Judy Pfaff's work always delights me with unexpected bursts of color, unconventional materials and compositional choices. I have been a devoted follower of this artist for many years because of her unique ability to create immersive images and environments seemingly out of common elements. On a recent trip to my hometown of York, Pennsylvania, I visited Judy Pfaff's exhibition Somewhere Before at York College.
Pfaff, who was born in London, England in 1946, has built an impressive career that includes a Macarthur 'Genius' award, exhibitions at the Whitney and MOMA, and representing the United States in the 1998 Biennial in San Paolo Brazil. The artist has also been featured on the Art 21 PBS series, which gives intimate insight into her creative process.
I was excited not only for this exhibition, but to see it displayed in a region not typically celebrated for exhibiting internationally known contemporary art. Many years ago, while attending high school in the area, I begged my mother for a reprieve from being grounded so that I could attend a Jeff Koons lecture and exhibition at York College. Koons also grew up in the area, and my attendance at the lecture that evening solidified my passion and determination to pursue the visual arts. Judy Pfaff's show left me with a similar jolt of energy and fervor; this powerful exhibit is capable of reviving an artist's spirit.
Pfaff has a power over materials, simultaneously allowing them to be authentic and controlled. In Somewhere Before, her work arrives at a mystical and magical presence, where it's nearly impossible to determine how her constructions were assembled.
I wandered around the exhibit for almost an hour, taking in gravity-defying installations and studying the wall-works. York College's Wolf Hall contains a gallery with two large rooms. During my visit I had the pleasure of being the only person occupying them both. In one room, the sculptural forms, lit from below with neon, hover around one another. It looks like the pieces are in motion, like planets, evolving or devolving in front of your eyes. Many of these works were also punctuated with projected and physical halos that reinforced an otherworldly presence. Swirling artificial colors are frozen over organic material and blend with found objects like wire and wood. Many of the sculptural pieces in this show are reminiscent of Lynda Benglis' Phantom Series from the 1970's that glow in the dark. Like Benglis, Pfaff's works also seem to exist despite a lack of visible structure and glowing lights add to their already animated qualities.
Pfaff started her career primarily as a painter, and it is clear to see this, even in her sculptural works. If you were to isolate many portions of the sculptures they could act, convincingly, as paintings. The interactions of mark making, balance, and color illustrate an expert understanding of composition. The placement of works emphasized a visual relationship of the room as a whole, taking attention away from some of the less desirable details of the architecture, even though a carpeted floor unfortunately erased opportunities for intermingled colored lights and reflections to glow.
Graphic moments of colored Plexi and the geometry of the metal fixtures on which the sculptures hang came together to unify and anchor the installation, which could otherwise become visually overwhelming. The repetition of certain visual elements and the implied motion of the swirling forms and colors created a feeling of a space that felt alive. In the hallway, a collection of various two-dimensional works, mostly mixed media, acted as a visual segue to an octagonal room of wall-based works beyond where each wall is painted a different color.
The variety of differing colors and sheer number of works in the show were slightly distracting here, due to the vibrancy of each colored wall and the close proximity of all of the works to one another. This room could have been just as powerful with white walls, highlighting the works themselves, rather than the intense color-clashes in the painted space.
After leaving the previous gallery where all of the sculptural forms fed into one another, there was an abruptness in the organization of the next room of mostly sculptural relief that was jarring. It didn't make me like the work in this space any less, but made me question the presentation choices made. Despite the overwhelming wall colors, I still appreciated the opportunity to view Pfaff's wall-based works.
Beautiful drawings and wall hangings consisting of cut paper, found objects, and also lights adorned the space; all feeling haphazard, yet so deliberate at the same time. Two of the pieces here were very large-scale works on paper that contained human marks and collage, and each had a color connection to the wall on which it was hung, though they could have worked just as well on a neutral surface. The more sculptural works in this space were again the ones that captured me: honeycomb cardboard, paper lanterns and fake flowers all clinging to the wall for dear life while radiating color and energy at the same time. The pieces free of frames and glass are the ones that feel most alive. They have the visual freedom to interact with one another and combine to create a world that is unmistakably Pfaff.
Author Amy Boone-McCreesh is a Baltimore based artist and professor.
Somewhere Before has been extended to March 17, 2015.
On March 10, The Contemporary's Deana Haggag will be doing a lecture at York College, a perfect excuse to make the trip.
Special thanks to the gallery director, Matthew Clay-Robinson for bringing the work to York College and for the insight into Judy's methods during this installation. York College is about an hour north of Baltimore, just off of I-83. Check out their website for more information and directions.
Terrific images! Phaff has an amazing ability to keep these works as fresh ever. One of my favorite artists. Thanks!
Great review! Thanks for all the photos too!


Offering discount hotel reservations, vacation packages, group bookings, airline tickets, rental cars and more.
Hotel review of the Bare Pool Lounge, The Mirage - Las Vegas, NV.
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Q: SQL Server & ASP.NET & C# : select 5 random images from top 20 images I have a little SQL problem.
I want to select 5 random rows of the 20 rows with highest ID. How do I do that? At the moment my SqlDataSource just looks like this:
<asp:SqlDataSource ID="SqlDataSource25" runat="server"
     ConnectionString="<%$ ConnectionStrings:DatabaseConnectionString1 %>"
     ProviderName="<%$ ConnectionStrings:DatabaseConnectionString1.ProviderName %>"
     SelectCommand="SELECT TOP 5 * FROM [billeder] ORDER BY newid()">
</asp:SqlDataSource>

which means I of course just gets 5 random from the entire table.
I would prefer to do it via the SqlDataSource as you can see here, but if it is only possible via codebehind that is fine aswell. Any tips would be appreciated.

A: You need to use a subquery to get the top 20 by ID, then from this 20 you can select the top 5:
SELECT TOP 5 *
FROM (  SELECT  TOP 20 *
        FROM [billeder]
        ORDER BY ID DESC
    ) AS t
ORDER BY NEWID();

A: select  * from [billeder] where [yourPk] in
(select top 5 percent [yourPk] from [billeder] order by newid())

yourPk is primarykey

redpajama_set_name: RedPajamaStackExchange


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MILWAUKEE (April 25, 2018) — The end of the school year is approaching and Milwaukee Public Schools has a necessary change to the last day of school for all 9th to 12th students.
Due to the snow day on February 8, 2018, when schools were closed, MPS will need to extend the school year by one day for students in grades 9–12. Wisconsin requires schools to provide a specific number of minutes of instruction for each grade level. Because there was no instruction on the snow day, MPS is required to add additional time to the calendar.
The last day of school for 9th – 12th graders will be Monday, May 21, 2018. MPS apologizes for any inconvenience this causes our students and families. The district explored a number of other options, but they were much more complicated for families and staff than adding an extra day.
The last day of school for grades K-8 will not change and is still Friday, May 18, 2018.
The MPS updated calendar is translated into seven different languages and is available for families now.
Families who have questions are encouraged to contact their child's school.


