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Cultural, Ethnic & Regional Bios
How We Fight for Our Lives: A Memoir
By Saeed Jones
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Rating: 4.5 out of 5 stars4.5/5 (104 ratings)
Length: 190 pages3 hours
Antiracism read…
Poet Saeed Jones lays bare the struggle of growing up both gay and black in Texas. His prose evokes these painful memories with just the right amount of distance to show the hope beyond the otherwise bleak circumstances.
From award-winning poet Saeed Jones, How We Fight for Our Lives—winner of the Kirkus Prize and the Stonewall Book Award—is a "moving, bracingly honest memoir" (The New York Times Book Review) written at the crossroads of sex, race, and power.
One of the best books of the year as selected by The New York Times; The Washington Post; NPR; Time; The New Yorker; O, The Oprah Magazine; Harper's Bazaar; Elle; BuzzFeed; Goodreads; and many more.
"People don't just happen," writes Saeed Jones. "We sacrifice former versions of ourselves. We sacrifice the people who dared to raise us. The 'I' it seems doesn't exist until we are able to say, 'I am no longer yours.'"
Haunted and haunting, How We Fight for Our Lives is a stunning coming-of-age memoir about a young, black, gay man from the South as he fights to carve out a place for himself, within his family, within his country, within his own hopes, desires, and fears. Through a series of vignettes that chart a course across the American landscape, Jones draws readers into his boyhood and adolescence—into tumultuous relationships with his family, into passing flings with lovers, friends, and strangers. Each piece builds into a larger examination of race and queerness, power and vulnerability, love and grief: a portrait of what we all do for one another—and to one another—as we fight to become ourselves.
An award-winning poet, Jones has developed a style that's as beautiful as it is powerful—a voice that's by turns a river, a blues, and a nightscape set ablaze. How We Fight for Our Lives is a one-of-a-kind memoir and a book that cements Saeed Jones as an essential writer for our time.
LGBTQIA+ Bios
Saeed Jones
Saeed Jones is the author of Prelude to Bruise, winner of the 2015 PEN/Joyce Osterweil Award for Poetry and the 2015 Stonewall Book Award/Barbara Gittings Literature Award. The poetry collection was also a finalist for the 2015 National Book Critics Circle Award, as well as awards from Lambda Literary and the Publishing Triangle in 2015. Jones was born in Memphis, Tennessee, and grew up in Lewisville, Texas. He earned a BA at Western Kentucky University and an MFA at Rutgers University-Newark. He lives in Columbus, Ohio, and tweets @TheFerocity.
Elvis Mitchell
Timothy Greenfield-Sanders
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Blythe Baird
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How We Fight for Our Lives - Saeed Jones
Since no one has talked to him about such feelings, he does not know what they are. And yet he is drawn to them, to the dream-like quality of doing something he has never done before, yet knowing, somehow, how to do it.
—DAVID MURA
The waxy-faced weatherman on Channel 8 said we had been above 90 degrees for ten days in a row. Day after day of my T-shirt sticking to the sweat on my lower back, the smell of insect repellant gone slick with sunscreen, the air droning with the hum of cicadas, dead yellow grass cracking under every footstep, asphalt bubbling on the roads. It didn't occur to me to be nervous about the occasional wall of white smoke on the horizon that summer. Everything already looked like it was scorched, dead, or well on its way.
I was twelve years old and I had just finished the sixth grade. Most days, after Mom headed to her job at the airport, I would stay inside our apartment, stationed by the window. Cody and his younger brother, Sam, two white boys who lived a few apartment buildings over from us, were always playing catch in the parking lot, though I never joined them. I wasn't good at throwing the ball and it was too hot for me to go out and pretend.
When I wasn't at my perch, acting like I wasn't watching them, I would flip through Mom's old paperback books. So far, I had tried out Tar Baby and The Color Purple, both unsuccessfully. Toni Morrison's sentences were like rivers with murky bottoms. They didn't obey the rules I was learning in school. When I stepped in, I couldn't see my feet; I retreated back to the shore. Alice Walker lost me because, a few pages in, some girl was talking about the color of her pussy. I figured the book didn't have much more to offer me after that.
Today I tried again. I picked up a worn copy of Another Country by James Baldwin, sat down cross-legged on the floor, and started reading. A sad man walks through the streets of New York City late one winter night. He goes into a jazz club looking for someone or something but doesn't say why.
Minutes pooled into hours. Black people sleeping with white people. Men kissing men, then kissing women, then kissing men again. Every few pages, I would look up from the book and peek at our apartment's front door. Mom wasn't home from work yet and I felt like I would get in trouble if she saw me reading this book. I went into my bedroom, with our cocker spaniel, Kingsley, trailing behind me, and I closed the door.
The novel turned me on. I didn't know books were capable of anything like this. Until now, I had liked reading but it was just something you did. A good thing, like drinking water on a hot day, but nothing special. Holding Another Country in my hands, I felt that the book was actually holding me. Sad, sexy, and reeking of jazz, the story had its arm around my waist. I could walk right into the scene, take off my clothes, and join one of the couples in bed. I could taste their tongues.
About a third of the way into the novel, I found a Polaroid tucked between the pages like a bookmark. It was a picture of a man I had never seen before. He didn't resemble anyone in my family, but, for all I knew, he could have been a distant cousin or uncle. He was leaning against a sedan with his arms crossed and an odd smile on his face, as if the person holding the camera had just told him an inside joke. Or maybe this man was doing the telling. The smile felt intimate, inappropriate, like a hand sliding down where it should not be.
Someone had written Jackson, Mississippi, 1982 on the back, but I could've figured that out on my own. The man was dressed like an extra in a Michael Jackson video. He had on a knit sweater and black, acid-washed jeans that were way too tight. I could see the whites of his socks. And I knew he was in Mississippi because of the red dust all over his sneakers. On a trip to Mississippi with my aunt once, I'd seen that dirty redness on every car, lapping at the sides of houses like flood tides, and all over the loafers I was wearing. That's what Mississippi does to you, my aunt had said when she saw my shoes. I kept on trying to use one foot to brush red dirt off the other, only making things worse.
I decided I didn't like the man in the picture. The dirt on his shoes irritated me, and the longer I looked at his smile, the more I felt like he was looking directly at me. Not at the camera in 1982, but at me, sixteen years later. He grinned like he knew something about me, a punch line I hadn't figured out yet.
When Mom came home from work, she headed straight into the kitchen to pour herself a glass of water from the Ozark jug. That was part of her routine. She'd drink the entire glass right there in front of the fridge. Then she'd walk into her room and stare at the TV for a little bit, listening to the weatherman deliver a forecast—more heat—she already knew.
Mom was beautiful but always on the edge of exhaustion. When she was in her twenties, she had worked briefly as a fashion model. Sometimes she'd let me look at pictures of her from those days, hair in box braids, her lithe frame draped in gowns her sister had designed, posing on runways. Even a long day of work couldn't deny her the colors her black hair flashed, like raven feathers, when the light hit it just so. I was proud of her beauty, my first diva. Even as my body felt mangled by puberty, I took consolation in the fact that I came from a woman like her: a woman who read three newspapers every day, who could make everyone in a room light up with laughter, who would tuck notes into my lunch box daily, signing off, I love you more than the air I breathe.
After working at the airport all day, Mom was too tired for any of my questions, so I waited until she'd had a cigarette. After a smoke, she would be ready to talk.
She saw the Polaroid in my hand when I walked up to her. I'd been wondering what happened to that. She held the photo in her hand gently, as if it would crumble to dust if she wasn't careful. Her face softened just a little.
Who is he? I asked.
She looked out the window at the oak tree right outside the living room. She stared at it long and hard, like she was waiting for some signal. Moments like this had taught me how to shut up and wait for an answer. When I was younger, I would give up during Mom's pauses because I thought the answer wasn't going to come. Eventually I learned that she was just testing me, to see how serious I was about finding out.
I stared at the window with her, then arched one eyebrow.
A friend from school. We'd go on road trips together now and then. We went to Jackson once.
She paused again, still looking at the tree. For a moment, it was quiet inside the apartment and out, like the heat was making the entire town hold its breath. Then Cody and Sam started yelling at each other in the parking lot.
Mom frowned and turned back to me.
Not too long after that, he found out he was sick and… and he killed himself.
She was already walking back to the kitchen for more water, which was her way of saying that the conversation was over. It was too hot, the day too long.
I wanted to see the man's picture again. He had looked healthy to me. He was young, early twenties. And what did being sick have to do with killing yourself?
Sick with what? I called out, even as I felt bad for asking.
I had stepped into someone else's house without their permission, but now that I was inside I couldn't help looking around.
AIDS, she said.
She breezed into her bedroom and closed the door. I could hear her open a drawer and turn the TV on. I tried to listen for the weatherman's predictions, but the volume was down too low.
I went back into my room and pulled Another Country out from under my pillow. After reading and rereading the same paragraph several times, I set the book back down.
AIDS, I thought. Shit.
She hadn't even said her friend's name.
GAY WASN'T A word I could imagine actually hearing my mom say out loud. If I pictured her moving her lips, AIDS came out instead. But in the days following our conversation about the photograph, I could feel the word gay —or maybe the word's conspicuous absence—vibrating in the air between us.
I'd read in one of my nature books that there are some sounds that occur at a frequency only dogs and special radios can pick up on. Sounds that can only be heard if you were designed to hear them. I could hear that word ringing high above every conversation, every moment, because I thought about being gay all the time.
I heard it vibrating in the air when I watched Cody and his friends playing pickup in the park, sweat making their shirts transparent and heavy, their nipples poking at the fabric. I could hear it too when I thought about the man in the photograph. I wished I still had the Polaroid, but it would've been weird to ask Mom if I could look at it again. I wanted to see his smile; I thought I would understand it better now.
I carried that man's smile in my head for three days until the smirk became a laugh, a taunt, a howl. One morning as Mom got ready to leave for work, I stared at the ceiling, then closed my eyes when she opened my bedroom door to let the dog in. Whenever she left, Kingsley would panic, pressing his face against the window so he could watch her car pull away. It happened five days a week; but each morning he was just as frantic, as if this would be the day she left, never to return.
With Kingsley yipping at my ankles, I ventured into Mom's room. The picture wasn't on her dresser and I thought about going through her drawers to find it. The last time I had done that, though, I'd found her vibrator. The discovery had been its own punishment.
Still, I knew that there was a place I could go to get the answers I wouldn't find at home. Throwing on clothes without even eating, I opened the front door and locked it behind me. Kingsley barked and scratched at the sill as if he were trying to warn me.
IN THE PUBLIC library's air-conditioned coolness, I decided I knew better than to ask the wrinkled woman at the circulation desk where to find books about being gay. Instead, I slowly walked up and down each aisle, scanning book spines until I found what I was looking for. The first book that stopped me was for parents dealing with gay children. The introduction was worded like it was intended for readers coping with a late-stage cancer diagnosis. I put the book back on the shelf, wrong side out.
Eventually, I gathered five or six books and sat down on the floor with them in my lap. Like any teenage boy trained at reading things he shouldn't be, I looked both ways before opening any, then got up and grabbed a decoy off the shelf. It was a book about the sociology of boys. I kept it open on the second chapter and within reach in case someone I knew came down the aisle and I needed a quick alibi.
While I was reading a book about defining homosexuality, my dick started to get hard. The writing certainly wasn't sexy; the language was outdated and dry. Still my body responded.
That changed as I read further into the books in my pile. All the books I found about being gay were also about AIDS. Gay men dying of AIDS like it was a logical sequence of events, a mathematical formula, or a life cycle. Caterpillar, cocoon, butterfly; gay boy, gay man, AIDS. It was certain. Mom's friend got AIDS because he was gay. Because he was gay, he killed himself. Because he knew he was dying anyway.
I read about gay men who were abandoned by their families when they came out. Or worse, who didn't tell anyone that they were gay, even when lesions started to blossom on their skin like awful flowers. Either way, the men in those books always seemed to die alone. I took some comfort in the fact that Mom knew about her friend's illness. Maybe he had been able to tell the people close to him. Maybe Mom was the kind of person you could tell.
When I stood up to put the books back on the shelf, I realized my hands were shaking. I felt like I had made the mistake of asking a fortune-teller to look into my future, and now I was being punished for trying to look too far ahead. Walking outside, the blast of hot air was a relief.
I passed the park on the way home, and the usual boys were on the basketball court. Shirts and skins. I looked at their bodies, but only for a moment. I couldn't really focus. In every man's expression, shimmering amid the heat waves, I found myself searching for the face of the man in the photograph—for a hint of that smile, that beautiful, unforgivable smile.
By the time Cody asked me if I wanted to go with him and his brother into the woods near our apartment complex, I had already been humping my pillow and whispering his name in breathy gasps for weeks.
I'd been in my bedroom, reading another book from Mom's bookshelf—this time Tina Turner's autobiography—when Cody knocked on the door. I thought the invitation was a trick at first, the lead-up to some prank. Part of me still felt that way as we walked toward the woods.
You're not gonna believe it, man. He's built a hut and everything, said Cody.
Fuck! added Sam, who had a tendency of punctuating anything his older brother said with a curse word.
You've reached the end of this preview. Sign up to read more!
Michiko Kijima-Tithers
Amazing, emotional and hard to put down. An absolutely brilliant read. Thank you Saeed!
Beautiful read on the life of a man who is of two minorities. Life just seems to throw one tragedy after another and Saeed seems to come out stronger every time. Really struck me on how he used his sexuality (one that he tried to suppress) as a weapon in his future. Would definitely recommend.
Absolutely incredible book. Beautiful writing. I wish I had a physical copy Somali could highlight some of my favorite passages.
Tom Pointon
The good: fascinating account of a gay black man coming of age. Great writing style with vivid description which pulls the reader in. The bad: I'd have liked him to go deeper and further I felt the dynamics between queer white and black men were barely examined.
The main focus is on his relationship with his mother and his coming to terms with her death. I'd recommend this book to anyone interested in mother son relationships, growing up gay or coming to terms with bereavement. There is some briefly explicit description of men on men sexual content but this shouldn't be a problem for most adult and older teen readers.
Sara Hammer
Gorgeous writing. A powerful read! I read this book in a few days, it was hard to put down.
ozzer_1
"Being black can get you killedBeing gay can get you killedBeing a black gay boy is a death wish"So Saeed Jones understands the challenges he faces as a young man. This memoir follows his evolution into adulthood coming to terms with his sexuality, race, and especially the troubled relationship with his mother. The memoir captures the extreme risks he takes to explore his sexuality. One wonders why he didn't find more satisfying partners as a young man and only hopes that this will eventually happen for him. His relationship with his mother is especially poignant as it evokes the all too common black mother struggling to raise and protect her children alone in a world that views them with hostility. Only after her death does he come to appreciate her importance to his development. Meeting the old woman in Barcelona is a powerful metaphor for his relationship with his mother. Memoirs written by young people can be unsatisfying reads because of the lack of a wider life experience. Certainly, this seems to be a problem here, but Saeed copes remarkably well.
Jackson Wright
This is the stunning and gutting coming-of-age story of a gay black boy from Texas. He poetic language pulls you in and doesn't let go. This was a one day read for me. A tumultuous, beautiful, haunting, compelling memoir. You gotta read this!
Alya Suraya
a melancholy portrayal of discovering and losing oneself. saeed was able to vividly explain and capture the emotions of the reader and at time i couldnt help but to feel exactly what he was feeling, despite not going through what he did.
I nearly cried after finishing this book. This is my favorite memoir of 2019.
Really great writing, interesting and original journey to adulthood. Very readable and moving.
The Duke's Shotgun Wedding
Stacy Reid
My Mom Is Trying to Ruin My Life
Kate Feiffer
Crush It!: Why Now Is the Time to Cash in on Your Passion
The Total Money Makeover: A Proven Plan for Financial Fitness
All the Missing Girls: A Novel
A Quick and Simple Summary and Analysis of The Miracle Morning by Hal Elrod
SpeedReader Summaries
They Both Die at the End
Truly Devious: A Mystery
With the Fire on High
Elizabeth Acevedo
The Positive Shift: Mastering Mindset to Improve Happiness, Health, and Longevity
Catherine A. Sanderson
The Worst Best Man: A Novel
Mia Sosa
How to Destroy America in Three Easy Steps


