text:
Q: CallbackOnCollectedDelegate was detected C# I want to Disable Alt+Esc,Alt+Tab,Win key,Ctrl+Esc key In my project. After A lot Of search I found This Source code.It Working Fine. But some Times It gives An error.
"CallbackOnCollectedDelegate was detected
Message: A callback was made on a garbage collected delegate of type 'over_ride_sort_keys!over_ride_sort_keys.Form1+LowLevelKeyboardProcDelegate::Invoke'. This may cause application crashes, corruption and data loss. When passing delegates to unmanaged code, they must be kept alive by the managed application until it is guaranteed that they will never be called."

*

*How to over come this?

*My Source code is given below.

*Also Tell me How to disable Alt + f4?

Source code Which i have used is given below

Code

using System;
using System.Collections.Generic;
using System.ComponentModel;
using System.Data;
using System.Drawing;
using System.Linq;
using System.Text;
using System.Windows.Forms;
using Microsoft.VisualBasic;
using System.Collections;
using System.Diagnostics;
using System.Runtime.InteropServices;

namespace over_ride_sort_keys
{
    public partial class Form1 : Form
    {
        [DllImport("user32", EntryPoint = "SetWindowsHookExA", CharSet = CharSet.Ansi, SetLastError = true, ExactSpelling = true)]

        public static extern int SetWindowsHookEx(int idHook, LowLevelKeyboardProcDelegate lpfn, IntPtr hMod, int dwThreadId);
        [DllImport("user32", EntryPoint = "UnhookWindowsHookEx", CharSet = CharSet.Ansi, SetLastError = true, ExactSpelling = true)]
        public static extern bool UnhookWindowsHookEx(IntPtr hHook);
        [DllImport("user32", EntryPoint = "CallNextHookEx", CharSet = CharSet.Ansi, SetLastError = true, ExactSpelling = true)]
        public static extern int CallNextHookEx(IntPtr hHook, int nCode, int wParam, ref KBDLLHOOKSTRUCT lParam);
        public delegate int LowLevelKeyboardProcDelegate(int nCode, int wParam, ref KBDLLHOOKSTRUCT lParam);
        const int WH_KEYBOARD_LL = 13;

        public struct KBDLLHOOKSTRUCT
        {
            public int vkCode;
            public int scanCode;
            public int flags;
            public int time;
            public int dwExtraInfo;
        }
        int TECLEADO;
        public void COLORES()
        {
            ButtonALTTAB.BackColor = Color.Black;
            ButtonALTESC.BackColor = Color.Black;
            ButtonCTRLESC.BackColor = Color.Black;
            ButtonWIN.BackColor = Color.Black;
            ButtonTODAS.BackColor = Color.Black;
        }

        private int LowLevelKeyboardProc(int nCode, int wParam, ref KBDLLHOOKSTRUCT lParam)
        {

            bool ALTTAB = ((lParam.vkCode == 9) && (lParam.flags == 32));
            bool ALTESC = ((lParam.vkCode == 27) && (lParam.flags == 32));
            bool CTRLESC = ((lParam.vkCode == 27) && (lParam.flags == 0));
            bool WIN = ((lParam.vkCode == 91) && (lParam.flags == 1)) | ((lParam.vkCode == 92) && (lParam.flags == 1));
            bool TODAS = ((lParam.vkCode == 9) && (lParam.flags == 32)) | ((lParam.vkCode == 27) && (lParam.flags == 32)) | ((lParam.vkCode == 27) && (lParam.flags == 0)) | ((lParam.vkCode == 91) && (lParam.flags == 1)) | ((lParam.vkCode == 92) && (lParam.flags == 1));

            if (ALTTAB == true & ButtonALTTAB.BackColor == Color.Red)
            {
                return 1;
            }
            else if (ALTESC == true & ButtonALTESC.BackColor == Color.Red)
            {
                return 1;
            }
            else if (CTRLESC == true & ButtonCTRLESC.BackColor == Color.Red)
            {
                return 1;
            }
            else if (WIN == true & ButtonWIN.BackColor == Color.Red)
            {
                return 1;
            }
            else if (TODAS == true & ButtonTODAS.BackColor == Color.Red)
            {
                return 1;
            }
            else
            {
                return CallNextHookEx(IntPtr.Zero, nCode, wParam, ref lParam);
            }
        }
        private void Form1_FormClosing(object sender, System.Windows.Forms.FormClosingEventArgs e)
        {
        }
        public Form1()
        {
            InitializeComponent();
        }
        private void Form1_Load(object sender, EventArgs e)
        {
            FormClosing += Form1_FormClosing;
        }

        private void ButtonALTTAB_Click(object sender, EventArgs e)
        {
            if (ButtonALTTAB.BackColor == Color.Black)
            {
                COLORES();
                ButtonALTTAB.BackColor = Color.Red;
                TECLEADO = SetWindowsHookEx(WH_KEYBOARD_LL, LowLevelKeyboardProc, IntPtr.Zero, 0);
            }
            else
            {
                ButtonALTTAB.BackColor = Color.Black;
            }
        }

        private void ButtonALTESC_Click(object sender, EventArgs e)
        {
            if (ButtonALTESC.BackColor == Color.Black)
            {
                COLORES();
                ButtonALTESC.BackColor = Color.Red;
                TECLEADO = SetWindowsHookEx(WH_KEYBOARD_LL, LowLevelKeyboardProc, IntPtr.Zero, 0);
            }
            else
            {
                ButtonALTESC.BackColor = Color.Black;
            }
        }

        private void ButtonCTRLESC_Click(object sender, EventArgs e)
        {
            if (ButtonCTRLESC.BackColor == Color.Black)
            {
                COLORES();
                ButtonCTRLESC.BackColor = Color.Red;
                TECLEADO = SetWindowsHookEx(WH_KEYBOARD_LL, LowLevelKeyboardProc, IntPtr.Zero, 0);
            }
            else
            {
                ButtonCTRLESC.BackColor = Color.Black;
            }
        }

        private void ButtonWIN_Click(object sender, EventArgs e)
        {
            if (ButtonWIN.BackColor == Color.Black)
            {
                COLORES();
                ButtonWIN.BackColor = Color.Red;
                TECLEADO = SetWindowsHookEx(WH_KEYBOARD_LL, LowLevelKeyboardProc, IntPtr.Zero, 0);
            }
            else
            {
                ButtonWIN.BackColor = Color.Black;
            }
        }

        private void ButtonTODAS_Click(object sender, EventArgs e)
        {
            if (ButtonTODAS.BackColor == Color.Black)
            {
                COLORES();
                ButtonTODAS.BackColor = Color.Red;
                TECLEADO = SetWindowsHookEx(WH_KEYBOARD_LL, LowLevelKeyboardProc, IntPtr.Zero, 0);
            }
            else
            {
                ButtonTODAS.BackColor = Color.Black;
            }
        }
    }
}


