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riquespeaks
Category Archives: Black Issues
Chronicling that ongoing story of African Americans and where we're at, where we've been, and where we'd like to go
The '87 Sound: "Rebel Without a Pause" by Public Enemy
"Rebel Without a Pause", Public Enemy's breakthrough single, is a perfect example of the changes music, Hip Hop and otherwise, would go through in 1987. P.E released their first album, "Yo! Bum Rush the Show" on February 10, 1987, after recording it in the summer of 1986. By the time it was released, it's DMX drum machine dominated sound already sounded dated, next to the new, sleek James Brown samples of Eric B & Rakim's "I Know You Got Soul." Writer Christopher R Weingarten put it this way, "Tempos became quicker and peppy drum licks zipped around the sluggish elephant stomps of 1986's DMX drum machines." Bomb Squad lead producer Hank Shocklee said that by '87 he heard the DMX in so many songs he was tired of it himself. These newer, sleeker beats, which in actuality were closer to Hip Hop's breakbeat party origins in the days of DJ's Kool Herc, Grandmaster Flash and Afrika Bambaataa, also enabled new, more complex rhyme styles, pioneered by Rakim, KRS ONE, Kool G Rap, and Big Daddy Kane. The inspiration for "Rebel Without a Pause" on a musical and technical rapping level came from Eric B and Rakim's Funkadelic and Bobby Byrd sampling "I Know You Got Soul", which itself would inspire Chuck to say in this song, "I got soul too!" Chuck and Hank Shocklee speak of going to a party and being dejected by the brilliance of "I Know You Got Soul", which inspired them to go into the studio and concoct "Rebel Without a Pause."
A James Brown sample would power "Rebel" the same way it did "Soul". Interestingly enough, just like Eric B and Rakim's record, they found their J.B sample, not in James Brown's catalog, but in his extended catalog of artists he released and produced, this time from The Bootsy and Catfish Collins lead original incarnation of the J.B's, from the song "The Grunt." Ironically for those who feel sampling is theft, "The Grunt" itself is an almost wholesale interpolation of an Isley Brothers song called, "Keep on Doin." But what the J.B's had that the Isleys didn't, was the wild, wailing, almost atonal sax playing of Robert McCullough, which The Bomb Squad would utilize as the sound that occupies the high end on "Rebel." When Chuck D took the record home, his mother wondered if he had a tea kettle going off in his room. It's interesting that that horn part came from a player Fred Wesley describes as "inferior to any horn player the James Brown band had before him", but it had a raw vibe that was perfect for the alarming note Public Enemy was sounding in the late Reagen age.
The record itself begins with alarming sounds, first, the strong, southern voice of Jesse Jackson at WattStax, introducing the Soul Children's record, "I Don't' know what this world is coming to", which he began with a booming, now legendary "Brothers and Sisters!" Which P.E then follows with another alarming sound, the horn hits of James Brown's "Get Up Offa That Thing", which had been used before in Boogie Down Production's "South Bronx." "Get Up Offa.." is one of JB's angriest records, made at a time when he felt his commercial relevance was slipping. Also interestingly enough, Jesse Jackson himself was launching his second run for President in '87. Chuck begins his legendary rap verses with a thundering, "Yes!" He goes on to say in the verse, "They played the music/this time they play the lyrics" which is a reference to how Public Enemy's first single, "Public Enemy No.1" was rejected by New York Hip Hop D.J Mr. Magic. "Bum rush the sound/I made a year ago" was a reference to the fact that the album P.E had just released some months earlier was actually made in 1986, a kind of apology as P.E dropped this brand new bag. He ends the verse speaking of "Panther power/on the hour/from the Rebel to you", which is an even more explicit embrace of Public Enemy's "Black Panthers of Rap" position they'd been slowly cultivating during their time in the music."
In between the verses, Flavor Flav provides his Bundini Brown, Bobby Byrd, boxing cornerman hype, which was in itself a radical new sound in Hip Hop at the time. Chuck begins the next verse with the classic and often sampled, "Radio/Suckers never play me/on the mix/they just okay me", which was a clear protest at the way Hip Hop was treated as a whole on urban radio and Public Enemy in particular by the New York Hip Hop elite. Chuck's goes on to rap in the new style, using shorter sentence lengths and multiple rhymes to lay out the points through which Public Enemy's whole career would rest on, such as stating he was "old enough to raise ya", a reference to P.E's late 20s ages at the time and the older mindset they brought to Hip Hop. He also proclaims them "Supporters of Chesimard", a reference to Assata Shakur, who is still in the news today as Conservative forces call for her extradition from Cuba.
"Rebel Without a Pause" is a landmark record of 1987 for many reasons. Public Enemy and their producers The Bomb Squad were able to react with almost Internet era speed to the changing tides of Rap music at the time, away from the drum machine sound to the funkier, more supple samples of actual funky musicians playing on wax. Also, lyrically, Chuck and Flav introduced a strong, Pro Black, radical message, through the voice of the young people's music, Hip Hop, that would provide a touchstone for the Afrocentric explosion of the late '80s and early '90s. As we will see as our series on 1987 continues, even older socially conscious musicians like Stevie Wonder and EWF would get back to their commentary as a rejoinder to the Reagen administration, but Public Enemy here does it for the younger set. This song and others like it would basically form the attitude of young Black people from the late '80s to about the mid-'90s. This was born out of a New York City that was full of racial tension in the '80s, often times aided and abetted by the man who is President as of this writing, Donald J. Trump. But Public Enemy also succeed here in changing the musical side of the times, taking the innovations of Marley Marl and affordable samplers and grounding the James Brown beat as the foundation of Hip Hop. In fact, when you put "Rebel" and "I Know You Got Soul" with Prince's "Housequake" and many other records, the late '80s may be one of the best times the James Brown sound has ever had in the business. This sound would not only be big in Hip Hop but it would also go on to influence the realms of European and American sample-based dance music as well. And this was the first truly landmark, revolutionary record in a career that has taken P.E all the way to the Rock and Roll Hall of Fame. Panther power on the hour from the Rebels to you!!!!
* A little bonus material, Public Enemy's performance of this song on Soul Train, and the diss from Mr. Magic that inspired some lines on this song and much of P.E's "It Takes a Nation of Millions to Hold Us Back"
Filed under Black Issues, Music Matters, Rappin' about Rappin', The '87 Sound
Tagged as 1987, Chuck D, Def Jam, Eric B & Rakim, Flavor Flav, Hank Shocklee, Hip Hop, James Brown, Marley Marl, Prince, Public Enemy, Sampling, Soul Train, The Bomb Squad
"The Band is his Orchestra/The Sounds of Delight"- A Riquespeaks feature series on Quincy Jones
Quincy Jones turned 84 earlier this month, in a year that has already seen the passing of such musical luminaries as Junie Morrison, Clyde Stubblefield, Al Jarreau and most recently, the cornerstone of Rock & Roll Chuck Berry. It is going on eleven years since we lost James Brown, who Quincy was three months older than, and we just lost Prince last year. It is now seven years since we lost the man who's career is seen as Quincy's foremost musical legacy, Michael Jackson. A few years ago, Quincy's close friend and Montreaux Jazz Festival founder Claude Nobbs passed on in a skiing accident. But Quincy remains a unifying figure, one who speaks to the history of African American music in the 20th century and how that tradition can be carried on into the future and recognized as a key contribution to world heritage.
One very interesting project that Q had on the table during the administration of President Barack Obama was to get music and American culture in general cabinet level recognition in the United States. He was not able to get that project accomplished, though I'm sure he gave it his all. Although that particular project was not successful, Quincy has used his own music and albums as a platform toward that very same aim.
Respect and appreciation for Quincy Jones was something I grew up with, outside of his production for Michael Jackson. His work with M.J might have been the main reason I was checking for this "old jazz guy" as a kid, but the facts are, my father was a serious Quincy Jones fan. I grew up hearing albums like "Quincy Jones plays the Hip Hits", and "The Quintessence." My father highly respected Q as somebody who took the mantle from the great jazz composers and arrangers such as Duke Ellington, Thad Jones, Oliver Nelson, Jimmy Lunceford, Benny Carter, Gil Evans, and so many others. Q was highly proffesional, had trained at the future Berklee School of Music back when it was called "The Schillinger House", and has also trained in Paris with Nadia Boulanger. He also was one of the first Black arrangers to be involved on an ongoing basis with film scoring.
Through all of this, Q was developing a particular brand of musical magic that prepared him perfectly to deliver three of the best selling, most incredible examples of American popular music ever assembled, namely, "Off the Wall", "Thriller", and "Bad." Now I don't mean to make these three albums the focus of Q's entire career that encompasses so much of whats good in American music, from Count Basie, to Frank Sinatra, to The Brothers Johnson, Dinah Washington and Sarah Vaughn. But what I will do with this series is talk about how the unique musical, experiential and spiritual gifts of Quincy Jones were present throughout his career on his solo albums, which really meant Michael Jackson was stepping into a rolling train when he and Q began work on "Off the Wall." Which also made possible the later star studded success of "The Dude" and "Back on the Block."
The different musical approaches of Q's albums, from his skillful use of guest stars, his choice in cover songs, his incorporation of his portage's compositions, his usage of tones such as flutes mixed with synthesizer leads, his dipping into the old blues and African styles, his jazz based pop language, and his strong rhythm sections manifest themselves on his pre "Off the Wall" and "The Dude" albums. So this particular series will focus on how Q innovated this genre of the producer led album, which is a genre that would later give us great musical works such as Dr. Dre's "The Chronic." Q really brought "The Producer" out as a star and musical artist in a way few have done. His skills as a producer were based in his skills as a composer and arranger, but when he reached the peak of his career he no longer needed to write or even arrange the tunes on his album. He mastered the very modern musical skills of setting the right tempos, choosing the right artists, both instrumentalists and vocalists, choosing the right songs, and a million other musical details that went beyond the magic of simply sitting at the piano or holding a guitar and writing a song. This magic of the producer is one that has been appreciated more and more by the music industry and the public at large in recent years. And it's one I intend to explore in depth, from "Walking In Space" all the way to "Juke Joint". Q's success with MJ and his other R&B/pop hybrids in the 1980s was definitley not a fluke, but something masterminded by one of the greatest social musicians we've seen, the great Quincy Delight Jones!!!
Filed under A little Hip in your HOP, All That Jazz, Appreciation, Black Issues, FUNK, Give me My Flowers While I'm Alive, Merry Go Round Music, Music Matters, Rearview 20/20 Hindsight (aka "History"), Social Timing
Tagged as Arif Mardin, Count Basie, Dr. Dre, Duke Ellington, Funk, Gamble & Huff, Jazz, Michael Jackson, Pop, Producer Albums, Producers, Quincy Jones, Soul