text:
The N.E.W. Program :Home/About Dr. Quebbemann
About Dr. QuebbemannBlog Admin2019-08-27T18:51:17+00:00
[slick-slider image_fit="false" category="25″]
Brian Quebbemann, M.D., F.A.C.S., F.A.S.M.B.S. has become one of the most respected bariatric surgeons in America over his 20+ year career. He is widely respected as a thought leader in bariatric surgery with his innovative approach to the management of bariatric surgery patients, and has continued to be on the forefront of surgical techniques and innovation in minimally invasive surgery since first establishing a practice in 1997, in Newport Beach, California.
Early in his practice Dr. Quebbemann began performing some of the first advanced laparoscopic procedures in Orange County, including splenectomy, colectomy, Nissen fundoplication, and hernia repair. In 1999, he founded CALSURG, Inc., (Center for Advanced Laparoscopic Surgery), and in 2000 he founded The N.E.W. Program, Inc., a comprehensive medical and surgical weight management program. Dr. Quebbemann served as a primary consultant team for Inamed Corporation, Ethicon Endosurgery and U.S. Surgical Corporation in 2002 through 2004.
Dr. Quebbemann has established bariatric surgery programs and Centers of Excellence at multiple southern California hospitals while serving as Director of Bariatrics. These include Hoag Memorial Hospital, Huntington Beach Hospital, Irvine Medical Center, South Coast Medical Center, Community Hospital of Long Beach, Presbyterian Intercommunity Hospital and Southern California Hospital of Culver City. He has also served as Bariatric Director at Chapman Hospital in Tustin, CA and Tri-City Regional Medical Center in Hawaiian Gardens, CA.
Dr. Brian Quebbemann is a Diplomate of the American Board of Surgery and holds the Surgeon of Excellence designation in Metabolic and Bariatric Surgery as well as a Master of Bariatric Surgery from the Surgical Review Corporation. He is a Fellow of the American College of Surgeons (FACS), a Fellow of the American Society for Metabolic and Bariatric Surgery (FASMBS). He is currently a reviewer for the journal Obesity Surgery.
Learn More About Dr. Quebbemann
Dr. Quebbemann published a book titled "World's Greatest Weight Loss" in 2019, promoting education on bariatric surgery and obesity to the public. He currently has two additional books coming out in publication; "Dietary Rebuild" expected in August 2019, and "The N.E.W. Program" anticipated in January 2020.
You've waited long enough!
Contact us today to learn how we can help start your journey towards a N.E.W. you!
Careful Who You Call an Expert
–Written by Dr. Quebbemann

