, so dass die Bahn gebaut und betrieben werden musste.

Literatur

Einzelnachweise

Lauenburg/Elbe
Verkehrsgeschichte (Schleswig-Holstein)
Schienenverkehr (Schleswig-Holstein)
Verkehr und Recht
Verkehr (Kreis Herzogtum Lauenburg)
Geschichte (Kreis Herzogtum Lauenburg)


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Manchester United have secured the service of former Super Eagles striker Odion Ighalo for another six months until January after reaching an agreement with the Chinese Super League side Shanghai Shenhua.
The 30-year-old 2019 Africa Cup of Nations top scorer initially move to Old Trafford in a Deadline Day move in January and scored four times in eight appearances in all competitions prior to the suspension of the Premier League.
Ighalo's initial loan deal was due to expire on May 31 but a Manchester United statement said.
"Manchester United have reached agreement with Shanghai Greenland Shenhua to extend the loan deal for Odion Ighalo.
"The Nigerian striker's stay was initially due to end on 31 May but he will now remain with the Reds until 31 January 2021, enabling him to build on an impressive start to life with the club he supported as a boy."
However, Manchester United manager Ole Gunnar Solskjaer has thanked Shanghai Shenhua for allowing the Ajegunle-born striker to remain with Red Devils longer than previously agreed.
"They [Shanghai Greenland Shenhua] have been great towards us, allowing him to play for his dream club," Solskjaer said.
"It's been a dream for him and hopefully he can finish what he started and win a trophy with us."
Ighalo's current deal at Shenhua runs out in December 2022 and he will be expected to sign a contract offer until the end of 2024 worth £400,000 a week.
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Good news thanks
Makes a lot of sense
Looks how they are treating us because of color black


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Tag Archives: HR3525
June 18, 2022 by whmacken2013 - 0 comments
Coming Soon: The Museum of Me
In another bow to ethnic division, on June 13, 2022, President Biden signed into law a bill (H.R.3525) authorizing a commission to build a possible National Asian American and Pacific Islander (AAPI) museum in Washington, D.C.
Introduced by Rep. Grace Meng (D-New York) in May 2021, the bipartisan bill cleared the House on April 26 and the Senate on May 18, both by unanimous consent.
The signing was couched as a way to counter Asian Americans and Pacific Islanders remaining on the margins of American education, with little mention in classes beyond the topics of Pearl Harbor, immigration and the U.S.'s territorial interests in the Pacific. A museum would be key to combating the stereotypes and misconceptions that drive anti-AAPI discrimination, supporters say.
If built, an AAPI Museum would follow on the National Museum of African American History & Culture, which opened on the National Mall in Washington, D.C. in 2016.
It would also supplement the National Museum of the American Latino. Legislation calling for the Smithsonian to establish that museum passed in Dec. 2020. "The new museum will be the cornerstone for visitors to learn how Latinos have contributed and continue to contribute to U.S. art, history, culture, and science.," according to the Smithsonian. "Additionally, it will serve as a gateway to exhibitions, collections, and programming at other Smithsonian museums, research centers, and traveling exhibition services."
At the rate things are going, today's pandering politicians, who, as Blake Smith, says, eagerly "offer cultural victories instead of substantive ones," will eventually advocate the creation of museums for every single ethnic group in America. Where they will be put in an already crowded mall is unknown.
Some might argue that recognition of America's diversity through such museums is a good thing. I'd offer a "Yes, but"… There's no question that education about our multifaceted country can combat stereotypes and misconceptions, but excessive focus on identity is not such a good thing when it exacerbates divisiveness and encourage a splintering of the populace.
Oregon's new K-12 Ethnic Studies standards, for example, were well-intentioned, but are a prime example of identity politics run amok.
Kindergarten Standards, for example, include the following: *Describe how individual and group characteristics are used to divide, unite and categorize racial, ethnic, and social groups" and *Develop an understanding of one's own identity groups including, but not limited to, race, gender, family, ethnicity, culture, religion, and ability." Good grief!
Colt Gill, the Director of the Oregon Department of Education, clearly sees the K-12 education universe as nothing more than an assemblage of distinct and maligned minorities. This is the kind of identity politics that foments perilous division of our state and our country. Rather than emphasizing common values and interest, Gill's identity politics stresses differences and creates a feeling of 'zero-sum' competition between groups.
One problem with this kind of identify politics is that it leads to even more minority designations. "Once identity politics gains momentum, it inevitably subdivides, giving rise to ever-proliferating group identities demanding recognition," says Amy Chua in Political Tribes.
And that leads to an AAPI Museum.
As for highlighting Asian Americans with a new museum, one problem is they are far from a monolith. Instead, they have a complex history and cultures. Even the term "Asian American" encompasses dozens of ethnic groups of Asian descent. Just Southeast Asians, for example, includes Filipino, Vietnamese, Cambodian, Thai, Hmong, Laotian, Burmese, Indonesian and Malaysian.
An analysis from Common App, a nonprofit that allows prospective students to apply to more than 1,000 member colleges using one application, noted that the term Asian American can refer to around 50 ethnic groups. "While Asian American was a term established by activists in the 1960s as a means to build political power, it's also been criticized for obscuring the immense diversity among those it purports to cover…," notes a Vox article, part of an Asian American identity series.
The analysis also points out a "prominent shortcoming" of the "Hispanic" category for completely concealing the racial identities of its members. The analysis found that, in 2021, half of the applicants identified as white.
What are craven politicians going to endorse next? A German Museum and an Irish Museum? The high immigration numbers in the 1800s were largely fueled by Irish and German immigrants. A Hungarian Museum? The Hungarian revolution in 1956 led to a burst of Hungarian refugees coming to the United States, including some families who settled in my hometown in Connecticut. Maybe an Eastern European Museum?
The 1959 Cuban revolution drove hundreds of thousands of Cubans to the United States. Given their concentration in Florida, Gov. Ron DeSantis and other politicians seeking the Cuban vote could probably be counted on to endorse a Cuban Museum on the National Mall.
The way things are going, we'll end up with a Museum of Me. Or a Museum of You.