Music 4 the Nxt 1 Black History Month Edition III: "Bra" by Cymande
One outstanding aspect of the musical climate of the late '60s and early '70s was the flowering in popularity of Black musical groups from parts of the Diaspora outside of the U.S.A. This trend was exemplified by acts and groups such as Jimmy Cliff, Bob Marley and the Wailers, Manu Dibango, The Beginning of the End, Mandrill, T-Connection, Fela Kuti, Osibisa, Hugh Masekela, and today's subject, the Caribbean funk group Cymande. These groups, through their expansive African based rhythms and the incorporation of other grooves cultivated by Africans estranged from Africa, both paid tribute to deep African roots as well as exemplified the new flavors that had picked up in the numerous ports of call along the Transatlantic slave trade. Today's song from Cymande, their classic "Bra", is a song that has stood the test of time as a unique example of Caribbean Funk.
"Bra" is a song that derives it's unique rhythmic effect from contrasting rhythmic feels. While the tempo is brisk, Steve Scipio played a bass line that pulled back on the time, while the horns long sustained notes create another feeling on top of that. You're grabbed from the first notes of the intro, as Scipio plays a firm note on the first beat and another beat on the upbeat of beat 2. He's only playing TWO notes in the fist bar of the pattern, but the feel and placement of them is enough to create a baseline the listener won't soon forget. Immediately after the bass hits hard on the first beat, guitarist Patrick Patterson plays a sweet toned guitar slide followed by some fluttering trills, in a style very similar to the Curtis Mayfield guitar ballad style. The horn section then comes in on the upbeats, playing a very sharp, staccato arpeggio, walking up the notes of a major chord, then holding the top note of the chord for a whole two bars, before working their way down and sustaining another note. All of this is laid on top of Sam Kelly's drums, which are playing a variation of Clyde Stubblefield's stop and start drum groove made famous on James Brown's "Cold Sweat", with the rhythmic gaps/rests lining up with Scipio's bass line. Working in concert with that are the conga drums of Pablo Gonsales. The result is a dipping, bouncing Caribbean funk groove with all the jerkiness of Island music, yet the pronounced "One" of mainland funk, with a sweet coating of melodic horns on top.
When the vocal comes in, the horns stop playing to give the vocals center stage. Joey Dee sings a tale of African redemption with a slight West Indian accent, with heavy reverb on his mic. "Time Has been lost for trying/we have been left outside/looking at passions dying/Emotions grow strong on time." After which, the famous sing a long chorus is introduced, "But its all right/we can still go on." Underneath the chorus the rhythm begins to get more active, as Scipio expands his bass line with class Jamerson/Rainey/Jemmont rhythmic business as Patterson also becomes more aggressive in his rhythm guitar strumming. The horn riff returns and on top of it all the percussionists start to spice up the groove with small rhythmic instruments, with the tambourine rattling like a snake for an instant. After the chorus the vital rhythmic bed continues on for a saxophone solo, under which the rhythm players introduce more variations. Midway through the song, the song breaks down to just bass playing along with percussion. The bassline on the break is an incredibly funky variation on the main rhythm, with the drums playing kick drums on all four beats and the percussionist teasing out melodic rhythms. The groove slowly builds up layer by layer until we get back to the top of the song for one last repetition of the main verse until the song comes to a close on a hard stomped out, "But its ALL RIGHT!"
"Bra" is a song that for a time I thought only my Dad and family knew, and I thought the group was African for the longest. Then in the '90s Spike Lee used their songs on several movies of his that I enjoyed very much, including "Crooklyn" and "The 25th Hour." I remember the first time I heard it on one of his films, excitedly showing it to my Dad and asking him what the name of that song was, because I'd heard it all my life but never knew anything about the group. It was later I found out Spike Lee's connection to them made sense, because being a pan-Carribean group, with New York City's strong Carribean influence, their music was very popular during the early day's of Hip Hop, and "Bra" and their other fantastic hit, "The Message", were considered early Hip Hop breakbeats that had even occasionally been sampled. Both songs are excellent examples of Post Civil Rights and Black Power era '70s solidarity music, done by a group of Rastafarian funksters in England who's origins spanned the Carribean. Their music as a whole very uniquely pulled together the Caribbean rhythms and Rastafarian ideology of Reggae with the hard edged vibe of American funk. Also there is much confusion over the title of this song, but "Bra" is simply the old school way of spelling a word that has been popular among Black people again in recent years, the shorthand "Bruh" for the word, "Brother." This word is not only popular among American blacks (and now everybody else as well) but is also almost an official term of address in other Black countries, such as the great South African Hugh Masekela's nickname, "Bra Hugh." Also in Liberia where my mother is from it was a term of endearment, followed by the given name, for males you were close to. So the title of the song is in itself an example of the unique unifying ability of Cymande as a musical group that mustn't be forgotten!
Filed under Black Issues, FUNK, Liberia/Africa, Music for the Next ONE, Music Matters, Rearview 20/20 Hindsight (aka "History"), Social Timing
Tagged as Afro Beat, Carribean, Crooklyn, Cymande, Early Hip Hop breaks, Fela Kuti, Great Britian, Guyana, James Brown, Liberia, Patrick Patterson, Paul Winley, Reggae, Spike Lee, Steve Scipio
February 3, 2017 · 5:42 am
Music 4 the Nxt 1 Black History Month I: "March of the Panther" by Mongo Santamaria
Mongo Santamaria is the one of the best artists to talk about during Black History Month because the cultural forces behind his music cover such a large part of the African diaspora. A native of pre Revolutionary Cuba, he learned music in his community based on rhythms that had come directly from Africa. It was said one of his grandfathers had in fact been a Yoruba priest. His composition, "Afro Blue", was considered to be the first jazz standard based on an African "3 over 2" rhythm, and was popularized by John Coltrane. In the '60s he moved from a straight Afro Latin jazz to a Boogaloo based melange of Afro Latin rhythms interlaid with the popular sounds of Soul and Funk. One album I grew up with during that period was an album he did called "Soul Bag", that featured an incredible version of "Cold Sweat." Today's Black History Month special is a song from his 1970 LP, "Mongo 70", entitled "March of the Panther." This song was composed by guitarist Sonny Henry, who was the composer of Carlos Santana's breakthrough hit, "Evil Ways", which he originally recorded with Willie Bobo. "March of the Panther" is a funky, strident, striving number with the electric energy of the Black Panther Party in the late '60s and early '70s.
The song begins with an old school military march theme, featuring snare drum, tuba, flutes and horns playing in a style straight out of the Revolutionary War period. The allusion is very clear as the song transitions from music for that old school revolutionary army to a groove for the new school revolutionary army, The Black Panther Party, as the drummer plays a snare fill that leads to the groove. Bass Player John Hart plays a funky two note baseline supported by two pickup notes in the classic late '60s, early '70s style. There is a call and response relationship between the bass line and the electric piano, as the piano plays a syncopated rhythm chord figure after the bass plays its eighth notes. The drums play two strong kick drum notes in harmony with the bass but besides the cracking snare drum hits the drums are partially obscured by Mongo's powerful African percussive figures, which are both pattern setting but also communicate in an improvisational way. These provide the setting for the rousing horn fanfare, which is a national anthem type melody that plays long, sustained notes, in the style of marching/military music, but also reminiscent of horn sections in African and Afro Latin bands, playing horn lines in unison. The bass and horn melody goes between two chords, as the bass line walks down to second chord sequence and the horns follow. After playing through that sequence the arrangement goes to a change part where the whole arrangement seems to come together in unity for the chorus, which is then followed by another vamp/statement of the main melody, with more attention paid to the trumpets, followed by another chorus that is again, heavier on the top end of the horns. After that a tenor sax solo is introduced, under which the bass player is given more freedom to improvise funky lines that support the solo. After the solo ends, Mongo's conga playing becomes more pronounced, as he varies his rhythm and begins to take more of a leadership role, introducing the sections of the song with his drum flurries. The song grooves on and fades out, shifting back to a straight military march at the end.
"March of the Panther" took up the call that was made during the 1960s for new forms of Black art that would be the new symbols of the New Black Nation. In this case, it envisions itself as the theme for The Black Panther Party as the military arm of that nation. Mongo always foregrounded African/Black identity in his music, naming songs after Yoruba Gods and Black figures such as Malcom X. It was amazing for me to discover this funky song that took the idea of a military march and remade it for the age of The Panthers. The song itself is a good example of uptempo, super rhythmic, boogaloo inspired early 70s funk, in fact it would work very well over a montage movie scene about The Panthers or activists set in that time period. It was said that Herbie Hancock played his classic "Watermelon Man" for Mongo after Mongo had said he couldn't see the connection between Afro Cuban and Afro American music. Upon hearing the funky tune, Mongo immediately got excited and began playing along with it. Of course, in Mongo's hands, "Watermelon Man" went on to become one of the biggest hits in jazz history. It was this ability to connect the African roots, modern Afro Cuban music, jazz, and the then current funk and soul vibes that gave Mongo the unique place in Black music history and Black culture that he occupies. And that is one reason, along with his excellent musicianship, that a figure like Mongo deserves more consideration when contemplating the bonds of Africans in the Americas. And "March of the Panther" stands tall as an anthem for the Party that is no longer that brings together the energy of the whole African diaspora for the long waged fight for total prosperity and liberation!
Filed under All That Jazz, Black Issues, FUNK, Music for the Next ONE, Rearview 20/20 Hindsight (aka "History"), Social Timing
Tagged as Africa, Boogaloo, Carlos Santana, Cuba, Evil Ways, Huey Newton, Jazz, Mongo Santamaria, New York City, Salsa, The Black Panther Party, Willie Bobo
Music 4 the Nxt 1 Black History Month Special
Black History Month is admittedly one of those things my opinion of has vacillated on through the course of my life. When I was a young child in school I enjoyed it more than anything else in my school curriculum. I have always been the type of individual who views the acquisition of knowledge with the attitude of exploration and discovery. And Black history, both in Africa and America having the "Hidden" quality that it does, due to suppression, ignorance, arrogance the profitability of subjugation and domination. My parents always had a strong sense of Black history simply from their backgrounds, my father being born in the Depression era south and being active in the Civil Rights movement, and my mother being a Liberian with a rich understanding of both Africa and her country's roots in being established as a haven from American slavery and white supremacy. Still, I don't think the majority of Black parents want to overburden their children with sad and negative messages. So even with my parents having the knowledge of things that they did, some of the most substantial information would come out when they were watching and responding to news items.