redpajama_set_name: RedPajamaCommonCrawl


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Beanblossom is a beautiful and sweet 10 week old, short-hair tortie, spayed female kitten.
Beanblossom's adoption fee is $200. She is spayed, microchipped, and has received her first vaccinations.


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text:
Body of Forum columnist's son found in plane wreckage in Greenland
FARGO -- The wreckage of a single-engine plane piloted by the son of North Dakota history columnist Curtis Eriksmoen has been found in Greenland after a weeklong search, according to a news outlet there.
By Forum News Service
The remains of the plane and its pilot, Paul Eriksmoen, were located Wednesday on the island of Kulusuk, on Greenland's eastern coast, near the airport where he was expected to land Sept. 11, the Arctic Journal reported, citing Greenland officials.
Paul Eriksmoen, 34, of Shelton, Wash., was flying alone from Iceland to Greenland and reported that the plane was having engine trouble before the crash, said his father, who writes a weekly column about North Dakota history.
The search for the plane was hampered by inclement weather, and it was a transport helicopter flying a regular route that discovered the wreckage, officials said.
Curtis Eriksmoen, who writes for The Forum, said his son contracted with aircraft manufacturers to deliver planes to customers. In this case, he was flying a small plane to from Keflavik, Iceland, to Kulusuk, the father said.
Paul Eriksmoen, who was married without children, was born in Bismarck and grew up in Sioux City, Iowa. His mother is Terry Wheeler, formerly Irving, who represented Grand Forks in the North Dakota Legislature in the 1970s.
Related Topics: ACCIDENTS


text:
Overhead signs will keep passengers informed of train arrivals and any disruptions to service in real time.
City offers first look inside an Ottawa Light Rail transit station
By Danny Globerman on July 16, 2018
The City of Ottawa has provided a sneak peek inside one of the Light Rail stations slated to open on the Confederation Line later this year, at the same time reaffirming the current timetable for the project remains on track.
Mayor Jim Watson holds the O-Train logo as he poses with other politicians and staff at the Blair Station media preview.
Mayor Jim Watson was joined Friday by a cluster of politicians, including Interim Ontario Liberal leader and Ottawa South MPP John Fraser and Ottawa South MP David McGuinty, as OC Transpo staff lead members of the news media on a tour of the Blair Station, the eastern terminus of the 12.5-kilometre Confederation Line
"There's no change. We're still holding firm on the November 2 handover date and then we'd have fare service by the end of the month."
The Rideau Transit Group (RTG) consortium building the $2.1-billion system was to have handed it over to the city this past May 24. But construction delays at the Rideau Station caused by the June 2016 sinkhole and difficulties sorting out essential computerised systems forced that date to be moved back to November 2. Watson says he is confident the target will be met.
"There's no change. We're still holding firm on the November 2 handover date and then we'd have fare service by the end of the month of November. Our staff have said that RTG have not given them any reason to push that date backwards. If they do, obviously you're going to know well before October 2."
The Blair Station is one of 13 along the Confederation Line as it stretches west to Tunney's Pasture. It expects to handle as many as 8,000 people an hour during peak periods as it will be a transfer point for people arriving by bus from more easterly points as they catch the train heading into the downtown. By the same token, many train riders travelling east will disembark at Blair and switch to the bus as they continue their trip.
To help guide them, overhead digital signs will display real-time information about train arrivals which are to be every five minutes or less during peak periods.
Runnels by the side of stairs allow cyclists to conveniently roll their way up and down staircases as they use LRT O-Train.
There will be public art at every station: at Blair, a hanging installation of glass rectangles yields an array of colours. In-floor heating on platforms and overhead heating and glass walls should provide comfort when the weather turns cold and windy.
Stairs have runnels or narrow channels along the side that will allow cyclists using the train to simply roll their bikes up or down a staircase.
Pay stations will allow passengers to load up a Presto card on the spot, buy a single ticket, or if there's a problem, conduct a video call with customer service staff.
The blind and visually-impaired will be able to take advantage of raised lettering and brail on the pay stations as well as tactile tiles in the floor for guidance.
City of Ottawa,
David McGuinty,
Jim Watson,
John Fraser,
OC Transpo,
Rideau Transit Group
Defining Ottawa Together: Culture in the Official Plan
General, Learning, News & Ideas
Confessions of a bus rider
Apartment613's guide to RBC Bluesfest 2019
Bluesfest, Festivals, Music, Sights & Sounds
Call to artists: Public art projects for Stage 2 LRT stations
News & Ideas, Visual art
Watch artists and audiences react to the undercurrents festival lineup reveal
613TV, Festivals, Sights & Sounds, Sponsored, Theatre, undercurrents
CityMakers: Ottawa Energy Collective Impact is putting together a complex solution to tackle a complex problem
CityMakers, Interviews, News & Ideas


