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Home / art / Part II Sexy Male Artists Reflect on Notions of the "Sexy Artist"
Part II Sexy Male Artists Reflect on Notions of the "Sexy Artist"
1:33 PM art Edit
Photographer Todd Collins
By Monica Adrian
I've been all over FineArtAmerica.com in search of attractive, talented male artists who have likely received from time to time compliments such as:
"I think it's sexy you're an artist"
"The fact that you're an artist makes me more attracted to you"
I've already asked attractive female artists a number of questions and I'm interested in seeing how the men's answers differ. The questions are as follows:
Does being an artist make you feel sexy? Or if someone is an artist does that make them sexier?
Do you believe people paint artists as higher sexualized beings? Why do you think this is or is not?
You can view the female artists responses at, Part I Sexy Female Artist Reflect on Notions of the "Sexy Artist"
Richard Robinson
Impressionist Painter
Ruakaka, Northland - New Zealand
"I am actually a sexual GOD. Women routinely throw their underwear at me in painting workshops and plead with me to take them as my next nude model. If I wasn't so happily married I'd have myself a harem of many thousands of women. Admittedly, they are all a good thirty to forty years older than me, but what a swinging good time we'd have! My eyes water at the thought.
But seriously, here's what I think:
1. No, being an artist does not make me feel sexy. Sometimes if I do a really good painting then that will do the trick, much like any great achievement, with that general sense of empowerment and self-worth. If someone is an artist, it makes them more attractive to be with because I figure we'll have more in common, but it doesn't necessarily make them sexier to me. If someone's interested in me sexually, that's what I find sexy.
2. Yes I can see a bit of that stereotype filtering through the general consensus, and perhaps there is a grain of truth in there. It's hard to see the world through different eyes than my own though - hard to see artists as anyone else might. Hey, maybe I AM a supercharged artistic sexual dynamo! Hang on, I'll ask my Wife.... Uh, she says yes I absolutely am, and can I get the kids sorted out for school tomorrow and get off the computer. That's that then." - Richard
http://fineartamerica.com/profiles/2-richard-robinson.html
http://www.newzealandartist.com/
Christopher Ables
Illustrator/Concept Artist
Los Angeles, CA - United States
Finding Myself in Wonderland
" My answer would have to be no. For me, there's little to no thrill let alone sex appeal in being a struggling artist. I admire and respect those with artistic abilities but the instability and that struggle that comes with being an artist can be exhausting enough to deal with it myself. At this somewhat turbulent stage in my life, I'm not quite sure I'd have the energy or the desire to deal with it in regards to anyone else.
I'm not quite sure what you mean exactly by higher sexualized beings, but if I had to answer, I would say no. The old, cliche' of artists being these flighty, over-sexed, bohemian, 'free-spirits' really is nothing more than a cliche'. Yes, some artists can be that way, but those characteristics can be attributed to various types of people in various types of professions. In addition, I know several artists who are grounded, vanilla, almost terribly boring people who work normal 9-5 jobs, lead modest and conservative lives and are in 'normative' monogamous relationships."
http://fineartamerica.com/profiles/christopher-ables.html
http://chrisables.com/
https://www.facebook.com/christopherablesart
https://twitter.com/chrisablesart
http://chrisables.tumblr.com/
Marc Mancuso
"I feel a little sexy when I draw well and I have my nice clothes on for that day with some nice natural light coming in. When I feel confident that can be sexy.
When people do something they love and are good at, I think that makes them sexy...when they are in the zone creating.
Rose in Vase
I think artists can be very sexual beings because they can be free spirits, eccentric and like to explore different sides to themselves and enjoy all aspects pf life, including being sexual. Being an artist you have to explore the human body and fully understand the mechanics of how it works." - Marc
http://fineartamerica.com/profiles/marc-mancuso.html
https://www.flickr.com/photos/marc_mancuso/
Peter Arpesella
Author/Artist/Actor/Writer
"Being an artist makes me feel more alive. It makes me feel more of life. It makes me interested in people and curious about our truth. It makes all my senses more alive. The colors are brighter, the smells are more intense, the sounds more articulate, taste is deeper, the touch more intense. And the sixth sense is as lively as all the others, the one imagination flows in and out of. Being an artist makes me feel passionate and alive. If this is sexy, then yes.
It depends on what kind of person they are, if that makes them sexier. "Artist" per se doesn't mean much; it's a label, it's general. it's the person who is or isn't sexy.
Sure, people can paint artists as higher sexualized beings. If we want to talk about energy, both sex and creativity originate from the same chakra. So it's not absurd to associate artists with being sexualized. But, again, it's a generalization, and as such it becomes inaccurate and meaningless. Often when people paint artists like higher sexualized beings it's only to sell more of something (magazines, shows, books, movies, etc.) or because it helps to not look at the real person or at themselves. I've met super sexualized beings who were teachers, mechanics, accountants. And I met artists that are so locked into their brains that sexuality feels like a statistical equation when I'm around them. Sex (the good/creative kind, the one that generates a positive experience for everyone in it) is a beautiful way to communicate, exchange, share and feel with another human being. Art is the same. The difference is that art has a huge reach that lasts over time." - Peter
http://fineartamerica.com/profiles/peter-arpesella.html
Official site: http://peterarpesella.com/
Author: http://www.smarturl.it/GoodLikeThis
Artist: http://peterarpesella.com/home/A_r_t.html and
Joe Ambrose
Artist/ Portrait Photographer
Mankato MN - United States
"No. I tie "sexiness" to a person's physical attractiveness, body shape, overall personality and the way they present themselves. I don't attribute what artistic talent I have to any of those qualities so I don't feel that it makes me any sexier.
It doesn't make someone else any sexier than I would have already thought. However, if I already found them sexy it would increase my potential connection with them making them more appealing in a way.
I think it really depends on who you talk to if they are painted as more sexual. That said, I do feel there is a certain perception that artistic people are more sensitive than others and to some that makes them sexier. As a whole, I don't think artists are portrayed as being any more sexy than most." - Joe
http://fineartamerica.com/profiles/joe-ambrose.html
www.ambroseimages.com
Alan Dubrovo
Artist / Graphic Designer
Newberry Park, CA - United States
"I do think that being creative makes me feel sexy. I think it has a lot do with the way I'm perceived by those who are not creative. Admiration and praise for my work gives me more self-confidence which in turn builds self-esteem and makes me feel sexier as a human being. It's in our nature to want to be recognized for our achievements small or great because it gives us impetus to continue working at what we have passions for. Also being creative makes for better romance, and that's sexy as well.
People wouldn't immediately sexualize me when they see my work. I think they would be more concentrated on the actual artwork than me as the artist. If they were to ask me questions it would be why I created the art. However, maybe after hearing why I am passionate about being an artist it would come across as sexy in the sense that people are attracted to people who have passion. Maybe telling people I'm an artist gives a little prestige to my name, but I don't have women ripping the clothes off of me at the mention of it." -Alan
http://fineartamerica.com/profiles/alan-dubrovo.html
adubrovoartgallery.com
Alandubrovo.com
Sandeep Hunjan
Artist / clinical medical physicist
Sugar Land, TX - United States
"I definitely feel more free, unfettered, and released from social-conditioning compared to how I live my life as a scientist or academic where I am very much concerned with how I am perceived at all times. I feel that the best art can only be done when the artist is liberated from the chains of societal expectations and creating purely for the pleasure derived from the act of creation. If feeling more free to be myself is considered sexy, then I definitely feel more sexy.
In some respects, if someone else is an artist it does immediately attract me and create a bond consisting of mutual interest. Personally, however, to me the ultimate combination is someone who is in touch with their artistic soul, yet simultaneously highly intellectual and definitely able to laugh freely and laugh a lot.
RHBNC
Certainly full-time artists living a bohemian lifestyle may have more time and opportunity to live as 'higher sexualized beings' compared with a married, academic scientist working late into the night with a family waiting at home. Personally, I have experienced a shift in attitude towards me the more I have shifted my focus onto the arts.
Liberated, bohemian, risk-taking artists are perceived favorably by the observer, wishing that they too could be/act the same. The more I have projected this new attitude towards life, the more I have received positive feedback. However, this could equally be due to my changed demeanor, more relaxed manner, change in clothing, increase in confidence, etc., all of which combined may construe a person who seems to be a 'higher sexualized being'." - Sandeep
http://fineartamerica.com/profiles/sandeep-hunjan.html
Patrick Parker
Artist / Surfer
Torrance, CA - United States
Surf Tr
"I do feel sexier being an artist because this profession is one of fantasy. So many people would like to be artists but might not have the talent, drive, passion, or dedication to make it their daily job. Similar to an actor or musician, artists have a certain mystique about them because they have followed their dreams and have made it their reality. Anyone to me who has followed their dreams and has overcome many obstacles to get there are sexier in my eyes because it shows strength and desire to be the best at what they strive for; very sexy!
I think artists are perceived as more sexualized human beings because they get to express themselves with their art. Consistently being able to do your passion every day makes someone happier, feel more alive, and free spirited... all things that ooze a higher sexual energy and is very attractive." - Patrick
http://fineartamerica.com/profiles/patrick-parker.html
I am always creating new pieces, check out Patrick Parker Art
Also check me out on facebook!
John Petersen
Ames, IA - United States
Zombie Fatigue
"Being an artist on its own doesn't particularly make me feel sexy. Spending late nights alone hunched over my drawing table, 'sexy' isn't the first word that comes to mind. I often become so lost in the drawing that sex just doesn't enter my mind. I will say, however, that tapping into my creative brain and expressing an emotion or stream of consciousness has helped make me less shy about communicating with women. I think it also has given me more confidence and passion, and enabled me to be comfortable with my feminine side.
And I certainly tend to be more attracted to artists for these same reasons. I'm really into passionate and expressive women. I've also found that non-artists have trouble understanding the need to spend any and all free time making art. I've had relationships end because of this. They think I'm a workaholic, when I don't consider what I do 'work.'
I do think people see artists (and musicians) as more sexualized and open, less constrained within gender roles as, say, athletes or blue-collar workers. It makes me think of the late Bill Hicks's advice to women: 'Find a flute player; someone who can use his fingers and his tongue.' :-D " - John
http://fineartamerica.com/profiles/john-petersen.html
http://www.petersenart.com
http://www.inprnt.com/gallery/scatterbrain73/
Peter Nielsen
Artist / Body Painter
Salt Lake City, UT - United States
"I don't think being an artist necessarily makes me feel like I am sexy, but I can see how people perceive artists (or any free spirited creative) as sexy.
I have the thought that anyone can be an artist; tons of people enjoy pursuing their creative endeavors in some way or another. So when you think of someone specifically as an artist, you differentiate them and hold their persona as "artist." Simply put, artists are successful persons at creating and sharing their talents with others. Success like this is usually due to the artist being in tune with life, or in "flow". The groove that the artist is in is what people perceive as sexy. When someone can be free to create what they want and be what they want, and people like it, then others will find them admirable, intriguing, and sexy.
Specifically for my art, as a body painter, I do find that people perceive me as sexy. Women like to feel sexy and desired, and men like to see beautiful women. What I do as an artist is provide a way to satisfy both parties. I help people feel sexy themselves, and that notion gets returned back to me." -Peter
http://fineartamerica.com/profiles/peter-nielsen.html
http://www.peteranart.com/
James Michael Johnson
Goodrich, MI - United States
Floral Prime 2