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Home / Foreign Ministry says it will not attend Algeria's meeting on Libya
Foreign Ministry says it will not attend Algeria's meeting on Libya
January 23, 2020 - 10:42
Written by: SafaAlharathy
The Libyan Foreign Minister, Mohamed Sayala has declined an invitation to participate in Libya's neighbouring countries meeting, at the foreign ministry level, set to take place Thursday in Algeria.
"The refusal comes in objection of Algeria's decision to invite the so-called foreign minister of the east-based interim government," in a clear violation of the Security Council resolutions, Libya's Foreign Ministry tweeted on Wednesday.
It is noteworthy that the meeting of foreign ministers of Libya's neighbouring countries is the first since the start of the war on Tripoli in April 2019.
Foreign Minister Mohammed Sayala
Algeria, Tunisia support a Libyan-solution to the neighbouring country's crisis
Libyan, Algerian Chiefs of Staff review military cooperation
Algeria reiterates need to advance with reconciliation project in Libya
Lamamra calls for systematic withdrawal of mercenaries from Libya, says Tripoli is a red line
Indonesia's Embassy in Libya celebrates Indonesian Youth Day

redpajama_set_name: RedPajamaCommonCrawl


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King bed, En-suite bathroom with shower and tub, Hairdryer, Air conditioning, Ceiling fan, Flat screen TV, Safe, Telephone, Window screens, Private terrace, Walk in closet.
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2 Double beds, En-suite bathroom with shower and tub, Air conditioning, Ceiling fan, Flat screen TV, Safe, Telephone, Window screens, Private terrace, Walk in closet.


"SHAPING ENTERPRISE INTEROPERABILITY IN FUTURE INTERNET"
One of the trends in the global market is the increasing collaboration among enterprises. Constant changes in inter- and intra-organisational environment will increase in the future. Organisations have to flexibly and continuously react to (imminent) changes in markets and trading partners. In this context, the competitiveness of an enterprise depends not only on its internal performance to produce products and services but also on its ability to seamlessly interoperate with other enterprises. External and internal collaborative work needs more interoperable solutions. Enterprise Interoperability (EI) is the ability of an organisation to work with other organisations without special effort. The capability to interact and exchange information both internally and with external organisations (partners, suppliers, customers, citizens…) is a key issue in the economic and public sector. It is fundamental in order to produce goods and/or services quickly and at lower cost, while ensuring higher levels of quality, customisation, services and security. Industry's need for EI has been one of the significant drivers for research into the Internet of the Future. EI research will embrace and extend contributions from the Internet of Things and the Internet of Services, and will go on to drive the future needs for the Internet of People, Processes, and Knowledge. The industry will find at I-ESA'12 an outstanding opportunity to exchange experience and problems on business interoperability in their daily operations. The I-ESA conferences have been recognized as a tool to lead and generate an extensive research and industrial impact in the field of Interoperability for Enterprise Systems and Applications. I-ESA brings together the world's leading researchers and practitioners in the area of enterprise interoperability, and it is a unique forum for the exchange of visions, ideas, research results and industrial experiences, dealing with a wealth of interoperability research subjects. I-ESA'12 is the 6th edition after Geneva (2005), Bordeaux (2006), Madeira (2007), Berlin (2008), Coventry (2010) and a special edition in China (2009).
I-ESA'12 Conference welcomes submissions of scientific papers directly connected with the Conference Topics but also industrial papers demonstrating relevant case studies and implementation of EI and FInES (Future Internet Enterprise Systems).
A package with formatting instructions for full papers (10 pages length) and a MSWord template can be downloaded from "Paper submission" as I-ESA12Template at www.i-esa.org.
At least three members of the International Programme Committee will review each submission. The ISPC will recommend about the papers acceptations and the Programme Committee Chairs will make final decisions. The accepted papers will be included in the Conference proceedings published by Springer in the book series "Enterprise Interoperability" (see Vol. I, Vol. II, Vol. III, Vol. IV) at the condition that the paper is presented by one author during the conference.
I-ESA'12 Conference invites proposals for workshops to be held in conjunction with the main conference. The workshop proposal topics are opened to other areas not covered by the main conference topics. Workshops aim to be a forum to discuss advanced research an innovative solutions of EI and FInES in areas such as Enterprise 2.0, e-Government, e-Health, Innovation support for Networked SMEs, Crisis Management, Transport & Logistics, Energy/Resources for Sustainability, Internet of Things for Energy/Resources monitoring. Workshops may also be devoted to EI case studies, solutions for industrial sectors, original and successful implementation, standardization issues or road mapping activity.
The Doctoral Symposium is an opportunity for students involved in the preparation of their PhD in any area of EI to interactively discuss their research issues with senior researchers.