text:
It's my favourite blog of the year: the one where I get to showcase the fabulous people who've done their bit to raise awareness of neuroblastoma on the back of the bike ride.
Just like last year, the categories are as random as the weather in the west of Scotland, but be assured that if you did something that made a difference, I'll try and find some way of recognising it.
I started the year on 21,182 miles, and with a dream of cycling Belfast to Forres, branded as the Oscar to Eileidh ride, to complete the 25,000th mile on the second anniversary of Oscar's passing and Eileidh's diagnosis. They happened a day apart back in 2014.
In order for that to happen, I needed to keep intact a record of consecutive 200 mile weeks that had been running since May 2015. As each week of winter passed by, as the miles kept piling up, the end game looked assured. That was until Wednesday 10th February, when I crashed on black ice at 5:30am at -6C and fecked both hands. Ten months down the road, my right thumb is still not fully recovered but it's passable in terms of controlling the wheels. That's all I need.
But that kiss on the tarmac cost me the calendar year of 200 milers that I'd craved. The attempt came to an end at 36 consecutive weeks. I lost the next week because I couldn't manage the brakes (kind of essential when you're descending 2000ft a day) but three more 200's at least left me with a chance of making the date, if not the route. But given the pain I was in, there was no way I could have ridden 250 on the final day. So O2E was parked on a sick note.
Then, on the day before my 63rd birthday in the middle of March, I lost my job. They wrapped it up as corporate restructuring but nonetheless 117 of us were shown the door. And that brings us to the first award…
The LCFN P45 Award for distinguished long service, both in business, in friendship, and in LCFN support, goes to my mate of 25 years, Les Cullen. When a place has to call you back in as a consultant cos you know stuff, then you're a legend. Les is a legend.
The Spreading The Word Award in 2015 went to loads of people and 2016 has not been that different: it's been another amazing team effort. Check these stats from the blog (the one that you're reading):
2014 views: 3,003
2016 views: 4,092 (and we ain't finished yet)
I want to thank Angela and Eleanor for commenting on my blogs and keeping on sharing them. I want to thank JJ and Theonie in Adelaide. JJ has been immense with his radio show, plugging LCFN most weeks and getting the message out there. Theonie doesn't have her own challenges to seek because at the start of the year, her husband Gerry was diagnosed with aHUS shortly after his 40th birthday. It's a killer disease if left untreated and Theonie is currently campaigning nationally in Australia to have the treatment funded on Straya's equivalent of the NHS. Theonie's been one of my strongest supporters these last eighteen months and I want her to know that I'm in her corner right now. Up in Brizza, the Gabby's took a pile of LCFN wristbands over to Oz in the autumn and they were principally responsible for stocking Adelaide on their return from the UK. And they have the Flag: c'mon guys, let's see the foatiz. Get the Flag down the Gabba….
And then there's the biggest neuroblastoma awareness gig of 2016: featuring Amelie Bottrill aka Frank Loves Joan. I'm going to take a step back for a moment here because the LCFN Most Important Post of the Year Award goes to Missy Fay for sharing this on her Facebook page back in January/February time: https://www.youtube.com/watch?v=ID3_Y6-5ZGw It was a game changer, it's just that I didn't realise it at the time. I'm sure that most of you reading this will know the story but that video led eventually to Amelie recording a special song for Princess Puddles just three months later: 24 thousand views of 'Puddles' says that Amelie did a fantastic job, not just for Eileidh but for kids fighting cancer worldwide. And is if that wasn't enough, Amelie took fifty of the LCFN/EJ wristbands then set up an event to punt them. Missy set that whole train in motion…
And then there's Gail. The primary reason why the LCFN blog stats are up on last year is because of Gail. 2016 was the year in which LCFN and Eileidh's Journey joined forces, something I wanted to happen a year ago rather than just letting the bike ride off into the proverbial sunset. So it's been a kind of two way thing: Amelie did a fantastic job for Princess Puddles and Gail has done an equally fantastic job promoting LCFN through Eileidh's Journey. I could have finished at 25K but Eileidh won my heart. Now I'm pretty much Forrest Gump on two wheels because of her.
The 2016 LCFN Awareness Award goes jointly to Amelie and Gail. Share it and wear it with pride.
But I can't leave awareness without mentioning Theresa, or TT for short. I work on the principle that people can only say no if you ask (politely). TT took the Flag, along with a load of wristbands, to Italy in November, so now there are folk over there rooting for Eileidh too, and be assured that there's something special happening with the second Flag: cue 2017…
Also on awareness, but not directly in the Facebook group, we have the LifeCycleForNeuroblastoma club running on Strava: 45 cyclists in (currently) 15 countries, collectively trying to ride a million miles to raise awareness of the disease. We've only been going since June and this week, we passed through 50,000 miles. LCFN ain't going away any day soon…
The Flower Award goes to Angela, for it was she who presented me with a golden bouquet of yellow flowers from Gail as I passed through the finish line at 25,000 miles at the start of July..
Angela also scoops the Whooping Award cos I could hear her hollerin' when I was still fully 600m from the finish line. Big heart, big attitude: that's Angela. And she's been with me since day one.
The Rocket Fuel Award, which she retains from last year, goes to Jane. You have no idea how many miles have been fuelled by Jane's fantastic creations. Many has been the time that I've hoovered up the cake tin on my way out the door. Love it.
Last year the Best Guy On The Planet Award went to Iain McGovern for all his charitable work. This year Iain organised a walk from Methyr Tydfil in South Wales, back up the road to Celtic Park, in memory of his mate Jonathan Thomas. He walked every step of the way with Jonathan's widow, Sian. Jonathan and Sian were married the day before Jonathan passed away. For that selfless piece of fundraising, my mate Iain walks off with the gong again this year. Top, top bloke. We have to do something together in '17.
The LCFN Music Award's a gimme. Well, sort of…
Amelie is certainly the genius who wrote the song for Puddles but Amelie would be nothing without her soulmate; her best friend in all the world. So the 2016 music award is shared between Amelie and Ben, who produced, recorded and mixed not just the Puddles track, but the About A Girl CD from which it was lifted. Between you, you changed the face of LCFN in 2016. Thank you.
The Most Random New Supporter Award is going hand in hand with the Toyshop Hoolie Award and both have been scooped by Jennifer Juniper in Italy. JJV, to give her her full title, is an absolute hoot, and most definitely my most favourite Facebook poster of 2016. Putting LCFN wristbands on cuddly toys in shops, then switching them on then uploading the ensuing carnage definitely floats my boat. Chapeau missus, and don't ever stop having fun!
The Bloke On The Wireless Award is still with JJ. The guy's simply a legend and it was fantastic when we finally got to meet up at the football in November. The Pro Footballer Award goes to Genaro cos you were man of the match that day and I got to present both yourself and Tessa with wristbands after the game. Have a great '17 guys and keep spreading the word: G, there's a gong in it for you next year if I come back down to Nottingham to hand over the rest of the bands…
The Aussie, Aussie, Aussie Award stays in Straya strangely enough, but it moves across town. Y'see when LCFN got Amelie, it didn't just get Amelie: she came with an entourage of family and friends. If you want to be in it to win it as an extended family, then you want to be a Bottrill, a Chiro or a Taggart. So the Oz3 award goes to Amelie's cousin Lucilla's fiance's mum, Barbie (did you manage to work that out?). Barb's support of everything LCFN this year has top, top drawer. I kind of suspect that she's vying with Ammie for number one Puddles fan status. Barb, you've been fantastic. Thank you.
The Shifted A Load Of Wristbands Award is a three way job: Gail had such a demand when they first game out that she creamed off most of the stock. But alongside that, Marc punted forty to the Celtic support whilst Ammie shifted fifty in Australia. Guys, you did a gud jab.
The Keep The Wheels Turning Award goes to Fast Rider Cycles of Stewarton, hosted by Neil Kinnaird. For two years now, Neil has kept me on the road, and he even managed to wangle me a new frame this year when my Trek Domane gave up the ghost right on the edge of the twelve month warranty when it took except to my rigorous fifty mile a day schedule on shit roads.
And so to the penultimate award, the Lifetime Achievement Award. People who got one last year don't really qualify, if you see what I mean, so that rules out Jane and Angela, who would have been stick-ons had they not already got the tee shirt. Ditto Wullie and Gordon. So this year, I want to say thank you to someone who's followed this journey with interest from day one, and who was unceremonially restructured out of his job half an hour after me back in March: but despite all the upheaval, Les is still there onstage, tapping out an LCFN backbeat. Les, this one's for you mate. Thank you, and now you have a band to play with…
Finally, to the big award: the LCFN Person Of 2016: the person or persons who have done the most to promote and fight neuroblastoma though the name of LCFN…
It's a joint award, and I sincerely hope that each will be thrilled to be alongside the other, cos you both sure as hell deserve it. Princess Puddles and Amelie Bottrill, aka Frank Loves Joan, you are my people of 2016. You have made my journey so worthwhile. I cannot thank either of you enough for the spirit and the joy that you brought to the party this year (I know party isn't quite the right word but you know what I mean).
To Eileidh and Amelie: the dynamic duo. Chapeau.

redpajama_set_name: RedPajamaCommonCrawl


Along with the nationwide traveling exhibit Native Fashion Now, the Portland Art Museum also has on exhibit a piece by El Anatsui, the Ghanian artist who works with recycled/found objects. His work is two-dimensional, organic in nature, and cascades like molten metal in mesmerizing folds and textures.
There were not a lot of pieces, but these were my favorites. This first piece is a commentary on pop culture and history. Arrgh! I managed to miss the artists names on the cuffs/bracelets below!
While much of the exhibit features what would be considered contemporary, upscale fashion or wearable art, there are also designs focusing on traditional Native American garments with an emphasis on traditional bead work and other materials.


text:
Barwani (hindi: बडवानी) també esmentada com Badwani i com Siddh Nagar, és una ciutat i municipalitat de l'estat de Madhya Pradesh, Índia, capital del districte de Barwani. Està situada a la proximitat del riu Narbada. A 8 km hi ha el centre de peregrinació jainista de Bawangaja. El nom deriva de "bad" (bosc) i "wani" (jardí) que vol dir "Jardi de boscos". La pronunciació és Barwani, però correctament s'hauria d'escriure Badwani. Al cens del 2001 figura amb 73.222 habitants.

Vegeu també
 Barwani (estat), l'antic estat

Divisió d'Indore
Municipis de Madhya Pradesh

redpajama_set_name: RedPajamaWikipedia


Accidentally designed by our teammate Jon as he was scribbling on a piece of paper in the office, this tee is everything you've dreamed of and more. It feels soft and lightweight, with the right amount of stretch. It's comfortable and flattering for both men and women and is ready to be dressed up or down.The simple script reminds you that "you are so worth loving." Absolutely, you are.
Side note: It was also released on Jon's birthday!