More than 150 years of experience in the production of pipe tobaccos are the hallmarks of Amphora Virginia. This blend consists only of Virginia tobaccos, which come from three continents. The result is a perfectly rounded pipe tobacco.
Amphora Virginia is a blend cut of Ready Rubbed tobacco. Noble, selected Virginia tobaccos from South America, Africa and the Far East are united.
Amphora Virginia is a balanced and soft mixture with an incomparable, natural-sweet taste. Amphora Virginia is enjoyed by lovers all over the world.
The Amphora Virginia is a longer-cut Ready Rubbed in the color spectrum between light and dark brown. Since the tobacco is a Ready Rubbed, the humidity of the Amphora Virginia is quite good, the storage in the pouch is not recommended however and the tobacco should be stored airtight. The scent of Amphora Virginia is "green" for grass and moss, but also a warmer note of hay is to sniff.
The Amphora Virginia needs due to its coarser structure care when plugging, as otherwise the pipe will not develop a right puffing. With some practice, however, this is always getting better.
Carefully stuffed, the Amphora Virginia burns down after one to two flames and a gentle smoothing of the embers without further complications.
The Amphora Virginia tastes mild-spicy with a distinct roasted note. As promised by the manufacturer there is to taste a fine sweetness reminding of dry fruits. If the pipe is kept cool, a subtle flowery taste occurs, but the tobacco is also able to tolerate it when the puffing is too violent sometimes, which is unusual for a pure Virginia. Apart from an occasional tamping, the Amphora Virginia smokes uncomplicatedly, then medium gray ash and little condensation remains in the pipe.
The Amphora Virginia with its sweetish note reminds non-smokers of "typical pipe smell" in the air, which is why it is quite suitable for society.
The Amphora Virginia is a Ready Rubbed in all shades of brown, whose sweet hay smell is also found in the taste. The tobacco supplies the expected roasted notes from a typical Virginia and a fine sweetness. If you take Amphora Virginia with some care and does not mind to have to use the tamper occasionally, the tobacco offers an uncomplicated, quiet smoke without overpowering, so that the Amphora Virginia for each time of the day (and of course also the evening) is suitable.


text:
Schweizer: 'Beijing Has Leverage' over Biden Family — 'This Demands Investigation'
Breitbart News senior contributor Peter Schweizer said Tuesday on FNC's "Hannity" that China, Russia, and the Ukraine "absolutely" have compromising intelligence on the family of President Joe Biden.
Schweizer, the author of Red-Handed: How American Elites Get Rich Helping China Win, said, "What we discovered is that some $31 million were provided to the Biden family by five individuals in China."
He continued, "Those individuals all have ties to the highest levels of Chinese intelligence. So what has been a story about corruption and cronyism increasingly is a story about spying, espionage, and national security."
Schweizer added, "This demands investigation. This is not just about politicians getting money from their office."
Hannity asked, "This dossier on Hunter, and they knew he was a drug addict. He liked to hire working women of that night. We will say it that way. Do you believe in all likelihood the odds are very high, China, Russia, Ukraine, and a lot of these countries have the Biden family compromised?"
Schweizer said, "Oh, absolutely, there's no question. Look, if the Chinese ministry for state security is trying to engage in elite capture as they call it with the Bidens and $31 million has been provided, they would review it as a catastrophic intelligence failure if they did not achieve leverage on the Biden family. That is what makes this so troubling and requires investigation because if we don't, the president is going to be basing decisions on his family financial interests and the fact that Beijing has leverage over his family."


text:
35 años y lo que falta todavía... es un álbum doble en vivo y es número 35 de la discografía de la banda roquera mexicana El Tri. El álbum debutó el 2 de marzo de 2004. Es importante destacar que esta fue la última grabación de la banda para la discográfica Warner Music México. El concierto de este álbum se llevó a cabo en el prestigioso Auditorio Nacional en la Ciudad de México los días 12 y 13 de octubre de 2003, como celebración oficial de los 35 años de existencia de la banda.

Por primera vez en más de 13 años los "ex Tri", Sergio Mancera "El Cóndor", Arturo Labastida "El Papaito", y Mariano Soto se juntaron con Álex Lora y el resto de El Tri para tocar juntos en este concierto. Esto definitivamente fue una gran sorpresa para los fanes de El Tri; en especial para los que aún se acuerdan de los Three Souls In My Mind.

Músicos El Tri
 Álex Lora: Voz y bajo
 Rafael Salgado: Armónica
 Eduardo Chico: Guitarra eléctrica y acústica
 Oscar Zárate: Guitarra eléctrica
 Ramón Pérez: Batería
 Chela Lora: "Gritos" (Coro)

Concepto de álbum

Canciones Nuevas
El álbum también incluye cuatro nuevas canciones inéditas: Las mujeres de Juárez, Seria horrible (con Johnny Laboriel), Las víctimas invisibles de Nueva York, y Ahí pa' la otra. La primera de estas está dedicada para las mujeres asesinadas en la Ciudad Juárez, en el estado de Chihuahua. Y la tercera para las víctimas ilegales que murieron en los atentados del 11 de septiembre de 2001. No es la primera vez que Lora canta canciones nuevas o inéditas. Esto también lo hizo en un concierto grabado en también dos álbumes En vivo desde el Reclusorio Oriente (Three Souls In My Mind), con las canciones Mannish Boy, How Blue Can You Get y Reclusorio Oriente.

Músicos invitados
 Lalo Toral: Teclados, órgano monumental en Virgen Morena.
 Zbigniew Paleta: Violín solista en Triste Canción.

Músicos Especiales
 Sergio Mancera "El Cóndor": Guitarra en San Juanico ('84), Juanita, y Pobres de los niños.
 Mariano Soto: Batería en San Juanico, Juanita y Pobres de los niños
 Arturo Labastida "El Papaito": Saxofón en San Juanico, Juanita, Pobre de los niños, y Triste Canción.
 Grupo Étnico "La Tribu": Intro/De la Raza pa' la banda y La raza más chida.
 Grupo de cuerdas "Las Piedras Rodantes": en Solamente Dios y Pamela.
 Grupo coral "Zanate y Asociados": en Virgen Morena y Todo es materia.
 Maestro Armando Manzanero: voz en Quien da un peso por mis sueños.
 Johnny Laboriel: voz en Seria Horrible.
 Kenny Avilés: voz y armónica en El Rey.
 Rod Levario: guitarra en Esclavo del Rocanrol.(Biografía de Rod Levario en una entrevista de dos horas con el periodista Ulysses Ozaeta)
 Horacio Reni: gritos, guitarra, y armónica en El Mamey y el Ñero.

Advertencia Lora
En la parte anterior de la portada del disco aparece una "advertencia" de Lora que dice: "Mi niño; advierte a tus jefes que este disco tiene cosas que pueden ofender sus castos oídos, avísales antes de ponerlo pa' que después no te estén chingando."

Canciones
 Disco Uno:
 1. Intro - De La Raza Pa' La Banda
 2. Ya No Le Metas...
 3. Chilango Incomprendido
 4. Las Mujeres De Juárez
 5. El As No Conocido
 6. Sería Horrible
 7. Tu Sonrisa
 8. Tren Del Infierno
 9. Quien Da Un Peso Por Mis Sueños
 10. Solamente Dios
 11. Pamela
 12. Es Lo Mejor
 13. El Rey
 14. Las Víctimas Invisibles De Nueva York
 15. Todo Me Sale Mal

 Disco Dos:
 Todos Necesitamos De Todos
 1. Ahí Pa' La Otra
 2. Esclavo Del Rocanrol
 3. El Mamey Y El Nero
 4. San Juanico '84
 5. Juanita
 6. Pobres De Los Ninos
 7. La Raza Más Chida
 8. Triste Canción
 9. Virgen Morena
 10. Todo Es Materia
 A.D.O
 11. Las Piedras Rodantes

Álbumes de 2004
Álbumes de El Tri
Álbumes de rock en español

redpajama_set_name: RedPajamaWikipedia


text:
Q: Does the JDK provide a dummy consumer? I have a need in a block of code to consume 'n' items from a stream then finish, in essence:
 public static <T> void eat(Stream<T> stream, int n)
     // consume n items of the stream (and throw them away)
 }

In my situation, I can't change the signature to return Stream<T> and simply return stream.skip(n); I have to actually throw away some elements from the stream (not simple logic) - to be ready for a down stream consumer which doesn't need to know how, or even that, this has happened.
The simplest way to do this is to use limit(n), but I have to call a stream terminating method to activate the stream, so in essence I have:
public static <T> void skip(Stream<T> stream, int n) {
    stream.limit(n).forEach(t -> {});
}

Note: This code is a gross over simplification of the actual code and is for illustrative purposes only. Actually, limit won't work because there is logic around what/how to consume elements. Think of it like consuming "header" elements from a stream, then having a consumer consume the "body" elements.
This question is about the "do nothing" lambda t -> {}.
Is there a "do nothing" consumer somewhere in the JDK, like the "do nothing" function Function.identity()?

