This interview was conducted on the stage of the YMHA on Manhattan's upper East Side. A large audience, predominantly women, was on hand, filling indeed every seat, with standees in the back . . . a testament to Maya Angelou's drawingpower. Close to the stage was a small contingent of black women dressed in the white robes of the Black Muslim order. Her presence dominated the proceedings. Many of her remarks drew fervid applause, especially those which reflected her views on racial problems, the need to persevere, and "courage." She is an extraordinary performer and has a powerful stage presence. Many of the answers seemed as much directed to the audience as to the interviewer so that when Maya Angelou concluded the evening by reading aloud from her work—again to a rapt audience—it seemed a logical extension of a planned entertainment.
Do you read it to get inspired to pick up your own pen?
For melody. For content also. I'm working at trying to be a Christian and that's serious business. It's like trying to be a good Jew, a good Muslim, a good Buddhist, a good Shintoist, a good Zoroastrian, a good friend, a good lover, a good mother, a good buddy—it's serious business. It's not something where you think, Oh, I've got it done. I did it all day, hotdiggety. The truth is, all day long you try to do it, try to be it, and then in the evening if you're honest and have a little courage you look at yourself and say, Hmm. I only blew it eighty-six times. Not bad. I'm trying to be a Christian and the Bible helps me to remind myself what I'm about.
Do you transfer that melody to your own prose? Do you think your prose has that particular ring that one associates with the King James version?
I want to hear how English sounds; how Edna St. Vincent Millay heard English. I want to hear it, so I read it aloud. It is not so that I can then imitate it. It is to remind me what a glorious language it is. Then, I try to be particular and even original. It's a little like reading Gerard Manley Hopkins or Paul Laurence Dunbar or James Weldon Johnson.
How do you know when it's what you want?
I know when it's the best I can do. It may not be the best there is. Another writer may do it much better. But I know when it's the best I can do. I know that one of the great arts that the writer develops is the art of saying, "No. No, I'm finished. Bye." And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won't do that.
The five autobiographical books follow each other in chronological order. When you started writing I Know Why the Caged Bird Sings did you know that you would move on from that? It almost works line by line into the second volume.
I know, but I didn't really mean to. I thought I was going to write Caged Bird and that would be it and I would go back to playwriting and writing scripts for television. Autobiography is awfully seductive; it's wonderful. Once I got into it I realized I was following a tradition established by Frederick Douglass—the slave narrative—speaking in the first-person singular talking about the first-person plural, always saying I meaning we. And what a responsibility! Trying to work with that form, the autobiographical mode, to change it, to make it bigger, richer, finer, and more inclusive in the twentieth century has been a great challenge for me. I've written five now and I really hope—the works are required reading in many universities and colleges in the United States—that people read my work. The greatest compliment I receive is when people walk up to me on the street or in airports and say, Miss Angelou, I wrote your books last year and I really—I mean I read . . . That is it—that the person has come into the books so seriously, so completely, that he or she, black or white, male or female, feels, That's my story. I told it. I'm making it up on the spot. That's the great compliment. I didn't expect, originally, that I was going to continue with the form. I thought I was going to write a little book and it would be fine and I would go on back to poetry, write a little music.
What about the genesis of the first book? Who were the people who helped you shape those sentences that leap off the page?
Oh well, they started years and years before I ever wrote, when I was very young. I loved the black American minister. I loved the melody of the voice and the imagery, so rich and almost impossible. The minister in my church in Arkansas, when I was very young, would use phrases such as "God stepped out, the sun over his right shoulder, the moon nestling in the palm of his hand." I mean, I just loved it, and I loved the black poets, and I loved Shakespeare, and Edgar Allan Poe, and I liked Matthew Arnold a lot—still do. Being mute for a number of years, I read and memorized, and all those people have had tremendous influence . . . in the first book and even in the most recent book.
I was raped when I was very young. I told my brother the name of the person who had done it. Within a few days the man was killed. In my child's mind—seven and a half years old—I thought my voice had killed him. So I stopped talking for five years. Of course I've written about this in Caged Bird.
When did you decide you were going to be a writer? Was there a moment when you suddenly said, This is what I wish to do for the rest of my life?
Well, I had written a television series for PBS, and I was going out to California. I thought I was a poet and playwright. That was what I was going to do the rest of my life. Or become famous as a real estate broker. This sounds like name-dropping, and it really is, but James Baldwin took me over to dinner with Jules and Judy Feiffer one evening. All three of them are great talkers. They went on with their stories and I had to fight for the right to play it good. I had to insert myself to tell some stories too. Well, the next day Judy Feiffer called Bob Loomis, an editor at Random House, and suggested that if he could get me to write an autobiography, he'd have something. So he phoned me and I said, No, under no circumstances; I certainly will not do such a thing. So I went out to California to produce this series on African and black American culture. Loomis called me out there about three times. Each time I said no. Then he talked to James Baldwin. Jimmy gave him a ploy which always works with me—though I'm not proud to say that. The next time he called, he said, Well, Miss Angelou. I won't bother you again. It's just as well that you don't attempt to write this book, because to write autobiography as literature is almost impossible. I said, What are you talking about? I'll do it. I'm not proud about this button that can be pushed and I will immediately jump.
Do you select a dominant theme for each book?
I try to remember times in my life, incidents in which there was the dominating theme of cruelty, or kindness, or generosity, or envy, or happiness, glee . . . perhaps four incidents in the period I'm going to write about. Then I select the one that lends itself best to my device and that I can write as drama without falling into melodrama.
Did you write for a particular audience?
I thought early on if I could write a book for black girls it would be good because there were so few books for a black girl to read that said this is how it is to grow up. Then, I thought, I'd better, you know, enlarge that group, the market group that I'm trying to reach. I decided to write for black boys and then white girls and then white boys.
But what I try to keep in mind mostly is my craft. That's what I really try for; I try to allow myself to be impelled by my art—if that doesn't sound too pompous and weird—accept the impulse and then try my best to have a command of the craft. If I'm feeling depressed and losing my control then I think about the reader. But that is very rare—to think about the reader when the work is going on.
The books are episodic, aren't they? Almost as if you had put together a string of short stories. I wondered if as an autobiographer you ever fiddled with the truth to make the story better.
Well, sometimes. I love the phrase "fiddle with." It's so English. Sometimes I make a character from a composite of three or four people, because the essence in any one person is not sufficiently strong to be written about. Essentially though, the work is true though sometimes I fiddle with the facts. Many of the people I've written about are alive today and I have them to face. I wrote about an ex-husband—he's an African—in The Heart of a Woman. Before I did, I called him in Dar-es-Salaam and said, I'm going to write about some of our years together. He said, Now before you ask, I want you to know that I shall sign my release, because I know you will not lie. However, I am sure I shall argue with you about your interpretation of the truth.
Did he enjoy his portrait finally or did you argue about it?
Well, he didn't argue, but I was kind too.
I would guess this would make it very easy for you to move from autobiography into novel, where you can do anything you want with your characters.
Yes, but for me, fiction is not the sweetest form. I really am trying to do something with autobiography now. It has caught me. I'm using the first-person singular and trying to make that the first-person plural, so that anybody can read the work and say, Hmm, that's the truth, yes, uh-huh, and live in the work. It's a large, ambitious dream. But I love the form.
Aren't the extraordinary events of your life very hard for the rest of us to identify with?
Aren't you tempted to lie? Novelists lie, don't they?
I don't know about lying for novelists. I look at some of the great novelists, and I think the reason they are great is that they're telling the truth. The fact is they're using made-up names, made-up people, made-up places, and made-up times, but they're telling the truth about the human being—what we are capable of, what makes us lose, laugh, weep, fall down, and gnash our teeth and wring our hands and kill each other and love each other.
James Baldwin, along with a lot of writers in this series, said that "when you're writing you're trying to find out something you didn't know." When you write do you search for something that you didn't know about yourself or about us?
Yes. When I'm writing, I am trying to find out who I am, who we are, what we're capable of, how we feel, how we lose and stand up, and go on from darkness into darkness. I'm trying for that. But I'm also trying for the language. I'm trying to see how it can really sound. I really love language. I love it for what it does for us, how it allows us to explain the pain and the glory, the nuances and the delicacies of our existence. And then it allows us to laugh, allows us to show wit. Real wit is shown in language. We need language.
Baldwin also said that his family urged him not to become a writer. His father felt that there was a white monopoly in publishing. Did you ever have any of those feelings—that you were going up against something that was really immensely difficult for a black writer?
Yes, but I didn't find it so just in writing. I've found it so in all the things I've attempted. In the shape of American society, the white male is on top, then the white female, and then the black male, and at the bottom is the black woman. So that's been always so. That is nothing new. It doesn't mean that it doesn't shock me, shake me up . . .
I can understand that in various social stratifications, but why in art?
Well, unfortunately, racism is pervasive. It doesn't stop at the university gate, or at the ballet stage. I knew great black dancers, male and female, who were told early on that they were not shaped, physically, for ballet. Today, we see very few black ballet dancers. Unfortunately, in the theater and in film, racism and sexism stand at the door. I'm the first black female director in Hollywood; in order to direct, I went to Sweden and took a course in cinematography so I would understand what the camera would do. Though I had written a screenplay, and even composed the score, I wasn't allowed to direct it. They brought in a young Swedish director who hadn't even shaken a black person's hand before. The film was Georgia, Georgia with Diana Sands. People either loathed it or complimented me. Both were wrong, because it was not what I wanted, not what I would have done if I had been allowed to direct it. So I thought, Well, what I guess I'd better do is be ten times as prepared. That is not new. I wish it was. In every case I know I have to be ten times more prepared than my white counterpart.
Even as a writer where . . .
Yet a manuscript is what arrives at the editor's desk, not a person, not a body.
Yes. I must have such control of my tools, of words, that I can make this sentence leap off the page. I have to have my writing so polished that it doesn't look polished at all. I want a reader, especially an editor, to be a half-hour into my book before he realizes it's reading he's doing.
But isn't that the goal of every person who sits down at a typewriter?
Absolutely. Yes. It's possible to be overly sensitive, to carry a bit of paranoia along with you. But I don't think that's a bad thing. It keeps you sharp, keeps you on your toes.
Is there a thread one can see through the five autobiographies? It seems to me that one prevailing theme is the love of your child.
Yes, well, that's true. I think that that's a particular. I suppose, if I'm lucky, the particular is seen in the general. There is, I hope, a thesis in my work: we may encounter many defeats, but we must not be defeated. That sounds goody-two-shoes, I know, but I believe that a diamond is the result of extreme pressure and time. Less time is crystal. Less than that is coal. Less than that is fossilized leaves. Less than that it's just plain dirt. In all my work, in the movies I write, the lyrics, the poetry, the prose, the essays, I am saying that we may encounter many defeats—maybe it's imperative that we encounter the defeats—but we are much stronger than we appear to be and maybe much better than we allow ourselves to be. Human beings are more alike than unalike. There's no real mystique. Every human being, every Jew, Christian, backslider, Muslim, Shintoist, Zen Buddhist, atheist, agnostic, every human being wants a nice place to live, a good place for the children to go to school, healthy children, somebody to love, the courage, the unmitigated gall to accept love in return, someplace to party on Saturday or Sunday night, and someplace to perpetuate that God. There's no mystique. None. And if I'm right in my work, that's what my work says.
Have you been back to Stamps, Arkansas?
About 1970, Bill Moyers, Willie Morris, and I were at some affair. Judith Moyers as well—I think she was the instigator. We may have had two or three scotches, or seven or eight. Willie Morris was then with Harper's magazine. The suggestion came up: Why don't we all go back South? Willie Morris was from Yazoo, Mississippi. Bill Moyers is from Marshall, Texas, which is just a hop, skip, and a jump—about as far as you can throw a chitterling—from Stamps, my hometown. Sometime in the middle of the night there was this idea: Why don't Bill Moyers and Maya Angelou go to Yazoo, Mississippi to visit Willie Morris? Then why don't Willie Morris and Maya Angelou go to Marshall, Texas, to visit Bill Moyers? I said, Great. I was agreeing with both. Then they said Willie Morris and Bill Moyers would go to Stamps, Arkansas to visit Maya Angelou, and I said, No way, José. I'm not going back to that little town with two white men! I will not do it! Well, after a while Bill Moyers called me—he was doing a series on "creativity"—and he said, Maya, come on, let's go to Stamps. I said, No way. He continued, I want to talk about creativity. I said, You know, I don't want to know where it resides. I really don't, and I still don't. One of the problems in the West is that people are too busy putting things under microscopes and so forth. Creativity is greater than the sum of its parts. All I want to know is that creativity is there. I want to know that I can put my hand behind my back like Tom Thumb and pull out a plum. Anyway, Moyers went on and on and so did Judith and before I knew it, I found myself in Stamps, Arkansas. Stamps, Arkansas! With Bill Moyers, in front of my grandmother's door. My God! We drove out of town—me with Bill and Judith. Back of us was the crew, a New York crew, you know, very "Right, dig where I'm comin' from, like, get it on," and so forth. We got about three miles outside of Stamps and I said, Stop the car. Let the car behind us pull up. Get those people in with you and I'll take their car. I suddenly was taken back to being twelve years old in a Southern, tiny town where my grandmother told me, Sistah, never be on a country road with any white boys. I was two hundred years older than black pepper, but I said, Stop the car. I did. I got out of the car. And I knew these guys—certainly Bill. Bill Moyers is a friend and brother-friend to me; we care for each other. But dragons, fears, the grotesques of childhood always must be confronted at childhood's door. Any other place is esoteric and has nothing to do with the great fear that is laid upon one as a child. So anyway, we did Bill Moyers's show. And it seems to be a very popular program, and it's the first of the "creativity" programs . . .
Did going back assuage those childhood fears?
They are there like griffins hanging off the sides of old and tired European buildings.
But it was forty years before you went back to the South, to North Carolina. Was that because of a fear of finding griffins everywhere, Stamps being a typical community of the South?
Well, I've never felt the need to prove anything to an audience. I'm always concerned about who I am to me first—to myself and God. I really am. I didn't go south because I didn't want to pull up whatever clout I had, because that's boring, that's not real, not true; that doesn't tell me anything. If I had known I was afraid, I would have gone earlier. I just thought I'd find the South really unpleasant. I have moved south now. I live there.
Perhaps writing the autobiographies, finding out about yourself, would have made it much easier to go back.
I know many think that writing sort of "clears the air." It doesn't do that at all. If you are going to write autobiography, don't expect that it will clear anything up. It makes it more clear to you, but it doesn't alleviate anything. You simply know it better, you have names for people.
There's a part in Caged Bird where you and your brother want to do a scene from The Merchant of Venice, and you don't dare do it because your grandmother would find out that Shakespeare was not only deceased but white.
I don't think she'd have minded if she'd known he was deceased. I tried to pacify her—my mother knew Shakespeare but my grandmother was raising us. When I told her I wanted to recite—it was actually Portia's speech—Mama said to me, Now, sistah, what are you goin' to render? The phrase was so fetching. The phrase was "Now, little mistress Marguerite will render her rendition." Mama said, Now, sistah, what are you goin' to render? I said, Mama, I'm going to render a piece written by William Shakespeare. My grandmother asked me, Now, sistah, who is this very William Shakespeare? I had to tell her that he was white, it was going to come out. Somebody would let it out. So I told Mama, Mama, he's white but he's dead. Then I said, He's been dead for centuries, thinking she'd forgive him because of this little idiosyncrasy. She said, No Ma'am, little mistress you will not. No Ma'am, little mistress you will not. So I rendered James Weldon Johnson, Paul Laurence Dunbar, Countee Cullen, Langston Hughes.
Were books allowed in the house?
None of those books were in the house; they were in the school. I'd bring them home from school, and my brother gave me Edgar Allan Poe because he knew I loved him. I loved him so much I called him EAP. But as I said, I had a problem when I was young: from the time I was seven and a half to the time I was twelve and a half I was a mute. I could speak but I didn't speak for five years and I was what was called a "volunteer mute." But I read and I memorized just masses—I don't know if one is born with photographic memory but I think you can develop it. I just have that.
What is the significance of the title All God's Children Need Traveling Shoes?
I never agreed, even as a young person, with the Thomas Wolfe title You Can't Go Home Again. Instinctively I didn't. But the truth is, you can never leave home. You take it with you; it's under your fingernails; it's in the hair follicles; it's in the way you smile; it's in the ride of your hips, in the passage of your breasts; it's all there, no matter where you go. You can take on the affectations and the postures of other places and even learn to speak their ways. But the truth is, home is between your teeth. Everybody's always looking for it: Jews go to Israel; black Americans and Africans in the Diaspora go to Africa; Europeans, Anglo-Saxons go to England and Ireland; people of Germanic background go to Germany. It's a very queer quest. We can kid ourselves; we can tell ourselves, Oh yes, honey, I live in Tel Aviv, actually . . . The truth is a stubborn fact. So this book is about trying to go home.
If you had to endow a writer with the most necessary pieces of equipment, other than, of course, yellow legal pads, what would these be?
Ears. Ears. To hear the language. But there's no one piece of equipment that is most necessary. Courage, first.
Did you ever feel that you could not get your work published? Would you have continued to write if Random House had returned your manuscript?
I didn't think it was going to be very easy, but I knew I was going to do something. The real reason black people exist at all today is because there's a resistance to a larger society that says you can't do it—you can't survive. And if you survive, you certainly can't thrive. And if you thrive, you can't thrive with any passion or compassion or humor or style. There's a saying, a song that says, "Don't you let nobody turn you 'round, turn you 'round. Don't you let nobody turn you 'round." Well, I've always believed that. So knowing that, knowing that nobody could turn me 'round, if I didn't publish, well, I would design this theater we're sitting in. Yes. Why not? Some human being did it. I agree with Terence. Terence said homo sum: humani nihil a me alienum puto. I am a human being. Nothing human can be alien to me. When you look up Terence in the encyclopedia, you see beside his name, in italics, sold to a Roman senator, freed by that Senator. He became the most popular playwright in Rome. Six of his plays and that statement have come down to us from 154 b.c. This man, not born white, not born free, without any chance of ever receiving citizenship, said, I am a human being. Nothing human can be alien to me. Well, I believe that. I ingested that, internalized that at about thirteen or twelve. I believed if I set my mind to it, maybe I wouldn't be published but I would write a great piece of music or do something about becoming a real friend. Yes, I would do something wonderful. It might be with my next-door neighbor, my gentleman friend, with my lover, but it would be wonderful as far as I could do it. So I never have been very concerned about the world telling me how successful I am. I don't need that.
You mentioned courage . . .
. . .the most important of all the virtues. Without that virtue you can't practice any other virtue with consistency.
What do you think of white writers who have written of the black experience—Faulkner's The Sound and the Fury or William Styron's Confessions of Nat Turner?
Well, sometimes I am disappointed—more often than not. That's unfair, because I'm not suggesting the writer is lying about what he or she sees. It's my disappointment, really, in that he or she doesn't see more deeply, more carefully. I enjoy seeing Peter O'Toole or Michael Caine enact the role of an upper-class person in England. There the working class has had to study the upper-class, has been obliged to do so, to lift themselves out of their positions. Well, black Americans have had to study white Americans. For centuries under slavery, the smile or the grimace on a white man's face or the flow of a hand on a white woman could inform a black person that you're about to be sold or flogged. So we have studied the white American, where the white American has not been obliged to study us. So often it is as if the writer is looking through a glass darkly. And I'm always a little—not a little—saddened by that poor vision.
And you can pick it up in an instant if you . . .
Yes, yes. There are some who delight and inform. It's so much better, you see, for me, when a writer like Edna St. Vincent Millay speaks so deeply about her concern for herself and does not offer us any altruisms. Then when I look through her eyes at how she sees a black or an Asian my heart is lightened. But many of the other writers disappoint me.
What is the best part of writing for you?
Well, I could say the end. But when the language lends itself to me, when it comes and submits, when it surrenders and says, I am yours, darling—that's the best part.
You don't skip around when you write?
No, I may skip around in revision, just to see what connections I can find.
Is most of the effort made in putting the words down onto the paper or is it in revision?
Some work flows and, you know, you can catch three days. It's like . . .I think the word in sailing is scudding—you know, three days of just scudding. Other days it's just awful—plodding and backing up, trying to take out all the ands, ifs, tos, fors, buts, wherefores, therefores, howevers; you know, all those.
And then, finally, you write "The End" and there it is; you have a little bit of sherry.
A lot of sherry then.