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Meta Vaux Warrick Fuller (  ; born Meta Vaux Warrick; June 9, 1877 – March 18, 1968) was an African-American artist who celebrated Afrocentric themes. At the fore of the Harlem Renaissance, Warrick was known for being a poet, painter, theater designer, and sculptor of the black American experience. At the turn of the 20th century, she had achieved a reputation as the first black sculptress and was a well-known sculptor in Paris before returning to the United States. Warrick was a protégée of Auguste Rodin, and has been described as "one of the most imaginative Black artists of her generation." Through adopting a horror-based figural style and choosing to depict events of racial injustice, like the lynching of Mary Turner, Warrick used her platform to address the societal traumas of African Americans.

Early life
Meta Vaux Warrick Fuller was born in Philadelphia, Pennsylvania, on June 9, 1877. Her parents were Emma (née Jones) Warrick, an accomplished wig maker and beautician for upperclass white women, and William H. Warrick, a successful barber and caterer. Her father owned several barber shops and her mother owned her own beauty salon. Warrick was, in fact, named after Meta Vaux, the daughter of Senator Richard Vaux, one of her mother's customers. Her maternal grandfather, Henry Jones, was a successful caterer in the city. Both of her parents were considered to have influential positions in African-American society.

Her family's class status was a special privilege that was afforded to them through their talent and their location. After an influx of free blacks began making a home in Philadelphia, the available jobs were generally physically hard and low-paying. Only a few people were able to find desirable jobs as ministers, physicians, barbers, teachers, and caterers.   During the Reconstruction, due to racism, legalized racial segregation laws, including Jim Crow laws limited social progress of African Americans into the 20th century. Despite this, Warrick's parents were able to find creative success amongst the "vibrant political, cultural, and economic center" the African-American community of Philadelphia had established.