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View all podcast episodes
Making Xylem: Circles, Senses, and Community
World-renowned architect Francis Kéré has designed Tippet Rise's new 2,100-square-foot pavilion, Xylem. Ten teams of highly skilled and passionate people worked together to build the natural gathering space where communities can meet, share, and listen. Nestled in a grove of aspen and cottonwood trees beside Grove Creek and the art center's central campus, Xylem was completed in July of 2019.
Produced and narrated by Zachary Patten
Recorded and mixed by Monte Nickles
Photo by Erik Petersen
Pedja Muzijevic performs Cage: In a Landscape
Matt Haimovitz performs Isang Yun: Glissées for solo cello
Emma Resmini performs Ian Clarke: Great Train Race for solo flute
Calidore String Quartet performs Beethoven String Quartet N. 9, Op. 59 N. 3 "Menuetto
00:03 MELISSA MOORE: Welcome to the Tippet Rise podcast, brought to you from Tippet Rise Art Center, located on a 12,000 acre ranch in Fishtail, Montana, just north of Yellowstone National Park. I'm Melissa Moore. At Tippet Rise, we celebrate the synergy of art, architecture, music, and nature, out of which we weave our identities. The Tippet Rise podcast explores these connections. Today's episode, produced by Zachary Patten, takes us through a sound journey into the seven month process of building the newest addition at Tippet Rise. Designed by world-renowned architect, Francis Kere and brought to life by ten different teams, Xylem opened to the public in July, 2019.
01:03 FRANCIS KÉRÉ: The sense of circle in my life comes from being part of a community. From raising up in a community where everyone helps each other to sustain the community. There is a strong relationship between the members of that community. This is the reason why I feel very strongly attached to this community.
01:52 ZACHARY PATTEN: Walking through the quaking leaves of aspen trees, the 2,100-square-foot pavilion, Xylem, welcomes the viewer from two points of entry. The metaphor of circles manifests in its physical structure, as it consists of two perfect circles, a canopy and a floor. The seating elements' organic shapes are inspired in part by the abstract forms of microscopic life and create a playful dialogue with the overhead contour of the pavilion and the topographic lines of the landscape which encompass the space. The ponderosa and lodgepole pines have been shaped and placed to expose the many layers of the wood from the exterior down to the wood's heart and when surrounded by the pavilion, there is the feeling of inhabiting the heart of a tree or the heart of a community.
02:47 FK: My approach to architecture is first based on the fact that I'm looking where I am. What is the community? The architecture emerges from the need to create space where communities can meet, the communities can share, the communities can use. And then, at the same time, create space that protects that community. To create a shelter.
03:19 ZP: Community is at the heart of world-renowned architect Francis Kéré who draws inspiration from the wooden and straw toguna structures sacred in Dogon communities in West Africa. Here at Tippet Rise, a community was formed of passionate people working together to construct Xylem, using locally sourced materials.
03:39 FK: To have the chance to be able to serve the community usinging your skills, and you use it. People are happy about the result and people are even inspired by what you do. That is a driving motive for me. It's like food for the soul and creativity. You feel you are useful. That is a great feeling!
04:05 ZP: Over the course of seven months, ten teams and over forty people contributed their unique skill sets to design and build Xylem. This podcast is an exploration of the fabrication process, the materials, and the teamwork involved to create a space with the purpose of bringing people together.
04:44 FK: We started. We wanted to have a burned forest, we wanted to use the wood, so we start to say "Oh, let's make it nice, pure architecture". Burned wood, they have to see it! We went to the place and we realized you cannot use this for construction. We kept looking and we found much more wood we could use and Peter would describe it as "Giving a life to dead wood."
05:15 PETER HALSTEAD: We wanted to use dead wood from the Stillwater River Road. A fire came through there and here are all these dead trees standing there for miles and miles. What if we could use them and give them new life building a building, but it turned out they were too crumbly to actually use. So we got other dead wood from Montana, Idaho, and Wyoming, and we used that. So it was mainly local Montana dead wood.
05:42 FK: We wanted to collect all these dead trees and give them a new life.
05:50 STEVE CHAPPO: They started, I think, with 35,000 lineal feet of logs. My name's Steve Chappo, site supervisor for On-Site Management. There is a lot of material that they had to process.
06:05 PH: Basically eight miles of wood and over 20,000 individual logs.
06:10 SC: The logs needed to be sorted and culled, picked for sizes and peeled.
06:15 ZP: The dead wood was delivered to Chris Gunn and Laura Viklund's workshop Gunnstock Timber Frames in Powell, Wyoming
06:22 FK: A workshop not far from here. They have a beautiful workshop. I have to be honest, I'm jealous of them. They have machines, they have space, but I love them.
06:31 ZP: On a site visit, Chris and Laura show Francis the fabrication process starting with the peeling of logs.
06:38 CHRIS GUNN: My sixteen year old peelers can do about two to three hundred feet per day. And my forty and up peelers do about one-fifty to two hundred feet per day.
06:48 LAURA VIKLUND: In twice as many hours!
06:49 CG: Yeah! So, it's a young man's game, there's no question. The young boys that are in highschool have been coming out in the evenings. They go to school all day and then they'll drive their pickup trucks over and they'll peel until dark some nights.
07:08 LV: Sometimes they turn the headlights on.
07:11 ZP: Information about the lengths, sizes, and groups of all the cut logs was organized and kept in a binder, nicknamed "The Bible."
07:18 CG: We peel the logs over there and then, when they're all peeled, they come here. We have the "bible."
07:28 FK: I like the Bible.
07:29 CG: That tells us we need sixty pieces at "x" number of lengths and that's where they get cut right here. You can see there's almost twelve inches of sawdust on the ground here. We cut them all, we load them into boxes, and then we bring them into the shop and start the process.
07:47 ZP: Inside the shop, the logs get bundled together into groups of between thirteen and thirty logs. The circular bundles are held together by very long "brutus" screws.
07:57 PH: The only part that came from Germany are the screws. They're six foot long screws that hold everything together and you can't see them. Part of the genius is how do you build a thing like this that will withstand one hundred mile per hour winds and will stand up under any circumstance at all, and how to do it and make it seem seamless, as Francis has done. That's the incredible miracle of the architecture.
08:20 FK: The screws were brought by Chris and Laura. I couldn't come with them. But it was good, a working cooperation. It was really great because in the U.S., sometimes everything seems to be possible, even dead wood!
08:39 ZP: A pilot drill was required in order to keep the six-foot long screws aimed in the right direction.
08:46 CG: The really dense wood is very heavy and it doesn't like to get drilled. It's hard to do the pre-drill for the brutus. It's hard to put the screws in it. It's just not as friendly.
09:01 FK: But it will have a long life.
09:02 CG: It will last a long time! No question.
09:09 ZP: Once the logs are permanently fastened into a bundle, the tops needed to be sculpted to the correct contour. As one can imagine, sculpting with a chainsaw isn't easy.
09:21 CG: So the lower string is the actual plane target. Because it only works where the string is touching the wood, we have to use another method to get in to get the line. Because it's not straight, it's either up or down when you get inside. So, it gets kind of "goofy complicated". We have a six inch string up above that we can then project and take a level. Then we run it across. I butt into it and then connect the dots with a ruler. So that's how I get into all these intricate spaces. I need a line, basically, all the way around it at the right place in order to guide the chainsaw. So, after three tries, this is the system we came up with.
10:13 ZP: During the fabrication of the wooden components at Gunnstock Timber Frames, the On-Site Management team began work on the foundation and steel structure of Xylem