The elite nature of our society demands that key decision makers must be engaged to maintain or restore peaceful coexistence. In view of this, we carry out advocacy visits to religious leaders, traditional leaders, politicians and other influential leaders regularly in locations where we intervene to share our goals, objectives, and activities. We solicit their collaboration and support in order to ensure successful program implementation in the respective area.
One of the strategies of IMC is capacity building and mentoring faith based organizations. We train faith based organizations across the country and give them capacity to mediate in conflict situations using the unique interfaith model. The organizations are given capacity on Early Warning, Early Response Mechanism, Mediation and Dialogue skills and best practices in corporate governance.
Mediation becomes necessary when mutual suspicion and lack of trust exists and is a form of third-party intervention into disputes, directed at assisting disputants to find a mutually acceptable settlement. We engage feuding parties in intra and inter mediation sessions during which conflict situations are analysed by identifying triggers, sustaining factors and the stakeholders. IMC works through the parties to establish credibility through reputation, experience, and concern, as well as building relationships of trust with key people on both sides including excluded and marginalized groups. IMC allays fears and restores hope across the divide.
The electronic media remains a potent tool in peace building owing to its wide reach and appeal to all classes of people. We run television and radio programs, where prevailing issues that threaten peaceful coexistence are exhaustively discussed with scriptural texts from the two dominant religions to buttress our position. Once in a while, notable cross-religious faith leaders are invited to contribute to the media dialogue and add their voices to the topic in question. We encourage an interactive space and open communication with the general public through phone-ins that provide an opportunity to contribute to the topic of the day.