Due to her parents' success, she was given access to various cultural and educational opportunities. Warrick trained in art, music, dance and horseback riding. Warrick's art education and art influences began at home, nurtured from childhood by her older sister Blanche, who studied art, and visits to Pennsylvania Academy of the Fine Arts with her father, who was interested in sculpture and painting. Her older sister, who later became a beautician like their mother, kept clay that Meta was able to use to create art. She was enrolled in 1893 in the Girls' High School in Philadelphia, where she studied art as well as academic courses. Warrick was among the few gifted artists selected from the Philadelphia public schools to study art and design at J. Liberty Tadd's art program at the Philadelphia School of Industrial Art in the early 1890s.

Her brother and grandfather entertained and fascinated her with endless horror stories. These influences partly shaped her sculpture, as she eventually developed as an internationally trained artist known as "the sculptor of horrors."

Marriage and family
In 1907, Warrick married Dr. Solomon Carter Fuller, a prominent physician and psychiatrist, known for his work with Alzheimer's disease. Born in Liberia, Dr. Fuller was one of the first black psychiatrists in the United States. The couple settled on Warren Road in Framingham, Massachusetts where they were one of the first black families to join the community. She continued to create works of art, against the stigma that she should settle down and become a housewife once she and her husband had three children one of which , her son Perry, went on to become a sculptor as well. Prominent African-American people visited their house, as did the Prince of Siam. Within the community, Warrick Fuller helped establish and was involved in the lighting of productions put on by the Framingham Dramatic Society. She was an active member of the St. Andrew's Episcopal Church where she directed and costumed their plays and pageants.

After the fire in 1910, Warrick Fuller built a studio in the back of her house, something which her husband strongly opposed. Between domestic duties, she found herself inspired by her religion and began to sculpt traditional biblical scenes. Warrick believed making art was her divine calling so her being cast out didn't discourage her reignited motivation to create.

Dr. Fuller died in 1953. Warrick Fuller died on March 18, 1968, at Cardinal Cushing Hospital in Framingham, Massachusetts.

Education
Warrick's career as an artist began after one of her high-school projects was chosen to be included in the 1893 World's Columbian Exposition in Chicago. Based upon this work, she won a four-year scholarship to the Pennsylvania Museum and School of Industrial Art (now The University of the Arts College of Art and Design) in 1894, where her gift for sculpture emerged. In an act of independence and nonconformity as an up-and-coming woman artist, Warrick defied traditionally "feminine" themes by sculpting pieces influenced by the gruesome imagery found in the fin de siècle movement of the Symbolist era. At various times, she was a literary sculptor, at others a creator of portrait art - which she studied under Charles Grafly at the Pennsylvania Academy of the Fine Arts. Although she said that she could not specialize in African-American types, Fuller became one of the most effective chroniclers of the black experience within the United States. In 1898, she received her Pennsylvania Museum and School of Industrial Art diploma and teacher's certificate as well as a scholarship for an additional year of study.

Upon graduation in 1899, Warrick traveled to Paris, France, where she studied with Raphaël Collin, working on sculpture and anatomy at the Académie Colarossi and drawing at the École des Beaux-Arts. Warrick had to deal with racial discrimination at the American Women's Club, where she was refused lodging although she had made reservations before arriving in the city. African-American painter Henry Ossawa Tanner, a family friend, found lodging for her and gave her community amongst his group of friends.

Warrick's work grew stronger in Paris, where she studied until 1902. Influenced by the conceptual realism of Auguste Rodin, she became so adept at depicting the spirituality of human suffering that the French press named her "the delicate sculptor of horrors." In 1902, she became the protege of Rodin. Of her plaster sketch entitled Man Eating His Heart, Rodin remarked, "My child, you are a sculptor; you have the sense of form in your fingers."