I was fortunate enough to have Asian and white teachers in Oakland, California who were very responsive and understanding of the predominantly Black demographics of their school, under the guidance of Mrs. Kelly, a strong Black Principal, to inject Black and multi cultural information into the curriculum. I still remember my kindergarten Teacher Ms. Huen giving us red envelopes for Chinese New Year, which is also this month, and marks the return of my birth sign, the Rooster!
So I always enjoyed learning about Carter G Woodson, Lewis Latimer, Harriet Tubman, Frederick Douglas, Phyllis Wheatley, W.E.B DuBois, Madame C.J Walker, and the numerous other luminary figures who against all odds contributed to America and kept Black people alive to get to the point we are today. Many of their inventions and discoveries proved to me a truth my father related to me from his experience down south, that a great many things were invented by very hands on Black people who were tasked with getting the work done and took it upon themselves to find an easier way to get those tasks accomplished.
Then when I grew up, in the Def Comedy Jam '90s, I got innundated with the same jokes as everybody else, about how they "gave Black people the shortest month." Which totally overlooks the contributions of Carter G Woodson and the fact that Black History Month is a BLACK invention. More recently the line has been "Black history is all year round", which is one that I wholeheartedly agree with and try to practice on this blog and my other writing activities. However, just as with holidays, wedding anniversaries, birthdays and other events, there is a reason Human beings choose dates to commemorate things. There is a great power to Human ritual that we sometimes forget in our modern fragmented world, a certain purification of purpose and inspiration. And it's in that spirit that I'm adding a supplement to "Music 4 the Nxt 1" in honor of Black history month. I will still review funky songs but the scope will expand in terms of era, genre, and locale. I will cover songs of inspiration, songs in honor of Black historical figures, and songs that were just breakthroughs or inspiring to Black people at any given point of time. These grooves will come from Reggae, Soul, Funk, Rock, Gospel, Spirituals, Jazz and many other genres. I hope that my readers enjoy it and that it reminds you of the struggles, accomplishments, joys, pains and exultations of peoples of African descent and why it is critical our position continue to be strengthened for the good of all.
Filed under A little Hip in your HOP, All That Jazz, Appreciation, Black Issues, FUNK, Merry Go Round Music, Music for the Next ONE, Music Matters, Rearview 20/20 Hindsight (aka "History"), Social Timing
Tagged as Black History Month, Funk, Hip Hop, Jazz, Letta Mbulu, music, Quincy Jones, Reggae, Soul, South Africa
Tommie Smith, Athletic Protest, and the Greatness of the Raiders
This past Monday night was a very special one as both a Raider fan and a Black history buff. My hometown Oakland Raiders went down to Mexico City to play a Monday Night Football contest and defeated the Houston Texans. This was special on several levels. For one, it was a unique experience to see an Oakland Raider game played in Mexico. Many of the most die hard Raider fans in the Bay Area and L.A are of Spanish descent, including many close friends, and some of them even made it to the game. I could tell from the social media posts they were sharing that to be able to explore the country of their ancestors while also enjoying their hometown team play (and win) a football game is an experience that touched them deeply. It was also special validation of the Raiders to win a big international game on Monday Night Football. During the Raiders decades of dominance in the 1970's and '80s they were especially known for their excellence when the lights shone the brightest, on prime time Monday night games. Those Monday night games exposed the nation to the pirates, bikers, soul brothers, renegade drinkers, central casting running backs (Marcus Allen and Bo Jackson), and reckless hitters who together created the Raider mystique. Winning on an internationally televised stage legitimatizes what we've known in the Bay Area all year, The Raiders truly can play! But Raiders owner Mark Davis did something else that made a very powerful statement.
Colin Kapernick, starting QB for the 49ers has drawn both haters and lovers for his National Anthem protests this football season, with some even dubiously claiming they are behind the NFL's current ratings drop. Those protests have evolved from simply remaining seated to taking a dignified knee, and he's been joined in them by members of his own team, as well as players on other teams and in other sports. The motivation behind them has been the nearly unceasing stream of officer involved, racially motivated shootings by police officers against Black men and women during the past few years, which leads back to the legacy of Jim Crow and America's history of racial repression. With Kap's proud Afro and Ethiopianesque visage, both his image and his stance remind one of the Black sports heroes of the 1960s in particular, people like Jim Brown, Bill Russell, Kareem Abdul Jabbar, Muhammed Ali, and many other athletes of that time. He has been counseled in his sports activism by a Soul Survivor veteran of the Civil Rights and Black Power days, Dr. Harry Edwards, who organized a legendary boycott by black athletes of the 1968 Mexico City Olympic games.
Those games are legendary for the manner in which they highlighted the racial tensions of the time. Dr. King was killed in April, and America endured it's largest scale racial rioting in its history. The phrase "Black Power", unleashed by Stokely Carmichael right next to Dr. King in 1966 had resounded with a powerful echo in the worldwide Black community, and James Brown had already released his anthemic "Say it Loud, I'm Black and I'm proud." The Black Panthers had been around for two years and were fixtures on the nightly news, and every force in Black life, from the right, left, and center were being galvanized on where they stood on the new wave of Malcom X, Marcus Garvey, Third World Liberation Black militant thought that had finally come to the forefront.
It was in this environment that Dr. Harry Edwards called for a boycott by Black Athletes of the '68 Olympic Games in Mexico City. Muhammed Ali had already provided the greatest example of a star Athlete resisting racial and governmental tyranny by refusing his induction to the draft in 1967. By the late '60s professional sports had emerged as possibly the largest positive reflection of Black people in the United States and increasingly the world, with the way paved by stars such as Bill Russell, Jim Brown, Don Barksdale, Woody Strode, the great Jackie Robinson, Althea Gibson, Bob Gibson, Willie Mays, Joe Louis, Muhammed Ali, and many others. Many of these stars were very explicitly socially and politically active, but even those who were not were very useful to demonstrate the fact that Black people had the ability to do great things in modern society. Back when Jesse Owens owned the 1936 Olympics, it was suggested by Adolf Hitler and his Nazi propagandists that "Blacks lacked the intelligence to run", which is an absurd claim considering people of African descent are known for our athletic prowess today. But it represents the totalitarian thinking on race that gripped the 20th century and would exist today if not for the obvious exploits of so many great Black people.
What made a larger impression on history was not the boycott, but two Bay Area sprinters who actually competed in the games, Tommie Smith and John Carlos, the Gold and Bronze winners of the 200 meter race. Their black glove raised protest, feet shorn in black socks standing on the podium in victory, provided possibly the greatest visual of the Black Power era, an image that matched Brown and Mayfield and Franklin's music and Malcom X's speeches. This action, though celebrated now, resulted in death threats and ostracism from the Olympic and Track and Field establishments.
History has been very kind however to the legacies of Tommie Smith and John Carlos, and Raider owner Mark Davis added to that on Monday Night. He invited Dr. Tommie Smith to fly with the team to Mexico City to light the torch that a Raider great lights before every home game in honor of his father, Al Davis. This was significant on several levels because Tommie Smith (who had a very brief NFL career) never played for the Raiders but is like the Raiders, a Bay Area legend who is a symbol for standing for what you believe in. The man who's torch he lit that night, Al Davis, was perhaps the supreme maverick of NFL history, a man who drafted a Black Quarterback in the first round and hired one of his former players, Art Shell, to be the first Black NFL Head Coach in 1989. Davis was also known to be one of the first men in professional football (along with Bill Nunn Sr. of the Pittsburg Steelers) to regularly scout the HBCU's, where he found Hall of Famers like Gene Upshaw and Art Shell.
The symbolism and the reality of this action shocked me for several reasons. While I know Al Davis and the Raiders have always been a very progressive team socially and culturally, they are also a very "blue collar" team. In fact, Im pretty sure that the small numbers of people who voted for Donald Trump in the Bay Area had many Raider fans among them. But the Raiders also represent a powerful coming together of Black, White, and Mexican working class people in the East Bay Area of California, other places like Los Angeles and the rest of the country. The Raiders have strong Mexican associations such as their legendary theme song, and the original name of the team was slated to be "The Senors" before a little girl suggested the name "Raiders." They wear Black, just as Smith and Carlos did in Mexico City in 1868, and just as that other great Oakland institution, The Black Panthers, and another one, The Hell's Angels. And they also always had the renegade vibe of the Hells Angels with players such as Ken Stabler, John Mutusack, Ted Hendricks and many other Raider greats.
The Raiders did this in a Bay Area sports world that has always been as progressive and nonconformist as the Bay Area as a whole. The Bay Area has had wild sports visionaries like Oakland A's owner Charlie Finley, who clad his team in the perfect "Have a Nice Day" 1970s uniform of Green and Gold while winning three straight World Series. It also had my favorite coach, the visionary Bill Walsh of the San Francisco 49ers, who elevated offensive football to a science and also instituted a minority coach apprenticeship program in the NFL that led to Black NFL Head Coaches like Dennis Green, Marvin Lewis and Ray Rhodes. Walsh did this while employing and being advised by the organizer of that '68 Olympic boycott, Dr. Harry Edwards, who also advises Colin Kaepernick almost 50 years later in 2016.
In the end, Tommie Smith's Al Davis torch lighting was an incredible moment for the NFL, The Raiders, Black athletes and the legacy of Bay Area sports. When Colin Kaepernick began his protests, I had the feeling no Oakland Raiders would be able to participate as freely in the protests. In fact, two players did raise a fist before a game and caused some friction among the team. Mark Davis has stated that he did not mind his players protesting but did not want them to do so, while in uniform, which he felt would tarnish the Raider brand. However he had met Tommie Smith through his father when he was in college and had a great appreciation for what those men did on that day. The Raider fan base is unique, probably containing both Donald Trump supporters with Black militants and Obama supporters, and some of those same Mexican Americans and native Mexicans Trump wants to build a wall to exclude. What unites them is an independent, hard working, that provides an example of how united America will be once the old divisions can no longer be used to run games, which is what the best of sports does as a whole. While I don't want Dr. Tommie Smith's torch lighting to be used to suggest all Black struggle is a thing of the past and not relevant when modern day athletes express their desire to see social change happen today, I applaud it as the most "Raider" thing I've seen in too long of a time!