A: No, JDK does not provide dummy consumer as well as other predefined functions like dummy runnable, always-true predicate or supplier which always returns zero. Just write t -> {}, it's anyways shorter than calling any possible ready method which will do the same.

A: Introducing the dummy (empty) consumer was considered in the scope of the ticket:

*

*[JDK-8182978] Add default empty consumer - Java Bug System.

*Archived: [JDK-8182978] Add default empty consumer - Java Bug System.

According to the ticket, it was decided not to introduce it.
Therefore, there is no dummy (empty) consumer in the JDK.

A: Yes. Well, more or less yes...
Since a Function is also a Consumer, you can use Function.identity() as a "do nothing" Consumer.
However, the compiler needs a little help to make the leap:
someStream.forEach(identity()::apply);

redpajama_set_name: RedPajamaStackExchange


text:
Die Liga der gewöhnlichen Gentlemen ist eine deutsche Pop-Band aus Hamburg und Berlin.

Geschichte
Die Liga der gewöhnlichen Gentlemen wurde 2012 gegründet, nachdem sich die Vorgängerband Superpunk des Sängers und Songschreibers Carsten Friedrichs aufgelöst hatte. Neben Carsten Friedrichs spielt mit Tim Jürgens noch ein weiterer Ex-Superpunk-Musiker bei der Liga der gewöhnlichen Gentlemen. Philip Morten Andernach (Gitarre, Saxophon), der Tapete-Records-Inhaber Gunther Buskies (Keyboard, Saxophon) und Christoph Kähler (aka Zwanie Jonson) am Schlagzeug vervollständigen die Gruppe. Bei den Aufnahmen zum von Christoph Kähler aufgenommenen und co-produzierten Debütalbum spielte noch André Rattay (Ex-Blumfeld) Schlagzeug.

Die erste Veröffentlichung der Band war die 7"-Single Die Gentlemen Spieler. Das Debütalbum Jeder auf Erden ist wunderschön erschien 2012. Zum Record Store Day 2013 wurde eine auf 500 Stück limitierte Doppel-Single auf blauem Vinyl im Klappcover zum Lied Der fünfte Four Top veröffentlicht. Neben einer neuen Studioversion und einer Live-Version des Liedes enthält die Doppel-Single noch Remixe von Hans Nieswandt und Frank Popp.

Im Herbst 2013 spielten Teile der Band das Album Aus der Bibliothèque von Andreas Dorau ein, das Christoph Kähler aufnahm und co-produzierte.

2014 folgte das zweite Album Alle Ampeln auf Gelb!. Das Titellied handelt vom Hamburger Peter-Ernst Eiffe, der als erster "Graffiti-Künstler" Ende der 1960er Jahre aktiv war. Das Lied Kennst Du Werner Enke? wurde als Vinyl-Single veröffentlicht und ist eine Huldigung an den Schauspieler und Filmemacher Werner Enke. Bei einem Konzert der Band in Bremen spielte Werner Enke mit der Band auf der Bühne auf einem improvisierten Schlagzeug mit.

Im Herbst 2015 übernahm Heiko Franz (Cucumber Men, Splashdowns) das Schlagzeug, im Januar 2016 veröffentlichte Die Liga der gewöhnlichen Gentlemen ihr drittes Album Rüttel mal am Käfig, die Affen sollen was machen!. Ein Jahr später kam der Nachfolger It's OK to Love DLDGG heraus, der auf Platz 60 in die deutschen Album-Charts einstieg.

Im August 2018 verließ Philip Morten Andernach die Band, als neuer Gitarrist stieß Fabio Papais (Der Bürgermeister der Nacht, Cascade Lakes) dazu. Es begannen die Vorbereitungen für das fünfte Studioalbum. Fuck Dance, Let's Art erschien am 23. August 2019 und erreichte Platz 48 der deutschen Albumcharts und Platz 10 der Vinylcharts. Das Albumcover basiert auf einem Foto aus der Serie Und im Sommer tu ich malen, eine Kollaboration des Künstlers Hank Schmidt in der Beek und des Fotografen Fabian Schubert.

Im September 2020 veröffentlichte die Band die Single Ferien für immer; das zugehörige sechste Studioalbum, Gschichterln aus dem Park Café, erschien am 9. Juli 2021.

Musikstil
Wie auch schon die Vorgängerband Superpunk vermischt DLDGG Northern Soul mit Pop, Punk und Garage Rock. Musikalisch sieht man sich in der Tradition der frühen The Creation und dem Motown-Sound. Die Lieder, die meist einen fröhlichen Grundrhythmus haben, behandeln alltägliche, insbesondere widrige Zustände. Fußball ist ein großes Thema auf dem ersten Album. Auf dem zweiten Album huldigen Die Liga der gewöhnlichen Gentlemen diversen Szenegrößen wie Enke und Eiffe.

Diskografie

Alben
 2012: Jeder auf Erden ist wunderschön (Tapete Records)
 2014: Alle Ampeln auf Gelb (Tapete Records)
 2014: Andreas Dorau – Aus Der Bibliothèque (als Backing-Band) (Tapete Records)
 2016: Rüttel mal am Käfig, die Affen sollen was machen! (Tapete Records)
 2017: It's OK to Love DLDGG (Tapete/Indigo)
 2017: Live im Hafenklang (Tapete Records) – Beilage zur limitierten Doppel-LP-Ausgabe von It's OK to love DLDGG
 2019: Fuck Dance, Let's Art (Tapete/Indigo)
 2021: Gschichterln aus dem Park Café (Tapete/Indigo)
 2022: Alleine auf Partys – 18 gewöhnliche "Hits" (Tapete/Indigo)

Singles
 2012: Die Gentlemen Spieler (Tapete Records)
 2014: Kennst Du Werner Enke? (Tapete Records)
 2016: Gegen den Strich (Tapete Records) – mit Andreas Dorau
 2020: Ferien für immer (Tapete Records)

EPs
 2013: Der fünfte Four Top (Tapete Records)
 2016: All To Nah (EP-Beilage des All To Nah-Fanzines #26 mit dem Song Die Kampfbahn Im Sonnenschein (Tick Hill Version))

Auszeichnungen
 Das Titellied der Debütsingle Die Gentlemen Spieler wurde 2012 von der Deutschen Akademie für Fußballkultur mit dem Preis für den besten Fußball-Song des Jahres ausgezeichnet.
 Als am 27. Mai 2014 die Echoverleihung 2014 stattfand, kürte die linke Zeitung Die Tageszeitung ihren Song Rock-Pop National, ein Statement zur Frei.Wild-Kontroverse, zum Song der Woche.

Siehe auch
 Die Liga der außergewöhnlichen Gentlemen

Weblinks
 Offizielle Website

 Die Liga der gewöhnlichen Gentlemen bei Tapete Records

Einzelnachweise

Popband
Deutsche Band


text:
Insensibilitate congenitală la durere (CIP), cunoscută și ca analgezie congenitală, este o maladie rară, cel mai des cu cauze genetice, caracterizată prin incapacitatea de a simți durerea sub orice formă, pe întreaga suprafață a corpului, dar cu prezența altor senzații tactile.