10:25 SC: Step one here was clearing the site and digging down to the level where we were going to put in helical piers. This site, because it's in a creek bottom, it's not a bearing soil. It's not good soil to build on, so we had to use what are called helical piers. Which are essentially thirty foot long drill bits for lack of a better description. It's a steal rod that has eight inch diameter fins on it which drill down into the soil. Once those are installed, essentially the pavilion is on stilts that go thirty feet down into the ground to help hold it where it wants to be. After that, each helical pier or group of helical piers gets a concrete bearing cap poured onto it. From there, we can build up.
11:25 ZP: The twenty concrete bearing caps looked like perfectly flat lily pads balancing on long steel stems
11:32 SC: A structure this size with the amount of weight on top of it, there will be some movement. The goal was to try to limit the cracking that will happen in concrete. The concrete that is around the "Y-shaped" columns is about a two-foot circle pad.
11:48 ZP: A total of seven columns support the entire weight of the canopy structure.
11:53 SC: The floor beams do not attach to the seven roof columns. On top of the steel floor beams we put pan-decking and that's where we pour our concrete floor. Around the edge, the concrete contractors made the edge form out of wood. Before we were able to put that form on, we had to find the center, swing an arc - the circle, like a compass, essentially. It was a twenty six foot compass, to get our perfect circle.
12:24 ZP: The perfectly circle floor was created from a single, monolithic, concrete pour.
12:29 SC: It's really interesting to me to think about how people would've done this before there was a concrete pump truck, before there was a concrete truck, when there were big slabs of stone and the ideas they would use to do that kind of stuff is always fascinating to me.
12:52 ZP: The thematic nature of the circle, as Francis described, continues to make itself present in beautifully subtle ways.
13:00 NINA TESCARI: The circle is a very important element for the pavilion, from the single log that composes it, to the bundle, to the whole plan of the pavilion. My name is Nina. I work with Francis as an architect. Both Francis and I were really inspired by the landscape. What we wanted to do was intervene in a very subtle and gentle way in the landscape to not impose this pavilion, but rather to nestle it in the landscape. We thought that the best way to do this was to have a very clean and pure shape in plan, so you will see that the pavilion is a perfect circle. To have this very pure shape that is inserted into the landscape, but that contains a very rich spatial configuration that allows the visitors to feel like they are in a new world.
13:53 ZP: Francis and his team returned to the build site, about halfway through the construction, and into the cold world of a montana winter
14:01 FK: First, it's very, very cold - freezing - and great to be here this time of the year, to really experience this different weather. It's great to be here and to see that things are shaping very well. I have seen the amount of work that has been done in Chris and Laura's workshop as well as onsite. To see the structure coming out, the columns and the platform are ready. The next steps are to hope for the better weather conditions so that they can lift the structure which is going to hold the entire canopy.
14:37 ZP: Fortunately, Steve and his team are used to this kind of weather.
14:41 SC: Most of the work we do is in Montana or Wyoming. So, we're accustomed to building in places that are challenging. Our job is to figure out how to implement the plan. That never takes into account that you're in the creek bottom, below zero, you're on the side of a mountain, and it's winter time in Montana.
15:05 ZP: When viewing from above, the huge canopy roof structure resembled a giant steel honeycomb.
15:11 SC: The steel honeycomb structure for the roof was cut into segments of five so that we could truck it in. We brought the steel to the site, unloaded the steel onto the concrete pad with the crane, and fit the five sections together to weld them all together and lift it as one unit.
15:34 NT: This pavilion, if you think about it, is kind of a dream because you have these very heavy logs that are kind of flying over your head. This is the first idea of it, this huge canopy made of logs that is flying over you. Then there is reality and it has to be a very strong structure to bear this wood. So, from that idea - that cloud - the whole process and the most challenging part was to make it real.
16:03 ZP: perhaps the most critical moment of the project was using the biggest crane to lift the entire steel roof structure.
16:11 SC: When we lifted the roof structure to the top of those columns, even though I had checked it probably two-dozen times to make that we were right, I was nervous and I would check and check and check. That's what gives me peace of mind. I know that I've checked it several times. I get nervous when I realized that I haven't checked something several times, so that's when I start to get nervous. Even then, when you have a big moment, you get nervous then. The pick points could be a little tricky because that's a "hard to balance" piece. We had a center of gravity, we knew where the center of gravity was on it, but you can't always pick from that center of gravity and be able to grab the places you need to grab. The foreman of Western State Steel Erection has a lot of experience lifting strange, awkward pieces and he was able to, knowing approximately where the center of gravity was, stand back and look at it and decide where he wanted to put the pick points. He even, just before we were going to lift, he said "Stop, hold on", and moved two of the chokers to a different spot and it was exactly what it needed. We wanted one side to be slightly higher than the other side, so rather than trying to come down on all seven at once, we wanted to ease it down, lock it to one, and that would give us the ability to rotate a little if we needed to. It picked up, just like a dream. It was perfect.
18:10 SC: That was a pretty big day. That was exciting for me to see that happen and land in place. Everything was perfect, right where it wanted to live. To me, that was the pinnacle. Just to see that roof, that structure go up and go into place as easily as it went into place.
18:45 ZP: Once the roof was welded in place to the steel columns, the Gunnstock crew returned to install several truckloads of circular wood bundles which were secured to the hexagonal angle iron frames.
18:57 SC: While we were assembling the steel and putting the roof structure into place, most of the large hexagon bundles were trucked up. We had to essentially pick the bundles off of the trailer and put them into their final resting places. We were able to get two trucks so the crane never stopped swinging. The bundles went in as smoothly as could be expected.
19:24 ZP: The penultimate step was the installation of the ebbing and flowing island-like benches, and their design came with beautifully personal touch.
19:33 PH: The thing I was very touched by was you found, online, the pictures that Cathy did for Lufthansa years ago - those little shapes. And you used those shapes as sort of a collaboration with the past to make the beautiful islands that are in this amazing sea of trees.
19:55 ZP: The sea of trees was further enhanced by adding aspens, cottonwoods, willows and grass to complete the circle of this communal gathering space.
20:02 FK: The best gathering space, first, is natural and protects, but is not closing you off. Everyone is invited to join this gathering, to join the shade under the canopy. To connect and share your daily life, your stories, and what you have been dreaming. Everyone is invited to listen. In my village, the moon is how you count the years of people and who has seen many, many moons can tell stories.
20:34 PH: I'm amazed at how each little bench is telling a story. The kind of expertise that went into this.
20:45 CATHY HALSTEAD: Well and it all makes us want to touch it.
20:48 PH: It makes you want to sit on it.
20:49 CH: It makes you want to feel it.
20:52 FK: It's challenging all the five senses!
20:56 ZP: Francis and every team involved in the construction of Xylem have created a profound sensory experience for all Tippet Rise visitors. Through his work and his own life experience, he reminds us to use those senses and to especially take time to listen.
21:12 FK: We are becoming more and more blind because we stopped listening to our mothers, to our grandmothers. You get lost if you don't listen to these people. If you get these stories, these experiences, which is about being a human, a powerful human, a human that is there to serve humanity. That is important to reconnect with that. My mother is still alive which is always pushing me. You are going far, but accept that it is part of the journey. I'm seeing it and I want to see more because she was so right, she was so right. I am in the U.S., Montana, Tippet Rise! From Gando, I mean, that is a long, long way. That is my own personal relationship to my mother and it's important to reconnect with that, so that we can make our peace in the world, I'm sure. This is fundamental.