"It certainly builds confidence when exploring and using your creativity. That's what it does for me. It always deepens my attraction to a woman who displays her artistic side. It becomes another desirable trait of who she is as a person. It shows a comfort in self-expression and that can be sexy.
It's possible many do. My assumption is they may view an artist as being capable of a finer appreciation. This can easily translate into being more sensual. I can't speak for everyone but it makes sense from my perspective." -James
http://fineartamerica.com/profiles/4-james-johnson.html
http://4-james-johnson.artistwebsites.com/
Ryan Rabbass
RockChromatic :: Owner / Artist
Las Vegas, NV - United States
"Yes, I think being an artist makes you feel unique and sought after, probably a much smaller version of what a celebrity might feel like. I think in general what makes me more attracted to someone who is an artist is the fact that they are interested in or participating in something INTERESTING, doesn't necessarily have to be art. For me, art and music compose most of this category though.
I think that people paint musicians, actors, and people on stage and in media higher this way than artists, but yes overall I would say we do for artists too. It all depends on how the artist shows their work. But the fact that they are creating something original out of nothing is an attraction to others. People are attracted to uniqueness, and if someone can create a visually pleasing creation with their hands, this translates to an aesthetic symmetry with their own appearance as well. And they are good with their hands!! I think if someone sees an artist paint live, they might think, 'He's creating a 'sexy' thing with his hands there, and if his hands were on me, it would make me feel sexy as well.' Of course, this is just an assumption since I'm not in the mind of the viewer, but it makes sense to me." - Ryan
http://fineartamerica.com/profiles/ryan-rabbass.html
www.rockchromatic.com
Paul Grech
Artist / Digital Artist
Denville, NJ - United States
"1.Well, it definitely makes me feel something. Simply being an artist doesn't feel like anything in particular, but the act of creating a new work – that's invigorating. I'm not sure I'd use the adjective "sexy" though – partly because I feel it's a cheap or dumbed-down interpretation of a uniquely transcendent feeling, and partly because creating art can be just as frustrating or exhausting. I'm both a painter and a graphic designer, and the physiological effects of these mediums differ dramatically. For me, digital art is far more of a cerebral exercise. I'm separated from the work by a bunch of mechanical stuff – a mouse, a keyboard, a screen. What I'm seeing isn't even the thing I'm working on, but rather, a representation of it. And I'm nearly always sitting. Overall, it has a kind of sterilizing effect. In contrast, the smell and viscosity of paints, the torque of the brush bristles, and the tension of the canvas all play into multi-sensory physicality of painting. And there's a wonderful spontaneity – a certain unpredictability that arises when you deal with the analog realm of paint. You have to deeply connect with your materials – they literally require a matching physical response from you. It can feel quite erotic at times.
2.It depends on the art they are making whether I think it makes them sexier. If it's something mindless or repetitive, or if they have nothing particularly new or interesting to say – no voice – I'd find little appeal there, although I may respect their passion. But show me someone who has wonderful style or finesse, or whose work challenges the way I think or feel about something, and that would certainly make them stand out in a crowd.
3.Perhaps. And perhaps artists around the globe are high-fiving each other at the very thought of it! I can understand why people would arrive at this impression. After my first school trip to an art museum, it seemed as if artists were just a bunch of horny guys sitting around painting muscles, dicks, clenched fists and naked women. After all, that's what was on display, and that's what we were compelled to celebrate. And it makes sense – artists create things that are important to them, and sex is usually high up on that list. But if people do paint artists as highly sexualized beings, I don't think it's exclusive to the fine arts. Writers, dancers, and musicians evoke similar vibes. " - Paul
http://fineartamerica.com/profiles/paul-grech.html
http://society6.com/PaulGrech
https://www.flickr.com/photos/paulgrech/
http://artwanted.com/artist.cfm?ArtID=19400
It's got me thinking.....
If someone is an artist, does that make them sexier to me? Well maybe, because I found a great number of these artists very attractive and I had to remind myself to stay professional when conducting these interviews. For me personally, the hierarchy of my attraction was structured as: attractiveness of the profile picture, then quality of the artwork, and lastly the intelligence perceived through their response.
I think if someone is an artist, and in particular a good one, I do find this element to be sexy. Having admiration for someone does make them more sexually appealing to me and this admiration is not exclusive to artistic talent. However, this sexual admiration I speak of is contingent on them being attractive to me to begin with, sort of as Joe Ambrose alluded to in his own response.
The "sexy artist" label in some ways bothers me personally because it makes me feel less recognized as a person. As Peter Nielsen explained, "So when you think of someone specifically as an artist, you differentiate them and hold their persona as "artist.'" This differentiation between "artist" and normal persons can be felt in Ryan Rabbass's words as he had stated that it can make an artist feel, "sought after, probably a much smaller version of what a celebrity might feel like."
I think men want to be sexy, and the reasons why don't matter as much as they do for women. Women want to make sure that they are perceived sexy inside and out, and compliments that only cater to the physical, especially if they are expressed crudely, can come off the wrong way. A lot of this also depends on the environment and the contexts in which they are given. Point is, I think men are more often flattered than offended by sexual comments. When reaching out to these men to do this article, many of them admitted to me that they felt flattered and I had a much higher number of those that replied back to me than I did for the women. I reached out to about a fourth as many men as I had to women and had more replies back than I could allow for this article.
Richard Robinson provided a very simple explanation for what sparks sexual attraction for him, "If someone's interested in me sexually, that's what I find sexy." What appeals to me about this perspective is that it seems like it would generate many win-win situations. What it shows is someone who can very well reciprocate positive feedback. I definitely don't share the same point of view, but I wonder if most men would agree with Richard. If they did, it would prove my theory of men accepting flattery more readily.
I find it perplexing that the male responses seemed to generate so much variety in their perspectives. So much so, that it is difficult to draw any comparisons between them with any kind of solid conclusion. Marc Mancuso, Peter Nielsen, Paul Grech, and Ryan Rabbass in different ways touched on the physicality of the actual creating process of being an artist and how that's sexy. However, Christopher Ables, and John Petersen commented about how being an artist can be depicted as unsexy. John Petersen in particular paints the image of an artist as physically unsexy through his description of being, "hunched over my drawing table."
Peter Arpesella and Christopher Ables have agreed that artists compared with other occupations don't seem to be necessarily more sexual. However, Sandeep pointed out that artists may have more opportunity for sex due to less time constraints as oppose to other demanding occupations like doctors or scientists. However, this contradicts what John Petersen was saying about artists being constantly at their work, possibly too preoccupied for sexual thoughts.
If anything can be concluded it's that defining what makes a "sexy artist" for male artists is a highly complicated issue. For the women, it was relatively collective that being an artist made them inwardly feel sexy through their confidence achieved through it, and outwardly that it depended on the type of art.
Perhaps what Peter Arpesella said is correct. Maybe there is some truth in that artists are able to feel the world around them with higher sensitivity. That we are able to pick up frequencies that others cannot. And this sensitivity, this passion, is translated in what we can physically feel with our bodies making us higher sexualized beings.
What is it that makes someone an artist? Is an artist simply a technician? A creator? A persona? A lifestyle?
Maybe artists are not specifically higher sexually, but higher in every element because we allow ourselves to feel more and we make art so we can make others feel too, feel what we are feeling, and see how we see. What is sex but a method of deep connection? Perhaps art is our sex, our way of exposing ourselves to try and make contact. To touch another. To excite them. Enliven them. Pentetrate them. And through all this be understood.
More From Unknown
JOHN CODY Fasano April 22, 2014 at 3:13 AM
Hello MindfulArtiste!
Regarding your article, is was very interesting to see the difference in opinions between the men and the women. It seems that the men were more likely to report that being an artist had little impact on their sexiness. It seems that the women identified as being more sexy from their art. Do you think this is more indicative that women artists are merely treated as more sexy than male artists? The men seemed to view the "sexy artist" as a cliche where the women seemed to connect the stereotype with their actual perceptions.
Thanks for your illumination on this topic.
Monica Adrian Art April 22, 2014 at 11:04 AM
To answer your question, I have to reiterate that the male artists didn't seem to agree on anything.
The female artists, in general were able to ascribe being an artist as "sexy" but only by redefining the word sexy into something that was rather unsexual.
While there were some male artists who viewed the "sexy artists" as an unconvincing cliché, other male artist such as Ryan Rabbass were able to link their increase in sex appeal directly to their art.
I'd like to think that female artists are more sexualized than male artists, only because women tend to be more sexualized in general. However, these interviews didn't seem to really support that hypothesis.
I don't think these interviews are able to indicate thoroughly that one is more sexualized than the other.
Matt Galvin April 22, 2014 at 6:32 PM
Great piece, Interesting responses. It seems that it really depends on the type of person. Some feel, "no, I don't" and some feel "yes, I do". But they all seem to feel like it's a way to be free and express themselves (isn't that what art is about?)
So, I would think it varies on the individual, like most of them said. While people (such as yourself) said they don't necessarily think sex when they're drawing something sexy, some might. Also some might feel very empowered while others might be painting something that makes them said or angry. Depends, I guess as well, on the mood you're in and what you are drawing. Some artists are more methodical with their art while others have a completely different state of mind then what they're creating. I think in a way you're putting yourself out there, showing something personal, and being open and that is, whether or not you think about it, kinda personal like sex. But maybe again, it depends on the individual.
I know for me personally mine affects my work. While I'm not an artist with drawing, I consider myself a filmmaker which is a different form of art. I tend to like what I make when I am sad or depressed (which doesn't happen often but happens to us all) I tend to like my work better, because it comes out darker. When I'm personally happy and write or shoot something I tend not to like it as much because it's not as interesting or complex. It's odd. So what's harmful to me (being sad or depressed) tends to make my films better. On the flip side, if I'm doing something like a comedy short, if I am in a bad mood the thing doesn't come out funny at all.
Musicians work this way as well. Trent Reznor of NIN earlier music was wayy better then what he makes now. He was really depressed and his lyrics and music spewed that. Now that he is happy and married, when he tries to write darkly it comes off as contrived.
Same with rock bands like Metallica, their early stuff is much more raw. They were young and angry and this came through in their music. As they got old and tried to still be full of rage it felt again fake and contrived. They were older, had kids, in different states mentally and didn't have the same passions.
So I guess what I'm saying is as an artist, how your art makes you feel is going to be up to the individual. Some people can be happy while drawing something sad, or thinking about nothing sexual when drawing something sexual while others need to be sad to draw something sad or need to be thinking sexual thoughts when they draw someone naked or something sexual. Method vs. non method art I guess. Just a theory no actual evidence :)
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Q: Only allow users from specific referrer (redirect the rest) - HTACCESS I've been trying to block access from everyone that is trying to see a .php page without coming from my specific tracking link.
I want that if they're not coming from my link, they be redirected to another website.
I tried using .htaccess method as following:
    RewriteEngine On
RewriteBase /