Filed under Black Issues, Oakland-Bay Area, Politrix, Rearview 20/20 Hindsight (aka "History"), Social Timing, Sports
Tagged as 1968 Mexico City Olympics, Al Davis, Bill Russell, Dr. Harry Edwards, Jackie Robinson, John Carlos, Mark Davis, Monday Night Football, Muhammed Ali, The Oakland Raiders, Tommie Smith
Ta-Nehisi Coates "Between the World and Me", a Riquepeaks Review.
W.E.B DuBois century defining statement that "the problem of the 20th century is the problem of the color line" was explored and fleshed out in many of that times most compelling books, such as "Beloved", "Soul on Ice", "Black Boy", "The Invisible Man", "Blues People", "Die, Nigger, Die", "The Fire Next Time", "The Color Purple", "Roots", "To Be Young Gifted and black", and many more. The Atlantic Magazine editor Ta-Nehisi Coates summertime book, "Between the World and Me", is one of the best such books to appear in a long time, and it's appearance is a timely one, occurring during a time of consistently documented police killings, a real erosion of black wealth, and The United States first Black President. Coates tone is one of fear and often hopelessness, as he talks to what is every parent's and ultimately humanity's hope for the future, his child. He borrows the structure from a chapter in James Baldwin's book of essays, "The Fire Next Time, entitled "My Dungeon Shook — Letter to my Nephew on the One Hundredth Anniversary of Emancipation," a letter to his nephew. Coates book has already inflamed Boomer activists such as Dr. Cornel West with its lack of rousing rhetoric, prophetic fire or spiritual hope. Coates makes it clear he was raised by an ex-Black Panther, in a household totally absent of religious faith, so when the firehoses, batons and attack dogs of white supremacy hit, he has no God to call on. All he has is fear over the destruction of his physical body, his one and only life. The Nation of Islam is a precursor to this type of thinking in the Black community, preaching, "you make your own heaven and hell right here on earth."
But Coates refuses to trade Christian religious faith in the afterlife for a supposed Muslim belief in righteous justice, or any other strategy yet employed Black people to grasp at the ever elusive freedom of self determination. While the book recounts the great joy he found in the diversity and protection he found on the campus of Howard University, and he locates glimpses of Black culture and power in music, and exchanges as subtle yet seemingly mundane as a brief conversation between himself and a Black man working at the airport, he does not provide us with a larger strategy of liberation. Part of this is because his analysis of history both national and personal leads him to tell his son Samori, "I do not believe that we can stop them because ultimately they must stop themselves."
What he definitely does not do, is ask for any higher struggle or righteousness from his son, other than to continue his own growth and development as an intelligent, bright, diverse human being, telling his son, "You exist. You matter. You have value. You have every right to wear your hoodie, to play your music as loud as you want. You have every right to be you. And no one should deter you from being you. You have to be you. And you can never be afraid to be you."
This affirming of black essence and rejection of respectability politics which underscores Coates stark, cold and often scary racial bottom line, along with his lack of faith in mass movements, are very familiar to me because they're the attitude of my generation. Coates is a member of Generation X, born in the '70s, growing up in the '80s and '90s. William Strauss's book "Generations: A History of America's Future", characterized Generation X as being reared in a tumultuous time, the '60s and '70s, a time of a weakening America and a rising Third World, raised by parents intimately involved in the social and political revolutions of the '60s and '70s, kids raised in a time of rising divorce, a more explicit media culture, and uncertainty about societal roles.
For Coates, like Tupac and Kanye West, this meant having a Black Panther parent, and his father had gone on to being a publisher of Black books. Black Gen X in inner cities like Coates native Baltimore, grew up during a time of white flight, busing to white school districts, "benign neglect", the crack epidemic, redlining, and Reagenomics. It was also the time period of hip hop, which reveled in blackness, but who's circumstances at the time of its creation promoted Blacks self determination, or at it's most chaotic end, individualism, materialism, and personal survival, in a nation that, after Civil Rights, Vietnam, and Watergate, was way beyond moral pretensions, with people engaging in a mad dash to "get theirs." Hip Hop could quote Christianity but it was largely post Christian, applying it's same sampling Post Modernist verve to investigations of belief, faith and knowledge systems. Coates reflects then, Tupac, Nas, Jay Z, Biggie, Scarface, Ice T, NWA, Ice Cube, The Wu Tang Clan, and many others in his ultra realistic, Black and proud, yet religiously pragmatic world view. Because of it's skepticism in human nature both Black and White, and it's realistic appraisal of the entrenchment of white superiority, Black elders such as Cornel West, Calvin Butts and C. Delores Tucker have seen the music and views, the attitudes of this generation as apathetic, avaricious, anarchic, hopeless, self defeating, counter revolutionary, and nihilistic. To which mid-90s rappers replied, they were simply "Keepin It Real", their time period did not afford them the same strategies of liberation or American faith their predecessors had employed.
In this time, when Coates grew up In a decaying Baltimore, surrounded by what he'd term, "black bodies", the actual threat of white people is a far away, systemic one. In a hard scrabble situation where about his peers were predominantly Black, We find Coates a shy bookish kid, forced to learn the attitudes, stances and mores that would keep his body, his black ass, alive. And it's Coates constant reference to "Black bodies", borrowed from Black Feminism, that makes me to understand black folks constant use, often in vehement tones of warning, about yours, mine, or their own "black ass", sometimes said with the slave drivers anger, other times with revulsion, at other times with pity, desire, and pride. It all comes down to the body, and the survivability and viability of it. Coates didn't deal as much (at least in this version of his story) with the direct conflict with white kids we might read in older black books because by the '80s most of the white people had left the city for the burbs.
Coates depicts this suburban life as "The Dream", which equals out to white kids enjoying the innocent teenage life depicted in '80s John Hughes films without fearing for their lives by doing something as innocuous as walking and wearing a hoodie while carry Skittles. Of course white kids still had to deal with personal problems of abuse, divorce, bad parenting, bullying, and etc faced through all kids throughout time, but not the specific problems created by American racism on top of those. Coates is in the hood meanwhile, terrorized by other Black kids who are victimized by the same system, fighting to prove their own bodies will not be destroyed.
Coats breaks all the terror in Black history down to a destruction of the black body, and all the survival strategies of Blacks as attempts to protect those bodies. For in America, "it is traditional to destroy the black body, it is heritage." Which seems like the perfect rejoinder to those who insist the Confederate Flag is heritage, which it is, but one built on pillage and plunder.
In this focus on the body he illuminates some of the basic thinking behind the "Black Lives Matter" movement, a basic questioning of the perceived value of black life in country and a hemisphere in which, "Black life is cheap, but in America black bodies are a resource of incomparable value." In Coates reading the pillage of black bodies is what makes the A,Erica. dream itself possible.
Coates world is as grim as that of Scarface, Mobb Deep, Kool G Rap, or Tupac's. He finds glimpses of the power of Black culture at Howard University, which he calls "The Mecca", because it draws Blakcs from all over the country and the world, of every style, orientation, gift and sensibility. A small glimpse of what a thriving, functioning Black world would look like. He talks about Paris, France, and how it represents for him something similar as it did for James Baldwin, an escape from the American racial dynamic,although it has it's own troubling racial history. All this is offered to his son as he hopes his son can maintain his more open spirit, free of the ghetto from which Coates had to unlearn so many self defense mechanisms.
Ultimately, escaping the ghetto and living closer to "The Dream" instills the fear in Coates that his son's body will be sacrificed, as was Trayvon Martin's, in order to preserve and protect somebody else's Dream. Coates son no longer has to worry about Tyrone and Ray Ray, but his father is afraid he will have his progressive lifestyle and mindset taken away from him, like his handsome, charismatic friend Prince Jones, murdered by the police. He visits Prince's mother, Dr. Jones, seemingly both to pay his respects and learn something as a parent. He finds in Dr. Jones honesty about the racial situation, and a comparison of the situation they face to Solomon Northrop's "12 Years a Slave", recently made into a successful picture. That no matter how far a Black person escapes economic indignity they can never be far away from the possible race related loss of their body. But he also finds in her the impassive, righteous strength of the Civil Rights generation, a strength he finds curious and attempts to understand. At the end he's looking at the ghetto out of the window and once again feeling fearful.
Coates book is easily one of the most powerful books I've read in a long time, and valuable for me because it captures a specific racial attitude of Some black people who have grown up after the gains of the Civil Rights movement and the aggressiveness of Black Power had started to recede Into history. Although my own view is not as hopeless as his, I do believe a book like this is both along hard look into the mirror and a long unsentimental look at the terrain that is needed before the dynamics of action can be properly formulated. Coates didn't set out to save souls but to save lives or at least help us understand why they are lost, mourn them when they are lost, and make sense of how their loss enables someone else to live.
Filed under Black Issues, Book Recommendations, Social Timing
Tagged as African american, Black Lives Matter, Black Panthers, Essays, Hip Hop, Howard University, James Baldwin, Literature, Post Civil Rights, Post-Black, Post-Soul, Ta-Nehisi Coates, The Atlantic Magazine, Toni Morrison
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text:
Q: Python 3: match names from a text file and print them out line by line My goal is to print out the matches line by line from a text file that my reular expression will match. My file regexprc.txt has all kinds of stuff written in it, but I want to write a simple program that will just match names from that file and print each one of them line by line.
The rule is : lines that have a first and last name with an optional middle name all separated by one whitespace, any first letter must be capitalized, and any alphabetic string is acceptable for as a name. So it should match John Smith, John Lee Smith, A B, A B C, Abc Def Z. It should not match john Smith, a Z, Ab Cd EE, A B C D.
Unfortunately I need some help with this as I'm new to Python 3. Here's what I tried so far:
import re