Career

Warrick created works of the African-American experience that were revolutionary. They touched on the complexities of nature, religion, identity, and nation. She is considered part of the Harlem Renaissance, a flourishing in New York of African Americans making art of various genres, literature, plays and poetry. The Danforth Museum, which received a $40,000 grant from the Henry Luce Foundation to safeguard Warrick Fuller's work, states that Fuller is "generally considered one of the first African-American female sculptors of importance."

Paris
In Paris, she met American sociologist W. E. B. DuBois, who became a lifelong friend and confidant. He encouraged Warrick to draw from African and African-American themes in her work. She met French sculptor Auguste Rodin, who encouraged her sculpting. Her real mentor was Henry Ossawa Tanner while learning from Raphaël Collin. It was the "masculinity and primitive power" of her sculptures that drew the French crowds to her work and generated her acclaim. The Paris crowd was astonished that a woman could produce works that depicted such "horror, pain, and sorrow." It was a relief for Warrick that her gender wasn't an inhibitor for how the public reacted to her racially themed pieces, as it would be in the United States. By the end of her time in Paris, she was widely known and had had her works exhibited in many galleries.

Samuel Bing, patron of Aubrey Beardsley, Mary Cassatt, and Henri de Toulouse-Lautrec, recognized her abilities by sponsoring a one-woman exhibition including Siegfried Bing's Salon de l'Art Nouveau (Maison de l'Art Nouveau). In 1903, just before Warrick returned to the United States, two of her works, The Wretched and The Impenitent Thief, were exhibited at the Paris Salon.

United States
Returning to Philadelphia in 1903, Warrick was shunned by members of the Philadelphia art scene because of her race and because her art was considered "domestic." However, Fuller became the first African-American woman to receive a U.S. government commission. For this award, she created a series of tableaux depicting African-American historical events for the Jamestown Tercentennial Exposition, held in Norfolk, Virginia in 1907. The display included fourteen dioramas and 130 painted plaster figures depicting scenes such as slaves arriving in Virginia in 1619 and the home lives of black peoples.

Mary Turner was her response to the 1918 lynching of a young, pregnant black woman in Lowndes County, Georgia. Fuller's contemporary, Angelina Weld Grimké, wrote the short story "Goldie" based on this murder. Warrick's activism also spanned into feminist work. She participated in the Women's Peace Party and the Equal Suffrage Movement, but abruptly stopped once she realized that black women were not included in the fight for equal voting rights. She often sold pieces to fund voter registration campaigns in the South.

Warrick exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia in 1906. She exhibited there again in 1908. In 1910, a fire at a warehouse in Philadelphia, where she kept tools and stored numerous paintings and sculptures, destroyed her belongings; she lost 16 years' worth of work. Among her oeuvre, only a few early works stored elsewhere were preserved. The losses were emotionally devastating for her.

Exhibitions

1907 Jamestown Tercentennial
In February 1907, Warrick secured a contract to create 14 dioramas depicting the African-American experience. At the time, it was described as the "Historic Tableaux of the Negroes' Progress." Historian W. Fitzhugh Brundage has described Fuller's tableaux as one that suggested "the expansiveness of black abilities, aspirations and experiences, [presenting] a cogent alternative to white representations of history." Warrick's tableaux were given prominent display in the Negro Building at the Jamestown Tercentennial, where they occupied 15,000 square feet. Each scene consisted of painted plaster figures and extensive painted backdrops. The 14 tableaux depicted the following: the landing of the first slaves at Jamestown; slaves at work in a cotton field; a fugitive slave in hiding; a gathering of the first African Methodist Episcopal Church; a slave defending his owner's home during the Civil War; newly freed slaves building their own home; an independent black farmer, builder and contractor; a black businessman and banker; scenes inside a modern African-American home, church and school; and finally, a college commencement.  For her work on the tableaux, Warrick was awarded a gold medal by the directors of the exposition.