# allow these referers to passthrough
RewriteCond %{HTTP_REFERER} ^http://subdomain.domain.com
RewriteRule ^ - [L]

# redirect everything else
RewriteRule ^ http://anotherDomain.com/ [R,L]

this is because http://subdomain.domain.com is a tracking url that redirects to website.php  but it seems that is not working, and despite any referrer, or even typing the url for website.php directly in toolbar is taking the user to website.php.
what I want to achieve is that only from subdomain.domain.com users can see website.php
thanks in advance.

A: You can do that using order deny,allow, put this into your .htaccess:
order deny,allow
deny from all
allow from subdomain.domain.com

This will deny everyone access unless they visit via subdomain.domain.com
Then to redirect the users who're not coming from subdomain.domain.com you can use:
RewriteCond %{HTTP_HOST} !^www\.subdomain.domain\.com [NC]
RewriteCond %{HTTP_HOST}   !^$
RewriteRule ^/?(.*)         http://www.example.com/$1 [L,R,NE]

For Apache 2.4:
You can use an IF directive since you're using 2.4:
<If "%{HTTP_HOST} != 'www.subdomain.domain.com'">
Redirect / http://www.example.com/
</If>

and for the order deny,allow add the following around it:
<Limit GET>
</Limit>

A: tl;dr
RewriteEngine On
RewriteCond "%{HTTP_REFERER}" "!your-valid-referer.example.com"
RewriteRule ^.*$ - [F]

Details

*

*RewriteCond - do a comparison of:

*"%{HTTP_REFERER}" - the current referer at the time of the request; against:

*"!your-valid-referer.example.com" - the valid referer; and if it isn't:

*RewriteRule ^.*$ - no matter what it is;

*[F] - don't give access to it. Assign an HTTP status code of 403 aka Forbidden.