Legături externe
The Hazards of Growing Up Painlessly By JUSTIN HECKERT, New York Times, 15 noiembrie 2012. Profile of Ashlyn Blocker, 13, who has congenital insensitivity to pain.
Viața DRAMATICĂ a fraților care NU puteau simți durerea

Boli ale sistemului nervos
Boli congenitale
Boli rare
Durere


text:
English | AUD
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Toulouse - Geneva
AU$ 87 In stock
Train Toulouse → Geneva
Duration 6h26 - From AU$86
About this journey The average travel time between Toulouse and Geneva is 6h26 minutes. The quickest route is 6h26 minutes. The first train leaving Toulouse is at 10:50, the last at 14:50. There is an average of 2 trains a day between Toulouse and Geneva, leaving approximately every 3h20 minutes.
Departure station : Toulouse matabiau (64, Boulevard Pierre Sémard BP 35203 31079 Toulouse cedex 5)
Arrival station : Geneve cff (Place de Cornavin 7 1201 Geneva)
Take in the Myriad colors and flavors of France's southwest
Toulouse, the capital of Midi-Pyrénées region Toulouse is a French city located in the South West of France in the Midi-Pyrénées region. The region is well known for its sunny climate and gastronomy. As for Toulouse, the capital of the Midi-Pyrénées region, is a city with an exceptional heritage. From its beautiful private mansions, churches, museums and landmarks, the pink city, as it is also known (Ville Rose in French) will charm you. Toulouse is France's 4th biggest city and as such is home to over 400,000 inhabitants. The city which can be easily reached from Paris of Bordeaux is also a well-known university town and the European aeronautical capital. Did you know that Toulouse is the iconic capital of Rugby. Its flagship team is Stade Toulousain, which is one of the most successful clubs in Europe with eighteen league titles in France, three cups of France and four cups of Europe. Learn more about Toulouse
Geneva, the all-in-one destination
An all-in-one destination located at the heart of Europe, Geneva offers visitors a heady mix of unforgettable experiences set against a natural backdrop that is unrivalled worldwide. Here, it takes just one hour to travel from the banks of the largest lake in Western Europe to the foot of Mont Blanc, the highest mountain in Europe! Geneva is also home to the European headquarters of the United Nations and to more than 200 international organizations. Learn more about Geneva
Book your journey from Toulouse to Geneva From AU$86 AU$86
1 TOULOUSE MATABIAU
10:50 LYON PART DIEU
2 LYON PART DIEU
15:34 GENEVE CFF
1 GENEVE CFF
11:10 TOULOUSE MATABIAU
14:42 MONTPELLIER ST-ROCH
2 MONTPELLIER ST-ROCH
14:59 VALENCE TGV
2 VALENCE TGV
Toulouse Matabiau Train Station
Geneva CFF Train Station
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An essential oil is a concentrated hydrop hobic liquid containing volatile aroma compounds from plants.
We sell aroma chemicals and specialty products for international markets only.
Is made from natural or artificial products to enhance flavor compound.


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The following quotations are taken from:
Angela Y. Davis, Are Prisons Obsolete?, pp. 9-21, 105-115. Seven Stories 2003.
"Are we willing to relegate ever larger numbers of people from racially oppressed communities to an isolated existence marked by authoritarian regimes, violence, disease, and technologies of seclusion that produce severe mental instability? According to a recent study, there may be twice as many people suffering from mental illness who are in jails and prisons than there are in all psychiatric hospitals in the United States combined." 10
"Each new prison spawned yet another new prison. And as the U.S. prison system expanded, so did corporate involvement in construction, provision of goods and services, and use of prison labor. Because of the extent to which prison building and operation began to attract vast amounts of capital—from the construction industry to food and health care provision—in a way that recalled the emergence of the military industrial complex, we began to refer to the 'prison industrial complex.'" 12
"Geographer Ruth Gilmore describes the expansion of prisons in California as 'a geographical solution to socio-economic problems.' Her analysis of the prison industrial complex in California describes these developments as a response to surpluses of capital, land, labor, and state capacity.
California's new prisons are sited on devalued rural land, most, in fact on formerly irrigated agriculatural acres… The State bought land sold by big landowners. And the State assured the small, depressed towns now shadowed by prisons that the new, recession-proof, non-polluting industry would jump-start local redevelopment." 14
"On the whole, people tend to take prisons for granted. It is difficult to imagine life without them. At the same time, there is reluctance to face the realities hidden within them, a fear of thinking about what happens inside them. Thus, the prison is present in our lives and, at the same time, it is absent from our lives. To think about this simultaneous presence and absence is to begin to acknowledge the part played by ideology in shaping the way we interact with our social surroundings. We take prisons for granted but are often afraid to face the realities they produce. After all, no one wants to go to prison. Because it would be too agonizing to cope with the possibility that anyone, including ourselves, could become a prisoner, we tend to think of the prison as disconnected from our own lives. This is even true for some of us, women as well as men, who have already experienced imprisonment." 15
"The prison… functions ideologically as an abstract site into which undesirables are deposited, relieving us of the responsibility of thinking about the real issues afflicting those communities from which prisoners are drawn in such disproportionate numbers. This is the ideological work that the prison performs—it relieves us of the responsibility of seriously engaging with the problems of our society, especially those produced by racism and, increasingly, global capitalism.
What, for example, do we miss if we try to think about prison expansion without addressing larger economic developments? We live in an era of migrating corporations. In order to escape organized labor in this country—and thus higher wages, benefits, and so on—corporations roam the world in search of nations providing cheap labor pools. This corporate migration thus leaves entire communities in shambles. Huge numbers of people lose jobs and prospects for future jobs. Because the economic base of these communities is destroyed, education and other surviving social services are profoundly affected. This process turns the men, women, and children who live in these damaged communities into perfect candidates for prison.
In the meantime, corporations associated with the punishment industry reap profits from the system that manages prisoners and acquire a clear stake in the continued growth of prison populations. Put simply, this is the era of the prison industrial complex. The prison has become a black hole into which the detritus of contemporary is deposited. Mass imprisonment generates profits as it devours social wealth, and thus it tends to reproduce the very conditions that lead people to prison. There are thus real and often quite complicated connections between the deindustrialization of the economy—a process that reached its peak during the 1980s—and the rise of mass imprisonment, which also began to spiral during the Reagan-Bush era. However, the demand for more prisons was represented to the public in simplistic terms. More prisons were needed because there was more crime. Yet many scholars have demonstrated that by the time the prison construction boom began, official crime statistics were already falling. Moreover, draconian drug laws were being enacted, and 'three-strikes' provisions were on the agendas of many states.
In order to understand the proliferation of prisons and the rise of the prison industrial complex, it might be helpful to think further about the reasons we so easily take prisons for granted. In California, as we have seen, almost two-thirds of existing prisons were opened during the eighties and nineties. Why was there no great outcry? Why was there such an obvious level of comfort with the prospect of many new prisons? A partial answer to this question has to do with the way we consume media images of the prison, even as the realities of imprisonment are hidden from almost all who have not had the misfortune of doing time. Cultural critic Gina Dent has pointed out that our sense of familiarity with the prison comes in part from representations of prisons in film and other visual media.
The history of visuality linked to the prison is also a main reinforcement of the institution of the prison as a naturalized part of our social landscape. The history of film has always been wedded to the representation of incarceration. Thomas Edison's first films (dating back to the 1901 reenatment presented as newsreal, Execution of Czolgosz with Panorama of Auburn Prison) included footage of the darkest recesses of the prison. Thus, the prison is wedded to our experience of visuality, creating also a sense of its permanence as an institution. We also have a constant flow of Hollywood prison films, in fact a genre." 16-18
"The prison is one of the most important features of our image environment. This has caused us to take the existence of prisons for granted. The prison has become a key ingredient of our common sense. It is there, all around us. We do not question whether it should exist. It has become so much a part of our lives that it requires a great feat of the imagination to envision life beyond the prison." 18-19
"If, however, we shift our attention from the prison, perceived as an isolated institution, to the set of relationships that comprise the prison industrial complex, it may be easier to think about alternatives. In other words, a more complicated framework may yield more options than if we simply attempt to discover a single substitute for the prison system. The first step, then, would be to let go of the desire to discover one single alternative system of punishment that would occupy the same footprint as the prison system.
Since the 1980s, the prison system has become increasingly ensconced in the economic, political and ideological life of the United States and the transnational trafficking in U.S. commodities, culture, and ideas. Thus, the prison industrial complex is much more than the sum of all the jails and prisons in this country. It is a set of symbiotic relationships among correctional communities, transnational corporations, media conglomerates, guards; unions, and legislative and court agendas. If it is true that the contemporary meaning of punishment is fashioned through these relationships, then the most effective abolitionist strategies will contest these relationships and propose alternatives that pull them apart. What, then, would it mean to imagine a system in which punishment is not allowed to become the source of corporate profit? How can we imagine a society in which race and class are not primary determinants of punishment? Or one in which punishment itself is no longer the central concern in the making of justice?
An abolitionist approach that seeks to answer questions such as these would require us to imagine a constellation of alternative strategies and institutions, with the ultimate aim of removing the prison form the social and ideological landscapes of our society. In other words, we would not be looking for prisonlike substitutes for the prison, such as house arrest safeguarded by electronic surveillance bracelets. Rather, positing decarceration as our overarching strategy, we would try to envision a continuum of alternatives to imprisonment—demilitarization of schools, revitalization of education at all levels, a health system that provides free physical and mental care to all, and a justice system based on reparation and reconciliation rather than retribution and vengeance.
The creation of new institutions that lay claim to the space now occupied by the prison can eventually start to crowd out the prison so that it would inhabit increasingly smaller areas of our social and psychic landscape. Schools can therefore be seen as the most powerful alternative to jails and prisons. Unless the current structures of violence are eliminated from schools in impoverished communities of color—including the presence of armed security guards and police—and unless schools become places that encourage the joy of learning, these schools will remain the major conduits to prisons. The alternative would be to transform schools into vehicles for decarceration. Within the health care system, it is important to emphasize the current scarcity of institutions available to poor people who suffer severe mental and emotional illnesses. There are currently more people with mental and emotional disorders in jails and prisons than in mental institutions. This call for new facilities designed to assist poor people should not be taken as an appeal to reinstitute the old system of mental institutions, which were—and in many cases still are—as repressive as the prisons. It is simply to suggest that the racial and class disparities in care available to the affluent and the deprived need to be eradicated, thus creating another vehicle for decarceration.
To reiterate, rather than try to imagine one single alternative to the existing system of incarceration, we might envision an array of alternatives that will require radical transformations of many aspects of our society. Alternatives that fail to address racism, male dominance, homophobia, class bias, and other structures of domination will not, in the final analysis, lead to decarceration and will not advance the goal of abolition." 106-108
"Creating agendas of decarceration and broadly casting the net of alternatives helps us to do the ideological work of pulling apart the conceptual link between crime and punishment. The more nuanced understanding of the social role of the punishment system requires us to give up our usual way of thinking about punishment as an inevitable consequence of crime. We should recognize that 'punishment' does not follow from 'crime' in the neat logical sequence offered by discourses that insist on the justice of imprisonment, but rather punishment—primarily through imprisonment (and sometimes death)—is linked to the agendas of politicians, the profit drive of corporations, and media representations of crime. Imprisonment is associated with the racialization of those most likely to be punished. It is associated with their class and, as we have seen, gender structures the punishment system as well. If we insist that abolitionist alternatives trouble these relationships, that they strive to disarticulate crime and punishment, race and punishment, class and punishment, and gender and punishment, then our focus must not rest only on the prison system as an isolated institution but must also be directed at all the social relations that support the permanence of the prison." 112