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Union Home Minister Amit ShahImage from Facebook
PM Modi has brought a flood of development in NE: Amit Shah
Prime Minister Narendra Modi has the North East in his heart and has brought a flood of development in the region, Union Home Minister Amit Shah said
IMPHAL (PTI):
Prime Minister Narendra Modi has the North East in his heart and has brought a flood of development in the region, Union Home Minister Amit Shah said on Sunday.
"The BJP government under Modi has given a new identity to the region which is now experiencing a new thrust in development," Shah said at the inauguration and foundation laying programme of several projects at Hapta Kangjeibung.
"Earlier, Manipur was known for insurgency, bandhs, and blockades, but now most militant organisations have joined the mainstream and those left would also do so following efforts of the BJP government," he said.
He attacked the Congress for failing to solve the problems of Manipur when they were in power and asserted that since last three years under Chief Minister N. Biren Singh, the state is moving ahead on the path of growth.
Assam: Cong MLA and former minister Ajanta Neog to join BJP by Dec 31
"The Inner Line Permit (ILP) has been the biggest gift by the Prime Minister to the people of Manipur which they got even without asking for it," the home minister said.
"Modiji realised that Manipur is not having the Inner Line Permit when other states surrounding it had it which is (an) injustice to the indigenous people and he found a way", Shah said.
It was a matter of "great satisfaction for us when Manipur got it (ILP) on December 11, 2019", he added.
Shah arrived here from Guwahati Sunday afternoon on the last leg of his three-day visit to the North East and laid the foundation of seven projects, including a medical college at Churachandpur, inaugurated the Thoubal Dam and dedicate the Bishnupur-Tupul-Thoubal-Kasom Khullen Road to the public. (PTI)
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Northeast India
Union Home Minister