OP's case
RewriteEngine On
RewriteCond "%{HTTP_REFERER}" "!subdomain.domain.com"
RewriteRule ^ http://anotherDomain.com/ [R,L]

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This encouragement award was initiated by İKSV in 2015, to support outstanding translations of literary works including but not limited to poetry, short stories, and novels into Turkish. Named in honour of Talât Sait Halman, Turkey's first culture minister who passed away in 2014, the Talât Sait Halman Translation Award is given annually. Halman was also İKSV's Chairman of the Board of Trustees from 2008 to 2014.
Literary translations from any language into Turkish, which was published prior to the award year can be submitted and the winning translator is given a monetary award of TL 20,000. The Selection Committee, chaired by author Doğan Hızlan, and comprising of translator and author Sevin Okyay, translator and author Ayşe Sarısayın, author and translator Yiğit Bener, and author and translator Kaya Genç, announces the recipient in January.
Former recipients of the award were Siren İdemen with her translation of La Boutique Obscure: 124 Rêves by Georges Perec, Ahmet Arpad with his translation of Transit by Anna Seghers, and Fuat Sevimay with his outstanding translation of Finnegans Wake by James Joyce.
In 2018, Selection Committee presented the Talât Sait Halman Translation Award to Ülker İnce, for her outstanding translation of the Argentinian author Alberto Manguel's novella, El Regreso (The Return).
The Talât Sait Halman Translation Award Selection Committee also decided to give a Special Jury Award to Gökhan Sarı in 2018, for his courage and success in translating Mark Z. Danielewski's challenging and multifaceted cult novel House of Leaves into Turkish.
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redpajama_set_name: RedPajamaCommonCrawl


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'Empire's Sanaa Hamri Inks Overall Deal With 20th Century Fox TV
By Denise Petski
Denise Petski
Senior Managing Editor
More Stories By Denise
'Saved By The Bell' Renewed For Season 2 By Peacock
'The Muppet Show' Heads To Disney+
'The Last Of Us': 'Beanpole' Helmer To Direct Pilot Of HBO's Video Game Series Adaptation
20th Century Fox TV
Empire director and executive producer Sanaa Hamri is expanding her relationship with 20th Century Fox TV, signing an overall deal with the studio behind the hit drama series. Under the pact, Hamri will develop new projects, direct pilots and continue to direct episodic television for the studio. In addition to continuing her work on Empire, the deal establishes her as an executive producer on the studio's Untitled Ilene Chaiken/ Melissa Scrivner Love Pilot, starring Katie Holmes, which she will direct.
"Sanaa's an extraordinarily talented director with a deep and unique understanding of pop culture, earned from years of establishing herself in the music video scene as both an editor and director, said Jonnie Davis, President of Creative Affairs, 20th Century Fox TV. "She's a creative force of nature, able to translate bold material seamlessly to the screen, and is simply one of the most current and relevant directors working in television today. We're thrilled to expand our relationship with her, continuing her role as executive producer and director on Empire, while ensuring that she'll be able to bring her talent and vision to a variety of other studio projects."
Hamri has been with Empire from the show's launch in 2015, starting as co-executive and rising to executive producer. She also has directed several episodes. Her other directing credits include episodes of Shameless, Rectify and Glee, as well as feature films, such as Something New (2006), The Sisterhood of the Traveling Pants 2 (2008), and Just Wright (2010).
Hamri is the latest A-lister on 20th TV's roster to sign new overalls with the studio, which may be folded into Disney-ABC if Disney's acquisition of key 21st Century Fox assets goes through. She joins Kurt Sutter, Rich Appel, Tim Minear and Danielle Sanchez-Witzel, who recently signed new pacts.
Hamri is repped by CAA, manager Larry Kennar and attorney Patti Felker.
This article was printed from	https://deadline.com/2018/03/empire-sanaa-hamri-overall-deal-20th-century-fox-tv-1202336623/