Ethiopia and beyond

Fuller exhibited at the Pennsylvania Academy of the Fine Arts in 1920. She created one of her most famous works,
Ethiopia (also known as Ethiopia Awakening), for America's Making Exhibition in 1921. This event was meant to highlight immigrants' contributions to US artistic society and culture. This sculpture was featured in the exhibition's "colored section," and it symbolized a new black identity that was emerging through the Harlem Renaissance. It represented the pride of African Americans in African and black heritage and identity. Ethiopia, drawn from Egyptian sculptural concepts, is an academic sculpture of an African woman emerging from a mummy's wrappings, like a chrysalis from a cocoon, represented her statement on black consciousness globally. Fuller made multiple versions of Ethiopia, including a small maquette with the figure's left hand projecting from its body (now lost) and two full-size bronze casts, one with the left hand projecting and a second made incorrectly, with the left hand flush to the figure's side.

In 1922, Fuller showed her sculpture work at the Boston Public Library. Her work was included in an exhibition for the Tanner League, held in the studios of Dunbar High School in Washington, D.C. The federal commissions kept her employed, but she did not receive as much encouragement in the US as she had in Paris. Fuller continued to exhibit her work until her last show (1961) at Howard University (Washington, D.C.) in 1961.

Poetry
Her poem "Departure" was included in the 1991 collection Now is Your Time! The African-American Struggle for Freedom.

The time is near (reluctance laid aside)
I see the barque afloat upon the ebbing tide
While on the shores my friends and loved ones stand.
I wave to them a cheerful parting hand,
Then take my place with Charon at the helm,
And turn and wave again to them.
Oh, may the voyage not be arduous nor long,
But echoing with chant and joyful song,
May I behold with reverence and grace,
The wondrous vision of the Master's face.

Theater
Warrick Fuller made significant contributions to theater. She was a multi-faceted designer, director, and actress. One of her focuses was stage lighting, which was not considered a true art form until the late 1920s; moreover, lighting design was dominated by men. Fuller was able to design for both African-American and white theater companies, which was unheard of at the time. In 1918, she joined theater organizations in Boston, Massachusetts. She was known for her paintings of "living pictures" as well as the creation of props, scenery, and masks. The Answer was an African-American stage production where Fuller designed costumes while also performing a small role. She became active in the Civic League Players (CLS) in the late 1920s and was the only African-American of the organization. With the CLS, Fuller worked on over thirty shows in all different areas of production and taught workshops. In 1928, she was taking theater classes at Wellesley College and Columbia University that focused on pageantry, lighting, and playwriting. After becoming less active in the CLS, Fuller joined a Black theater company called the Allied Arts Theatre Group (AATG) where she worked as a head designer, director, and board member. She was involved with the AATG until the founder's death in 1936. Even with her commitments of being an artist and working in theater, Fuller wrote at least six plays under the pseudonym, Danny Deaver. The following is an excerpt of stage directions in her production titled, A Call After Midnight:"On the long hall table is a lamp, which the characters snap on and off, as they stop to look for mail, which is left in a receptacle for that purpose. The wall lights of the room are controlled by a switch at right of entrance, but these are of dull amber, the candle variety, the light is never bright."

Legacy

Warrick Fuller's work has received new interest since the late 20th century. Her work was featured in 1988 in a traveling exhibition at the Crocker Art Museum, along with artists Aaron Douglas, Palmer C. Hayden and James Van Der Zee.  Her work was also featured in a traveling exhibition called Three Generations of African American Women Sculptors: A Study in Paradox, in Georgia in 1998.

The Danforth Museum has a large collection of Fuller's sculptures, including many unfinished works from her home studio. Many were exhibited in a solo retrospective show of her work from November 2008 to May 2009.

Fuller's work was included in the 2015 exhibition We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum.