text:
Silver Stallion Home Page
Books About Home Page
Reprints in Books Home Page
Books About James Branch Cabell
THE ART OF JAMES BRANCH CABELL,by Hugh Walpole
James Hall Codes
E3 (C1, F7)
First Printing, First State 1920
E3a (C1, F7)
First Printing, Second State 1920
*E3b (C1, F7)
Second Printing 1924
The Yale Review, July, 1920
The Art of James Branch Cabell originally appeared as a longish essay in The Yale Review, A National Quarterly, for July, 1920, pp. 684 - 698. While we haven't done a word-for-word collation, a reasonably careful review did not find any changes between the original essay and the text as it was published by McBride. The complete text as originally presented in The Yale Review is available at left as a PDF.
In the first McBride printing, an appendix, "Books by Mr. Cabell", has been included, and Cabell's poem "The Toy Maker", added as a colophon.
In the second McBride printing, the appendix has been updated. "The Toy Maker" has been relocated to page (18) and replaced as a colophon by a reproduction of a manuscript page from Jurgen.


GB/T 7714 Wang, Feng,Yin, Jinwei,Yao, Dongxu,et al. Effects of oil on gelcasting of oil-in-water Si3N4suspensions[J]. Journal of Alloys and Compounds,2017,699:268-273.
APA Wang, Feng.,Yin, Jinwei.,Yao, Dongxu.,Xia, Yongfeng.,Zuo, Kaihui.,...&Zeng, YuPing.(2017).Effects of oil on gelcasting of oil-in-water Si3N4suspensions.Journal of Alloys and Compounds,699,268-273.
MLA Wang, Feng,et al."Effects of oil on gelcasting of oil-in-water Si3N4suspensions".Journal of Alloys and Compounds 699(2017):268-273.


Godfrey-Payton's Commercial Department of qualified Surveyors offer a range of services from day-to-day management through to investment agency throughout the Midlands. The team manage a wide range of commercial properties for Individuals, Charities and Institutional clients in the retail, industrial, leisure and office sectors and offer advice on individual properties or portfolios throughout the Midlands.
Godfrey-Payton offer advice on rent reviews and lease renewals to both Landlords and Tenants, with negotiations undertaken by qualified Chartered Surveyors with extensive experience in local markets.
Further commercial property services include rent collection and accountancy, valuations, rating assessment advice, repairs and maintenance and capital improvements.


Chronic tinnitus is characterized by neuroplastic changes of the auditory cortex. A promising method for therapy of chronic tinnitus is vagus nerve stimulation (VNS) combined with auditory stimulation. The principle of VNS is reversal of pathological neuroplastic changes of the auditory cortex toward physiological neural activity and synchronicity. The VNS mechanism of action in chronic tinnitus patients is prevailingly through the muscarinic neuromodulation of the auditory cortex by the activation of nc. basalis Meynerti. The aim of this study is to propose potential pharmaceutics which may improve the neuromodulatory effects of VNS. The working hypothesis is that M1 receptors have a dominant role in the neural plasticity of the auditory cortex. We propose that allosteric agonists of the muscarinic receptor type 1 (M1) receptor could improve specificity and selectivity of the neuromodulatory effect of VNS on the auditory cortex of chronic tinnitus patients even in the circumstances of... lower acetylcholine brain concentration. This intervention would also reinforce the re-learning process of tinnitus (sub) networks by acting on cholinergic memory and learning mechanisms. We performed in silico screening of drug space using the EIIP/AQVN filter and selected 50 drugs as candidates for allosteric modulators of muscarinic receptors. Further filtering of these compounds by means of 3D QSAR and docking revealed 3 approved drugs-bromazepam, estazolam and flumazenil as the most promising candidates for combined chronic tinnitus therapy. These drugs should be further evaluated by biological tests and clinical trials.


The first step of a 12-step program urges a participant to admit he is powerless to control certain behaviors or addictions. Only a greater power, traditionally defined as God, is able to restore the sanity of a person whose life has been sabotaged by such behaviors or addictions, according to the second step of the program. However, Step 3 acknowledges that we each nurture a different conception of God. While the Alcoholics Anonymous program, which originally introduced the 12-step program in the 1930s, was founded on Christian principles, this program later strove to embrace atheists and agnostics as members (see link in References).
Although the presence of a higher power is suggested in the 12 steps, members of 12-step programs are not exempt from accountability for their actions, both past and present. In fact, in the fourth step of the program, each incoming participant is told to make an unflinching moral inventory of his own character. Step 5 and Step 6 require these participants to admit to God and others the extent of their shortcomings and to allow God to remove these inadequacies of character. Much like a colleague, God is respectfully considered within the 12 steps. Step 7 urges a participant of the program to kindly ask God to help him experience improvement in his life. Thus, while God is portrayed as a helpful figure in the 12 steps, each member of a 12-step program is alone responsible for seeking to improve his own behavior.
Rehabilitation is not a single event but, rather, a continuous reformation process. Rehabilitation begins when a person learns to accept responsibility for any harm that he may have caused to himself or others as a result of his compulsions. In Step 8 of the 12-step process, each participant is prompted to make a list of any persons he has harmed in the past. Step 9 instructs that he should attempt to repair relationships with these people if at all possible. Importantly, Step 10 advises participants to continue to modify their behavior by means of sincere self-analysis. Lastly, Step 11 counsels participants to practice prayer and meditation routinely, to better understand how to best channel hidden potential in their lives.
The 12-step programs are, by their nature, communal in their focus. They do not simply seek to improve the circumstances of a single person but rather those of an entire community. As a result, participants are advised in Step 12 to share their blessings by tending to the needs of others. Elaborate evangelizing is not required. This step simply requests that each participant should let others know whether his life was improved by the 12-step program in which he was involved. This can be done simply, by saying, "The 12 steps were helpful to me, and they may be helpful to you as well."
Alcoholics Anonymous as a Mutual-Help Movement; Klaus Mäkelä, Alcoholics Anonymous; 1996.
Withers, James. "The 12 Steps of a 12 Step Program." Synonym, https://classroom.synonym.com/12-steps-12-step-program-5250455.html. Accessed 22 April 2019.


text:
Oryphantes is a genus of dwarf spiders that was first described by J. E. Hull in 1932.