file_read = open("regexprc.txt", "r")
#match names
ptr = '^([A-Z][a-z]*\s){1,2}([A-Z][a-z]*)?$'

for line in file_read:
    a = re.search(ptr, line)
    print(a)

This code only prints a lot of None statements along with some messages that look like :
 <_sre.SRE_Match object; span=(0, 4), match='A B\n'>.

Once again I just want it to print out the names in regexprc.txt line by line.

A: import re

ptr = r'your_regular_expression'

with open('your_file_name', 'r') as file:
    for line in file:
        for match in re.finditer(ptr, line):
            print(match.group())

This will find all matches within each line, and print out "group 0" (that is, all the text which matched) for each of them.
The with-statement also takes care of closing the file for you, so it's good practice to use it in general.

redpajama_set_name: RedPajamaStackExchange


It isn't often when a bronze award is at the center of a heated struggle, but that's the case when Whittier College plays at Occidental tonight at 7 in a Southern California Intercollegiate Athletic Conference football opener for both teams.
Tonight marks the 67th annual "Battle of the Shoes" bronze shoes statue game, with each team looking to jump ahead.
The last time the Poets (1-1) defeated the Tigers (1-1) was in 2007 in a wild 67-61 victory in the swan song for Poets quarterback Josh Scurlock.
The senior completed 25 of 40 passes for 443 yards and seven touchdowns in what turned out to be the most points Occidental has scored in a losing effort in its more than 100-year history.
The Poets and Tigers usually meet in the conference finale instead of the opener, but the scheduling might play into the Poets' favor. They're coming off a dramatic six-overtime, 42-39 victory at Puget Sound (1-2) last Saturday.
If the Poets are to put up similarly huge numbers against Occidental as in 2007, that likely will happen behind a strong running game.
Sophomore running back Kimble Tillman delivered a breakout effort last week in rushing for a career-high 238 yards and three touchdowns on 23 carries.
The Cantwell Sacred Heart alumnus earned the SCIAC Athlete of the Week award for his efforts and a place on the D3football.com Team of the Week.
Tillman became Whittier's second player to be named to the Team of the Week and is the nation's second-leading rusher in yards (182.5 yards) per game.
Tillman may need to carry the offense again as the Poets quarterback duo of Alesana Sausau and Collin Wigley have completed just 18 of 57 passes for 308 yards and three touchdowns. They've also been intercepted nine times.
The Poets' offense will have to be on the lookout for Tigers senior defensive end Alex Wertheimer, who enters the game with 5 1/2 sacks and 6 1/2 tackles for losses in only two games.