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Just before we began a week of teaching English to 21 of our Progresa scholarship recipients, a group of us had an introduction to life and culture in an indigenous Mayan town, under the care of veteran ESL participants, Jane and Joe Snyder. We began with the typical Guatemalan breakfast in a local restaurant, replete with fresh hot tortillas and fresh subtropical fruit. From there we proceeded along the edge of the public market to the Antigua bus terminal, where we found a boarded the brightly painted camioneta (sometimes known as "chicken bus") for San Antonio Aguas Calientes. Settling into our 4th grader sized bus seats, we watched the countryside unfold as the bus pulled down the highway and turned off on secondary roads, where people boarded and descended going about their daily business.
We descended the steep hill into Aguas Calientes, known for probably the most technically advanced and highest quality traditional weaving in Guatemala. We stopped, as directed, at the third tumulo (serious speed bump) to find Mañanas y Tardes Mayas, a small establishment run by 5 traditionally minded women dedicated to preserving and encouraging traditional weaving as well as other cultural practices, including use of the K'aqchiqel language. This important work is sustained by groups like us who pay a small fee for a gracious and informative introduction into their world. Jane, with her technical knowledge of fabrics and weaving, provided excellent translation for us, and helped deepen the bonds with our hosts, who sensed a kindred spirit. We learned a lot about weaving, including a chance to kneel at the loom ourselves for a few passes, the kinds of garments produced, and how they are culturally significant, the last by participating in a simulated K'akchiqel Maya wedding, replete with incense, music and dancing. We also had the chance to examine and purchase some of the spectacularly colorful and beautiful textiles and garments they produce. Finally, we were treated to a simple meal of pepián de pollo, a lovely subtly seasoned soup/stew that is a tradition in this part of Mayan Guatemala, along with fresh coffee and tortillas, which we got to try our hand at creating; not as easy as it looks. The deep and sincere gratitude that Lilián and Gloria, our primary hosts, expressed to us for our support of their projects as we departed was touching and heartwarming and disarmed any anxiety we had about being tourists. We hope to see them again next year.
We walked down to the bottom of the hill to catch the bus back to Antigua. While waiting we discovered that the ATM was out of money, having been drained over the New Year and not yet refilled. Another typical Guatemalan experience. On the way back, we did, indeed, share the bus with a chicken or two.
After the week of teaching, 11 of the teachers, one of our board members and a friend went on a tour of the Western Highlands led by our director, Miguel Costop. The tour commenced with a visit to the Mayan ruins of Iximché, near Tecpán Guatemala. Ichimché was the capital of the Kaqchiquel kingdom at the time of the Spanish conquest. While there, tour members witnessed Mayan religious ceremonies taking place at altars at the back of the site. Later they visited the home of Naty (Natividad) Cojtí, one of our Progresa students, where they met 4 generations of her family and, in typical Guatemalan style, a 15 minute visit turned into a 2 hour party.
From there the group moved on to Quetzaltenango, more properly known locally by its Mayan name, Xela or Xelajú, where they reconnected briefly with two other ESL teachers. On the way they visited two of the most interesting churches in Guatemala, the elaborate yellow church of San Andrés Xecul and the most ancient church in the country in Salcajá. Events in Xela included a private tour through the Ixkik' Museum, a remarkable museum of traditional Mayan culture expressed through weaving and textile arts. It is the work of four indigenous Mayan women dedicated to defending and preserving the culture of their people. Later the tour passed through the lush Almolonga valley with its vegetable farms on route to the Georginas Hot Springs for a relaxing warm soak at the edge of the forest.
The tour arrived at Chichicastenango the night before market day. This is one of the most famous markets in Guatemala, full or authentic (and not so authentic) Mayan artisanship. Unexpectedly, the tour was greeted by a procession through the streets of the Cofradía (religious brotherhood) carrying the images of Saints through town and into the church, replete with music, clouds of incense, and loud fireworks. Several members were also able to experience a mass at the Mayan influenced church of Santo Tomás.
From Chichi, the tour proceeded to the spectacularly beautiful Lake of Atitlán, truly one of the wonders of the word: a huge deep blue jewel set in an enormous caldera with several large volcanoes around its edges. Members visited the towns of Panajachel, Santiago, and San Pedro around the edges of the lake, traveling by boat from town to town. In Santiago they were able to meet with another Progresa student, Concepción Chicajau, a nursing student, who gave them a tour of the town by open pickup, including a visit to her very small and simple house, where she shared the story of her life, including the tragic loss of her brother which motivated her desire for a career in health and medicine. Hearts were deeply touched. Around the Lake there were many more opportunities to explore markets with indigenous artisanal work, including a very successful weaving cooperative which has grown over 30 years from 17 war widows to 191 members. Near Panajachel, the group visited a Nature Reserve replete with suspension bridges between trees, waterfalls, and not so wild animals.
The trip culminated with a night to rest and relax in Antigua Guatemala, before members began to turn their eyes toward home. A good and educational time was had by all. Many thanks to Donna Smith and Miguel Costop for their work and dedication to make the tour possible.
This year's ESL tour was another happy success. With 22 students and 22 teachers, it was the largest to date. Apprehensions by first time teachers quickly evaporated in the warm environment of the Posada Belén and the enthusiasm of the students. A number of the teachers were able to take part in a short tour the day before the main event started. We were able to visit a weaving cooperative in the nearby town of San Antonio Aguas Calientes, famous for tradition weaving with brilliant color and design, and a unique weaving technique used nowhere else in Guatemala. Lilian, one of the women in the cooperative, gave us a charming lesson in the history of weaving and its place in Mayan culture, emphasizing the desire of these women to preserve this culture and be sure that it is passed on to the coming generations. The simple backstrap loom is more complicated than it looks, as we learned by trial. We also got to dress up and participate in an imaginary wedding, with much light hearted laughter, in addition to a traditional light lunch of pepián and tortillas fresh from the comal.
The week of teaching itself was a delight. Our students continue to grow and take more and more initiative. We find that they continue to grow in their command of written English, which is now required in Guatemalan studies, but inadequately taught. The opportunity to hear English spoken and to speak it themselves in a supportive environment is very important to them. As always, we had fun exploring Antigua together in small groups. Every year someone discovers something new and interesting in this charming little city.
Our usual trip to visit a student's family took us to the small home of Nora Veronica Saban Car, presided over by her mother Cristina. Cristina is survivor of severe domestic violence who was able to escape and rebuild her life, working long hours to build a better life for her children. She has dedicated her life to bettering the estate of women in Guatemala, but had to sacrifice a hoped for career in law to be able to maintain the family. She grows corn and beans to feed them, taught herself to crochet in order to raise a little extra money, keeps a few chickens, and works at her job in social services. Her tiny garden is full of exotic and beautiful plants which she has collected and tended. Despite all this, she greeted us with the sweetest smile and warmest heart one could ever find; feeding us watermelon and little guisquiles that taste something like artichoke. Nora Veronica is working on degree in social work, following in her Mamá's footsteps. These are the kind of events and experiences that keep our hearts engaged in this program.
Another highlight involved our student Byron Anibal Joj. Byron just joined the program last year to complete a course in nursing. He lives in a pretty remote town in Totonicapán with his widowed mother and his wife and two little girls. Sadly, due to the economic state here, he has been unable to find professional work and has been working in a shop making pants. One morning he was absent from the program, and we learned he had left very early in the morning to take the bus to Xela for an interview for a potential nursing job at a new hospital for which there were many applicants. We were anxious all morning as to whether he got to Xela on time (3 hour + trip). He was able to rejoin us in the afternoon on the way to Nora Veronica's house. We first learned that the interview had gone well, and then found out to our delight that he had actually been hired and would start work as a surgical nurse in two weeks, in a place to which he can commute from his home. He is a happy and proud young man. We, too, are happy and grateful when we have such success stories. Byron has some hope that he may be able to go back for an advanced nursing degree in a few years.
The week concluded with a graduation ceremony, which is always rewarding and heart touching for us teachers. Every year they take more initiative in planning and executing this event. This year a symbolic Mayan ceremony was added with a nice introduction in English by Karina Sic, a recent graduate in social work who now works in the Progresa office. We were also treated to and participated in a traditional dance from Santa Eulalia, Huehuetenango, led by our student Hermelinda Miguel Nicolás who comes from that town. We departed with hugs and good wishes, perhaps even a few tears. We have new friends and renewed hope for the future of this beautiful and damaged country, and through that hope for the whole world. To learn more about this amazing Teaching English Experience click here.
The 2017 Student Conference was a great success. About 60 students and graduates attended. A more detailed description my be read in the spring newsletter, which should appear soon in the column to the right. The theme of the conference was Immigration, built on viewing of the film "La Bestia" and a detailed presentation by Luis Arena, a Guatemalan expert on the subject. Attenders found the information useful, thought provoking, and timely. We also had a useful presentation on nutrition by one of our current medical students, Herberth Beb. As always, one of the most important aspects of the conference is the building of community and networks amongst the becarios (scholarship recipients). This was greatly enhanced by concurrent workshops on theater, dance, or visual art, each led by young Guatemalan artists; notably our own Aurelio Rodríguez in the visual arts. It was a delight to see these events start off with a lot of nervous laughter and some reticence, and end with joyful cooperative production. We expect these bonds to grow into a network of committed, impassioned Guatemalans whose presence and work will make a Guatemala where migration is less of an issue. There was much joy and laughter in the evening of community presentations, singing, dancing, theater, games, and more. For the Quakers among you, we had a grand Meeting for Worship under the trees on first day morning, attended by many of the becarios, although it was not a required activity. We are filled with hope for this great program and for these inspiring students dedicated to making their lives, their country and the world better.
The 2017 Teaching English Experience included 19 students and volunteer teachers, who came from all parts of Guatemala and the USA respectively. Many were first time attenders, eager to learn and teach. We were pleased with the progress many of the returning students have made since the last event. Everybody loved working in the charming garden of the historic Belén (Bethlehem) Convent where Guatemala's own Saint, Hermano Pedro, healed and comforted many of the poorest of his day. Exploration of historic Antigua and its surrounding provided new adventures for all, from museums of history and art to explorations of forests to watching a traditional religious festival. New friendships were made and old friendships renewed among and between teachers and students alike. This has proved to be more than just a short English lesson. The opportunity for students, many from quite isolated areas, to meet others from different areas of Guatemala and with different areas of expertise has been an important community and network building opportunity. Embedded above are videos from two students and a teacher. Be sure to click on the subtitles button for Yessenia and Lupita's videos if you are not a Spanish speaker. To learn more about the Teaching English Experience click here.
The second North Pacific Yearly Meeting Junior Friends Service Trip took place from 8/5 to 8/16, 2016, with 10 Junior (high school age) Friends and three adult advisors. The project was expertly planned and carried out by Miguel Costop and the rest of the Progresa staff. A visit to the ancient Mayan city of Iximché, capital of the Kaqchikel Kingdom at the time of the Spanish Conquest opened the experience. Miguel's friend, Angelina Sacbajá, a midwife and Mayan Spiritual Guide, led us through a Mayan Ceremony in a park near Iximché. After explaining the Mayan principles and practices, she conducted the ceremony entirely in Kaqchikel. We were struck by the similarities between Mayan Spiritual Principles and those of the Religious Society of Friends.
With this promising start, we moved on to the aldeas (small villages) surrounding San José Poaquil, where we worked on reforestation, planting a number of several varieties of trees; and worked teaching English to high schools students at a lovely school that values the conservation of Mayan language and tradition. It was hard work at times, but there was much satisfaction at the end of the day. The high point of this sector and of the trip as a whole occurred here. Each of us had the privilege of spending a day and a night with one of the families of our students or ex-students. Traveling by camioneta ("chicken bus") or tuk tuk, we fanned out to various places for an experience of life on a much simpler and poorer basis than that to which we are accustomed. The depth of love and hospitality we experienced more than made up for any lack of creature comforts, and friendships and connections were made that may endure. Many Junior Friends have shared afterwards that this experience was not only the high point of their trip, but that it changed their outlook on the world and the importance of possessions.
From Poaquil we went to Xela (Quetzaltenango) with a brief stop at the remarkable open market at Chichicastenango. These few days, povided different experience and a chance to experience a larger city, the second largest in Guatemala. Here we traveled to the smaller town of Momostenango where Gaby López, one of our current scholarship students studying forestry, led us on a clean up work party to a beautiful waterfall and hot springs polluted by mountains of trash. Her family treated us to a lovely lunch afterwards after which the JFs cleared a small piece of land (with machetes, which caused some anxiety on the part of the elders) to add to their organic garden of native and medicinal plants. We also treated ourselves to a day exploring some of the villages around Xela, but mostly luxuriating in the large hot spring of Fuentes Georginas. On our way out of town, we again met Gaby, who took us to visit her friends Thelma and Luís, who are the owners and operators of a 4th generation operation hand spinning, natural dying and weaving wool into beautiful blankets and rugs. And, of course, no visit to this region would be complete without a side trip to the unique yellow church of San Andrés Xecul, one of the wonders of the Mayan World.
We finished our trip with a visit to the home of one of our students in San Pedro la Laguna, on the spectacular Lake of Atitlán, and his very charismatic grandfather, a sculptor in stone. The lake is very large and set in a huge caldera surrounded by several volcanic peaks. Antigua Guatemala was our last stop, and lovely city with much of the Spanish Colonial flavor and many ruins from the early days of the Spanish occupation. All returned in one piece, tired, but with experiences to change a life, not to mention lives changed for those of us who worked with and for them. If any are interested in arranging such a trip for another group of young Friends, you may contact Progresa through this website or at progresa3@gmail.com . You may also contact Joe (josephhoytsnyder@gmail.com) or Jane (jmwsnyder@gmail.com) Snyder for ideas and details.
From 8/8 to 8/19, 2014, twenty Junior Friends (high school age) from North Pacific Yearly Meeting traveled to Guatemala for a learning and service trip, organized superbly by the PROGRESA Guatemala Friends Scholarship Program. Our introduction to Guatemala was a visit to the ruins of Iximché, the capital city of the Kaqchikel Maya at the time of the Spanish Conquest. Included in this visit was participation in a Mayan spiritual ceremony explained and performed by a midwife and spiritual guide. This remarkable day culminated in a delicious dinner at the home Miguel Costop, director of PROGRESA and our guide throughout the trip.
After that dynamic start, we spent three days in the little town of Santa Cruz Balanyá, where a PROGRESA student was completing her internship with a well organized women's co-op. Mornings were devoted to a reforestation project where well over 2,000 trees were planted. During the afternoons we taught English at the local middle school. All this under the care and direction of members of a women's co-op who provided the seedlings and fed us generously and deliciously each midday. This segment culminated in an overnight home stay with a local family, the most dramatic experience of the journey for most of us. Deep friendships were made in this very short time.
After fond farewells, we traveled to Xela (Quetzaltenango) with a detour to visit the fascinating (and famous) weekly market at Chichicastenango and a brief visit to the intriguing yellow church in San Andrés Xecul where we were met by another PROGRESA student. In Xela we visited a school for street children or those at risk of becoming street children, founded by another PROGRESA scholarship recipient. There we did a deep cleaning of the school, played joyous futbol with students and staff, and worked on a piece of farmland neglected and damaged by climate change induced drought. The following day, we visited the nearby town of Momostenango where Gaby López, one of the current PROGRESA scholarship recipients, shared with us her passion for and concerns about forestry in her region, and showed us a section of forest ravaged by the pine bark beetle inadvertently imported from Canada by local furniture makers. After visiting a nearby 5th generation family hand weaving operation producing some of the woolen blankets and carpets for which Momos is famous, we were treated to lunch at Gaby's house in a compound set up for families traumatized by the violence of Guatemala's 36 years of civil war. Her family fled to Mexico in the face of extreme violence to her grandfather and uncles and were repatriated in this area where 5 families are working together on organic plant production and preservation of plant species used for food and traditional medicine. We finished the day with a chance to see some local natural wonders, including a beautiful waterfall on a polluted and trash laden river. We couldn't clean up the river, but we at least (without any prompting from leaders) picked up all the trash from the trail leading to it.
From Xela we had a day of travel punctuated by a visit to the spectacularly beautiful Lake Atitlán with a boat ride from Panajachel to the pretty town of Santa Catarina Palopó. The last day, in Antigua Guatemala, was given to relaxation, preparations for travel home, and grateful worship. During our travels, we were able to meet several PROGRESA students or graduates, learn first hand about the hardships they face, and realize how important the program has been in overcoming them.
These are the descriptions in time and space. What is left out are the laughter and tears, exuberance and exhaustion, cooperation and community, deep places of worship and gratitude, and the transformative seeds that have been planted in many hearts.
We are all immensely grateful to the PROGRESA Guatemala Friends Scholarship Program and to Miguel Angel Costop Bala in particular. The dedication, local knowledge, connections with students, understanding of Quaker values, and the care and love shown created a truly life changing experience.