text:
Exit Interview: Lori Garver on NASA's Controversial Plan to Move an Asteroid
Out ThereBy Corey S PowellAug 17, 2013 8:55 AM
A conversation with NASA deputy administrator Lori Garver is always livelier than her title would suggest. Her enthusiasm for all things space is immediately evident, and she always seems on the verge of speaking more candidly than her position supposedly allows. She's not entirely immune to the carefully crafted talking points typically served up by high-level government officials, but the punctuations in her speech—"wow" when excited, "frankly" when frustrated—strip away the veneer.
Asteroid Redirect Mission--one current concept illustrated here--would latch onto a small asteroid and then use high-power solar electric propulsion to haul it to near-Earth space. (Credit: NASA/Advanced Concepts Lab) Lately, Garver has been using plenty of both words as she drums up support for NASA's Asteroid Redirect Mission, a proposal to send a robotic spacecraft to a small near-Earth asteroid (perhaps about 15-20 feet wide), tow it back to a location near the moon, and send astronauts to study it. The concept has sparked a lot of public excitement, but also a fair bit of skepticism on Capital Hill, where the House Science Committee voted to block funding for the program. I questioned Garver at length about the mission, and why it has sparked such diverse reactions. A few days later, I found out that our conversation, shared here, was actually something of an exit interview: On September 6, Graver announced, she will be leaving NASA to take over as the head of the Air Line Pilots Association. I will miss her role at NASA, as I imagine will many inside the agency. [For more space and astronomy news, follow me on Twitter: @coreyspowell] Why grab an asteroid and move it? How does that fit in with NASA's larger strategy? To us asteroids have been scientifically fascinating celestial objects for a long time. We know they've been critical to our planet and life on it in the past. They are a potential resource for longer-term space development. And they serve as a destination on our way for human expiration of Mars and beyond. For all these reasons, when we outlined a strategy for human space development, asteroids were a natural target. As we were developing that strategy, we were looking at ways to advance all our objectives. The Asteroid Redirect Mission gets us a much bigger asteroid sample sooner than we'd be able to otherwise, lets us enhance our observational capability, gives us a destination to leverage already existing investments in Orion/SLS [the new NASA space capsule and Space Launch System rockets] and solar-electric propulsion [an extremely efficient, low-thrust way to accelerate a spacecraft]. Being able to separate the robotic aspect of this mission from the human part, from a risk perspective, is also a very elegant solution. So when this mission formulation was brought to us we were very excited to take it forward. It is extremely well-aligned with our overall scientific, technological, and human space flight objectives. It's just a natural for us. This basic concept emerged from a 2012 study by the Keck Institute for Space Studies. How did it come to your attention and become a NASA priority? The first time I heard of it was about a year and a half ago from the folks working on Keck. The human space flight program folks here were looking for how we could formulate a mission to go to an asteroid. Then we heard about this configuration, and the human space flight people were asking, "Well, can we do this? Will this fulfill what we're trying to do?" I said, "Are you kidding? You can demonstrate we can move an asteroid? Yeah. That works." It was a very exciting time. The long-pull intent was for astronauts to go to an asteroid for some hundreds-of-days mission, but the medical community is not prepared to allow astronauts to do that yet. The Asteroid Redirect Mission allows us to make progress [by bringing the asteroid into near-Earth space, where it would be only a few days away]. This mission has the added benefit of utilizing solar electric propulsion. We were already doing a solar electric propulsion demonstrator. Instead of just demonstrating it why not go somewhere? [The mission would use solar-electric propulsion as the engine for moving the asteroid into an orbit around the moon.]
Garver's travel-time argument: Towing an asteroid into a "distant retrograde orbit" near the moon gives astronauts a new destination that is accessible via a short-duration space mission. (Credit: NASA) How much is this mission about testing technologies for asteroid deflection—at least implicitly, even if that isn't the overt goal? The primary aspect is human exploration. We're spending $3 billion a year on SLS/Orion; they're going to L2 [CORRECTED: an equilibrium point about 37,000 miles beyond the moon]. This mission is a first, very worthwhile thing for them to do while they're there. That's sort of the core rationale. Then you look at it scientifically, and we can advance the time when we can have big asteroid samples. That is huge, both for studying the origins of the solar system as well as how asteroids might be utilized for space resource development. And then you get to the idea—wow—as we understand these near-Earth asteroids better we'll know how to manipulate them potentially for the future. No question, if you were just going about doing that you wouldn't necessarily send humans. But if you already have a human mission, you can learn a lot more about asteroids, which ultimately will be beneficial for learning to manipulate them. What do you make of the Congressional resistance to the Asteroid Redirect Mission, and how do you think you can get past that? I'm optimistic that we will eventually be able to do that. Frankly, I'm also disappointed that we have not seen the support yet. The fact that a science committee of Congress who had, I think, two of their first three hearings focused on detecting asteroids and the importance of that to citizens of this planet does not see that the Asteroid Redirect Mission is a valuable thing to do is a little disconcerting. We have had full, very detailed briefings with our top human space flight, technology, and science people on Capital Hill these past few months explaining the mission and how it ties into our plans. I think there are just, right now, some things that because of the partisan nature of this Congress we are not going to be able to convince them. This is going to be a debate that goes on over the next few months as the NASA budget goes to the Senate on the authorizing side, as it goes to the appropriators in both the House and Senate. We will continue to give as much information as we can about the importance of asteroids, and about how this mission ties in with so many of the things we're doing, to have the greatest possible return from our taxpayer investment in space exploration. NASA had no trouble getting support for OSIRIS-REx, which will collect a sample from asteroid Bennu around 2019. Why is the Asteroid Redirect Mission so controversial? It's a partly, as I said, a reflection of the partisan nature of where we are now. But keep in mind that OSIRIS-REx is a competed mission, part of the Discovery Program. NASA created Discovery 20 years ago to address issues like we're having now with this asteroid mission: The political nature of getting funding through is not conducive to selecting which type of mission should be done. We were able to take politics out of the process by saying, "Okay, you acknowledge that we should be doing this cadence of missions, at these levels of funding, over this period of time. Now we are going to competitively select them with peer review." For science that has worked extremely well. Human space flight doesn't have that peer review process, so human spaceflight programs get a level of scrutiny—which, frankly, they deserve, because they're more money and they are based on more geopolitical concerns and so forth. But in this case, SLS and Orion are already approved. You're spending the $3 billion already and you're really saying you don't want to spend the extra $200, $300 hundred million a year it would take for a few years to do this valuable thing [the Asteroid Redirect Mission] with those? That's what I find challenging. Let's be honest about the debate and what this mission will accomplish within what we're already doing. What about the support within the scientific community? What's the reaction been like there? I hear some scientists saying, "Uh-oh. Here's this, what looks like it could be a science mission and we didn't get to peer review it." So you have some of those concerns, too. And I'm saying, "Well wait a minute. This isn't coming out of science budget. This is a human space flight mission." The Asteroid Redirect Mission doesn't have a natural constituency, other than asteroid detection folks. And let's face it—that's a $20 million community at this point. But one of the things I like to tell the scientists or ask them is, "Okay, so if you were a lunar scientist in 1961, were you excited—did you benefit from Apollo?" We weren't going to get the funding for Apollo just from science, but here we got this incredible understanding of the moon based on human space flight. I think the same will happen with the asteroid mission.
A small near-Earth asteroid slips into the maw of the Asteroid Redirect Mission in this conceptual illustration. An alternate proposal would harvest a similar-size boulder off a larger asteroid. (Credit: NASA) What is the mood toward the Asteroid Redirect Mission within NASA itself? The excitement that the NASA team has had over this last six months as this came together, I have not felt in all my time at NASA. It's very exciting. It runs across mission directorates, and in a different way than I've seen before. How much do you project this mission would cost? Early reports indicated a target of $1 billion; the Keck study suggested more like $2.5 billion. Can you pin that number down? One of our main areas of focus over the next few months is mission formulation and budget preparation, because we absolutely need to do that. I'd argue that the two numbers aren't that much different in the sense that normally a human space flight mission would be in the tens of billions. If we're saying that this is a $1 billion to $2.5 billion framework, that's probably doable over the number of years we're talking about. If it's going to be twice that, maybe it's something we won't propose going forward. We certainly have science missions that cost more; MSL [the Mars Science Lander, now better known as the Curiosity rover] was more. But a human space flight mission that returns this kind of science, that returns these kind of assets, in the $1 to $2 billion range is pretty incredible. If we can formulate a mission that sticks to that budget we will be able to do it in a reasonable timeframe. Wow, if it's $1 billion, we can certainly handle that and keep to the schedule. If it's more than that it might take another couple of years. The 2014 request—the one under consideration right now—includes $105 million to get started. Where does the money go? About $38 million is for solar-electric propulsion technology, $40 million for robotic capability--so that's inhuman space flight—and $20 million in science for enhanced detection, basically doubling our asteroid-detection budget. The extra $7 million is what we have focused on an "asteroid grand challenge," which is not just detection but creative partnerships and ways to do this that will be leveraged with non-NASA innovative ideas.
Lori Garver, at NASA Kennedy Space Center, watches the March 1 launch of SpaceX's Falcon 9 rocket with the Dragon space capsule onboard. Garver is an energetic supporter of private spaceflight. (Credit: NASA/Bill Ingalls) How does the grand challenge work? Are you inviting anyone to approach NASA and suggest ways to find and move asteroids? The asteroid grand challenge is really all encompassing. This piece of the grand challenge is to find all asteroid threats to human populations and figure out what to do about them. And our framing for that as part of these White House grand challenges is to be able to partner with other U.S. government agencies, private sector partners, as well as international. For asteroid detection there's a lot of other agency participation as well as international, and we're getting more and more private sector interest. There's B612, and also Planetary Resources. Then you look at are there things that they might want to do beyond just detection for the mission. We put out the RFI [Request for Information] because we had folks coming in with really creative ideas for how they might incorporate some of their planning into the mission. It's been exciting to see how many folks are interested in this. And not just from this country. We've had a number of discussions with non-U.S. space agencies. The Japanese were in last week and they said their own aerospace industry, within Japan, is interested. There are still competing concepts for the Asteroid Redirect Mission—grabbing a small, free-floating asteroid or collecting a boulder off a larger object. When and how will you resolve that? All of that to be finalized for what will be our budget request for '15. So this fall we will have, I think, a determination of more of the details of the mission. There are some interesting things about going to a larger asteroid that would allow it to align better both with asteroid detection programs, as well as potential mitigation technology. We're looking at launching the robotic portion, the solar electric propulsion portion, in 2018 at the earliest. And making EM2—Exploration Mission 2, the one that was going to go to L2—having that in 2021 be when the astronauts visit the asteroid. All that presupposes that you were able to detect a target asteroid that you could get to with the 2018 launch and be moved by 2021. Those are all notional. Again, we'll be formulating the budgets and see how that all aligns. What about the most difficult aspect of the mission: capturing and maneuvering an asteroid to a new location? What are the next tech steps there? Well we have the Keck work, and JPL is working on with another four or five of our NASA centers to get their technologies. Goddard has an incredibly robust capability for robotic servicing that started when we were going to do the unmanned Hubble rescue mission [which was scrubbed in favor of servicing by astronauts aboard the shuttle Atlantis in May, 2009]. We were at the Glenn Research Center not too long ago and they are just so energized because they've been working on solar electric propulsion, trying to get it up to about 40 kilowatts, and this mission gives it a real purpose. There is a lot of capability out there that is exciting to draw together for this purpose. It will be fascinating to see the new technologies involved and the kind of capability they gives. It's relevant not only for potential asteroid mitigation in the future, but I've heard people say they are very excited about us driving new technologies for dealing with orbital debris [otherwise known as "space junk"]. The idea of grabbing a 1,000-ton spinning space rock, getting a hold on it, stopping it, and moving it…that seems pretty wild to me. Yeah. And that's one of the reasons we're looking at getting a boulder off a larger asteroid. It might be easier because they're not spinning as fast, the scientists tell me. Is NASA directly exploring any asteroid-deflection concepts using the same kinds of technology? NASA's asteroid grand challenge could come back with some specific proposals in that regard. But for NASA itself, other than capturing an asteroid to tow it to trans-lunar space, we don't have specific deflection proposals yet. Is asteroid deflection even a clear part of NASA's mandate? Is it something the agency would be allowed to do, politically? The national space policy of 2010 laid out NASA's role. We're not the operational ones, but we can drive the technology to do these things. Until now we didn't have the missions and budget to do it, so we hadn't been doing it. The Asteroid Redirect Mission allows us to do that so that others agencies, when they need it, can potentially use that technology in the future. We're not saying, "Oh my gosh, it's like in the movies when the president calls NASA because an asteroid is headed for New York City (since they always are)." I love those kind of movies because I can go, "Oh, that wouldn't happen." My kids are all, "Oh, mom." But really, our role is not operational, it's to advance the technology that can be utilized. So if a high-risk asteroid showed up, NASA would require special legal authorization to become the lead agency in deflecting it? Yeah. We do not have that laid out. There's a United Nations committee on the peaceful uses of outer space and there are—depending on timing—all kinds of scenarios for governance relating to these decisions. Obviously the countries and organizations that have the capability would be the ones called on. I've always felt it would be an international effort and we would just be one voice in a lot. It seems like there's a huge disconnect between the popular fascination with asteroids and the modest efforts NASA has been authorized to undertake. What do you make of that? Frankly I think that we need to catch up with public culture. NASA's used to being defined by exploration. And we look at Apollo as our shining time, when we were the pop culture. We were the best brand in the world. With this Asteroid Redirect Mission, we have an opportunity to align again with the public's views, to show them, wow, NASA has envisioned what people on this planet should be prepared to do in order to protect civilization.
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Cabochon, Baltic amber and resin (assembled), 18x13mm hand-cut calibrated oval, Mohs hardness 2 to 2-1/2. Sold individually.
Cabochon, Baltic amber (heated), 6mm hand-cut calibrated round, B grade, Mohs hardness 2 to 2-1/2. Sold per pkg of 10.