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PBS's Black Confederate Problem
Published: May 31, 2016 30 comments
Andrew and Silas Chandler
Update: Here is another clip in which Ms. Berry shares that thousands of black men fought as soldiers with the Confederate army. The full segment can now be viewed (begin at 10:30 mark), which does a better job of handling the history of James and Charles Dearman.
We all remember the debacle that took place on The Antiques Roadshow back in 2010 when appraiser Wes Cowan attempted to interpret the famous tintype of Silas and Andrew Chandler. Thankfully, PBS corrected the problem a few years later on an episode of History Detectives.
Unfortunately, it looks like PBS has once again found a way to butcher the history of African Americans and the Confederacy in their new series, Genealogy Roadshow. In this short video Kenyatta D. Berry suggests that "many African Americans were forced into fighting for the Confederate army." This certainly would have been news to actual Confederate soldiers and civilian leaders.
According to Berry, no one knows for sure but somewhere between 3,000 and 10,000 were forced to 'serve' in the Confederate army "among hundreds of thousands of white Confederate soldiers." This statement perpetuates the myth that whites and slaves fought in integrated units as opposed to the segregated Union regiments. Berry draws a clear distinction between men who fought in the army and tens of thousands of slaves who performed various supportive roles.
I have little doubt that Berry is referencing the argument made by John Stauffer in a fundamentally flawed piece that appeared last year in The Root. Needless to say, this is incredibly unfortunate. This is what happens when you allow an antiques appraiser and genealogist to interpret a subject that deserves a historian familiar with the basic facts concerning Confederate military policy and the broader subject of slavery during the Civil War.
I guess the only upside is that this kind of nonsense keeps me moving toward completing my manuscript on camp slaves and the myth of the black Confederate soldier.
Kevin Dally May 31, 2016 @ 18:30
You write it, I'll read it!
Kevin Levin May 31, 2016 @ 18:32
Thanks. It's still a ways away, but I am hoping to make a big announcement early next month.
Margaret D. Blough May 31, 2016 @ 19:19
Is it possible that he doesn't understand the difference between conscription (the draft) into the army as soldiers and impressment of slaves and free/freed blacks into various support roles for the military? The Confederacy certainly understood the difference. They were completely separate pieces of legislation/procedure. I hate to say it but impressment of slaves wasn't much, if at all, different than impressment of horses/cattle/supplies. I find it fascinating when people trying to advance the idea of "black confederates" accuse those who show that this simply isn't true of "presentism" when it is, quite often, they who are guilty of it. They may argue for a broad definition of soldier, but whites, particularly southern whites, were very specific, and narrow, in their definition of soldier as the reaction of W.H.T. Walker to Cleburne's proposal and Howell Cobb to Jefferson Davis' last-minute proposal showed.
Kevin Levin Jun 1, 2016 @ 1:29
This is a case of simply not understanding the history.
Will Hickox May 31, 2016 @ 19:55
A notice in the Richmond Enquirer on March 23, 1865, about "the first battalion of colored troops in the Confederacy," describes thousands of Richmonders flocking to "catch a glimpse" of them–something it's doubtful they would have done if black Confederates were common.
http://www.mdgorman.com/Written_Accounts/Enquirer/1865/richmond_enquirer_3231865.htm
David Kent Jun 1, 2016 @ 6:48
If that truly happened, I'll bet you they didn't have any ammunition! You'd have to think that the people were wondering which way they'd point their rifles when they did get it. The whole idea of arming slaves is ridiculous.
bob carey Jun 1, 2016 @ 4:24
At the risk of sounding like an intellectual snob I think the problem here is that PBS has credibility among the more sophisticated people of our society. This mistake on the show will allow the "heritage correctness" types (I'm borrowing this term from Dr. Simpson) to point toward PBS as verifying their propaganda.
Not just PBS. I can't tell you how many times I have seen John Stauffer's essay cited on a Confederate heritage website. It's one of the few examples where they embrace Harvard scholars. 🙂
Is there a place where you can get Mr. Stauffer's reference data without reading his book? If there's a roster of a black confederate anything, I'd sure like to see it. I don't believe it exists.
Other than the piece in The Root, John Stauffer has not published anything on the subject. All of the evidence he cites in that essay is easy to find. His interpretation for much of it adds nothing new and in places he makes serious interpretive errors. See my response linked to in the post.
I will. Thank you. My wife and I watch that show regularly, but I must have missed that episode.
Rblee22468 Jun 1, 2016 @ 7:12
Stone Mountain Park is in the planning stages of developing a museum dedicated to the role of blacks in the Civil War. They are looking for experts. You should contact them, if they haven't contacted you already.
http://www.myajc.com/news/news/civil-war-museum-slowed-by-protests-still-planned-/nrXgp/
"The ambitious King idea was quietly scrapped in favor of the more tenable museum component, which would be a permanent museum exhibit and would tell the story of the black role in the Civil War."
""We are still in the first phase of the project," Stephens said. "We are looking at similar efforts elsewhere, identifying researches and scholars who have already done some of this legwork"
Andy Hall Jun 1, 2016 @ 7:44
I don't think anything can really be done to "fix" Stone Mountain. Putting an MLK museum or memorial on top, while well-intended, reeks of desperation and false "balance." It's like putting a flower pot on top of a septic tank — you're not really fooling anybody.
A museum dedicated to African Americans' role during the Civil War would be a welcome addition anywhere, especially in the South, but putting it at Stone Mountain Park is almost as contrived as the earlier proposal. The museum's location and content should be driven on its own merits, not as a cynical means of countering the message and meaning that Stone Mountain has had for this last century, and continues to have for some right down to the present.
I definitely agree with your sentiment, but if they are going to build the museum and create the exhibit anyway, I definitely think it is important that they get the opinions of people knowledgeable on the subject and who will approach it from a strictly factual point of view.
I'm also of the opinion that it's valuable to challenge people on these types of things. I sent several emails in the wake of the recent William Mack Lee debacle. Of course, I only received one response which was from the author, and it was pretty much what I would characterize as dismissive.
Joe Overstreet Jun 1, 2016 @ 10:02
Why is it you can;t let it alone? They did not share your PC BS. They look proud to be in the service of their country and if you would just accept they were just as proud as Black Soldiers that fought in the Revolutionary War, fighting for their Country. Please, a Southroner fighting for his Country should be respected and not all these "Silly" modern excuses you all stack on to justify your blind PC notions. Frankly, you make me want to puch
Kevin Levin Jun 1, 2016 @ 10:09
I think you mean, "puke". Thanks for chiming in, Joe.
Shoshana Bee Jun 2, 2016 @ 0:21
'I guess the only upside is that this kind of nonsense keeps me moving toward completing my manuscript on camp slaves and the myth of the black Confederate soldier."
I know that there are amongst us people who were raised with the Lost Cause as thee CW narrative, yet, something they read, heard, learned made them depart from the ranks of 'causers'. In some families, the departure was as radical as if one walked away from a cult. I always wonder: What was the defining moment for those people? Perhaps they read a book at just the right time and place in their lives and it changed how they saw everything. I like to think that another day is coming when someone will pick up your book, Mr. Levin, and abandon yet another myth.
Ray H. Jun 2, 2016 @ 8:59
Shoshana,
Great post. Count me as one of the recent converts. Growing up and still living in north Louisiana, I am literally surrounded by Lost Cause'ers. Heck, there are two confederate flags flying within a 1/4 mile from my house in my neighborhood. My high school mascot was "the rebels" and they play Dixie still after scoring a touchdown. You want to see an awkward moment in the stands when this gets played? Sheesh.
I think a large segment of the south doesn't want to acknowledge their ancestors truly engaged in shameful behavior, to whatever degree you want to talk about. The Lost Cause narrative helps ease this worry.
I found this blog while digging for more information on "the free state of Jones" movie/story. Which in turn led me to dig into other of blog postings here, and a different way of thinking. I've had this same conversation I'm having now with you with some co workers and friends this past week, and I'm happy to say they accept my comments/suggestions about this issue way better than I thought it may go over. The Lost Cause way of thinking has very deep roots in the south….
If you would have asked me 5 years ago the reason for the civil war? Its a very different answer than today.
Nice to know you found your way here. This blog goes back 10 years so there should be plenty to keep you occupied. 🙂
Shoshana Bee Jun 2, 2016 @ 16:37
I learned a new word recently, Ray, and I think it fits: Huzzah! There is nothing more empowered than a man who has sought out the truth.
Forester Jun 2, 2016 @ 8:04
You're being too charitable, Kevin. Being a genealogist does NOT excuse such a laughable error. If anything, a genealogist should know better than the average person.
Genealogy research is what led me to that pension record that correctly labels my ancestor's slave as a personal servant, not Confederate soldier. How many black genealogies has this lady ever traced back to one of those "thousands" of black Confederates? Of course the answer is none, because there weren't any. Berry should know better. There is no excuse.
To be fair Berry does correctly interpret the guest's ancestor as an impressed slave. The problem is the reference to thousands of slaves who "fought" as soldiers for the Confederacy that is contained in the segment as well as the short video that accompanies it.
Nathan Towne Jun 2, 2016 @ 17:07
The problem is that anyone who knows anything whatsoever about the subject matter knows that this narrative of tens of thousands of black Confederates is just a political ploy. I don't understand the point in fighting with people who have no interest at all in the historical record and couldn't be bothered by anything that doesn't satisfy their narrative. What is the object in fighting that?
Who is fighting?
I only meant fighting as in contesting.
Keep in mind that I am not doing anything that I haven't done for years now in connection with this particular subject.
I understand and there is definitely a place for scholarly work on the subject. The tenor of these posts has a tendency to garner a rise out of the typical crowd though and we both know where that goes.
Nathan Towne Jun 3, 2016 @ 4:24
If I may, I will say that I commend your patience on this issue. I don't want you to think that I am attacking you or anything that you have written here. That was not my intention at all. I was just wondering why it is important to contest a narrative so frequently that doesn't even attempt to ground itself in the historical record. Just a question.
I see it as part of my role as a public historian.
TFSmith Jun 4, 2016 @ 14:19
And good for you for doing so; along with speaking truth to power, doing the same to ignorance is the foundation of scholarship and citizenship.
Next post: William Mack Lee Conned the UCV & SCV
Previous post: Remembering Southern Unionism on Memorial Day