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Home / 2016 Toyota RAV4 Hybrid Randolph VT
2016 Toyota RAV4 Hybrid Near Randolph, VT
Toyota RAV4 models are already in the upper echelon of the automotive industry, delivering on promises of a fun-to-drive performance, competitive fuel efficiency numbers, high-tech innovations, family-friendly spaces and a sleek, athletic style. All of those qualities come together to provide families in the Vermont and New Hampshire area with a premier compact SUV option. While that may be enough for most drivers, it wasn't enough for Toyota designers who recently unveiled the new 2016 Toyota RAV4 Hybrid near Randolph, VT that is billed as the most powerful and most efficient Toyota RAV4 to date.
Employing a design that promotes family-friendly adventures, the new Toyota RAV4 Hybrid will provide a potent combination of utility, versatility, capability and unparalleled, class-leading fuel economy ratings. Building on the already successful RAV4 platform, the new hybrid variant will take the Toyota-brand crossover to another level. The eighth hybrid in the Toyota model lineup, the hybrid RAV4 will feature proven fuel-saving technology and a new Electronic On-Demand All-wheel Drive system with intelligence in addition to unrivaled new safety systems in two premium trim levels. Official power and fuel economy ratings have not yet been released, but promise incredible performance.
You can look forward to seeing the 2016 Toyota RAV4 Hybrid at White River Toyota later this fall when it is released.
New 2016 Toyota RAV4 Hybrid Interior and Exterior Design Cues
To announce the new 2016 Toyota RAV4 Hybrid's arrival, Toyota designers have given the popular crossover an even more athletic exterior design that caters to fun-loving drivers. Sleeker and more dynamic than ever, the new RAV4 Hybrid design is highlighted by new front end fascia punctuated by LED lighting technology to include headlights, daytime running lights and Hi-Lo headlights. The new style carries over to the rear end where you will find a more athletic style and LED taillights as well as 17-inch alloy wheels and six vibrant exterior colors. On the interior, you will find a vast array of new elements, including premium materials, an available 4.2-inch TFT multi-information display, an available 7-inch touchscreen display and parking sensors.
New 2016 Toyota RAV4 Hybrid Safety Features and Systems
In addition to a more powerful, more efficient powertrain and a reenergized design, the 2016 Toyota RAV4 Hybrid near Randolph, VT puts particular focus on safety with incredible innovations. The focus on safety starts with an all-new Toyota-first Bird's Eye View Monitor, which employs four cameras mounted strategically around the vehicle, delivering an unprecedented view of your surroundings. This new element also features an industry-first innovation called Perimeter Scan, which will provide a live, rotating 360-degree view of your surroundings. A new Toyota Safety Sense package is available as well, adding Pre-Collision, Forward Collision Warning, Lane Departure Alert, Automatic High Beams, Pedestrian Pre-Collision and Dynamic Radar Cruise Control systems to the long list of available safety features in the new 2016 Toyota RAV4 Hybrid.