Works

 Bacchante, painted plaster sculpture, 1930
 Emancipation, in plaster, 1913; in bronze, 1999. Featured on the Boston Women's Heritage Trail.
 Ethiopia, small maquette cast in plaster and painted to resemble bronze, c. 1921, 13 × 3 1/2 × 3 7/8 in., National Museum of African American History and Culture.
 Ethiopia Awakening, bronze sculpture, greenish-black patina, with hand incorrectly placed flush with the figure's side, , 67 x 16 x 20 in., Schomburg Center for Research in Black Culture, New York Public Library.
 Henry Gilbert, painted plaster sculpture, 1928
 Jason, painted plaster sculpture, Danfort Museum
 La petite danseuse, bronze sculpture, Los Angeles County Museum of Art
 Les Miserables, bronze sculpture, Maryhill Museum of Art, Goldendale, Washington
 Lazy Bones in the Shade, sculpture,
 Man Eating Out His Heart, painted plaster sculpture, 1905–1906. It represents a kneeling male nude eating his heart.
 Mary Turner (A Silent Protest Against Mob Violence), painted plaster sculpture, 1919, Museum of Afro-American History, Boston, Massachusetts
 Mother and Child, cast bronze sculpture, 1962, Massachusetts Institute of Technology
 Peace Halting the Ruthlessness of War, c.1917, renamed and unveiled as "Ravages of War" on October 15, 1999 at West Virginia State College
 Phyllis Wheatley (c. 1753-1784), painted plaster sculpture, . It was made based upon an engraving published in 1773
 Refugee, sculpture, . Hunched male figure with a cane in his hand
 Talking Skull, bronze sculpture, 1937, Museum of Afro-American History, Boston, Massachusetts. Kneeling male figure facing a skull
 The Good Shepherd, painted plaster sculpture,
 Waterboy, sculpture, 1930

See also
 Lois Mailou Jones
 Sargent Claude Johnson
 Jacob Lawrence
 Archibald Motley
 Romare Bearden

Notes

References

Bibliography
 Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. Berkeley: University of California Press. 2011.

 Driskell, David C. et al. Harlem Renaissance: Art of Black America, New York, 1994.
 Igoe, Lynn Moody with James Igoe, 250 years of Afro-American Art: An Annotated Bibliography. New York: Bowker, 1981.
 An Independent Woman: The Life and Art of Meta Warrick Fuller (1877-1968). Framingham, MA: Danforth Museum of Art. 1984. Exhibition catalogue.
 Kerr, N. God-Given Work: The Life and Times of Sculptor Meta Vaux Warrick Fuller, 1877-1968, Amherst, 1987.
 King-Hammond, L. et al. 3 Generations of African American Women Sculptors: A Study in Paradox, Philadelphia, 1996.

 Powell, Richard J. and David A. Bailey. Rhapsodies in Black: Art of the Harlem Renaissance, 1997.

External links

 "Meta Warrick Fuller" Unladylike2020.

American women sculptors
1877 births
1968 deaths
Artists from Philadelphia
University of the Arts (Philadelphia) alumni
Académie Colarossi alumni
American women poets
American alumni of the École des Beaux-Arts
African-American poets
Harlem Renaissance
20th-century American sculptors
20th-century American women artists
African-American sculptors
Sculptors from Pennsylvania
20th-century African-American women
20th-century African-American people
20th-century African-American artists
African-American women writers