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This quiz will reveal just how familiar you are with some of the most popular apps out there. Your job is to look at the app icon in each of the 10 images and figure out the name of the app. There are four choices available for each question, only one of which is correct.
Are you up for the challenge? Press the Start Quiz button to get started — and don't forget to share your result on social media at the end.
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I am asexual. My story is exactly why LGBTQ inclusive sex ed should be required in schools.
The fact so few people receive LGBTQ sex ed hurts everyone, especially kids who grew up like me.
Commentary by Tyler Stevenson Thursday, October 28, 2021
This is Ace Week. It is the week meant to help further awareness of asexuality across the world. Ace Week is something I anticipate and find delight in every year, ever since finding out I was asexual at 26.
The reason behind my passion all ties back to my own individual story behind finding out I am asexual. My passion for asexuality stems from my long and meandering story through angst and inner turmoil to finding peace with myself and my own personal truth.
Related: Right-wing Christians are creating their own parallel universe on social media
My story is a story of convolution. As a kid growing up in Oklahoma, squarely in the middle of the Bible Belt, there was no discussion of sex in school. While my hometown squarely in the Bible Belt has many great people and gave me plenty of great childhood joys, my school was not allowed to talk about certain things in sex ed, like condoms, birth control, and anything past abstinence-only pedagogy. There were no discussions to include people who were gay, lesbian, bi, trans, or (in my case) asexual. Throughout my school years, I had never even heard the word asexual mentioned one time in school.
School is not the easiest place to fit in as an LGBTQ person. I can verify this as an ace personally.
Statistics also verify this as well.
A study published in USA Today by Unite for Reproductive & Gender Equity (URGE) found that less than 8.2% of LGBTQ students are receiving inclusive sex education in school, and that has led to great complications against LGBTQ people. In the United States, only seven states along with Washington D.C. require sex ed to be LGBTQ inclusive, while six states (Texas, Oklahoma, Alabama, Louisiana, Mississippi, and South Carolina) have what are deemed No Promo Homo laws in place, prohibiting any mentioning of anything related to LGBTQ rights and issues in school.
The lack of sex education in school is leading to greater harm for LGBTQ children in school, being manifested in higher rates of bullying from peers. In the states with laws that prohibit the positive discussion of LGBTQ sexuality in school health and sex education classes, students were more likely to hear homophobic remarks from school staff, less likely to report feeling supported by school staff, less likely to receive an effective response to harassment from school staff, and less likely to have LGBTQ resources in schools such as comprehensive anti-harassment/assault policies, inclusive school health services, or Gender-Sexuality Alliances.
The GLSEN Research Institute found that when LGBTQ students do not see their identities, experiences, and communities reflected in school curricula, they are less likely to feel comfortable speaking with their teachers about LGBTQ issues, less likely to feel safe at school, and face greater rates of harassment.
Not having comprehensive and inclusive sex education in school is causing great harm to children, and I feel their pain as it reflected my experiences in school.
Growing up in a school where everybody around me was super horny and craving sex only left me out of the loop and consequently outcast to the shadows of school social life.
If you watch any high school movie, a big part of any high school experience is to go to parties, homecoming, prom, and live it up for your senior year.
Living it up in high school usually involves sexual trysts.
That's the common trope of senior year, whether you think it's wrong or right.
Being in school where everyone else had an appetite for sex made me feel out of place because I didn't share those same feelings and couldn't relate to what they were feeling. I felt lost, deeply lost growing up in my own hometown.
The lack of great sex education growing up only added to the confusion and anxiety I felt as a teenager, throwing more gasoline onto my flames of insecurity. Sure, one could say that every teenager feels some levels of insecurity, as teenagers go through what Eric Ericson called his fifth stage of psychosocial development – Identity vs Role Confusion.
Growing up as an asexual without a term to describe myself left me befuddled, unsure of who and what I am as a person.
Growing up as an asexual teenager in school left me feeling more misfit than belonging to any group.
I never drank, I never smoked, I never chewed tobacco, like so many of the people around me did. I also never had sex—a fact that hasn't changed in my 31 years on Earth.
The fact I had never had sex left me an outcast at school. Most days I walked alone.
I remember a conversation in class during a free day where everyone started to talk about sex, and I was just sitting back not really sure how to react. Everyone was talking about what kind of sex they have, what kind of condoms they use, and how they are ready to start having babies. It was all such an incredible shock because I didn't feel the same way they felt. Everyone else communicated in a language I couldn't and the barrier left me feeling more alienated than E.T.
Though I tried to fit in and tried to act like the cool kids, I simply was wearing shoes too big to fill. I never could convince myself I could be like them. I just didn't have the programming they seemed to innately have.
I told my parents that I never wanted to have children and never wanted to have sex. My parents didn't believe me.
When I told my friends I wasn't interested in kids, they looked at me as some freak of nature—as if I had turned into a cyclops.
Because of my assertions that I would never get married, have kids, along with my commitment to "abstinence", everyone thought there was something bizarre about me. There were constant rumors flying around me.
I heard everything. I couldn't get anyone. I was lying. I was hiding some weird secret. I was in the closet. I am secretly gay and denying it. I had people call me all sorts of derogatory slurs under the assumption that I was gay.
Their words did hurt.
I would have welcomed being gay. It would have given me the clarity that I was always looking for yet found so elusive. If I were truly gay, I would have been more than thrilled.
I knew I wasn't attracted to men, so I knew I wasn't gay. However, I also knew I wasn't really straight like all the other straight people I knew, either. I didn't feel anything for anyone.
Because of that, I didn't know where I fit. I'm not gay, I'm not straight. I'm not anything.
I would spend the next eight years after high school searching for the answer. Those years were full of deep mental pain and anguish.
Growing up, there were no asexual characters on television. There was no Todd Chavez from Bojack Horseman. There were no Voodoo from Sirens, no Raphael Santiago from Shadowhunters, no Misty Day from American Horror Story. There wasn't anyone on television I could look at and say that's me.
Compounding all the lack of representation was a lack of sex education in school telling me that asexuality was a sexual orientation I might actually be.
Both of these things in conjunction led me to feel like I was somehow defective, broken, or dysfunctional, when in reality I am just different.
For years after high school, I questioned myself, tried to fix myself, tried to "convert" myself into being like everyone else, in order to fit the heteronormative script society expected of me. No matter how hard I tried, my efforts were always unsuccessful. If someone had come to me and mentioned that I may be asexual after all, that there's nothing wrong with being ace, and that sex isn't everything, I would have been over the moon.
If someone when I was younger would have told me that not everyone wants sex, that you don't have to try sex, and that it's perfectly okay to not want sex also, it would have saved me years of anguish and self-doubt. Compulsory sexuality put massive weight onto my psyche, driving me neurotic some days. It would have saved me years of experiencing crushing and somewhat debilitating anxiety and peer pressure, feeling pressure to conform in order to be "human."
I finally found peace of mind when I discovered at 26 that I am asexual, but I would have loved to have discovered the truth much earlier in life.
If I had an LGBTQ inclusive sex education class growing up, where I could have learned about all the various gender identities and sexual orientations (including asexuality), I probably would have avoided so much of the mental anxiety I felt when I was younger. I can't speak for sure about what might have been, but I can venture to say that if I had an LGBTQ sex education course when I was in school, I would have been better off in the long run.
Ace Week, Asexuality, Asexuality Awareness Week, high school classes, sex education classes
Vatican tells exorcist priests to stop trying to cast out COVID-19
Madison Cawthorn probably regrets asking a really stupid question on Twitter
The right turns on "cringing little liberal" Brett Kavanaugh for ruling in favor of vaccine mandate
The right has soured on the Supreme Court justice, disappointed that instead of being a full Trump crusader, he's trying to actually be a conservative legal jurist.
Is Ruben Gallego the perfect challenger to send Kyrsten Sinema packing from the Senate?
The LGBTQ ally is well positioned to take advantage of the rage Democrats feel about Sinema's betrayal of her constituents, the president and Democrats' agenda.
White supremacists now feel comfortable recruiting at mainstream conservative events
In a sign of how extremism is going mainstream, dozens of Patriot Boys showed up at an anti-abortion rally in Chicago with the goal of finding new members.
There's a national blood crisis. It doesn't have to be that way.
It's time for us to act before more lives are lost.
Pope Francis sends another signal to US Catholic bishops to lay off the anti-LGBTQ attacks
In two letters to New Ways Ministry, a group persecuted for decades for its outreach to LGBTQ Catholics, the pontiff praised its "neighborly approach."
Santa Claus shot & killed during home invasion
Claus leaves behind a wife, nine flying reindeer – one with a bright red nose – and a gaggle of elves.
The United States has more non-religious people than evangelicals for the first time
Like any and everything, the trend to a more secular society is fueling a furious reaction from the religious right.
Jared Polis earns conservative praise after declaring the COVID-19 emergency "over"
With the coronavirus resurging again, the governor of Colorado isn't reinstating a mask mandate because getting vaccinated is better protection. If you're not vaccinated, "it's your fault" if you end up sick and hospitalized.
Why are some LGBTQ people Republicans? Why do they vote against their own community?
One of the enduring mysteries in politics is why the existence of LGBTQ Republicans.


Join Black Bayou to celebrate Earth Day with a variety of kids activities, water safety with the Army Corps of Engineers. At noon they will be turning the goose to represent the spring migration of the birds. You can drop in anytime between 10:00 AM and 1:00 PM.


What's the difference between flower essence and essential oil?
Flower essences and essential oils complement each other in the healing the human soul. But the way these two work is very different.
Flower essences heal the aura fields around the body and soul. Sometimes the word etheric is used instead of aura when talking about the energy surrounding a human soul and body. Etheric bio-fields regulate the mental, emotional, spiritual, and physical functions of a person. Thus flower essences help balance and regulate the energy vibrations of the etheric fields.
Essential oils react with the body through the senses, mainly the olfactory system. From the nasal passages, scent is carried in chemical packages to various parts of the brain. Memories can be stimulated by different scent. That's why some scents, like freshly baked cookies, can elicit childhood memories.
The difference is what part of the plant is used.
Essential oils have distinct aromas, and as mentioned above, they work on the olfactory sense to heal. Essential oils are highly concentrated chemicals. Most essential oils use the natural chemicals that are found in different parts of plant material, like the roots, seeds, bark, or flowers. To make an essential oil, you need to steam distill large amounts of plant material. Sometimes, man-made chemicals are added to essential oils to enhance the smell. These artificial chemicals are specially designed to affect certain parts of the brain. The purer the essential oil is, the more expensive it is.
You cannot ingest an essential oil because it is highly poisonous or can burn. To use an essential oil on your skin, you first have to dilute the oil in what's called a carrier oil such as olive oil.
Flower essences use only the flower part of the plant. Only small quantities are needed and the process of creating a flower essence is gentle. The vibrational energy of the flower is what's important. The most common way to get that out, is to put the flower in a bowl of water that's placed in direct sunlight.
Flower essences are safe and gentle to use on the body. They can be ingested, although some are harmful to pregnant women and pets. You can squeeze a few drops of flower essence directly on your tongue and be safe.
Flower essences affect the different etheric bio-fields of the body. A flower's resonance energy responds to and interacts with the vibrational energy of a person. This subtly removes negativity from different auric fields and restores balance and harmony to the body, mind, and soul. In order for a flower essence to have full healing potential, the correct flower must be matched with what the person is experiencing spiritually, emotionally, or physically. This is especially important when it comes to distinguishing between depression and anxiety, as both have similar characteristics.
Flower essences and essential oils – it's your choice.
Flower essences and essential oils are great healing alternatives for depression and anxiety. They are safe and easy to use. It's your choice which one you prefer to use. You might want to use both at different times of the day. Positive energy and happy healing to you!