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Standard Gasoline
This poster sold at Swann Galleries on August 3 for an impressive $6,500, no doubt because of the image of two very well-known Disney characters, Mickey and Minnie Mouse. Over the years, Walt Disney licensed his cartoon characters for use in a wide variety of advertising. This 1939 poster with Mickey and Minnie taking a moonlit drive to hawk Standard Gasoline strikes me as one of the odder campaigns. Today we're used to seeing these iconic characters primarily in children's and family advertising. There was a time, though, when Disney's characters were used to market gasoline to adult drivers.
Sale 2252 Lot 374
DESIGNER UNKNOWN STANDARD GASOLINE / UNSURPASSED. 1939.
42x28 inches, 106 3/4x71 cm. Walt Disney Productions.
Condition B+ / A-: minor restoration along sharp vertical and horizontal folds; creases in top margin.
Estimate $3,000-4,000
Sold for $6,500
Notes: Here is my most recent Disney post.
Here is my latest post on poster art.
Labels: Mickey Mouse, Mickey Mouse and Minnie Mouse poster for Standard Gasoline "Unsurpassed", Minnie Mouse, Poster Art, Standard Gasoline, Walt Disney Productions
Tête d'homme by Picasso
Pablo Picasso's drawings from the 1920's are among the most beautiful I know of. Here is one that sold at Christie's New York last year, along with the full auction house listing:
Tête d'homme
27 1/8 x 21 1/8 in. (68.9 x 53.7 cm.)
Drawn in Fontainebleau, summer 1921
Price includes buyer's premium
Impressionist and Modern Evening Sale
New York, Rockefeller Plaza
Marie Cuttoli, Paris (by 1951).
M. Knoedler & Co., Inc., New York.
Mr. and Mrs. George Friedland, Merion, Pennsylvania.
Private collection, Japan.
Acquavella Galleries, Inc., New York.
Acquired from the above by the present owner.
Pre-Lot Text
Property from a Distinguished Private Collection: Four Modern Masterpieces
C. Zervos, Pablo Picasso, Paris, 1951, vol. 4, no. 336 (illustrated, pl. 130).
W. Boeck and J. Sabartes, Picasso, New York, 1955, p. 386, no. 194.
The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture: Neoclassicism I, 1920-1921, San Francisco, 1995, p. 252, no. 21-269 (illustrated).
J. Palau i Fabre, Picasso 1917-1926, Cologne, 1999, p. 302 (illustrated, pl. 1123).
New York, M. Knoedler & Co., Inc., Picasso: An American Tribute, April-May 1962, no. 19 (illustrated).
The Philadelphia Museum of Art, Philadelphia Collects Twentieth Century, October-November 1963, p. 29 (illustrated, p. 31).
Lot Notes
Picasso drew the pastel Tête d'homme at Fontainebleau near Paris, where he, his wife Olga Khokhlova, and their infant son Paulo spent the summer of 1921. This sojourn proved to be extremely fruitful for the artist. He continued his cubist investigations of the previous decade, completing two versions of Trois musiciens, both masterpieces of synthetic cubism (Zervos, vol. 4, nos. 331 and 332). At the same time, he painted a series of massive, neoclassical female figures, including colossal bathers, giant seated nudes, iconic images of a mother and child, and the greatFemmes à la fontaine (Zervos, vol. 4, no. 322; fig. 1). Whether draped or nude, these figures have the sculptural solidity and idealized features of ancient statuary. Their coiffure, parted in the middle and gently waved, is that of classical goddesses, while their crisp brows and heavy lids look as though they had been carved from stone. Concurrently, Picasso also executed a dozen pastels of heads and busts. Given the powdery texture and subtle tints of this delicate medium, these images are softer, more refined and sensual in their aspect, and it is perhaps not since Picasso's Blue and Rose periods that Picasso drew the human visage with such exquisite sensitivity and charm, even while rendering these images on fairly large sheets of paper, with the heads appearing substantially larger than life-size. Tête d'homme, whose appearance suggests more a downy cheeked boy in his late teens than a grown man, has the distinction of being the only male subject among these hauntingly introspective figures. Stemming from a creative and highly personal synthesis of various classicizing strands in the history of art, this pastel, like its companion works and oil paintings done that summer in Fontainebleau, marks Picasso's ongoing quest to define his own position among ancient and modern masters, as well as his broader meditation on enduring cultural values in the period following the First World War.
Picasso first began to integrate classicizing forms into his art in 1914, after seven years of working in an exclusively cubist mode. His earliest foray into classicism was a series of Ingresque portrait drawings, of which Picasso's dealer Daniel-Henry Kahnweiler later recalled: "He showed me two drawings which were not cubist but classicist: two drawings of a seated man; and he said, 'Better than before, eh?'" (quoted in P. Daix, Picasso: Life and Art, New York, 1993, p. 138). In 1917, Picasso made his first realistic figure paintings in more than a decade, a group of portraits depicting his future wife Olga. From 1918 until 1924, he worked simultaneously in two visual idioms, producing classical and cubist masterpieces side-by-side. Despite his sustained commitment to cubism, Picasso's burgeoning neoclassical style prompted accusations from more dogmatic members of the avant-garde that he was repudiating modernism. The poet Pierre Reverdy, for example, published an article in 1917 in which he declared, "Cubism is an art of creation, not of reproduction or interpretation. No cubist painter should execute a portrait" (quoted in M. FitzGerald, "The Modernists' Dilemma: Neoclassicism and the Portrayal of Olga Khokhlova," in Picasso and Portraiture: Representation and Transformation, exh. cat., The Museum of Modern Art, New York, 1996, p. 301). Picasso, in turn, rejected this teleological view of art history, proclaiming in an interview in 1923, "The several manners I have used in my art must not be considered an evolution. If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them" (quoted in D. Ashton, ed.,Picasso on Art, New York, 1972, p. 5).
During the 1920s, the classicizing of pictorial styles became commonplace among Parisian artists as a response to a general rappel à l'ordre ("call to order"), an invocation of humanism and rational ideals as the necessary antidote to the violent upheaval and mechanized slaughter of the First World War. The return to order was a return to the figure, as one would recognize it in historical forms. In this context, Picasso's renewed exploration of a representational style has sometimes been considered a retreat from modernism, and it has even been suggested that the artist's move toward legibility was a response to chauvinistic attacks on cubism as a product of German culture. Analysis of Picasso's neoclassicism as part of a conservative post-war movement, however, fails to take into account both his continued exploration of cubism during this period and the fact that his earliest classicizing works actually pre-date the outbreak of hostilities. Offering a more nuanced reading of Picasso's neoclassicism, Michael FitzGerald has written, "Among the many phases of Picasso's work, neoclassicism is perhaps the most controversial, because its stylistic eclecticism and widespread popularity have led some writers to criticize it as a reactionary departure from modernism. When placed in the context of cultural developments during World War I, however, Picasso's neoclassicism is better understood as a renewal of the avant-garde. By explicitly embracing history, Picasso escaped the strictures of an increasingly rigid modernism to define a more vital alternative. He repudiated the convention of modernism's ahistoricism in order to acknowledge its maturity, as well as his own, and rejuvenate the avant garde by immersing it in the rich humanistic traditions that many cubist artists and theorists denied in a search for formal purity" (op. cit., p. 297).
The sources for Picasso's neoclassicism are extraordinarily rich and varied. In 1917, during a trip to Rome to design stage-sets for Diaghilev's ballet Parade, Picasso made excursions to see the ruins of ancient Pompeii. The dancer and choreographer Léonide Massine, who accompanied Picasso to Pompeii, later recalled the artist's exhilaration at the site: "Picasso was thrilled by the majestic ruins and climbed endlessly over broken columns to stand staring at fragments of Roman statuary" (quoted in J. Clair, ed., Picasso, 1917-1924: The Italian Journey, exh. cat., Palazzo Grassi, Venice, 1998, pp. 79-80). He visited the Museo Archeologico Nazionale in Naples, and probably purchased a postcard of the Farnese Juno (fig. 2), now thought to be the goddess Artemis, a Roman copy of a Greek sculpture made in the fifth century BC. This sculpture would provide the basic model for Picasso's female Fontainebleau heads. Picasso also took the opportunity to study examples of ancient fresco painting; a photograph taken by Cocteau at Pompeii shows Picasso pointing to a painting of Bacchus and Silenus, and the artist brought home postcards, now in the Musée Picasso, of other Pompeian wall paintings. The muted, earthy palette of Picasso's Fontainebleau canvases and pastels suggests the tones of ancient fresco technique. Before returning to Paris, Picasso visited Florence, where he admired the primitives in the Uffizi, the paintings of Raphael, and the sculptures of Michelangelo.
In addition to referencing Greek and Roman prototypes, Picasso's paintings from the early 1920s acknowledge the neoclassical tradition of Poussin, Ingres, and Puvis de Chavannes. He was also drawn to the carved stone reliefs of the 16th century Fontainbleau sculptor Jean Goujon, and attended an exhibition of Fontainebleau school drawings on view in the town chateau. He had in mind voluptuous, classicized nudes of Renoir, which took center stage at the Galerie Paul Rosenberg, where Picasso began to exhibit in 1919. In his first show at Rosenberg's gallery, Picasso included a drawing titled D'après Renoir, and he purchased at least seven of Renoir's late nudes. Finally, Picasso's Fontainebleau paintings and pastels hark back to his own paintings from the summer of 1906 at Gósol, which drew heavily on classical models. Commenting on the range of pictorial and thematic possibilities that he quarried from the history of art during this period, Picasso himself stated, "To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was" (quoted in D. Ashton, ed., op. cit., p. 4).
In their rich amalgamation of historical sources, the visages that appear in Picasso's paintings and pastels during his Fontainebleau summer transcend any conventional definition or function of portraiture, even if they ostensibly bear a recognizable resemblance to Picasso's wife Olga. Indeed, it was the figure of Olga that had inspired Picasso in 1917 to make his first oil paintings in the neoclassical mode, and her image continued to permeate his unique brand of classicism for the next six years. In a photograph that Picasso took in his Fontainebleau studio, Olga is posed in the midst of a group of five pastel heads related to Femmes à la fontaine, all of which share her crisply defined features, parted and waved coiffure, and air of poise and reserve (fig. 3). Elizabeth Cowling has written: "the volumes of the head are simplified and idealised; the nose and forehead are continuous; the hair is arranged in the traditional Greek manner; the eyes stare blankly; the expression is impassive [Zervos, vol. 4, no. 347; fig. 5]," (On Classic Ground, exh. cat., The Tate Gallery, London, 1990, p. 213).
Having passed the image of Olga through the lens of history, Picasso has idealized and ennobled his wife. In the present Tête d'homme, the artist has subjected her to a further transformation, remaking semblances of Olga's visage into the face of a masculine youth. Here Picasso used as his model from antiquity the Farnese Head of Antinous which he had seen in Naples (fig. 5). Pastel was indeed the perfect medium for this image; the boy's softly androgynous features lend his expression a quality which is more intriguingly enigmatic--and most engagingly so--than nearly any other among the female heads. Robert Rosenblum has written, "Picasso's backward evolution to the pure and vigorous origins of classical art has a more personal inflection than that of his contemporaries; and his familiar quotations from ideal beauty are imbued with a quivering physical and psychological life that reflects his mysterious, Pygmalion-like power as their creator" (in Picasso: The Early Years, 1892-1906, exh. cat., National Gallery of Art, Washington, D.C., 1997, p. 270). Picasso appears to have been fond of this male head, and during 11-12 February 1923 he made from it a charcoal drawing (Zervos, vol. 5, no. 13; fig. 6), which furnished the male persona who took on roles as a lover, ballet dancer, saltimbanque and harlequin in paintings completed during the remainder of that winter.