Welcome to your new home! This 2016 Bob Ward built home located in the sought after Manchester Farms community is a must see. This unique Hampton model is one of the only built that features both a 2 foot extension on each side of the home, and a 4 foot extension across the entire rear of the house. This 2-car garage colonial sits on a fenced 1/3 acre lot off a premium cul-de-sac. The vaulted foyer allows plenty of space and light as you enter the main level off the relaxing front porch. 5 inch wide gleaming hardwoods and 9 foot ceilings greet you, with a much desired open floor plan. This expansive and gourmet kitchen features stainless steel appliances, granite countertops, dual sink, huge center island for gathering, ceramic tile flooring, and opens to the eat in kitchen area and oversized great room. Recessed lighting, ceiling fan, and custom stacked stone gas fireplace for enjoyment. The upper level includes 4 bedrooms, 2 full bathrooms, and a washer/dryer. The large Master bedroom allows for a separate sitting area, en suite bathroom with dual sinks, jetted jacuzzi tub, separate shower, and huge walk in closet. Entertain your guests on the custom built Timbertech Azek deck with vinyl railings. Be sure not to miss this one in Manchester Farms!!


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Fernandez et Cie war ein französischer Hersteller von Automobilen.

Unternehmensgeschichte
Das Unternehmen aus Paris begann 1900 mit der Produktion von Automobilen. Der Markenname lautete Fernandez. 1901 endete die Produktion. Die Compagnie La Sirène setzte die Automobilproduktion unter dem Markennamen La Sirène fort.

Fahrzeuge
Das einzige Modell war mit einem luftgekühlten V2-Motor mit 5 PS Leistung ausgestattet. Der Motor war vorne im Fahrzeug montiert und trieb über eine Kardanwelle die Hinterachse an. Als Fahrgestell diente ein Rohrrahmen. Die offene Karosserie bot Platz für zwei Personen und einen Notsitz dahinter.

Literatur

 George Nick Georgano (Chefredakteur): The Beaulieu Encyclopedia of the Automobile. Volume 2: G–O. Fitzroy Dearborn Publishers, Chicago 2001, ISBN 1-57958-293-1. (englisch)

Einzelnachweise

Ehemaliger Pkw-Hersteller (Frankreich)
Ehemaliges Unternehmen (Paris)
Gegründet 1900
Aufgelöst 1901

redpajama_set_name: RedPajamaWikipedia


ARP recommends studs over bolts because of the ability to obtain a more accurate torque reading studs provide over bolts. Studs don't twist as they are fastened down. Additionally, because of this there is less force exerted on the thread of the block, which results in increased block life, especially on aluminum blocks.
Replace your stock head bolts with ARP heavy duty head studs. The stud design helps the head and the block equalize the pressure better thereby creating a much more even and consistent seal. It is recommended to replace the head studs/bolts with a new set if the head bolts are ever loosened due to metal fatigue. Reusing an old and possibly warped or stretched head bolts/studs will sacrifice the seal between the head and block and may cause head gasket leak. This is a great an easy upgrade when doing an engine rebuild or building a race motor.
Tech Tips: Main Stud Installation Clean and chase appropiate threads in block to ensure proper thread engagment and accurate torque readings All hardware (and caps) should be cleaned and inspected prior to installation, looking for any damage or defects Screw studs into block, finger thights ONLY. For permanent installation, apply loc-tite sparingly to threads. Be sure and install the caps promptly before the cement sets to prevent misalignment of studs in block. Install main caps, checking for binding and misalignment. lubricate threads, nuts and washers with oil or arp moly assembly lubricant before installation. Note that torque specs will vary by lubricant. moly lube is more consistent. Have block align honed. Usins the instructions provided with the studs, tighten the nuts to proper torque values three times.
NOTE: if using Loc-tite proper preload must be achieved prior to it setting up.
ARP studs are made from premium 8740 alloy, rated far superior to aircraft quality materials. Each set is heat treated to 200,000 psi, thread Rolled after heat treating, which results in a stud 1000% better than studs that are thread rolled prior to being heat treated. The kit includes 12-point nuts and hardened parallel ground washers. Using studs will make it much easier to assemble an engine. Studs provide more accurate and consistent torque loading. When you use bolts, the fastener is actually being twisted as torque is being applied to the it. The bolt is thus reacting to two different forces simultaneously.


text:
Q: Using True type fonts in web applications Present I see lot of web sites use true type fonts. I want to to know how to use true type fonts in our applications and does it affect the load time of the pages ?

A: I want to update the accepted answer due to a significant passage of time. The following is what Font Squirrel outputs under their recommended 'Optimal' setting. Supporting .ttf at this point is no longer important and should be ignored.
font-family: 'Tagesschrift';
  src: url('tagesschrift.woff2') format('woff2'),
       url('tagesschrift.woff') format('woff');
  font-weight: normal;
  font-style: normal;

A: You use Font Embedding.
It will affect the overall load time of the page as the font data has to be downloaded as well as the other content, styles etc. However, it will be cached so only impacts on the first view of the page.

A: HTML5 allows to use TTF fonts in your CSS:
@font-face {
  font-family: 'Tagesschrift';
  src: url('tagesschrift.ttf');
}

To use it:
h1, h2, h3 { font-family: 'Tagesschrift', 'Georgia', serif; }

Check more information in html5rocks.

A: Font embedding can be a bit complicated due to browser compatibility issues. For example, Safari only supports SVG fonts. IE only supports .eot, which must first be converted from .ttf
I have found the easiest way to use custom fonts is with Google Fonts
Besides having the free google font directory to choose from, there are a few providers that provide a much wider selection of fonts for free and to purchase.