Yellow labels. Boxed red, white & blue Stax 'fingers' picture logo on the left. Cut-out hole. Company sleeve.
A renowned American soul / rhythm & blues singer and songwriter, born in 1937 in Montgomery, Alabama. His 8th or so Stax single.


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redpajama_set_name: RedPajamaGithub


Mercenary Kate Daniels narrates a surprising trip with her bite-me humor. The pack of her mate Curran, werelion Beast Lord, need rare medicine from Europe to save children who die from stuck shapeshifting. Europe offers them barrels of the drug if they guard a spoiled princess. Knowing the invite is a trap, of course they sail right in.
Katie Daniels returns with a gripping new adventure that will hold you captive well past the last page!
The Pack is in desperate need of panacea, a magical herb compound that drastically decreases the chance of loupism in shifter youths. When a chance to obtain barrels of the medicine is offered in exchange for guarding a pregnant wolf shifter until she gives birth Kate and Curran know that they can't refuse. Not only is the life of young Maddie on the line without more panacea, but also the life of any future children of Kate and Curran. However, they know this is a trap. Who the trap is for though is the big question.
Magic Rises is without a doubt, my favorite book of the series so far. With unsurpassed creativity, Ilona Andrews takes the world we already know across the ocean and opens it up to a whole new realm of trials, lore, danger, and heavy-hitting players. Adding depth to the already well-bonded series arc, keeping it fresh and exciting.
Bottom line; Magic Rises was a story packed with white-knuckle suspense of all flavors, I could not put this book down! I love the continual growth of the series; the plot was well paced and flowed from page to page and the world building was superb as usual. Each and every character from the story is enrapturing, from the most vile to the most beloved. Five stars coming from a reader who usually sticks to the straight-up romance side of literature, should tell you just how blown away I was by this urban fantasy and the authors ability as writers!


PARIS - There were plenty of excuses available for Kim Clijsters after a stunning collapse in the second round of the French Open against a woman ranked 114th.
In assessing her 3-6, 7-5, 6-1 loss to Arantxa Rus of the Netherlands on Thursday, the second-seeded Clijsters could have pointed to her heavily taped right ankle, which she hurt while dancing barefoot at her cousin's wedding last month.
In recounting how she managed to waste two match points and drop 11 of the last 12 games after leading 5-2 in the second set, the Belgian could have mentioned that she last entered the French Open in 2006, and had played a total of five clay-court matches anywhere since.
And in explaining her 65 unforced errors - 43 more than her opponent made - and 10 double-faults, Clijsters could have reminded everyone that she hadn't competed at all since late March because of that bum ankle and previous injuries to her right shoulder and wrist.
Instead, the winner of the last two Grand Slam titles, and four overall, pointed a finger squarely at herself and an odd crisis of confidence.
"I started doubting a little bit," said Clijsters, the French Open runner-up in 2001 and 2003. "When you start doubting yourself on any surface - but for me, definitely on clay - it's the wrong attitude to have."
The 27-year-old Clijsters also gave credit to the 20-year-old Rus, who entered the day with a 3-4 career record in major tournaments and only twice before had been to Court Philippe Chatrier - and those visits were as a spectator.
After delivering one of the most surprising tennis results in recent years, Rus acknowledged she was nervous at the outset, perhaps because Clijsters is one of her favorite players, someone she used to cheer for when watching on TV.
"She obviously started building up more confidence, started playing a lot better, and was really kind of putting me on my back foot all the time," Clijsters said. "I couldn't really play my aggressive tennis anymore in that third set."
A similar scenario played out later in that stadium Thursday, except it was the heavy favorite, three-time major champion Maria Sharapova, who appeared to be down and out against an inexperienced kid, 17-year-old French wild-card entry Caroline Garcia, before reeling off the final 11 games to win 3-6, 6-4, 6-0.
"Look," the seventh-seeded Sharapova said, "it could have easily gone the other way."
She said she had trouble dealing with wind that gusted at upward of 20 mph, making the balls move unexpectedly at times and occasionally kicking up clouds of loose clay into players' eyes.
Those conditions led to this bon mot from Rafael Nadal: "If you play good, seems like much less wind. If you are playing bad, seems like a hurricane."
The five-time French Open champion wasn't forced to work nearly as hard as he did in getting past John Isner in five sets Tuesday, but Nadal was hardly satisfied after beating 48th-ranked Pablo Andujar of Spain 7-5, 6-3, 7-6 (4).
"I am not playing that well," said Nadal, who has spent 7 hours, 19 minutes on court. "I am not happy, but I am here."
He needed to erase eight set points after trailing 5-1 in the third against Andujar, who said he thinks Nadal is "going through perhaps a period of doubt."
Also reaching the third round were past Grand Slam finalists Robin Soderling and Andy Murray, along with No. 10 Mardy Fish, the last U.S. man in the field. Six seeded men lost: No. 8 Jurgen Melzer of Austria, No. 20 Florian Mayer of Germany, No. 24 Sam Querrey of the U.S., No. 27 Marcos Baghdatis of Cyprus, No. 28 Nikolay Davydenko of Russia and No. 32 Kevin Anderson of South Africa.
Davydenko, a French Open semifinalist in 2005 and 2007, was beaten in five sets by Antonio Veic of Croatia, a qualifier ranked 227th whose reward is a third-round match against Nadal.
Garcia was the youngest and, at 188th, lowest-ranked woman left, and was playing in only the second tour-level event of her nascent career.
Many expect great things from her, including Murray, who after beating Simone Bolelli 7-6 (3), 6-4, 7-5, took to Twitter and wrote, "Girl sharapova is playing is going to be No.1 in world one day caroline garcia, what a player u heard it here 1st."
Sharapova's take? "She's on her way up, definitely."
Actually, Garcia looked like the poised veteran early, taking the first set and a 4-1 lead in the second, buoyed by a partisan crowd that roared with approval after her 17 groundstroke winners, seven more than Sharapova accumulated.
But during a changeover, spectators raised a ruckus by doing the wave, and Garcia acknowledged later that flustered her a bit.
"I had many things going in my head, because I was leading. I was playing well. She was not really in the court," said Garcia, who now will play in the junior tournament. "And then she reacted just like a champion, because she is a great champion."
The French Open is the one major title Sharapova doesn't own, but she and Svetlana Kuznetsova are the only women with multiple Grand Slam trophies who are still around. That's because the Williams sisters didn't enter the French Open - and because Clijsters already is unexpectedly headed home.


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Hotels in Whittlesford	, Cambridge. Hotels near Whittlesford. Copyright StarStay UK. 2003-2019.


Much like a GPS for drivers, our doctors use Navident technology to help discover and plan the most accurate and precise way to place your dental implant. From start to finish, our Navident treatment is a convenient four-step process. After determining if dental implants are right for you, we can begin planning your surgery.
Dental implants have long been considered the ideal tooth replacement option for patients with one or more missing teeth, helping to restore appearance and function back to a compromised smile. Today, with the help of guided placement technology, dental implants can be placed with greater precision and accuracy. Drs. Gregory Toback and Marianne Urbanski are certified to offer the latest guided implant technology, Navident. This 3D guided placement solution allows doctors to create custom guides for each implant placement, considering the precise location, angles and depth of each case for improved results. Using Navident technology, our office creates a dental implant experience that is more comfortable, reliable and safe.
We begin by customizing a stent, or mold, that is placed over your teeth much like a retainer. This chair-side step only takes a few minutes and the stent is worn when taking the CT scan and during surgery to help calibrate the drill.
We attach a "CT Marker" to the custom stent inside your mouth, then you will undergo a fast and painless 3D cone beam CT scan (CBCT). This gives us necessary insight into the structure of your mouth and jaw, including the position of teeth and location of nerves.
The 3D images received from the CBCT are used to virtually plan dental implant surgery, from beginning to end, and used to create a customized dental crown to restore your implant. This guide can easily be modified before or during surgery to improve accuracy and results.
We will place the dental implant by referencing the real-time feedback provided by the virtual software. Thanks to the CBCT and 3D animation of the surgery location provided by Navident, our doctors are guided to the most accurate position and depth within the jaw bone.
We strive to make your dental implant surgery as accurate and precise as possible, and can do so with the aid of modern dental software like Navident technology. Whether you need a single dental implant or a full arch of new teeth, we can help you enjoy a comfortable, minimally invasive, and virtually pain-free experience!
Learn more about the benefits of Navident guided implant placement by scheduling an appointment with our office today.