The very scale of the head contributes to the aura of mystery surrounding this mild youth who has been cast adrift in art history. Picasso's enlargement of the normal dimensions of the head was indeed intended to lend a heroic, monumental character to his classical figures, so that they would stand apart from conventional portraits and evoke hauntingly ambiguous dimensions of time and place. John Richardson has put his finger on a pressing interest that also motivated the artist in this regard: "Picasso was still very eager to work on a heroic scale and challenge Matisse's magnificent murals for Shchukin. The experience of designing theater decors had taught him, among other tricks of the trade, how to gauge effects of scale at varying distances; so had the experience of seeing François I's decorations in situ as well as up close. Some had been taken off the wall and were on exhibit in Fontainebleau's Jeu de Paume. Picasso now felt ready to tackle subjects far larger than himself. The lure of sculpture, or, rather, the lure of becoming a sculptor should also be taken into account. Since Picasso lacked the requisite facilities--space, equipment, and above all, time--that monumental sculpture requires, he set about doing paintings in a classical vein that would double as conceptual sculptures. To simulate the matte look of stone, he executed his nudes and heroic-sized heads in pastel or sanguine, sometimes on canvas" (Picasso: The Triumphant Years, 1917-1932, New York, 2007, p. 196).
Like his earlier preoccupation with cubism, Picasso's classicism reflected an inner imperative, but to a greater extent than his cubism, the artist's classical heads were a grand public statement that addressed the culture in which he lived and worked, and consequently were less revealing of his private emotions. This outward-looking approach and externalized embodiment of shared ideals was in keeping with the "call to order." Picasso consequently offered his take on the repertory of classicized female deities who represented the French nation in popular patriotic imagery during the war and post-war period. Although Picasso's classical matrons are far too generalized to function as explicit allegories, they nonetheless stand as an evocative counterpart to the ubiquitous Victories, Glories, and Patries of the popular press. Kenneth Silver has written, "Just as the French nation during the war turned to l'histoire--in its dual aspect of history and 'story' or myth--for moral support, so Picasso creates a mythic antique world that nonetheless has the weight and reassuring gravity of truth" (in Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, Princeton, 1989, p. 278). His imposing female figures and heads exude a sense of ripeness and fertility; Picasso's maternity subjects, beneath the veneer of their traditional genre charm, could be read as a subtle reminder to the survivors of the Great War that it was now time to be fruitful and multiply, to replenish the vast legions of fathers and sons lost in battle. Picasso, for his part, had accomplished just that with the recent birth of his son. In depicting a male head, that of a strong but gentle youth, innocent and as yet untested, but with a serious and determined gaze, Picasso has created an even more potent symbol of regeneration and cultural renewal. Moreover, looking beyond the past and present and well into the future, Picasso may have visualized an idealized image of Paulo, as his own son might one day stand before him.
(fig. 1) Pablo Picasso, Trois femmes à la fontaine, Fontainebleau, summer 1921. The Museum of Modern Art, New York.
Barcode: 2800 0334
(fig. 2) The Farnese Bust of Juno, copy of the original Alkamenes, 5th century BC. Museo Archeologico Nazionale, Naples.
(fig. 3) Pablo Picasso, Olga Picasso in the Fontainebleau Studio, photograph, autumn, 1921. Pushkin Museum of Fine Arts, Moscow.
Barcode: 2800 0105 FIG
(fig. 4) Pablo Picasso, Tête de femme, Fontainebleau, September 1921. Formerly in the collection of Billy Wilder; sold, Christie's New York, 13 November 1989, lot 30.
(fig. 5) The Farnese Head of Antinous, Roman copy, second century AD from the Greek original, first half of the fifth century BC. Museo Archeologico Nazionale, Naples.
(fig. 6) Pablo Picasso, Tête de jeune homme, 11-12 February 1923. Private collection.
[Figures not included]
http://www.christies.com/lotfinder/pablo-picasso-tete-dhomme/5369379/lot/lot_details.aspx?from=salesummary&intObjectID=5369379&sid=9eb1c6a8-4bd6-49e2-b0c0-c5833c7f07c8#features-articles
Note: My previous post on Picasso is here.
Labels: 1921 pastel on paper by Pablo Picasso, Fontainebleau, Pablo Picasso, pastel, Picasso, Tête d'homme
A John Adams Letter from 1776
Having just finished David McCullough's fascinating biography John Adams, I was intrigued to see this ALS (autograph letter signed) coming up for auction at Bonhams on October 10. The U.S., of course, was singularly blessed in its Founding Fathers, some of the most remarkable men of their time, or indeed of any time. They were educated, totally dedicated to the cause of freedom, and not incidentally prolific letter writers.
There are collectors today who seek out autographs by the signers of the Declaration of Independence. There are also those who collect signatures of the U.S. Presidents. For them, and also for anyone with an interest in American history, what could be more desirable then a full two-sided letter written by John Adams in the year 1776? Adams, in addition to his many other services to the emerging nation, was the father of the Continental Navy. This letter to William Cooper of the Massachusetts House of Representatives informs him of the construction of new ships for the Navy. It also suggests obliquely that the second Continental Congress may be coming close to agreement on declaring independence from Great Britain. This, then, is an important letter that is evidently fresh to the market. I have no idea what this should sell for, but the estimate of $50,000 to $80,000 barely seems to acknowledge its tremendous historical significance.
Lot No: 1221
ADAMS, JOHN. 1735-1826.
Autograph Letter Signed ("John Adams"), 2 pp, 4to(conjoined leaves), Watertown, January 4, 1776, to William Cooper, light dust-soiling, lower edge uneven, neatly repaired tear in margin.
ADAMS COMMUNICATES NEWS OF THE FIRST DEDICATED CONTINENTAL NAVY VESSELS: "the Honourable House will soon receive authentic Intelligence of a considerable naval Force ordered by the Congress to be prepared, as I am well informed they have resolved to build Thirteen Ships five of Thirty two Guns, five of Twenty Eight and Three of Twenty four."
Adams asks Cooper, a member of the House of Representatives in the Massachusetts provisional government, to pass this news on to the House. The Continental Navy was created in October of 1775, with a number of merchantmen refitted as men-of-war, and with regulations drafted by Adams himself. In mid-December, Congress ordered the construction of a number of new vessels, "which together with those fitted out before by the Continent, and by particular Colonies as well as private Persons, it is hoped, will be a security, in Time to come, against the Depredations of Cutters and Tenders at least, if not against single ships of War."
Otherwise, he writes, he has "no particular Intelligence to communicate from the Honourable Congress ... only I beg leave to say that as much Harmony and Zeal is still prevailing in that honourable Assembly as ever appeared at any time, and that their Unanimity and Firmness increase."
Until now the letter has been known only from a transcript in the hand of W.C. Ford held by the Massachusetts Historical Society, published in the Papers of John Adams (Harvard University Press, 1977).
Estimate: US$50,000 - 80,000
October 10, 2011 Update: Unsold.
http://bonhams.com/eur/auction/19421/lot/1221/
Labels: 4th of July, ALS, Autograph Letter Signed, Continental Navy, John Adams, July 4th, President, USA, William Cooper
The King's Stilts
From Illustration House comes this listing for a rare children's book illustration by Dr. Seuss from The King's Stilts. Few original book illustrations by this favorite artist come to the market for reasons explained in the listing, but it nevertheless may be a stretch to ask $130,000 for this one. Still, there's simply not much out there for avid collectors, and some enterprising individual just may be willing to pay the steep price.
This piece is part of an exhibition that opened on February 27, 2010. I do not know whether any of the illustrations are still available.
Dr. Seuss, Original Illustration from The King's Stilts, 1939
Theodore "Dr. Seuss" Geisel
Boy tries to warn the King, but is intercepted by Lord Droon.
Book illustration: The King's Stilts, by Dr. Seuss; Publisher: (Random House), 1939;
Ink and gouache en grisaille, 13 x 9", signed ll
Published children's book drawings by Dr. Seuss are extremely scarce on the market, as the artist made a bequest of virtually his entire such output to the Geisel Library at UCSD.
Provenance - Los Angeles literary agent Frances Pindyke.
Condition - Good overall: slightly trimmed at top; matted and framed.
This illustrates the passage where the page boy Eric tries to warn the King of Lord Droon's nefarious attempt to usurp the King's power, but is intercepted by Droon himself, who locks Eric up in quarantine, pretending that he sees symptoms of measles. It's a full page illustration, a fine one, from a memorably dramatic moment in the story. This drawing sold at an Illustration House auction in December 2007 for $80,500.
Dr. Seuss, Book Cover, The King's Stilts
My previous post on Seuss's Thoober is right here.
http://www.illustration-house.com/exhib/chld10/chld10pages/chld10_005.html
Labels: Dr. Seuss, Lord Droon, original book illustration, Ted Geisel, The King's Stilts, Theodor Seuss Geisel
A Tiffany Seahorse Special Order Flask
This stunning special order sterling silver flask retailed by Tiffany & Co., c. 1893, was sold on September 21 at Bonhams in New York for a hammer price of $4,000, or $5,000 with the buyer's premium. The seahorse design is splendid, and tarnish adds boldness and contrast to the contour. To collectors today, special order items are among the most desirable objects produced by Tiffany & Co.
Property from a Florida private collection
An American sterling silver special order flask, Manufactured and retailed by Tiffany & Co., New York, circa 1893
Hammered surface with applied and chased seahorse opposed by acid-etched seaweed monogram WS(?)/Xmas/1893, approximately 6 oz troy.
length 5 7/8in (15cm)
Sold for US$5,000 inclusive of Buyer's Premium
http://www.bonhams.com/eur/auction/19259/lot/8041/
Labels: flask, seahorse, special order, sterling silver, Tiffany
The Belvedere Torso by Heemskerck
Maerten van Heemskerck brings a fluid pen technique to his study of The Belvedere Torso. His hatching and crosshatching technique strikes me as quite fine. He seems to have exaggerated the spinal flexion and rotation of the Torso, making for a very dynamic drawing.
Maerten van Heemskerck (ca. 1498, Heemskerck, Netherlands - ca. 1574)
School: Dutch
The Belvedere Torso 1532 - 1537
Staatliche Museen, Berlin, Germany
Graphics: Pen and ink on paper
Note: My post entitled Study of the Belvedere Torso by Rubens can be found here.
The drawing: http://www.friendsofart.net/en/art/maerten-van-heemskerck/the-belvedere-torso
The photo: http://www.myartprints.com/a/greco-roman/belvedere-torso.html
Labels: Ancient Greece, Apollonius of Athens, Hellenistic Sculpture, Maerten van Heemskerck, Staatliche Museen, The Belvedere Torso
Donn Tatum's Ludwig Von Drake Cufflinks: Dimidus Asinus Genius
Donn Tatum (1913-1993) was a President of Walt Disney Productions, indeed he was the first President who was not a member of the Disney family. That's his name on the tribute window above Crystal Arts in Disney World. Having one's name on a window on Main Street USA is of course considered a great Disney park honor.
A few years after his death, some of Tatum's personal Disney memorabilia was auctioned off by S/R Laboratories, an animation art gallery and restorer. At this sale, I discovered and purchased a pair of large blue enamel cufflinks depicting the head of Professor Ludwig von Drake and adorned with the Latin words "Dimidus Asinus Genius." Von Drake is wearing a laurel, as befits a Latin scholar.