First editions from these new English distilleries are (generally) being delivered with eye-watering prices. It's almost as if you're paying an auction premium for the bottle right for the get-go. I get it, new distilleries feel (probably rightly) that it is they who should profit from an ultra-buoyant secondary market. However, in order to do so, the customer is being propositioned with tales of 'luxury' that 3 year old whisky just doesn't provide. I've harked on about this across a raft of posts in 2018 – and sorry folks, I'm probably not going to stop as we move into 2019. There's something really out of kilter with the budding English whisky market, and I worry that the growing choice that's going to be coming on stream in the years to come, we might see some of these new and exciting distilleries close with a lot less fanfare than they opened.
But, look, let's move away from doom-and-groom and focus on something rather more positive – it is Advent calendar time after all. There's several English whisky distilleries that I've got a keen eye on – St George's is one of them. Established back in 2006, St George's was the first new English distillery constructed for over 100 years. I didn't really pay them too much attention back in 2009/10 when their first bottlings were produced, but over the last few years I've been noticing that they've quietly been producing some seriously excellent spirit. I found that the two recent bottlings by SMWS (distillery number 137) possessed both a characterful, powerful distillate and likewise offered some seriously smoky flavours, easily the rival of many of their Scottish competitors. A Boutique-y version was both inevitable and likewise something I've been looking forward to.
Boutique-y's English Whisky Co, 8 year old batch 2 is delivered at 52.3% ABV. 845 bottles were produced and cost £48.95 from Master of Malt.
Nose: Roast dinner meets peat bog – beef, onions and herby gravy with mint and sage stuffing. Buttered popcorn and sea-salt meet a mild lemony peat smoke. There's wet clay, putty and burnt toffee in background. A real intersection of sweet meeting savoury. Reduction adds some herby cream crackers and emphasises minerality – rock pools and just a touch of iodine.
Taste: Much bolder on the palate, opened with buttery (but burnt) chocolate cream and ashy smoke that's quite oily – as if from a steam engine. Lemon peels and gentle brine make way for butterscotch and vanilla cream in the mid-palate. There's development here which moves increasingly towards steeliness – wet metal decking. The addition of water brings out fruit elements with apple and lemon pastries and pear juice sweetness. It also transposes the ashiness into something more dusty – chalk.
Finish: Long, sweet and savoury – beef stock and malt loaf with a touch of floor cleaner with plenty of inland smoky ashiness.
Boutique-y's English Co. 8 year old is packed full of spirit-forward character. There's a great balance between sweet and savoury and an equally good one between barley and peat smoke The end result is a super enjoyable, really well selected cask where the wood supports the liquid rather than defining it. Peat is not just all about Islay.