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Presentation of the book "Gaudí en Madrid. Ciclo de mesas. Madrid, abril-mayo de 2002 (reedición)"
Gaudí en Madrid. Ciclo de mesas. Madrid, abril-mayo de 2002 (reedición). © Edita Fundación ADIPROPE
Organitzing Entity : COAC
Place : Auditorium of the Demarcation of Tarragona of the College of Architects of Catalonia
Regional branch : Tarragona
Start date : Tuesday, 13 December, 2022
Time : 19:30 h
On Tuesday, December 13, 2022, at 7:30 p.m., we will have the opportunity to listen to the presentation of the book "Gaudí en Madrid. Ciclo de mesas. Madrid, abril-mayo de 2002 (reedición)". A presentation where Ignacio Buqueras, promoter of the book, Jordi Romera, president of the Tarragona Demarcation of the College of Architects of Catalonia, Joan Mercadé, architect and scientific director of the Jujol chair and Santiago Castellano, professor at the URV, will intervene.
On the occasion of the 150th Anniversary of the birth of Antonio Gaudí, the Fundación Independente organized from April 3 to May 8, 2002, in six prestigious Madrid entities, a very important Ciclo, so that the life and work of Gaudí was studied, analyzed and debated. The cycle began at the Centro Cultural de la Villa of Madrid and was closed at the Real Academia de Bellas Artes de San Fernando. Between both acts, Mesas en el Ateneo, Fundación Cultural del Colegio de Arquitectos, the Centro Cultural Blanquerna and the Círculo de Bellas Artes.
Three prominent historians spoke to us about "Gaudí en su tiempo". Three well-known Gaudí biographers spoke at the table dedicated to "Gaudí y su biografía". The session in which "Gaudí arquitecto" was addressed had four speakers of singular importance. The table "Gaudí y la Sagrada Familia" was dedicated to his capital work. It was obligatory that a session be dedicated to "Gaudí y el Modernismo". The cycle was closed with the table "Gaudí y su proyección". Notable personalities took part in all of them.
The book Gaudí in Madrid, promoted by the Fundación Independente and published in 2002, comprehensively covers the events held. This re-edition, improved and updated, is published by the Fundación ADIPROPE and Centro Gaudí Madrid, on the occasion of the 20th Anniversary.
#COACTarragona


Goddess is a creamy subdued pearl with great coverage, and a bit of refinement from some matte tones. Color wise it's similar to our Cream color, but without the tiny glimmers.
Dare to compare this with Urban Decay's Venus. It's every bit as gorgeous, but made without talc, binders, bismuth oxychloride, or preservatives.
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I'd be inReview by Lisa C.
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I absolutely loveReview by Danalynn C.
I absolutely love this color as a highlighter for my day looks. It's a great shimmer but doesn't have any sparkle in it, which is perfect and subtle for me. It actually reminds me of Becca's Shimmering Skin Perfector in Pearl, which I also use on a daily basis on my cheekbones, but more concentrated. I have very pale skin and use this in the inner corner of my eyes quite frequently.
Just as BrendaReview by Elizabeth B.
Just as Brenda says, it is an awesome highlight shadow.
Love this colorReview by Brenda J.
Love this color for under the brow and in the inner tear duct to brighten up a great neutral eye look.


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Look at my Dab: Investigating the Dance Move of 2016
While whipping, "nae nae-ing," and twerking are dance moves performed by many, there is a dance move that became popular in 2016 and has risen much higher than any other pop culture dance move: the dab. When performing the dab, or dabbing, the dancer drops his head into the crook of his arm while raising the elbow and other arm in a gesture many liken to a sneeze. A relatively simple maneuver, the dab has become incredibly popular.
Originating in the Atlanta hip-hop scene in around 2013, the dab became an issue. As the dab gained popularity, multiple entertainers attempted claiming credit for creating and popularizing the dance move. Migos who wrote the song "Look at My Dab" was one of the many performers who claimed they created the dance move. Migos, after being criticized by multiple artists for claiming the dab, later confirmed that Skippa da Flippa was the creator.
While Cameron Newton of the Carolina Panthers never claimed he created the dab, Newton was by far one of the largest contributors to the spread in its popularity. Sometime in late 2015, Newton dabbed after scoring against the Tennessee Titans and continued to perform the dance even when two Titans players confronted him. In June 2016, Newton announced he would no longer being using the dab as his celebration dance move, but he brought it back in November 2016 against the Kansas City Chief.
Celebrities of all professions have been seen performing the dab. Hillary Clinton had some fun on The Ellen DeGeneres Show by dabbing under the instruction of Stephen "tWitch" Boss. US Congressman Roger Marshal's son was caught dabbing at his father's swearing in ceremony but just ends up confusing Speaker of the House Paul Ryan as well as his father. Crystal Palace F.C. player Mathieu Flamini has been mocked for dabbing moments before Arsenal F.C. player Olivier Giroud scored a goal with a scorpion kick. Even Squidward from Spongebob Squarepants got in on the craze during a parade at Universal Studios in January 2016. Everyone's doing it.
But just because everyone's doing it, does not mean everyone likes it. Science Department faculty member Jon Buttensky-Bartlett tells his students that "every time you dab you lose a brain cell." He even goes so far to say that "every time a student [dabs] in class [he] die[s] a little on the inside." BB, as his friends call him, has requested to never be contacted about "dabbing" again.
Western Reserve Academy student Yashaswi Sharma '18 stated that even though he acknowledged the dab had somewhat fallen out of style as it became too mainstream, he could not help himself. "For me [dabbing] became an addiction," Sharma explained. "Dabbing took my friends and family away from me, and although I wanted to stop everyday, dabbing became a regular habit," he continued. After being approached by friends and family about the issue, Sharma spent time reflecting and is now "trying to stop dabbing for the betterment of the community."
The dab has reached every corner of the globe, but we still have yet to see if the dab survives 2017.
-Casey Semple '18
Filed under Entertainment · Tagged with Casey Semple '18
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Steve Bannon Unfit for Top White House Position →


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Ruben I (Armeens: Ռուբեն Ա, Rupen I of Roupen I) (1025 - 1095) was heer van Gobidar en Goromosol, en was de eerste die het vorstendom Cilicisch Armenië uitriep tot autonome staat, nadat hij een rebellie ontketend had tegen het Byzantijnse Rijk waarna hij het fort Partzepert innam.

Ruben is vermoedelijk afkomstig uit de Bagratuni-dynastie, de familie regeerde daar in het gebied tot de val van Ani in 1045. Ruben stierf in 1095 en werd begraven in het klooster van Castalon, zijn zoon Constantijn I volgde hem op. Naar Ruben I is het vorstenhuis van de Rubeniden genoemd.

Referenties
 Ghazarian, Jacob, (2000), The Armenian Kingdom in Cilicia During the Crusades, Routledge Curzon.
 The Barony of Cilician Armenia (Kurkjian's History of Armenia, Ch. 27)
 Rüdt-Collenberg (The Rupenides, Hethumides and Lusignans, The Structure of the Armeno-Cilician Dynasties, Paris, 1963)

Koning van Armenië
Rubeniden
Persoon in de 11e eeuw

redpajama_set_name: RedPajamaWikipedia


Innovation is a critical factor in the success of any organization. It can be the genesis of transformation and change in a given context with implications for various dimensions of business, i.e. human, product, process, culture, or otherwise. Innovation is not just the privy of a select or central group or department within the organization. Having an effective innovation platform is of course important. It can be centralized and robust feeding into the various functions or LOBs. It can be central in design but decentral in application. There's also a need for fast track innovation that is agile in nature. And of course there's social innovation that is born organically within the construct of human intelligence networks of the organization. NueBridge can help clients determine the most effective innovation platform, or combinations of, how to best design and deploy it, ensure there's alignment and integration within the organization and help the client push boundaries and own the market or leadership position of a given industry.