Donn Tatum's Ludwig von Drake Cufflinks, Dimidus Asinus Genius
Now I myself am no Latin scholar, but for purposes of expediency I'm going to take it upon myself to translate this arcane phrase as "A Half the Genius of an Ass," which I take to be something of a corporate inside joke. When was the last time American businessmen made Latin jokes in the board room? I take it Tatum must have gone to a private school.
Since this sale some years ago, I've been very curious to learn whether there are other examples of cufflinks like this, but I've never come across anything even remotely similar. It even could be possible they are unique, although I would hazard it more likely that at least a few might have been made available to other Disney honchos, particularly if they were also "geniuses." I'm quite sure these were never offered for sale to the general public, with the exception of course of that one estate sale where I eagerly snatched them up! The thing is, there must be quite an interesting story behind these, but, for the most part, we can only speculate what that might be. Certainly Disney's top corporate brass had a sense of humor and of humility.
By the way, I firmly believe all men reading this should get in the habit of wearing shirts with french cuffs, so they can take full advantage of interesting cufflinks when they find them. Yes, my blog offers useful fashion advice, too!
Update October 2, 2011 Update: Today I found a site called Pin Pics which showcases images of Disney pins. Just released this summer for the fiftieth anniversary of Professor Ludwig von Drake is a limited edition (500) pin with this very same design. Wow! My cufflinks have to be between 18 and 50 years old, which means that this design languished somewhere in an enamel workshop for perhaps two decades or more before being reused. This could make sense. It's just possible the cufflinks were designed for von Drakes twenty-fifth anniversary and then the whole thing was reintroduced as a limited edition pin design for his fiftieth.
Here's the information from Pin Pics:
Pin 86408: D23 - 2011 EXPO Professor Ludwig Von Drake GENIUS
Class: Disney Pins
Origin: D23
Type: Event Only
Limited Edition: 500 Pins
SKU Number: Unknown
Released: 8/19/11
Retired:
Categories: Cartoon/Short film; D23; Series
Members Trading: 1
Members Wanting: 6
Coolness: Unranked
Creator: SKRUES
Described by Walt Disney as "a renowned scientist, lecturer, psychologist and world traveler," Professor Ludwig Von Drake is the leading authority on absolutely everything. Cheerfully absent-minded and ever-oblivious to his surroundings, Ludwig's lectures most often go awry. For this commemorative pin, celebrating Ludwig Von Drake's 50th Anniversary of his premiere on Walt Disney's Wonderful World of Color, the didactic duck makes sure everyone is listening for they may be scolded for their lack of attention. This 6 sided pin shows Professor Ludwig Von Drake wearing a laurel wreath on his head with the words DIMIDUS ASINUS GENIUS. The back has the D23 official symbol and limited edition 500.
Added 2011-09-06 10:34:12, Updated 2011-09-27 18:36:27
http://pinpics.com/cgi-bin/pin.cgi?pin=86407.N&sid=
October 3, 2011 Update: I went ahead and purchased this pin on eBay. I'm sure I overpaid, but I just have to see how it compares to the Donn Tatum cufflinks. Blogging is getting to be expensive.
2011 D23 Official Disney Fan Club Pin
I may have to rethink my conviction that the cufflinks were never made available to the general public. I had assumed that the Latin phrase made this a somewhat elitist item suitable only for board members. Apparently I have underestimated the general public's regard for the classics! Either that or the world has changed a lot in 25 years.
Image added July 16, 2013
http://www.ebay.com/itm/300595009258?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649#ht_957wt_952
October 23, 2011 Update: Placing the cufflinks and the trading pin side by side yields a new surprise. I had always considered the Ludwig von Drake cufflinks conspicuously large, but they are dwarfed by the limited edition pin!
Side by Side Comparison of Ludwig von Drake
Dimidus Asinus Genius Cufflinks (Top)
and 2011 D23 Official Disney Fan Club Pin (Bottom)
Side by Side Comparison of the Backs of Ludwig von Drake
Can you provide more information? If you have images of cufflinks or other Disney jewelry in any way similar to these, please get in touch with me through the comments or via the email address associated with this blog. So far, I believe these are the only Ludwig von Drake cufflinks described on the internet, but I'm curious whether more are out there. Similarly, any information about Donn Tatum specifically relating to these cufflinks would be welcome.
Note: My most recent Disney post is here.
Posted by docnad at 12:01 AM 4 comments:
Labels: Crystal Arts, cufflinks, Dimidus Asinus Genius, Disney, Disney Trading Pin, Disney World, Disneyana, Donn Tatum, enamel pin, Ludwig Von Drake, Main Street USA, men's fashion, S/R Laboratories, tribute window
Charles Demuth: Apples and Crocuses
Charles Demuth was a master watercolorist. Two of his works in this medium are going up on the auction block this coming Tuesday. Crocuses is one of those floral watercolors that just seems absolutely luminous. Apples is mostly unpainted and its estimate seems on the high side to me. Still, it's clearly similar to other Demuth watercolors of the same subject.
Charles Demuth (1883-1935)
signed 'C. Demuth.' (lower left)
watercolor and pencil on paper
10½ x 8 in. (26.7 x 20.3 cm.)
October 9, 2011: Unsold
Fine American Paintings, Drawings and Sculpture
[With]Alfred Stieglitz, New York.
Mrs. A. Stewart Walker, Southampton, New York.
Property of the Rumsey-Harriman Collection; Estate of Mrs. Charles C. Rumsey
E. Farnham, Charles Demuth: His Life, Psychology and Works, vol. II, Ph.D. dissertation, Ohio State University, 1959, pp. 644-45, no. 581.
8 x 8 in. (20.3 x 20.3 cm.), image; 10 x 12¼ in. (25.4 x 31.1 cm.), sheet
Private collection, New York.
By descent to the present owner.
PROPERTY FROM A PARK AVENUE ESTATE
Apples (Peaches, A Double-Sided Work), c.1925, Menconi & Schoelkopf Fine Art, LLC
http://www.artnet.com/Galleries/Artwork_Detail.asp?G=&gid=106438&which=&aid=675594&wid=425936506&source=inventory&rta=http://www.artnet.com
Still Life: Apples and Green Glass, 1925
Watercolor and graphite on ivory wove paper
Olivia Shaler Swan Memorial Collection, 1933.473
http://www.artic.edu/aic/collections/artwork/14700
Three Red Apples (double sided), c.1929, 10 x 14 in., Jill Newhouse Gallery, previously with Sotheby's USA 2009
http://jill-newhouse-gallery.art.1stdibs.com/store/art_detail.php?id=7332
http://www.jillnewhouse.com/artistworks.asp?ArtistID=188
Labels: Apples, Charles Demuth, Crocuses, Still Life: Apples and Green Glass, Three Red Apples (double sided), watercolor
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text:
Political Campaigns Among Entities Alleged to Have Violated TCPA
By Yaron Dori on June 16, 2020
Posted in Litigation, Political Law
Yesterday, a complaint was filed in a Minnesota federal district court against Bernie 2020 Inc. ("the Sanders Campaign"), alleging that the Sanders Campaign transmitted automated text messages to mobile telephone numbers without the "prior express consent" of their recipients in violation of the Telephone Consumer Protection Act ("TCPA").
The complaint alleges that at least two individuals who had not previously consented to receive text messages from the Sanders Campaign received automated messages encouraging them to click a link to view a campaign advertisement on YouTube. The complaint states that automated text messages sent by or on behalf of political campaigns are not exempt from TCPA requirements, and it cites FCC guidance to this effect. The complaint argues that class action certification is appropriate and seeks statutory damages of up to $1500 per unlawful message.
The complaint follows on the heels of a Memorandum Opinion and Order issued by another Minnesota federal district court on June 8, 2020, denying a motion to dismiss filed by Donald J. Trump for President, Inc. ("the Trump Campaign") in a lawsuit alleging that the Trump Campaign transmitted unsolicited automated text messages to mobile telephone numbers in violation of the TCPA. The allegations in that case were that the Trump Campaign sent text messages inviting recipients to attend a political rally and to click on a link for tickets or take some other action.
In the Memorandum Opinion and Order, the court found that the plaintiffs had sufficiently alleged an injury in fact, that a plausible connection existed between the Trump Campaign and the unlawful text messages, and that the TCPA violations as alleged were sufficient to survive the Trump Campaign's motion to dismiss. The Trump Campaign sought to compel arbitration vis-à-vis one of the plaintiffs on the grounds that he consented to receive text messages and to arbitrate any dispute, but the court denied this contention on the grounds that the Trump Campaign failed to carry its burden, noting the possibility that the plaintiff's name and mobile telephone number could have been entered into the Trump Campaign's database without his authorization and leaving these issues for discovery.
Tags: FCC, TCPA, text message
Yaron Dori
Yaron Dori has over 20 years of experience in telecommunications, privacy, and consumer protection law, advising telecom, technology, life sciences, media and other types of companies on their most pressing business challenges. He is a former chair of the Communications and Media practice…
Yaron Dori has over 20 years of experience in telecommunications, privacy, and consumer protection law, advising telecom, technology, life sciences, media and other types of companies on their most pressing business challenges. He is a former chair of the Communications and Media practice group and currently serves as a member of the firm's eight-person Management Committee.
Yaron's practice focuses on strategic planning, policy development, transactions, investigations and enforcement, and regulatory compliance.
He represents clients before federal regulatory agencies—including the Federal Communications Commission (FCC) and the Federal Trade Commission (FTC)—and the U.S. Congress in connection with a range of policy issues under the Communications Act, the Federal Trade Commission Act, and similar statutes. He also represents clients on state regulatory and enforcement matters, including those that pertain to telecommunications and data privacy regulation. His unique experience in telecommunications, privacy, and consumer protection enables him to advise clients on key business issues in which these areas intersect.
With respect to telecommunications matters, Yaron advises clients on a broad range of business, policy and consumer-facing issues, including:
Broadband deployment and regulation;
IP-enabled applications, services and content;
Equipment and device authorization procedures;
The Communications Assistance for Law Enforcement Act (CALEA);
Customer Proprietary Network Information (CPNI) requirements;
The Cable Privacy Act
Net Neutrality; and
Local competition, universal service, and intercarrier compensation.
Yaron also has extensive experience in structuring transactions and securing regulatory approvals at both the federal and state levels for mergers, asset acquisitions and similar transactions involving large and small FCC and state licensees.
With respect to privacy and consumer protection matters, Yaron advises clients on a range of business, strategic, policy and compliance issues, including those that pertain to:
The California Consumer Privacy Act (CCPA);
The Electronic Communications Privacy Act (ECPA);
Location-based services that use WiFi, beacons or similar technologies;
Online Behavioral Advertising;
Online advertising practices, including native advertising and endorsements and testimonials; and
The application of federal and state telemarketing, commercial fax, and other consumer protection laws, such as the Telephone Consumer Protection Act (TCPA), to voice, text, and video transmissions.
Yaron also has experience advising companies on FCC (Enforcement Bureau), FTC and state attorney general investigations into various consumer protection and communications matters, including those pertaining to social media influencers, digital disclosures, product discontinuance, and advertising claims.
Read more about Yaron DoriEmail