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News Sports Opinion Entertainment Business Obituaries E-Edition Legals
Ellen Jo Jeanes
Ellen Jo Jeanes, 90, passed away Wednesday, March 1, 2017 in Denton, Texas. Funeral services will be held at 1 P.M. Saturday, March 4, 2017 at the Seymour Memorial Funeral Home Chapel, with Dr. Tommy Culwell officiating. Interment will be in the Riverview Cemetery.
Jo was born January 5, 1927, in Memphis, Texas, to Henry F. Bunch and Alma Taylor Bunch. She attended schools in Chillicothe, Archer City, Bowie and Ft. Worth. She graduated from Paschal High School in Ft. Worth in January 1944, and attended TCU from 1944-1946. She married Reeda H. Jeanes on November 30, 1946 in Wichita Falls. The lived in Olney, Texas for 18 years, and moved to Seymour in 1965. She moved to Denton in October 1999.
She was a homemaker and a member of the First Baptist Church of Denton and the Rebekkah Sunday School Class. She was a resident of Good Samaritan Retirement Village in Denton for 14 years, and moved to Joyful Journey Assisted Living in January 2013.
She is survived by her daughter and son-in-law, Judy and Bill Whitley of Richardson, Texas; son and daughter-in-law, Jerry and Judy Jeanes of Denton, Texas; three grandchildren,
Amy Taylor of Richardson, Texas, Dr. Macy Whitley of Dallas, Texas, and Chad Roberts and wife, Heather of Kansas City,Missouri; four great-grandchildren, Whitley and Nolan Taylor of Richardson, Texas, and Grace Ann and Abigail Roberts of Kansas City, Missouri; two sisters, Mary Lou McDonald of Vernon, Texas, and Doris Green of Oregon; a brother, Henry Larry Bunch of Arizona; and numerous nieces and nephews.
She was preceded in death by her husband; her parents; her stepmother; and two brothers,
Olin and Emmett Bunch.
A visitation will be held at 6 P.M. Friday evening at the funeral home.
Condolences may be expressed at www.seymourmemorial.com.