text:
Expanding Westward
Azerbaijan Opens New Consulate in Los Angeles
Azerbaijan has just opened another presence in the United States- the first consulate apart from the one adjoined to the Embassy in Washington, D. C. The new Los Angeles Consulate has jurisdiction over 13 western states: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming.
Why Los Angeles? According to Consul General Elin Suleymanov, it was a logical choice.
Left: Elin Suleymanov, the first Consul General in Los Angeles.
Azerbaijan needed a presence beyond Washington, D.C. where the Embassy opened in late 1992 under the direction of Hafiz Pashayev [see article about his return to Baku after serving as Ambassador after 14 years.
Why California?
Los Angeles is the second largest city in the United States and is known for its dynamic business community. As a mere state - not even a country - California boasts the seventh largest economy of any financial entity in the world. Both California and Alaska have strong oil reserves, which make them very conscious of similar issues.
Left: Azerbaijan Consulate in Los Angeles is located at 11766 Wilshire Boulevard
In addition, according to Elin, there is a very strong high tech industry in Silicon Valley California. In August, Azerbaijan's Minister of Communications and Information Technologies Ali Abbasov visited California to explore the possibility of making Azerbaijan a hub for Information Technology (IT) in the Caucasus and Caspian region.
In addition, alternative new energy technologies are also being developed on the West coast- both solar and wind power. "To foster such relationships, naturally, you need a presence nearby," says Elin.
In addition, there is a significant Azerbaijani community in Southern California, especially Azerbaijanis from Iran.
Elin also admitted that another strategic criteria for the new location was the strong Armenian community in Los Angeles. Still the war between the two countries over Azerbaijan's territory in Nagorno-Karabakh is not over though a cease-fire was signed in 1994.
The war has resulted in tens of thousands of deaths and nearly one million refugees. "One of our objectives is to make the Azerbaijan point of view known here. In discussions, which concern us or our entire region, we want our views to be heard," Elin pointed out..
Background Experience
Considering his youth, Suleymanov brings considerable experience to his new position as diplomat. Prior to his appointment as Consul General, he worked in Baku as Senior Counselor in the Office of President Ilham Aliyev in the Department of International Relations (2004-2006).
Left: Staff of the newly established Azerbaijan Consulate in Los Angeles. Left: Khalid Hasanzade (Financial Manager), Elshan Baloglanov (Consular and Legal Officer), Elman Abdullayev (Political and Economic Officer) and Elin Suleymanov (Consul General)
Elin studied Political Geography at Moscow State University where he graduated in 1992-just months after the Soviet Union had collapsed when Azerbaijan, along with 14 other former Soviet Republics, gained independence.
That same year Elin became the first Edmund S. Muskie Fellow from Azerbaijan to be selected to pursue graduate studies in the U.S. where he pursued a Master's Degree in Public Administration at the University of Toledo, Ohio (1994).
Left: Fourth Annual Central Asia Conference at the University of Montana in Missoula (April 18-22, 2006). Left: Elin Suleymanov (Consul General of Azerbaijan to Los Angeles and Western States), George Dennison (President of the University of Montana), Brian A. Schweitzer (Governor of Montana), Khamrokhon Zaripov (Tajikistan Ambassador to the United States) and John G. Fox (Director, U.S. State Department Office of Caucasus and Central Asian Affairs)
Then he headed to Europe to the Czech Republic to work with the Open Media Research Institute (1995).
He returned to Baku in 1997 and became Public Information Officer for the Office of the UN High Commissioner for Refugees (UNHCR).
Reflecting on those years working with refugees throughout the Azerbaijan countryside, Elin observes: "It was a very fulfilling job to work with the refugees.
It was a very important, despite how tragic it was to see the conditions under which so many of our people were living who had been displaced by the war with Armenia.
In reality, the refugees were very hopeful people. I learned so much from them: when people face strong, serious and deep problems, somehow, they are able to overcome."
Above: Elin Suleymanov and his wife Lala with Montana Governor Brian A. Schweitzer
From 1998-2002, Elin returned to the States and was appointed Press Officer and First Secretary at the Azerbaijan Embassy in Washington, D.C. under Ambassador Hafiz Pashayev.
Those were very important years and the team working with Pashayev went on to take very important leadership roles in the diplomatic world of the Azerbaijani government.
Elmar Mammadyarov was later appointed Minister of Foreign Affairs, Fakhraddin Gurbanov became the Ambassador to Canada and Tahir Taghizade heads of the Information Department of the Foreign Ministry. And Elin now serves in Los Angeles.
Left: Home page of the Web site of the Consulate General of the Republic of Azerbaijan in Los Angeles. Visit: AZconsulateLA.org. Useful information on their Web site includes: forms related to Visas. Links to media with daily updates in English and Azeri coming from Azertaj, Today.AZ and Public TV. Satellite TV from Azerbaijan. Useful Web links.
These were the years during which Azerbaijan had stepped up its relationship with the United States quite strongly. We were there during the 1999 NATO Summit. Elin was in Washington on the notorious date of 9/11 (September 11, 2001).
After that he took an academic leave and was admitted into a two-year program at the Fletcher School of Law and Diplomacy, a program established by Harvard and Tufts universities. Again Elin was the first Azerbaijani student to enter this program.
His MA thesis was entitled "Emergence of New Political Identity in the South Caucasus: Energy, Security, Strategic Location and Pragmatism."
Appointed as Consul General in December 2005, Elin admits that it has taken considerable time to work through the logistics of setting up an office in Los Angeles. "We had no presence here," he said. "It took time to find a building and apartments for our staff. The office began functioning in June. I'm particularly grateful to the Consulate Corps here in Los Angeles, who helped me identify many issues here. I'm also very grateful to the Azerbaijanis who live here. Foremost, I would name Pirouz Khanlou and Javid Huseinov."
The Consulate held an Independence Day Reception on October 18, 2006, and assisted the Azerbaijan Council of California (ACC) in the organizing of the First Azerbaijan Youth Forum on October 21st. Various cultural events are in the works to attract both Azerbaijanis as well as mainstream community members. They are planning to organize Azerbaijan Language Classes for members of our Diaspora and their children who would be interested.
The Consulate offers the following services: Issuing of visas for residents living in the Western U.S. In addition, the Consulate produces a Newsletter called "Azerbaijani Perspective: News from the Caspian's West Coast." Request to be added to mailing list. Contact: Consulate General of the Republic of Azerbaijan, 11766 Wilshire Boulevard, Suite 1410, Los Angeles, CA 90025. Tel: (310) 444-9101, Fax: (310) 477-4860. Email: office@azconsulatela.org. Web: AZconsulateLA.org. Request their newsletter.
Read More by Elin Suleymanov
Elin Suleymanov is no stranger to Azerbaijan International. Over the years he has written several major articles before being appointed to a diplomatic government post.
1. "Azerbaijanis Are Not Alone" (Deep appreciation to the magazine for publishing about Azerbaijan). AI 2.2 (Summer 1994).
2. "Youth in Search of the Future: Identity Changes in Post-Soviet Azerbaijan. Guest Editorial. AI 4.4 (Winter 1996).
3 "Boxcars, Dugout Shelters and Promises to Keep: Azerbaijan's Refugees. AI 6.3 (Autumn 1998).
4. "Inside the Soul of a Caucasian," Book Review of "Ali and Nino" written by Kurban Said. AI 12.2 (Summer 2004). Note: This essay is always at the top of Google when you Search for "Ali and Nino".

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Is at least one of $6k + 1$ or $6k-1$ prime? We know that any prime number ( $> 2,3$) can be written in the form $6k+1$ or $6k-1$. Is it necessary that at least one of $6k+1$ or $6k-1$ is a prime number ?

A: No, for lots of reasons:

*

*There are arbitrarily long sequences of composite numbers. In fact, to construct a sequence of length at least $N - 1$, consider $N! + 2, ..., N! + N$. Letting $N$ be at least $9$ guarantees that this is very false.

*A counterexample can be found by counting for a while.

*If this were true, it would guarantee that there are infinitely many prime gaps of size at most $8$. This would be a significant improvement on recent work by Yitang Zhang.

A: Constructing $k$ that are counter-examples is easy, by means of choosing what number should be a divisor of $6k-1$ and what number should be a divisor of $6k+1$.
If we decide to have $m | (6k-1)$ and $n \mid (6k+1)$, then that is the same thing as saying
$$ 6k \equiv 1 \pmod{m} $$
$$ 6k \equiv -1 \pmod{n} $$
As long as $m,n,6$ are all relatively prime, we can solve this system of equations for $k$; e.g. by using the Chinese Remainder Theorem.

A: No, take $k=20$ for example:

*

*$6k-1=119=7\cdot17$

*$6k+1=121=11\cdot11$

As a side note, if the answer to your question was yes, then it would imply that the total amount of prime numbers is somewhere between $\displaystyle\frac{1}{6}$ of all positive integers to $\displaystyle\frac{1}{3}$ of all positive integers.

A: Any number must in in this series $6k-3,6k-2,6k-1,6k,6k+1,6k+2$
$k=1$ then
$3,4,5,6,7,8$
$k=2$ then
$9,10,11,12,13,14$
$k=3$ then
$15,16,17,18,19,20$
$k=4$ then
$21,22,23,24,25,26$
.
.
In that series, $6k-3,6k-2,6k,6k+2$
cannot be prime because they are composite numbers. $3(2k-1),2(3k-1),6k,2(3k+1))$
You have only 2 options for prime numbers. $6k-1$ or $6k+1$ but we do not know if they are prime numbers or not. We can only think that they are candidate for prime number. As barak manos pointed,
$k=20$ then
$117,118,119,120,121,122$
Our prime candidates in the form of $6k-1,6k+1$ are $119,121$ but both of them are composite numbers.