Species
 it contains five species:
Oryphantes aliquantulus Dupérré & Paquin, 2007 – USA, Canada
Oryphantes angulatus (O. Pickard-Cambridge, 1881) (type) – Europe
Oryphantes bipilis (Kulczyński, 1885) – Russia
Oryphantes cognatus (Tanasevitch, 1992) – Russia
Oryphantes geminus (Tanasevitch, 1982) – Russia, Kazakhstan

See also
 List of Linyphiidae species (I–P)

References

Araneomorphae genera
Linyphiidae
Spiders of Asia
Spiders of North America
Spiders of Russia


text:
Timonium Business Park station (formerly Timonium station) is a Baltimore Light Rail station in Timonium, Maryland. It opened as part of the system's initial operating segment in 1992. The station originally had a parking lot which was later removed. It has two side platforms serving two tracks.

References

External links

MTA Maryland - Light Rail stations

Baltimore Light Rail stations
Railway stations in the United States opened in 1992
Railway stations in Baltimore County, Maryland
1992 establishments in Maryland
Timonium, Maryland


A Deluxe Tour Package through the Inca Region of Peru.
Begin this deluxe tour in Lima, where some of the best food on the continent is found and where you will be invited to taste some of the famous local cuisine.
Venture to Reserva Amazonica Lodge, a luxury jungle lodge located in a private reserve in the Amazon basin. Daily guided excursions include a visit to Lake Sandoval, the most magnificent lake of the Tambopata National Reserve, the Inkaterra Canopy Walkway, canoeing to oxbow lakes, hiking nature trails, wildlife spotting, visit to a local farm.
Wildlife includes giant river otters, red howler monkeys, macaws, prehistoric hoatzins, anacondas, turtles, caiman, piranha, toucans, sloths, amphibians, among many others. Flora includes giant strangler fig trees and numerous species of orchid. During time at the lodge you will have time to visit the all-nautral ENA Spa. Travel to the Sacred Valley and explore its hearty spread of ruins, markets, and old fortresses before venturing to Machu Picchu.
The scenery and history can't be beat as you relax in a luxury lodge with meals included. Enjoy live entertainment, drinks and fine dining as you return to Cusco aboard the deluxe Hiram Bingham train. In Cusco you will stay in a classic hotel with old charm and modern luxury hotel service. Have a chance to explore the city and its surrounding areas before wrapping up your fabulous trip.
Upon arrival in Lima, you'll spend the night in the Belmond Miraflores Park, a deluxe hotel in the seaside district of Miraflores.
A free day on your own or on a private guided excursion. Click here for a menu of our excursions.
After a morning flight to Puerto Maldonado, you'll take a 45-minute motorboat ride down the Madre de Dios River. There, at the Inkaterra Reserva Amazónica Lodge, you'll feel the full mystery and wonder of the rainforest, as you gaze up at the lush jungle canopy. Built in the indigenous architectural style, this complex offers a variety of guided excursions into the heart of the Amazon.
One trail winds past mighty, 160-foot Shihuahuaco trees, and the strangely beautiful strangler fig, while offering unparalleled opportunities for bird-watching and insect-sighting.
A second, twilight excursion takes you in a boat along the Madre de Dios, where day gives way to night and colorful birds give way to nightjars, owls, and capybaras. Your flashlight may reveal the glowing red eyes of a caiman!
Options, options, and more options: the Inkaterra Reserva Amazónica allows you to tailor your activities to match your interests. One favorite junket is to Lake Sandoval, in the Tambopata National Reserve, with its calm waters surrounded by aguaje palms and other, primary-forest vegetation.
There you can glide in a wooden canoe across a mirror-smooth oxbow lake, to spot fauna such as giant river otters, howler monkeys, macaws, prehistoric hoatzins, anacondas, point-tailed palm creepers, and side-neck turtles.
Yet another outing takes you to the Canopy Interpretation Center, where you'll walk through the treetops along suspension bridges soaring 100 feet above the forest floor. Here, you'll enjoy vistas unimaginable from below, while keeping an eye open for orchids, toucans, woodpeckers, trogons, and—with a bit of luck—monkeys or sloths.
Later, explore the Reserva's Anaconda Walk, which follows a 700-foot wooden bridge over the Aguajales swamps. In this lush ecosystem, you'll have rare sightings of exotic amphibians, snakes, birds, and mammals in a rich, flooded marshland.
The suggested itinerary for day three at Reserva Amazónica is a trip to Gamitana, located 25 minutes by boat from the lodge. Here you'll probe the rainforest along the banks of a winding, dark-water creek inhabited by piranhas, caimans, and turtles, before navigating back downstream to a farm where locals grow exotic fruits and vegetables.
Another outing brings you to Hacienda Concepción, home to over 200 different plant species. In this peaceful plantation, you'll learn about the medicinal properties of local flora. Afterwards, take a canoe trip to look for turtles, sun grebes, and herons.
After a hearty breakfast, you'll return to Puerto Maldonado, where you'll marvel at the dazzling colors of Peru's 3,700 known species of butterflies in the city's Butterfly House. Afterwards, a shuttle transfer takes you to the airport for your flight to Cuzco.
Upon arrival in the Inca capital, you'll be brought to the Rio Sagrado Hotel, located among the verdant fields and towering mountains of Peru's Sacred Valley. Built to resemble an authentic Andean village, this beautiful Orient-Express villa looks out on the rushing waters of the Urubamba River. Pamper yourself in the hotel's spa and gourmet restaurant as you acclimatize to life in the sierra.
However many selfies you've seen of that iconic sugarloaf backdrop, nothing can prepare you for the moment when you get to the top of the ridge and actually see Machu Picchu for yourself. With its sun temple, royal quarters, and purling fountains, this New World Wonder dazzles with its imperial stonework.
On this day, you'll take a luxury train from Ollantaytambo, after which you can climb to the Sun Gate and cross an Inca bridge.
In the evening, you'll stay at the Machu Picchu Sanctuary Lodge, the only hotel located adjacent to the Inca citadel. There, you can sit out on the terrace and savor Peruvian cuisine made from produce grown in the lodge's own garden.
Most visitors feel one day at Machu Picchu is too short. So the next morning, you can hike up to the Sun Gate or climb Huayna Picchu, the sacred mountain containing hidden Inca shrines.
Return to Cusco aboard the deluxe "Hiram Bingham" train. Pre-dinner cocktails will be served, accompanied by live entertainment. Afterwards, a four-course a-la-carte dinner is presented in the dining cars.
Overnight at the Monasterio Hotel, a boutique hotel set in a 16th-century monastery just steps from the main square.
Inca walls on every corner; three-tiered fortresses; Quechua women in colorful traditional garb: this is Cuzco, which the Incas considered the spiritual center of the universe. Even today, the city's energy is unmistakable, as you wander through echoing churches and the most sacred Inca temple of them all, the Qorikancha.
You'll also visit several Inca ruins just outside the city, including Sacsayhuaman, the citadel where the Incas nearly defeated the Spanish in battle—and which is carved from some of the most massive stones on the planet.
The morning is yours, to explore Cuzco at your leisure. In the afternoon, you'll be transferred to the airport for your flight back to Lima, and from there to your connection home.
Set in a tranquil plaza behind Cusco's main square, this former palace and convent emerged from years of restoration to become one of the city's most exclusive hotels.
I just want to take a moment to thank you for arranging such an extraordinary adventure… We had several incredible experiences, and everything was seamless from the moment we left until we arrived home.
I will most certainly recommend Lost World Adventures to anyone planning a trip and will contact you when we need help arranging our next great adventure!


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