Is it possible to stop the chat for 5 secs?
That is not really possible, sorry.
Isn't there any way like making the chat to mods only or something like that?
As far as I know, the only chat-restricting commands related to userlevel are /subscribers and /followers. Using /subscribers is an OK workaround if a channel isn't affiliated/partnered or has VIPs; this command only allows subs, VIPs, and mods to use chat, and if a channel doesn't have any subs or VIPs, then this command basically works to only allow mods to talk.
I'd suggest the emote-only option, or the slow chat option, as well. It could highly reduce the amount of people talking for a bit.


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be great to know who is local as i've needed some recently and may do again in the future but no one seems to be near me.
charcoal and ash is a great insulator so that is frequently the case.
this is milly. she also likes to get in my bowls whenever she could. she is also a contortionist and as you can see one end of the animal can face a different direction than the other. .
this is lucy. that is short for lucylastic as my mum calls her as occasionally she will go mental. she like curling up in my walnut bowl a few years ago and even had just her head in one. .
a sizeable bit like that should be milled as it will yield nice timber so persevere with this one mark.
i take it their diameter is about 18" - 20"???
assuming it's the bit on top that you are referring to then i'd mill at 2 1/2" or 3".
not for wood as nice as that. bowls, vases or coffee tables are what i'm thinking. you still haven't stated the measurement for that crotch.
it's a beauty Saul... got any more like that???
the ariel shot on the news made it look like there won't be anything left of the inside. can't believe that heat did the masonry any good either.
well that's 800+ years gone up in smoke. can't believe what i've just watched.
this solid ripple pair are a nest of two and the bigest is about 8".
this one is about a foot across. .


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It looks like Bashar Al Assad has decided to send aid to Afrin in an effort to stem the Turkish tide into what Assad considers Syrian territory.
The aid is coming in the form of allowing Kurdish fighters safe passage in Syrian-held territory in order to get to Afrin to help come to the aid of the fighters resisting the TurkReich.
Syria's US-backed Kurds are getting indirect help from an unlikely source in their war against Turkey in the northwestern region of Afrin: President Bashar Al Assad.
Pro-government forces and Kurdish-led forces have fought each other elsewhere in Syria and Damascus opposes the Kurds' demands for autonomy.
But in Afrin they have a common enemy and a mutual interest in blocking Turkish advances.
Turkey, which regards the Kurdish YPG militia in Afrin as a threat on its southern border, launched an assault on the region last month.
Seeking to shield Afrin, the Kurds asked Damascus to send forces into action to defend the border.