A: No, because there are infinitely many twin composites in the twin arithmetic progressions 5,7+6n.


text:
#ifndef Rice__Builtin_Object_defn__hpp_
#define Rice__Builtin_Object_defn__hpp_

#include "Object_defn.hpp"
#include "Allocation_Strategies.hpp"
#include "detail/ruby.hpp"

namespace Rice
{

//! A smartpointer-like wrapper for Ruby builtin objects.
/*! A builtin object is one of Ruby's internal types, e.g. RArray or
 *  RString.  Every builtin type structure has a corresponding integer
 *  type number (e.g T_ARRAY for RArray or T_STRING for RString).  This
 *  class is a wrapper for those types of objects, primarily useful as a
 *  base class for other wrapper classes like Array and Hash.
 */
template<typename T, int Builtin_Type>
class Builtin_Object
  : public Object
{
public:
  //! Wrap an already allocated Ruby object.
  /*! Checks to see if the object is an object of type Builtin_Type; a
   *  C++ exception is thrown if this is not the case.
   *  \param value the object to be wrapped.
   */
  Builtin_Object(Object value);

  //! Make a copy of a Builtin_Object
  /*! \param other the Builtin_Object to be copied.
   */
  Builtin_Object(Builtin_Object const & other);

  T & operator*() const { return *obj_; } //!< Return a reference to obj_
  T * operator->() const { return obj_; } //!< Return a pointer to obj_
  T * get() const { return obj_; }        //!< Return a pointer to obj_

  //! Swap with another builtin object of the same type
  /*! \param ref the object with which to swap.
   */
  void swap(Builtin_Object<T, Builtin_Type> & ref);

private:
  T * obj_;
};

} // namespace Rice

#endif // Rice__Builtin_Object_defn__hpp_

redpajama_set_name: RedPajamaGithub


text:
Q: stasmodels SARIMAX predictions I'm trying to understand how to verify a ARIMAX model for > 1 step ahead using statsmodels.
My understanding is the results.get_prediction(start=, dynamic=) api does this but I'm having trouble getting my head around how it works. My training data is indexed by a localised DateTimeIndex (tz='Sydney\Australia') at 15T freq. I want to predict a full day for '2019-02-04 00:00:00+1100' using one-step-ahead prediction up to '2019-02-04 06:00:00+1100' the previous predicted endogenous values for the rest of the day.
Is the code below correct? It seems statsmodel converts the start to a TimeStamp and treats dynamic as a multiple of the freq, so this should start the simulation using 1 step ahead until 06:00 then use the previous predicted endogenous values. The results don't look great so I want to confirm it's a model issue rather than me having incorrect diagnosis.
dt = '2019-02-04'

predict = res.get_prediction(start='2019-02-04 00:00:00+11:00')
predict_dy = res.get_prediction(start='2019-02-04 00:00:00+11:00', dynamic=4*6)

fig = plt.figure(figsize=(10,10)) ax = fig.gca()

y_train[dt].plot(ax=ax, style='o', label='Observed')
predict.predicted_mean[dt].plot(ax=ax, style='r--', label='One-step-ahead forecast')
predict_dy.predicted_mean[dt].plot(ax=ax, style='g', label='Dynamic forecast')

A:
It seems statsmodel converts the start to a TimeStamp

Yes, if you give it a string value, then it will attempt to map it to an index in your dataset (like a timestamp).

and treats dynamic as a multiple of the freq

But this is not correct. dynamic is an integer offset to start. So if dynamic=0, that means that dynamic prediction begins at start, whereas if dynamic=1, that means that dynamic prediction begins at start+1.
It's not quite clear to me what's going on in your example (or what you think is not great about the predictions you generated), so here is a description of how dynamic works that may help:

Here's an example that may help explain how things work. A couple of key points for this exercise will be:

*

*I set all elements of endog to be equal to 1

*This is an AR(1) model with parameter 0.5. That means that if we know y_t, then the prediction of y_t+1 is equal to 0.5 * y_t.

Now, the example code is:
ix = pd.date_range(start='2018-12-01', end='2019-01-31', freq='D')
endog = pd.Series(np.ones(len(ix)), index=ix)
mod = sm.tsa.SARIMAX(endog, order=(1, 0, 0), concentrate_scale=True)
res = mod.smooth([0.5])

p1 = res.predict(start='January 1, 2019', end='January 5, 2019').rename('d=False')
p2 = res.predict(start='January 1, 2019', end='January 5, 2019', dynamic=0).rename('d=0')
p3 = res.predict(start='January 1, 2019', end='January 5, 2019', dynamic=1).rename('d=2')

print(pd.concat([p1, p2, p3], axis=1))

this gives:
            d=False      d=0     d=2
2019-01-01      0.5  0.50000  0.5000
2019-01-02      0.5  0.25000  0.5000
2019-01-03      0.5  0.12500  0.2500
2019-01-04      0.5  0.06250  0.1250
2019-01-05      0.5  0.03125  0.0625

The first column (d=False) is the default case, where dynamic=False. Here, all predictions are one-step-ahead predictions. Since I set every element of endog to 1 and we have an AR(1) model with parameter 0.5, all one-step-ahead predictions will be equal to 0.5 * 1 = 0.5.
In the second column (d=0), we specify that dynamic=0 so that dynamic prediction begins at the first prediction. This means that we do not use any endog data past start - 1 in forming our predictions, which in this case means we do not use any data past December 31, 2018 in making predictions. The first prediction will be equal to 0.5 times the observation on December 31, 2018, i.e. 0.5 * 1 = 0.5. Each subsequent prediction will be equal to 0.5 * the previous prediction, so the second prediction is 0.5 * 0.5 = 0.25, etc.
The third column (d=1) is like the second column, except that here dynamic=1 so that dynamic prediction begins at the second prediction. This means we do not use any endog data past start (i.e. past January 1, 2019).


text:
Heliamphora ionasi är en flugtrumpetväxtart som beskrevs av B. Maguire. Heliamphora ionasi ingår i släktet Heliamphora och familjen flugtrumpetväxter. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

Källor

Externa länkar

Flugtrumpetväxter
ionasi

redpajama_set_name: RedPajamaWikipedia


SimCity 2000 (SC2K) is a city-building simulation video game and the second installment of the series SimCity. It was first released by Maxis in 1994 for computers running Apple's operating system for Macintosh. The game later released on Amiga, DOS and Microsoft Windows, followed by a position in OS/2. In 1995, SimCity 2000 won "Best Military or Strategy Computer Game".
SimCity 2000 was a significant expansion of the concept; The view was now dimetric instead of air, land could have different elevations, and underground layers were introduced for water pipes and subways. New types of facilities include prisons, schools, libraries, museums, marinas, hospitals and arcologies. Players can build highways, roads, bus depots, rail lines, subways, train depots and zone land for seaports and airports. There are nine varieties of power plants in it, including coal, oil, natural gas, nuclear, wind, hydroelectric dams (which can only be placed on tiles cascade), solar and futuristic fusion power and microwave satellite TV. Most types of power plants have a limited life and must be rebuilt periodically.