On 4-5 November 2017, CPPFS Fellow Linda Hyökki gave a youth workshop, "Muslim Futures in Finland", hosted by the Muslim Students Network in Finland (Suomen muslimiopiskelijoiden verkosto). Following the aim of the CPPFS to empower and mobilize marginalized groups in Futures Literacy, Linda Hyökki and the workshop participants spent two days full of inspiring discussion on alternative and preferred futures for young Muslims of Finland. The focus of discussion was on the challenges Finnish Muslim youth faces as well as the local impact of global and regional changes in economics, culture, politics and religion. The workshop program included on the first day plenary sessions and group exercises using established tools such as Trends Analysis and Emerging Issues Analysis; e.g. microchips, gender-neutrality, halal tourism and religious education in schools. The second was spent with the exercise of drafting a Finland 2040 Vision. This included a selection of values, actions and structures that support the group's preferred vision of futures; for instance, preserving a good environmental conscience, sustainable housing and financial services, strengthening of social solidarity among Muslims and non-Muslims, as well as building a stable Finnish Muslim identity.


When it comes to discussing the latest in electronic music these days, I'm sounding like a broken record. Over and over again great electronic artists are ruining their records with vocals that force the music into a supporting role, deserved or not. Tosca, the duo that combines the latter half of that missing-in-action duo Kruder and Dorfmeister with Rupert Huber, has used lyrics before. But perhaps Dorfmeister and Huber's recent success touring with a full band in support of their previous record, 2003's Dehli 9, has gone to their engineering heads. Because on J.A.C., stellar — and I mean stellar — beats have been sacrificed to mediocre vocals that are far too often the focus of the mix.
The album starts off great, with the atmospheric "Rondo Acapricio" setting the mood for the beautiful vocal performance of Samiah Farah on "Heidi Bruhl." Tosca has been stranger than this in the past, though, and J.A.C. places the duo closer to Thievery Corporation than they've been before (especially on the mildly Indian-tinged "Naschkatze"). Things never get too weird, but they get pretty tight, like on the swishing beat of "John Lee Huber" and the dancing bass line of "Sala." These beats could have been handed to Aceyalone and he would've killed them.
Instead, we get some pretty routine vocals that distract from superior music. On some songs, like "The Big Sleep" and "John Lee Huber," the lyrics hardly seem worth including. It's as if they were put on because a few singers were hanging out in the studio on recording day. The vocals don't ruin the record — this is still one of the better down-tempo records to be released this year — but they make a great album almost great. If there's someone out there who still appreciates the art of making a good old-fashioned instrumental electronic record, I guarantee at least one copy will be sold.
Instead, we get some pretty routine vocals that distract from superior music. On some songs, like "The Big Sleep" and "John Lee Huber," the lyrics hardly seem worth including. It's as if they were put on because a few singers were hanging out in the studio on recording day. The vocals don't ruin the record — this is still one of the better down-tempo records to be released this year — but they make a great album almost great. If there's someone out there who still appreciates the art of making a good old-fashioned instrumental electronic record, I can guarantee at least one album will be sold.


Do you want to edit your monthly recurring donation? That's easy! You have the ability to change the amount you are giving or the date you give on. Watch the video or follow the instructions below to learn how!
Step 3: From the edit screen you can edit the dollar amount and/or the donation date.
**NOTE: If you would like to pause or cancel your recurring donation, then you can do it from the same screen as step 2 above. Instead of selecting 'Edit', select 'Pause' or 'Cancel'.
If you would like to edit a recurring donation from your checking account, please email help@purecharity.com with your request. Please include the following information in your email: donor name, donation amount, last 4 digits of your bank account, the date it drafts & the requested change.


Safari Chic is a bit of a twist on the animal print trend. It's African terrain meets high fashion with dark greens, tans and chocolate browns as the foundation. Picture yourself going on an excursion through the wild with say…Tyra Banks. Now, you have to dress appropriately for the occasion but you also have to be fierce and fabulous. Silk fabrics, boots, khakis and sleek silhouettes are all trademark elements to pull off the safari chic look.
I paired an animal print pencil skirt with a dark green blouse that, despite not being silk, still gives off the feel of a richer fabric. Boots and hats are must-have accessories for this look and perfect for the fall season. Overall, its about finding your inner fierceness and taking your rightful throne as the queen of the jungle!


text:
Popov – przystanek kolejowy w Popovie, w kraju zlińskim, w Czechach. Znajduje się na wysokości 320 m n.p.m.

Na przystanku nie ma możliwość zakupu biletów, a obsługa podróżnych odbywa się w pociągu.

Linie kolejowe
 341 Staré Město u Uh.Hradiště - Vlárský průsmyk

Przypisy

Linki zewnętrzne
 Rozkład jazdy

Stacje i przystanki kolejowe w kraju zlińskim


I will be teaching a workshop through the Summerland Arts Council this June.
Absolutely no experience required: Join renown FCA Painter Bill Hibberd as he guides you in the basics of painting. This gentle class will teach you skills and techniques from the ground up and will get you on your way to working on your own.
This will be aimed at the complete beginner with some new tubes of colour and some sticks with hog hair on the ends or the experienced but perhaps lapsed painter who is looking for a refresher. I will gear the curriculum to those who know absolutely nothing to others who are looking for help in all areas of working with oils or acrylics.
You can link here http://summerlandarts.com/programs/weekend-workshop-series to register.


- This cable supports charging of your Micro USB device in douple time speed (e.g. smartphone, tablet, mp3-player). Thanks to a technology update you can charge your device twice as fast.
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System-S Soft Silicone AZERTY French Layout Keyboard Cover for MacBook Pro 13" 15" 17" iMac MacBook Air 13"
This Product was added to our catalogue on Tuesday 15 July, 2014.


"My Life as a Zucchini" opens at Nightlight Cinema on Friday, March 24.
6 p.m. Thursday, March 23; Akron Art Museum, 1 S. High St., Akron.
Contemporary photographer LaToya Ruby Frazier, recipient of the Akron Art Museum's Knight Purchase Award, will talk about her art, which she uses as a catalyst for social justice. Frazier's photos and videos look at poverty, racism and health care inequality in America. The Fred and Laura Ruth Bidwell Lecture is an annual guest lectureship in photography and photographic media.
7:30 p.m. Thursday, March 23; Akron Civic Theatre, 182 S. Main St., Akron.
Yes, this show missed St. Patrick's Day by a week or so, but Irish dancing and music takes center stage here. Justin Boros, a former lead dancer with Michael Flatley's famed "Lord of the Dance" show, leads this production of precision-filled, fast-paced dancing built around a story of good vs. evil.
Tickets are $25 to $35 and available online.
7:30 p.m. Thursday-Friday, March 23-24, E.J. Thomas Performing Arts Hall, 198 Hill St., Akron.
As the University of Akron rounds out its JazzFest this week, two concerts are on the bill. On Thursday, John Fedchock, an artist in residence and world-class trombonist, will perform with UA's student Big Band. On Friday, Grammy Award-winning producer and vocalist Steve Tyrell, who specializes in jazz and pop standards, will take the stage.
Tickets for the shows range from $6 to $15 and are available online.
Runs Friday, March 24, through Thursday, March 30 (times vary); Nightlight Cinema, 30 N. High St., Akron.
The Oscar-nominated "My Life as a Zucchini," in stop-motion animation, tells the story of an orphan who moves into a group foster home. Though the French-Swiss cartoon stars cute, claylike figurines, the movie is blunt about how the characters have been treated, earning it a PG-13 rating. Still, as a review in The New York Times puts it, "The point of the story, in any case, is not horror but healing. It's a bittersweet celebration of friendship and empathy."
1-4 p.m. Saturday, March 25; Akron-Summit County Public Library, 60 S. High St., Akron.
Sharpen your pencil, puzzle lovers. The Akron Crossword Puzzle Tournament features unpublished puzzles by New York Times crossword editor Will Shortz. They start of easy and get progressively more difficult.
8 p.m. Saturday, March 25; Hard Rock Rocksino, 10777 Northfield Road, Northfield.
Mr. Las Vegas rolls into Northeast Ohio for what he promises in a promotional video is a concert unlike he's ever done. Each night of the show, titled "Up Close and Personal, is different, Newton said, because he and his musicians take requests from the audience. In addition, Newton is happy to answer any questions from audience members about himself or Sin City.
Tickets range from $45 to $75 and are available online.
3-7 p.m. Saturday, March 25; Lock 3 Park, 200 S. Main St., Akron.
More than 30 breweries, spread out through two halls at Lock 3, will off up their choices, including suds, mead, cider and kombucha. Food trucks and concessions will be on hand, and new this year is a music tent.
Admission ranges from $33 (in advance) to $40 at the door (cash only) and include tickets for 30 2-ounce tastes. Designated driver admission is $10.
7 and 10:30 p.m. Sunday, March 26, Kent Stage, 175 E. Main St., Kent.
Warren native Mike Polk Jr. brings his comedy about all things Northeast Ohio to the Kent Stage. Polk has made a name for himself with his YouTube videos, TV appearances and newspaper column.
Tickets range from $15 to $18 and are available online.
2:30 p.m. Sunday, March 26; Akron Civic Theatre, 182 S. Main St., Akron.
The Cincinnati Children's Theatre presents this classic tale by Hans Christian Andersen about the little duckling who believes he is ugly until he discovers his self-worth and changes into a beautiful swan. The production is part of the Civic's Children's Series.
Tickets range from $5 to $10 and are available online.
8 p.m. Sunday, March 26; Kent Stage, 175 E. Main St., Kent.
Rusted Root shot to fame with its 1994 platinum-selling album, "When I Woke," and has been going strong ever since. The band — known for its melange of acoustic rock and world music — has a strong percussion section and a beat that draws on several influences and styles. Nicholas David opens.
Tickets range from $28 to $32 and are available online.