I am uploading another of my Clay-Mahler lectures here, namely my public talk on the cosmic distance ladder (4.3MB, PDF). These slides are based on my previous talks of the same name, but I have updated and reorganised the graphics significantly as I was not fully satisfied with the previous arrangement.
On slide 46, is it not the penumbra, not the umbra, which has a width of 2r?
Thanks for the beautiful lecture. Slide 51, shouldn't it be "The earth takes 24hours to make a full rotation " instead of the moon ?
Really great slides! I am wondering if a nice graphical illustration of why Romer-Huygens measurement works can be included.
Thanks for the corrections! Both the umbra and penumbra are approximately 2r; this is an oversimplification assuming that the sun is quite far away compared to the moon, but the third rung arguments establish that this is indeed the case.
I'll be at your talk at QUT on this topic.
I don't want to look at the slides… It would spoil the speech for me!
In the slide 69, should pi*(1/2 – 12hours/1month) be pi*(1/2 -2*12hours/1month)?
since moon will take 1month to rotate(2*pi) around earth.
I thoroughly enjoyed your lecture at QUT yesterday and found the ancient methods of calculation fascinating. Was a bit miffed not to have brought something to take notes on, so you can imagine my delight and gratitude that you have made the slides available here! Thank you so much.
I keep coming to your wonderful slides on the cosmic ladder. I wonder, is there anything like a "microcosmic ladder"? That is, going smaller rather than bigger.
Well, it is much shorter; with electron microscopes, for instance, one can already get down to the atomic level, and below that range one can more or less compute everything from quantum field theory, using collider data and known values of physical constants to calibrate. The big difference is that we can study microscopic objects in a laboratory, and subject them to whatever physical tests we please in a reasonable amount of time, but we cannot send out some test or probe, say, a distant galaxy without having to wait millions of years for the result.
Thank you for your reply. Yes, I see your point. However, going down from the everyday scale to the atomic level by means of an electron microscope is like going up from the everyday scale to "the universe scale" (9th rung in your slides) by means of the Hubble telescope. It skips a lot of rungs (e.g. the width of a human hair, the edge of a very sharp knife, the porosity of crystals, the nano-scale, etc.) With my question I meant "homemade" or "just clever" ways to conceive the smallness of things along the lines of the ancient Greeks' techniques.
Perhaps in the future we will be able to measure the width of the Kaluza-Klein compact dimensions in a lab with a gigantic machine. That would be fun.
In terms of waiting time, yes, galaxies take a long time to return our calls; but it could easily take us a longer time to measure small lengths near the Planck length (about 10^20 times smaller than the diameter of a proton, according to wikipedia).
Good presentation, I finally ralized the Aristarches' method.
Slide 24: "Aristotle also knew there were stars one could see in Greece but not in Egypt, or vice versa." – hm, it seems that all stars senn in Greece also seen in Egypt.
Slide 41: "Aristotle argued that the Moon was a sphere (rather than a disk) because the terminator (the boundary of the Sun's light on the Moon) was always a circular arc." – isn't the arc of terminator is elliptical?
Hello Terry! I'm a brazillian graduate student and I give classes in high school, I would like to know if I can use your slide in one of my classes about physics ? It would be awesome to introduce students using this slide for two reasons: Show that content from one of the finnest universities of the world is understandable and able of being critisized, and inspire students towards investigation and curiosity, Erastotenes made science only by observing and travelling, he didn't did anything extraordinarily complex and yet was relevant and inspiring.
Yes, the slides can be used either in part or in full as long as attribution is given, see the last section of https://terrytao.wordpress.com/about/ .


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<!-- Do not edit this file. It is automatically generated by API Documenter. -->

[Home](./index.md) > [doofinder](./doofinder.md) > [RangeStats](./doofinder.rangestats.md) > [avg](./doofinder.rangestats.avg.md)

## RangeStats.avg property

Average value for the field for all the matching results.

<b>Signature:</b>

```typescript
avg: number;
```


Prospa, a Sydney based online lender servicing the SME market, has received a nice recognition as it took the top spot for a high growth firm in Asia Pacific. According to a recent ranking of the top 1000 firms in Asia-Pacific by the FT, Prospa ranked number one having experienced revenue growth of 1600% during the time period of 2103 to 2016.
The list was dominated by tech with Fintech showing up throughout the list. Countries included in the research are Japan, South Korea, India, Australia, Hong Kong, Taiwan, Singapore, New Zealand, Malaysia, Indonesia and the Philippines.
138 companies from Australian and New Zealand made the list, and Sydney is also the most represented city on the list after Tokyo and Mumbai.
Prospa says it has experienced accelerated growth over the past year, having now delivered more than $500 million to small businesses across Australia.
This entry was posted in Asia, Fintech, Global and tagged australia, beau bertoli, greg moshal, online lending, prospa. Bookmark the permalink.


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Sports clubs can pump out clean solar energy and save money
Research released today by the Australian Conservation Foundation (ACF) and UNSW has found 20,000 megawatt hours of clean energy can be generated simply by installing solar panels atop the vacant roofing of the nation's major arenas and head offices of major sporting codes.
And the financial benefits – for professional and community clubs alike – are impressive.
On the back of other ACF research showing temperature increases from climate change will worsen the conditions in which professional sports like cricket, Australian Open tennis and World Tour cycling races operate, this latest research offers positive solutions to the biggest crisis facing a sporting nation.
It found that installing solar panels on stadium and facility roofing could:
Generate around 20,000 megawatt hours of energy – enough to power almost 2,900 households annually.
Prevent the release of 310,000 tonnes of carbon pollution over two decades.
Save cricket, football and AFL codes a combined total of $3.7 million per year.
Create jobs.
The south leads, but the north has the most solar potential
North Melbourne Football Club currently leads the way on clean power generation, along with Richmond and St Kilda, all of which have installed 100-kilowatt solar energy systems.
The MCG also uses a similar capacity system to power its water recycling facility.
But the greatest potential exists further north: Gold Coast's Metricon Stadium – which already dedicates some of its roof space to solar arrays – has the potential to generate 1647 kilowatts of clean energy.
The Sydney Cricket Ground could generate 1004 kW of energy, while the Darwin headquarters of Football NT could create 406 kW of power.
"We believe Australian sports can be powered by 100% clean energy by 2030," says ACF campaigns director Paul Sinclair.
"Sports in Australia face a growing threat from climate change, driven mainly by burning fossil fuels like coal and gas, global warming is drying out sports grounds, disrupting events and increasing health risks for players.
"To become pollution-free in the next decade, Australians need to work together and get on with the job of making our country a clean energy superpower.
"That includes making Australia's stadiums and clubrooms renewable-powered and energy efficient."
The Sydney Cricket Ground could generate over 1000 kW of solar energy from its rooftops. Photo: Marc Dalmulder/Flickr Creative Commons
"Why wouldn't you want to try reduce your costs?"
While professional clubs and major arenas can capitalise on rooftop real estate, local sports clubs are among those also seeing benefits to their bottom line.
Moe Cricket Club received a grant from the Latrobe Valley Authority to install a solar system on its clubrooms and used local contractors to complete the project.
The result saw the club enjoy a decrease of around 80% on its energy bills according to club treasurer Mick Walshe.
"We realised that electricity cost was a major expense and we thought we'd try and find a way to reduce that (cost)," Mr Walshe says.
"So with the savings we make, we'll obviously invest that back into our junior programs.
"It just makes sense to try and reduce the costs and encourage younger people into cricket."
Mick Walshe is the Treasurer of the Moe Cricket Club. Photo: Australian Conservation Foundation
ACF sponsors up to 75 clubs for business case consultations
Following the release of its Powering a Sporting Nation reports on Tuesday, ACF will support up to 75 Australian sporting clubs to receive a free energy consultation from the Australian Energy Foundation.
This will allow clubs to establish a business case for installing solar panels on their club facilities.
"At its best Australian sport brings people together to achieve great things. Now is one of those moments when Australia needs its sportspeople and fans to play like a great team," says Paul Sinclair.
"Moving to clean energy creates jobs, cuts energy costs and gives Australian rivers, forests and wildlife a chance to thrive."
Register your interest to receive one of 75 free consultations from the Australian Energy Foundation courtesy of ACF, here
Header photo: Yu-Jheng Fang / Flickr
Australian Conservation Foundation


As Broker, I will represent You with private, personal service using high morals and ethics to broaden and grow Your Real Estate, U.S. Coin, Gold, Silver and Art Investments.
Visit Historic Dahlonega's East End!
Where Land and Precious Metals Come Together In These Hills!
Appalachian Gold represents Sellers, Buyers, Landlords and Investors using high standards and ethics to broaden and maintain their real estate investments, business opportunities and U.S. Coins and precious metals investments. Earning my Real Estate License in March, 2006, I managed Compass Realty in Dahlonega. In March, 2009, I became Associate Broker with Compass Realty until January, 2011. Then decided to open Appalachian Gold LLC, American owned and operated in February, 2011. Integrating Real Estate, US Coins, Gold and Silver together for investment.. Hope to assist you with buying, selling and/or management of your commercial and residential real estate, US coins, gold and silver investments.
The North Georgia real estate market is made up of diverse and interesting cities, towns, communities and neighborhoods. For buyers there is detailed area and neighborhood information with a great listing search page. For sellers information and data is provided to help you to ready your property for market and to list it so it sells.
Information Deemed Reliable, but Not Guaranteed. The property information being provided is for consumers' personal, non-commercial use and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. The data relating to real estate for sale on this web site comes in part from participating Brokers.
Veteran Markers Link Coming Soon!


text:
"Форум" е вестник на българите в Канада, издаван в Монреал от 2002 г. насам.