Almost from the time he could walk, Jase has been using a computer. We started him out with toddler games where you click on things to hear a noise or see something happen. He graduated up to preschool games that taught numbers and colors.
In kindergarten, they began going to the computer lab weekly. By this time, Jase was playing video games on the Nick Jr site on the computer (not to mention games on the Wii or Xbox). At 8, he knows how to search on Google and Amazon. In school, they are doing PowerPoint presentations and typing up research in Word. Often their homework involves going to a website to practice math or spelling or to do research.
Yep, there is no separating kids from computers nowadays. They are well adept at using a mouse almost before they can even hold a pencil. And don't get me started on their ability to use an iPad better than I can.
Now, my husband and I have discussed our kids usage of computers, but we haven't installed monitoring software or anything. The kids' computer (yes, they have their own) is in our office. They are usually only on it when we are in the room, so we can monitor what they are doing.
Because they are still young (5 and 8), we have not had to worry about them entering personal information beyond their name and age. They don't go to sites that ask for their address or birth dates. They can't install any programs on the computer themselves – which means they can't download anything either. They do not belong to any chat groups. They don't instant message or have any personal pages, though they do have an email account. It is a shared account between the two of them. The only ones who know the address are family and my husband automatically gets a copy of incoming messages. They don't know how to post pictures.
While I know they don't or can't do any of the items that most parents need to worry about, I do know that we need to plan for these things. We know we will need to change things as they get older and become more computer-literate. Because really the Internet can be a dangerous thing for kids. And of course, it can be a great learning tool too which is why I don't mind them using the computer even if it is only to play a game.
Today I want to welcome Marian Thomas to my blog. Please enjoy this excerpt from her latest book, Aqua Blue.
The two best friends sat on the bank of the only lake that ran through Jackson County. One was a slightly tall, raging thin-framed girl with two long braids that hung on either side of her head. Full olive skin wrapped every inch of her body. Her tiny freckles, sporadically placed, highlighted her green eyes and pointed nose. Her mother was a short woman who moved to Jackson County from Virginia with her parents, when she was 15 and a half years old. She had found herself a tall country boy, and they had a small and swaddled country girl, if there ever was such a thing. They named her—Haley.
The other one was a smart, somewhat sassy, almond-skinned girl with eyes so blue they spun a rare color of aqua in the sunlight. Her long, thick hair and curvy frame completed the look. Her father was a slender man with brown wavy hair and green eyes. He was born in Chicago, but when he couldn't find work after entering his adult years, he moved to the farm life of Jackson County, just outside of Knoxville, Tennessee, in 1955. It took him nine years to get the land going and six months after that, to fall in love with a young black woman named Hanna Lee. In the beginning, it had been tough for them. It wasn't until the winter of 1967 that he was able to legally make her his wife. Their first and only child was born in 1968. They named her Simone Renée Thompson, but called her Aqua Blue.
Aqua Blue remembered when Ms. June came to town three years ago, with a belly the size of two or three bowling balls. The scandal spread through the county like someone was paying everyone to talk about it. Aqua Blue had felt sorry for Ms. June, but that wasn't why she was always so eager to go over to Ms. June's house and help out. Ms. June had been the only sane individual in Jackson County. Aqua Blue couldn't even declare that about her own parents. Her best friend Haley was as crazy as a puppy chasing its tail. But Aqua Blue would never tell her that.
Everyone needed something to give a bad situation some bright light, Aqua Blue had thought when Ms. June made that statement.
"What are you thinking about, Aqua Blue?" Haley asked, interrupting Aqua Blue's train of thought.
"You should try it. It can be refreshing." Haley glared at Aqua Blue.
Aqua Blue gave her a friendly shove and the girls allowed the moment to pass.
"I ain't," Haley said softly.
Aqua Blue tried not to laugh as Haley seemed to get herself all caught up in the intensity of her speech.
Aqua Blue stood up and dusted the grass off her rolled-up blue jeans. She walked to the edge of the lake and watched the twinkles dance off the sweet water. They were like tiny stars. The gentle breeze of the air caught her hair, and Aqua Blue felt a burning desire to prove to Haley what had been brewing down in her lungs.
She took a deep breath, and when she opened her mouth, Haley heard a voice she had never heard before. By anyone, for that matter.
It was as smooth as chocolate. Soulful. Passionate. Beautiful.
In 1968 a child was born. Her father's eyes boast a beautiful green and her mother was born with hazel. Yet, Aqua Blue was brought into the world with neither.
Haley wishes her parents would forget her. Her mother wants to control her, her father constantly beats on her and Haley, however, just wants to dance on Broadway. Will her dreams cost her more than she ever expected?
Jonathan Jacob Benjamin Brown is running from the memory of a mother he loved. His journey will thrust him into a world filled with secrets so shocking, he must determine whether he will forgive or walk away.
As they each step foot into the intoxicating city of New York, their dreams are standing before them with open arms. Yet, in order to embrace the possibilities, they must first learn to live, love, and breathe.
Author Marian L. Thomas is no stranger to the world of fiction. With three dramatic and engaging books to her credit: Color Me Jazzmyne; My Father's Colors and Strings of Color, this award-winning author continues to weave colorful stories of emotion and realism, that crosses all boundaries and finds a home in the heart of today's female reader. This has become her trademark. Her new release: AQUA BLUE, was released July 16, 2013.
Find out more about Marian on her website.
Aqua Blue can be purchased on Amazon.
When you first become published, you write your author bio, which touts your first book. Then you write a second book and maybe even a third or fourth. You might start a website or a blog. You publish a short story or are included in an anthology. And there – on Amazon, on Goodreads, on your Facebook or Twitter page – is the same old author bio that you first jotted down.
I have written before about how to write an author bio but of course didn't address updating it. When you first start out, you probably proudly listed the title of your book or later maybe the name of the series you are working on. But once you get a number of novels written, it probably is easier to list the genre you write verses every book to your credit.
(first novel) Summoned: Book 1 of The Elemental is Susan's debut novel. The sequel, Quietus, will be released this Fall.
(second novel) Summoned and Quietus, the first two books of The Elemental trilogy, are available wherever e-books are sold. The third and final installment in the series will be released early 2012.
(multiple books) Susan writes fantasy novels and short stories.
However, it simply isn't a listing of your books. You need to update any links. Once you get multiple books, you may want to link to your author page on Goodreads, Amazon, Barnes and Noble and Smashwords instead of to just one book. Linking to your author page will allow readers to see all of your books.
If you have built a website or started a blog, you might need to update or add these links to your bio. Or you might have created a book trailer that you want to have placed on your author page.
The key is to remember to check each of the places you have your bio listed. And as you start submitting your information to more sites that list can be long. Here are a few places you should check to make sure the information is up-to-date.
Of course, I said yes. I don't know where his interest in being in the play came from. He had never attended the school play: Wizard of OZ when he was in Kinder or Charlie Brown, which had been done just a month earlier.
I guess I shouldn't be too surprised that he wants to be in the play. Earlier that school year, he had requested and been given a speaking part in the first-grade performance.
Jase was thrilled that he would be trying out for The Little Mermaid and picked up a Boy's Audition packet the next day.
So we went home and read the packet information. They give out the audition packets in May and auditions were set for September. The play will be performed in April 2014. For his audition, he would need to be able to do two scenes – one as Prince Eric and one as Flounder. And since this is a musical, he also was given part of the song "Under the Sea" to learn.
So this summer, we would go over his audition about once or twice a week. In August, I tried to get him to practice daily. By September, he had the lines memorized and was getting much better at saying the lines with inflection rather than just reading them.
Jase's choice role would actually be one of the sailors or Prince Eric. Even as we practiced, I doubted he would get Prince Eric. These were the lines he stumbled over the most. And I expected the leads of Prince Eric and Ariel to go to older kids.
At the end of the first week of school he brought home the audition form and permission slip which we filled out and sent back in. On the form, it asked what part you wanted, and if you were willing to accept a different part. I made sure Jase understood he might not get a part, or since he selected that he would take any part, he might get a part other than the one he wanted.
On Sept 10th, he had his audition. Parents weren't allowed to watch. It was just the student and the judges. He bounced into the room and four minutes later, bounced back out. He said it went well. He only had to do the scene with Prince Eric and then sing. I wished he had chosen to do the Flounder scene because he does that one so much better than the Prince Eric one but it was his choice.
The following Monday they posted the cast list. Jase wasn't on it. He was fine with not being selected. Later, he told me he was a little sad about it, but that it was okay. I told him that I was proud of him for trying. There are 650 kids in his class and only 100 were brave enough to do that. I guess I will have to wait for May to see if he wants to try again next year.
Author Annie Brown stops by my blog today as part of her Who I Be Virtual Book Tour. Please enjoy this excerpt from Who I Be.
We did not choose our parents, so we have no control over our DNA makeup. But I do know and trust God's Word that we all were wonderfully and fearfully made. Is not that a blessing that no matter what our beginning features were like, God made us good and very good? It is that innate (inborn) desire within us to be accepted by the world standards that keeps us from accepting who we really are. Contributing factors are the lies the devil has us believing that there is always something wrong with us. We are never satisfied. If we are short, we want to be taller.
If we have a dark complexion, we want to be lighter. If we are white, we want a tan. If we are slender, we want to put on weight, and if we are obese, we want to lose weight. While there is nothing wrong with wanting to make some adjustments to our physical bodies, it becomes almost an obsession when the images that society and the devil paint as acceptable are what we yearn to be.
So what do we need to do as we feed into this deception and believe things are what the devil tells us they are? We should cry out to God as King David did on so many occasions for help. If we want to step from low self-esteem to confi dence, we must take heed of the Word of God and believe what God says about us. Since the fall in the Garden of Eden, the adversary (the devil) has been deceiving people to believe that he knows better than God. St John referred to the devil as a liar and the father of lies.
Have you looked in the mirror recently? Was the person looking back at you the person you used to be or are you not sure who is starring back at you? Sometimes during the course of life we allow ourselves to become what society says we ought to be. Society and its norms should not be how we define ourselves. God has made each one of us to be uniquely different and special in our own right. When we take the time to examine ourselves we may be surprised how much of the real us is gone. Physically we disfigured ourselves or made ourselves sick trying to measure up to how society says we ought to look or be. Who I Be is personal. It is time that we focus on who and how God intended for us to be. We were fearfully and wonderfully made and we should find satisfaction in being made in God's image and not who or what society says we should be. Our physical, emotional, mental, and financial status does not make us. Who I Be is about the person who can be themselves and not be stressed or anxious about becoming another product of circumstances or norms to be wholly.
Annie Brown was born to the parents of Lonza and Daisy Duckett in Alexander City, Alabama. She was the third of four children. Annie is the proud parent of four adult children, five grandchildren, and one great grandchild. She is a licensed minister and attends Joyful Noise AOH Church of God in Sylacauga, Alabama where she serves as the church secretary. Annie holds a Bachelor of Science degree in Social Work from the University of Montevallo and a Masters of Social Work degree from the University of Alabama. She currently works at Lakeside Hospice, Inc. in Pell City, Alabama as a hospice social worker. As a social worker, Annie works with the terminally ill, providing emotional support at the most critical time in an individual's life.
Annie's heart desire is that people will learn to love themselves. In order to love themselves a person cannot conform to society's norms as to what is acceptable but rather believe what God's Word says.
You can find out more about Annie on her website. You can also follow her on Twitter or Facebook.
You can purchase Who I Be on Amazon.
For over a year now, I have hosted authors on my blog. I have met some friendly, thankful, pleasant people. But I have also run into quite a few people who don't seem to know how to put their best foot forward.
So here are some tips that apply not only to those submitting to my blog but really any promotional opportunity authors' encounter.
1.) Be Professional – Be polite in your communication. Clearly state what you are interested in doing. On my blog that would be either an author interview, book excerpt or guest post. I don't expect to make the choice for you and while I try to accommodate date requests, I fill my spots on a first-come basis.
2.) Put your best work forward – Any time you put anything on the Internet – be it a tweet, a post on Facebook or show off your writing skills on your own website or someone else's, you need to show your best, most professional work.
If you provide a book excerpt, make it an exciting scene in your novel. Make it end with a hook that will make the reader want to PURCHASE your book.
If you are submitting a guest post, make sure it is relevant to the site and of course, well-written.
3.) Provide the information requested – If someone asks you for your book blurb, cover art, author bio, personal links and buy/purchase links, then you should be able to provide those. Each author should have these things at their fingertips. I also expect your links to go directly to your book on Amazon or Barnes & Noble rather than just state your book is available there. You want to make it easy for your newly interested reader to buy your book.
4.) Include a good author bio – I have blogged about this topic before. Your bio needs to be short (a paragraph or two) and relevant to your work. If you wrote a legal thriller than your law degree can add credibility. Some personal information (kids, hobbies) spices up your bio but keep it to a minimum.
5.) Remember the reason you are doing this promotional opportunity – I can't say this one enough. Remember that you are appearing as a featured author to let people know about you and the wonderful book that you wrote. You want them to read the post and then buy your book. You are a salesman in this instance so do your best to make them realize they are missing out if they don't buy your book.
I hope this helps authors out there – especially maybe those newbies who are still struggling to figure out the marketing/self-publication world. If you are an author and would like to be featured on my Friday Featured Author spot, please contact me on my About Me page.