STARKVILLE -- Henry Davison, finally home after a week in the hospital, just wanted some tea after breakfast. He put the tea on the stove and went upstairs to rest while it brewed.
Then he smelled smoke. He thought it was his neighbors burning leaves; only after 30 minutes did he remember he was making tea. He went downstairs to find the water gone and the tea bags on fire.
He did the very same thing the next day, this time forgetting the tea as he went to mow his lawn. He was not this way before football.
Davison is convinced his two years as a Mississippi State defensive back/kick returner and the years of football before it have left irreparable damage on his body and mind, and that's why he is part of a class action concussion lawsuit against the NCAA, the Southeastern Conference and other bodies of collegiate athletics. Davison shared the reasons he joined the suit with The Dispatch.
"Before playing football, I felt I was in perfect health, mentally and physically. Now I have serious pain in my back, knees, joints, etc. And mentally, I'm not like I used to be," Davison said via email. "I have mental health issues. I've even been hospitalized a few times because of them, even several times recently. I never had that before. I suffer from serious memory loss, sometimes I get paranoid, I take things the wrong way easily. And it's easy for me to get angry about small things, and perceive things the wrong way often."
MSU said it has no comment on Davison's part of the litigation, but added it only a target of the litigation by its affiliation with the SEC and it is, "a recognized leader in helmet research designed to protect athletes and military personnel."
The Dispatch had to speak with Davison via email because he is still recovering from a recent hospital visit, one tied to the mental issues he says were given to him by football. Davison said he battles debilitating paranoia, to the point that doctors suggested he take it easy and stay away from big crowds. He's had trouble sleeping recently.
He said he damaged a nerve in his back when he was tackled in his, "early football days." He's since been given a monitor he can wear that will shoot electrodes into his back to help, but he can't remember where it is. When his back goes out, there's little he can do.
Davison described a life that has been, in every way imaginable, impacted by football's lingering effects.
"Since I came out of football I've been through a lot -- relationships, work, etc. I've had trouble with communication, showing affection/emotion. I didn't have this problem before," Davison said. "It's easy for me to get into arguments and overworked and frustrated. When this happens, I can't control it. I'll do things I later recognize I shouldn't -- I'll turn off my phone, stop talking to friends or family for days, etc. Same thing for work -- I have a hard time holding down a job, both because of pain and mental health issues. I have a hard time remembering things at work and also have control problems -- just recently, I was just overseeing a job and overreacted over a very minor thing to my crew. I had to go back and apologize after for overreacting. I never had those problems before.
"I have to be real careful with everything I do. If I bend over and do something that may seem like no big deal to most people, I could easily throw out my back and be in excruciating pain for days."
Through it all, Davison harbors no ill will toward the sport. He said he still watches football on Sundays and has grandchildren that play the game. He tells his grandchildren to focus on academics, to make themselves bigger than football; when he watches games on television, he sees how the game is more aggressive than it used to be and fears for the future of those players.
Therein lies the reason he is in this lawsuit. Davison doesn't want to bring football down. He wants football to help those it harms.
"This world is tough enough. These guys are committing suicide. I think about what's going to happen to those guys after," Davison said. "Football is America's game. It's aggressive, but I just wasn't aware of the toll it was going to take on me later in life. I didn't have a clue that football would impact me like this when I was older. The NCAA was supposed to be protecting us and they should have told us and helped.
"I gave them years of my life and now I'm suffering. And many folks are suffering like me. We need help."


text:
Harmon again distorts Court's ruling to justify "rigged" results
APNU/AFC Campaign Manager Joseph Harmon has once again distorted a court ruling in an effort to justify electoral fraud.
In a statement following the ruling of Chief Justice (ag) Roxane George, Harmon said the judgement is "disappointing" and that "our lawyers will engage at the next level of the Court System to ensure that Our Constitution is respected and adhered to by all."
According to Harmon, the "Court has side stepped the issue of fraudulent ballots in the tabulated votes at the Recount."
But unlike what Harmon claims, CJ George explicitly cited the Caribbean Court of Justice (CCJ) ruling validating the legal validity of the recount results.
The CCJ judgement said: "At the point in the electoral process where Article 177(2)(b) is reached, there is no further need to reference "valid" votes because, subject to Article 163 (which is triggered by election petition after the election), the relevant validation process has already been completed. Unless and until an election court decides otherwise, the votes already counted by the recount process as valid votes are incapable of being declared invalid by any person or authority."
And in delivering her ruling, Justice George expressed: "as determined by the CCJ, unless overturned by a Court in an election petition, the only data that could be used for the declaration of the results of the elections would have to be the recount results or data."
The CJ also noted that "the ten declarations cannot be resurrected at this point in time. In this regard, there can no longer be an impasse between the Chairperson and the CEO as to the effect of Article 177 (2)(b) and Section 96."
In fact, she excruciatingly explicated all the constitutional, statutory and subsidiary laws that justified her judgement.
She concluded that the issues raised by the applicant were already settled through both the doctrines of res judicata and stare decisis and cannot be revisited.
The Chief Justice handed down this ruling in the case brought by APNU/AFC Supporter Misenga Jones who was seeking to block GECOM from declaring the winner of the elections using the recount results. Jones' arguments were endorsed by Attorney General Basil Williams and Chief Executive Officer Keith Lowenfield.
But Justice George said the case presented by those three individuals is "hopelessly flawed".
The APNU/AFC Coalition has lost the March 2 elections but is refusing to concede defeat.
In fact, members of the David Granger-led Coalition have already been slapped with visa restrictions by the US Government for undermining democracy in Guyana.
A national recount has proven that the People's Progressive Party Civic (PPP/C) won the elections with 233,336 votes.
GECOM Chairwoman Justice Claudette Singh has, on several occasions, directed the CEO to produce his final elections report using the recount data to pave the way for a declaration and ultimately the swearing-in of the duly-elected president.
But Lowenfield has, on each occasion, refused to do so; instead, he has submitted reports with concocted and fraudulent figures.
His latest report submitted includes the declarations from the ten Returning Officers – including the fraudulent declaration of the RO for Region Four Clairmont Mingo who was found to have been heavily inflating votes in favour of the APNU/AFC Coalition to give them a false victory.


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The Republican mayor of Reno says the U.S. Senate candidate chosen this week by the Nevada GOP to take on Democrat Harry Reid is an "ultra right-winger" whom he cannot support.
Mayor Bob Cashell says former state Assemblywoman Sharron Angle is "just too far to the right for me."
Angle, a tea party favorite, won Tuesday's primary with 40 percent of the vote and faces the Senate majority leader in the November general election.
Cashell plans to campaign for Reid. He told KRNV-TV in Reno on Friday that "our state will suffer and we would never get anything done" if she is elected.


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