Вестникът е месечно издание с 4000 бр. тираж. Помества малко материали за България, повечето са за Канада и за българската общност там.

Собственик на вестника е Ethnic Media Inc – агенция за рекламно разпространение. Работи с етнически медии: български, руски, китайски, индийски и др.

Външни препратки
 Официален сайт
 Държавна агенция за българите в чужбина

Източници

Култура в Монреал
Вестници в Канада
Вестници на български език
Българска общност в Канада
Основани в Канада през 2002 година


text:
Bio/Contact Research papers Teaching
Omar Besbes is an Associate Professor in the Decision, Risk & Operations division at the Graduate School of Business, Columbia University.
His primary research interests are in the area of data-driven decision-making with a focus on applications in e-commerce, pricing and revenue management, online advertising, operations management and service systems. His research has been recognized by multiple prizes including the 2017 M&SOM society Young Scholar Prize, the 2013 M&SOM best paper award and the 2012 INFORMS Revenue Management and Pricing Section prize. He serves on the editorial boards of Management Science and Operations Research.
He has taught over the years core MBA courses in Operations Management and Business Analytics, an MBA elective on advanced Business Analytics, as well as various Ph.D. seminars on stochastic models, revenue management and data-driven decision-making. He is a recipient of the Dean's award for teaching excellence in the core at Columbia Business School.
Omar is a graduate of Ecole Polytechnique (France) and received a M.Sc. from Stanford University in 2000 and a Ph.D. from Columbia University in 2008. Before joining Columbia, he was on the faculty at the Wharton School, University of Pennsylvania.
Uris Hall, 405A
obesbes at columbia dot edu


Imeldawilde needed a new logo design and created a contest on 99designs.
Lady-K was excellent to work with. She lead the contest with her innovative designs and ideas. She was quick to reply and always listened to our changes and questions. Thank you lady-K for a great logo!!!
We sell French antiques and curios to the public in Melbourne and, where postage is possible, to all of Australia.
Our target clients are young professionals setting up house, and older more financially established folk whose children have grown up a bit. People who have travelled to Europe, focus on women.
I would like to evoke the French aspect of the business in the logo, something quintessentially French but with an original twist...perhaps the triangular shape of the Eiffel Tower and the triangular shape of an attic could be tied together with the idea of the pretty wrought iron work. Overall, stylish and sophisticated please.


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Burnin' Sky is the fourth studio album by the English rock band Bad Company. It was released on 3 March 1977. Burnin' Sky was recorded in France at Château d'Hérouville in July and August 1976 with future The Rolling Stones engineer Chris Kimsey. Its release was delayed until March 1977 so to not compete with the band's then-current album Run with the Pack.

The album peaked at No. 15 on the Billboard 200 and No. 17 in the UK Albums Chart.  The album was remastered and re-released in 1994. The cover is similar to the poster for the 1969 Sam Peckinpah film The Wild Bunch. In the 2000 movie Almost Famous, the fictitious band Stillwater's first T-shirt is strikingly similar to the Burnin' Sky album cover.

Track listing
All songs by Paul Rodgers unless otherwise noted.

Personnel
Bad Company
 Paul Rodgers – vocals, guitar, piano, accordion
 Mick Ralphs – guitar, keyboards
 Simon Kirke – drums
 Boz Burrell – bass
with:
 Mel Collins – saxophone, flute
 Tim Hinkley – keyboards
Technical
Chris Kimsey - engineer

Charts
Album – Billboard (United States)

Singles – Billboard (United States)

References

External links
 Bad Company - Burnin' Sky (1977) album review by William Ruhlmann, credits & releases at AllMusic
 Bad Company - Burnin' Sky (1977) album releases & credits at Discogs
 Bad Company - Burnin' Sky (1977, Deluxe Edition, 2017 Remaster) album to be listened as stream on Spotify

1977 albums
Albums with cover art by Hipgnosis
Bad Company albums
Swan Song Records albums


Eight new prospective Tachogram partners, future Aplicom device integration into our Mapon platform and a new, Slovakia based distributor for Mapon are just a few of Mapon's and Tachogam's success stories from Telematics Conference SEEurope – the only telematics conference in Southeast Europe.
It took place on the 28th of September in Bratislava where Mapon and Tachogram were amongst the 15 international exhibitors to showcase their telematics solutions – alongside such names as Google Maps, TomTom, Gurtam and Teltonika.
For 7 years now, SEEurope has annually brought together more than 120 key stakeholders from commercial telematics.
Our Co-CEO, CTO, Export Manager and Branch Manager of Spain were there to both talk about our Mapon complete fleet management and GPS tracking solution, as well as our easy to integrate and brand white-label solution.
Tachogram was represented at the same stand as well: the go-to answer for digital tachograph data download and reading.
With Tachogram, drivers won't need to stop at gas stations every single time they need to download their tachograph data: instead, they can do it easily and anytime, anywhere with our app and a card reader.
Tachogram, amongst other solutions, allows users to see remaining driving time, as well as daily and weekly rest times in a single simple dashboard, as well as monitor and follow overall European Union's Working Time Directive, so the company and drivers don't violate any rules and minimum standards of working hours.
There are currently more than 40 million commercial transportation vehicles just in Europe, yet telematics solutions are being used on just around 6 million of them – however, by 2021 the latter number is expected to increase by more than a twofold.
What does this mean for us and other GPS tracking solution providers?
It means the market is growing almost at the speed of light, yet there is still a large number of trucks who haven't integrated tracking solutions and thus risk falling way behind their competitors.
The same rule will eventually apply to car sharing (automated way to rent a vehicle by the hour, day or overnight) – telematics solutions will be paramount to be able to follow the location of cars and for safety reasons, i.e., locking doors or blocking the engine, if there's a risk of theft.
Around 40% of all expenditures of an average transportation company are made up by fuel expenses.
Around 10% of which could be saved by the use of fuel rods. Many businesses believe that CAN is sufficient to measure the amount of fuel in the tank, but the reality is, it has a blind spot at the very top and the bottom of the tank – unable to see 10% of both ends.
Thus, assuming that the average monthly fuel expenses for a company are around 200 000 euros, around 20 000 of it is made up by the amount that CAN cannot see.
Fuel rods would clear this lack of knowledge, allowing companies to better control, how much fuel is used and needs to be used on a trip (and how much could be siphoned off without them knowing).
And siphoning is still an actual, global problem: in Sweden alone, there have been 8000 individual cases of theft just this year. And Manchester has been crowned the unofficial "capital of fuel theft in the UK" – with fuel stolen from truck tanks amounting to 250 000 pounds in 2015.
While this information might seem distressing, we at the conference affirmed that we have the solutions to these issues – our fuel rods and our Mapon tracking solution that allows you to always be aware of how much fuel is in the tank and how much is being spent.
We also learned that the market is constantly growing, so we are intent to keep on growing with it.
No matter how large and unexpected they might be.


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Q: Find expression for $\frac{d}{dn}\overline{s}_{\overline{n|}}$ I got a question from book Mathematics of Investment and Credit
question 2.3.25 b) Find expression for:
$$\frac{d}{dn}\overline{s}_{\overline{n|}}$$
I got the solution, but there is one part that I do not clear:
$$\frac{d}{dn} \int_o^n(1+i)^{n-t}dt =1\cdot(1+i)^{n-n}-0\cdot(1+i)^{n-0}+\int_o^n \frac{d}{dn} e^{\delta(n-t)} $$
Can any one give me some hints why this equation make sense?
Thanks

A: This is via a difficult to prove (and remember) formula for differentiating under the integral sign.  It is a direct application of the theorem presented at the top of the Wikipedia page that I linked.

redpajama_set_name: RedPajamaStackExchange