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The Resource Military Rule election records of the Virginia Secretary of the Commonwealth
Military Rule election records of the Virginia Secretary of the Commonwealth
Virginia, Secretary of the Commonwealth
These election records consist of lists of voters by county, magisterial district, and sometimes precinct, who participated in elections held October 22, 1867 (Poll books) and July 6, 1869 (Poll lists), while Virginia was under military rule. The poll books and poll lists both consist of a return of the names of registered voters polled in each election recorded alphabetically by first letter of the surname (though last names are not generally listed alphabetically within each letter). These records document the first two elections in which African Americans were able to vote
The 1867 election asked voters to vote for or against a convention to be held to draft a new state constitution and also to elect delegates to the convention if held. The Poll Books for this election document white and African American voters on separate lists. The records for the 1867 election also include election certificates for each magisterial district that certify the number of votes polled and the results of the election. Several localities also include ballots
The 1869 election asked voters to decide for or against the newly drafted state constitution, for or against individual clauses in the constitution related to disenfranchisement and test oaths, and to elect the Governor, Lt. Governor, and various other officials. The Poll Lists combine all voters on one document with a column to indicate the race of each voter, though some counties/districts ignored these instructions and continued to record white and black voters on separate lists. There are often duplicate poll lists for each district. Most localities also include the ballots cast in the election. A limited number of counties also include Certificates of Registration indicating a change of voting precinct for names stricken from the rolls of one voting precinct after given notice of a permanent change of residence from the district where they were originally registered in 1867; Oath/Affidavits of residence by voters who have relocated swearing that they have not voted in another district and will only vote in one district; and Canvass Returns that document the number of voters polled and the results of the election
Please note that this collection does not include 1867 and 1869 election records for all localities, as some may have election records for only one or the other election, and that the collection does not include election records for the following localities: Albemarle County, Bath County, Bedford County, Chesterfield County, Dickenson County, Dinwiddie County, Franklin County, Gloucester County, Greene County, Lunenburg County, New Kent County, Northumberland County, Patrick County, Smyth County, Sussex County, and the cities of Fredericksburg, Lynchburg, and Winchester
These records are part of the Virginia Secretary of the Commonwealth record group (RG# 13)
http://ead.lib.virginia.edu/vivaxtf/view?docId=lva/vi04851.xml
Military Rule election records of the Virginia Secretary of the Commonwealth, 1867, 1869
Elections -- Virginia
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Virginia -- Politics and government -- 1865-1869
African American men. -- Suffrage -- Virginia
State government records -- Virginia
Reconstruction (U.S. history, 1865-1877) -- Virginia
Voters' list -- Virginia
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State government records
Voters' list
Agency history record describes the history and functions of the Virginia Secretary of the Commonwealth. (Search Virginia Secretary of the Commonwealth as author).
State government records collection;, 50706
Accessioned
In the summer of 1866, Congress passed the 14th Amendment guaranteeing the rights of freedmen and preventing former Confederate officials from holding office. Virginia, failing to ratify the amendment, was placed under military rule as a result of the passage of the first Reconstruction Act on March 2, 1867. Virginia became Military District No. 1 under the command of Major Gen. John M. Schofield. Under the provisions of the Reconstruction Acts, it was necessary for the states of the old Confederacy to call conventions to draft new state constitutions. As directed, the Commander of the Military District in Virginia registered all male citizens 21 years of age or older and supervised an election held October 22, 1867. This election would determine whether or not Virginia would hold a constitutional convention, and would also elect delegates to the convention, if held. This election was especially significant because it was the first election to include African American participation.
Voters approved the constitutional convention and elected five delegates who convened on December 3, 1867 to draft a new state constitution. This constitution contained two contentious articles. One called for the disenfranchisement of thousands of voters who were former Confederates and another called for an "iron-clad" oath clause that designated that officials must take an oath that they had not voluntarily borne arms or assisted in any way in the hostility against the United States. The disenfranchising clause would have stricken most moderates and conservatives from the voting lists, and the oath clause would have made it impossible for almost anyone who had assisted the Confederacy to hold office.
James B. Baldwin and Alexander H.H. Stuart led an attack against these restrictive clauses, urging supporters to accept black enfranchisement in exchange for omitting the test-oath. A Committee of Nine presented their case in Washington and President Grant recommended that the constitution be submitted to the people with the objectionable provisions to be voted on separately for approval or rejection. The convention adjourned on April 17, 1868.
The constitution was submitted to the voters on July 6, 1869, and was approved except for the sections relating to test oaths and disenfranchisement, which were voted on separately and defeated. The constitution drafted by the Convention of 1867-1868 for the first time included a provision to allow for universal manhood suffrage. The adopted constitution is sometimes called the Underwood Constitution, named for the president of the convention, John C. Underwood. Voters also elected the Governor, Lieutenant Governor, and various other officials in July 1869. On January 26, 1870, an act of Congress was approved admitting Virginia to the Union, and on the same date the government of the state of Virginia became operative under the new constitution.
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