So you're new to the world of blogging and need to know how to write a blog post in WordPress, huh?
This beginner's guide is my secret recipe for crafting the perfect blog post every single time (without the guesswork).
But then you sit down and see that blinking cursor, and a wave of overwhelm hits...Along with the realization that there's more to blogging than just typing out your mega cool thoughts and sharing them with the world.
I remember that feeling... And, truth be told, it almost kept me from moving forward!
Eventually I figured it all out, and now I use the same process each time I sit down to write.
It's the same 10 steps that I'm going to show you today, and you can follow this guide each and every time you sit down to publish a post.
Sure, there are more complicated strategies you can use, but today we're going to keep it SUPER BASIC so you can overcome that overwhelm and remove any resistance you may feel as you sit down to write.
Login to your site and create a new post.
Step #1: Know Your Topic.
It is a great idea to keep a journal specifically for this. I have a hard-back notebook that I carry with me, and when I get an idea, I jot the topic down at the top of a page and write my initial thoughts as notes underneath.
Okay...Now that you know what you want to write about, it's time to write, right?
Step #2: Choose Your Keywords.
SEO stands for Search Engine Optimization, and if you have spent any time at all reading about how this works, your brain has likely come close to exploding.
The first time I read a Neil Patel article on SEO I couldn't even make it through.
Long story short, SEO is complicated.
We could literally spend hours talking about the ins and outs of the whole thing, but right now I want to break it down and make it as easy as possible.
Think of it like this: For everything that you write, you will choose keywords that act as little name tags for your content.
That way when someone goes on Google to search, Google will be all like "Oh, you want to know about cooking outside naked? Great, here's all the content wearing that name tag."
Make sense? Okay...Let's move on.
As you probably know, Google puts the best related content on the first page. Those are the most popular pieces of content wearing that name tag.
And the truth is, most people will ignore results on subsequent pages.
That's why learning how to use basic SEO is important.
If your content is wearing a "name tag" that gets it closer to the highest-ranked results, then your content will more likely get clicked on...and that's the ultimate goal--for people to read what you are writing.
So why do I have choosing keywords as step #2 instead of at the end?
Well, most serious bloggers find keyword work easier to do at the beginning because there are some strategic places where you need to be adding your keywords and it is just easier to do as you go instead of trying to squeeze them in after you're done.
Top bloggers have keyword secrets...But don't worry! I'm not keeping them to myself!
Keywords should be words that people are actually searching for. Using a tool like Keywords Everywhere (a Google Chrome or Firefox extension) can tell you how many times a word or phrase is searched for. Click here to get it now.
Keywords should be "long-tail." I know, that's a jargon word, but don't let it scare you. The term "long-tail" just refers to super specific search terms. Let's look at our earlier example, "cooking naked outside." That would be considered long-tail. Simply using the keyword "cooking" would be a mistake. Think about how many types of content there could be wearing that name tag! There would be A BAJILLION search results and you'd likely never be able to rank near the top for that word. Makes sense, right?
Your keyword(s) should be used in the following places when writing your post. IN THE TITLE, IN THE URL (slug), IN THE META DESCRIPTION, AND TASTEFULLY SPRINKLED SEVERAL TIMES THROUGHOUT YOUR POST.
Now that you have your topic and know your keywords, it is time to write your title.
CLEAR...You want the reader to know what you're talking about.
CURIOUS...You want to pique their curiosity so they want to read your words.
CLICKABLE...You want them to want to click on your post. Remember that in all things people ask "What's in it for me?" Make sure your title tells them exactly what they'll get out of reading your content.
Yep, we made it to step #4 and you finally get to write!
If you look at anything that I write, you will notice that it doesn't look like a research paper from English Comp.
I write in this style because most content is viewed on small screens now. That means a short paragraph, or even a long sentence, can seem like a full-size paragraph.
Keeping your paragraphs short will help pull your readers through your content by making it seem much less intimidating than a looooooooong stream of text with no end in sight.
Another way we keep readers happily scrolling through our content is by breaking text up with headings or images.
Most headings throughout your post will be the H2 style. Using your keywords in at least one of your headings is recommended.
I work from home and I have 4 kids, two of which are still at home all day long with me.
That means that when I am writing, I'm normally interrupted 927 times to get a snack, get a drink, wipe a booty, clean a mess, snuggle, play, etc.
I can proofread a piece 10 times and still have an occasional error...And since I don't hire a professional editor, some errors make it to publishing.
Your audience may not be as forgiving depending on your niche, so proofreading should not be overlooked.
Adding links into your content is a great idea! You can link to your own related content, or you can link outside your site to other high-quality content that your audience may find valuable.
**If you are contributing to this site (yes, you can do that! If you're interested, email me at alicia@loveyoumoreblog.com to find out more!), then I ask that you DO NOT include spammy links or links to affiliate offers.
Like I mentioned before, you can use images to break up text and to help illustrate your point.
But be mindful of the images you choose.
When blogging it is important that you do not violate copyright laws. So, whatever you do, don't just google something and use any image that comes up.
Don't worry! There are lots of great sites like Pixabay or Unsplash where you can download high quality images for free.
You can also pay for stock images or use your own original photography.
The bottom line is, you want to make sure you aren't using images that are copyright protected.
When adding an image to your post, you will need to include "Alt Text" as well.
You'll find the space to add the alt text when you upload a new image. (I use my post's keywords as alt text).
Each image that you add to your site should have alt text attached to it.
If you use categories on your site instead of dumping everything into a blog section, or if you are a contributor here, you will need to select a category before publishing your post.
This is where your post will "live."
On this blog, you will find the following categories: Parenting, Self-Care, Relationships, Household, For Mompreneurs Only (for anything business, blogging, or leadership related), & Stories from the Tribe (for any personal stories that get shared by our contributors).
Before publishing, you should select a category so your post is indexed on your site correctly.
Think of these tags like hashtags for your blog. They serve to connect a bunch of different posts from all over your website together and make them easily searchable.
If you write an article about working from home while raising toddlers (looky there, I actually wrote that article and added the link into this post), it sounds like it could easily fit under the "Parenting" category or the "For Mompreneurs Only" category.
Depending on your theme, your featured image size can differ. My theme uses a 16:9 image ratio, so I use Canva to create a image that is 795 pixels by 447 pixels.
Remember that you can get high quality images for free from Pixabay or Unsplash.
If you are writing as a contributor for this site, then you get access to our team template in order to create featured images that are on point with our overall site vibe.
I recommend using a similar feel throughout your site. This helps your content become recognizable when it is shared.
Also keep in mind to use fonts that are easy to read (handwritten, scripty fonts are pretty, but if people can't read it, they won't take the time to click it).
Use colors that are easy to see as well.
And don't forget your alt text on this image, too!
Your featured image serves as the thumbnail that will be shown when someone shares your post on social media, so take time to create something that stands out.
**You should also know that if you ever plan to run ads to your post, then Facebook has this text ratio rule. If you have too much text, or the text on your featured image takes up too much of the overall space, then your ad will not run. If you are planning on running ads to a piece of content, use this tool to check the text of an image to make sure it complies with Facebook's image guidelines.
On my site, I use the Yoast Plug-in.
Yoast helps with SEO because it gives you a section where you add in your keywords and your meta description. It also analyzes your content and gives you a red light, yellow light, or green light based on your structure.
A meta description is what is shown as the little snippet when you search for something.
You want to add a meta description that hooks your potential readers and gets them to click on your content rather than some other person's content on the same subject.
Becoming a contributor to an established site can be a great way to learn more and develop your own audience and skills.
If you'd like to learn more about contributing to this site, send an email to alicia@loveyoumoreblog.com and I'll contact you with more info as soon as possible.
Plus when you become a contributor, you also gain access to my Secret Facebook Group where I share writing tips, prompts, and mini coaching for free.
I'd love to have you join us, so email me now to get started (pssst...it doesn't cost you a thing).
Welcome to blogging! I wish you the very best!
Want a printable checklist of this post like the one below??? CLICK HERE to download it now. No strings attached...It's just my gift to you.


text:
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Hà Huy Vui, Nguyen Le Anh, Le comportement geometrique a l infini des polynomes de deux variables complexes. C. R. Acad. Sci. Paris, Serie 1, 309 (1989), 183 - 186.
Nguyen Khac Viet, Minimal models of algebraic curves over global fields. Ph. D. Thesis, Moscow State University, 1989.
Nguyen Khac Viet, On the automorphisms of the Fermat curve. Vestnik Mosk. Univ. 1989, 23 - 26 (in Russian).
Nguyen Khac Viet, On minimal models of algebraic curves. Matem. Sb. 180 (1989), 625 - 634 (in Russian).
Nguyen Huy Viet, A note on the fixed-point set for multivalued mappings. Acta Math. Vietnam. 14 (1989), 101 - 103.
Tran Duc Van, On the pseudodifferential operators with real analytic symbols and their applications. J. Fac. Sci. Univ. Tokyo, Sect. IA, 36 (1989), No 3, 803 - 825.
Vu Kim Tuan, Some integral transformations with a Macdonald function in the kernel. In: Current Analysis and Its Applications, Naukova Dumka, Kiev, 1989, 16 - 22 (in Russian).
Tran Manh Tuan, The document processing system Lotus Manuscript (in Vietnamese). NXB Thống kê Hanoi, 1989, 152 trang.
Ngô Việt Trung, Giuseppe Valla, The Cohen-Macaulay type of points in generic position. J. Algebra 125 (1989), 110 - 119.
Ngô Việt Trung, Shin Ikeda, When is the Rees algebra Cohen-Macaulay? Comm. Algebra 17 (12) (1989), 2893 - 2922.
Nguyen Van Thu, Semigroups in Urbanik convolution algebras. Acta Math. Vietnam. 14 (1989), 93 - 99.
Nguyen Van Thu, Markov processes and generalized convolutions. In: Proc. of Nagoya Conference on Probability Distributions and Related Topics, Nagoya, 11 (1989), 44 - 48.
Nguyen Van Thu, Prediction of stationary processes in Lp: A martingale approach. In: Lecture Notes in Optimization and Information Sciences, 126 (1989), 123 - 133.
R. Horst, Nguyen Van Thoai, Modification, implementation and comparison of three algorithms for globally solving linearly constrained concave minimization problems . Computing 42 (1989), 271 - 289.
R. Horst,Nguyen Van Thoai, Hoang Tuy, On an outer approximation concept in global optimization. Optimization 20 (1989), 255 - 264.
Nguyen Van Thoai, On a class of global optimization problems. Methods of Oper. Res. 58 (1989), 115 - 130.
Tran Vu Thieu, Improvement and implementation on some algorithms for nonconvex optimization problems. In: Lecture Notes Math. 1405 (1989), 159 - 170.
Le Van Thanh and J. H. M. Steenbrink, Spectre d'une singularité d'un germe de courbe plane. Acta Math. Vietnam. 14 (1989), 87 - 94.
Nguyễn Quốc Thắng, On the determination of multiplicators of similitudes over local and global fields. J. Fac. Sci. Univ. Tokyo, Sec. IA 36 (1989), N0 3, 789 - 802.
Nguyễn Xuân Tấn, Bifurcation from degenerate solutions for equations involving Lipschitz continuous mappings. Numer. Funct. Anal. Optim. 10 (1989), 787 - 805.
Nguyễn Xuân Tấn, Bifurcation points of equations involving scalar nonlinear mappings in Banach spaces. Numer. Funct. Anal. Optim. 10 (1989), 1039 - 1052.
D. Hinrichsen, Nguyễn Khoa Sơn, Stability radius of discrete-time systems and simpletic pencils. In: Proceedings of the 28th IEEE Conference on Control and Decision, Tampa, USA, 1989, 2265 - 2270.
Pham Huy Dien, Phạm Hữu Sách, Further properties of the regularity of inclusion systems. Nonlinear Analysis. Theory Methods and Appl. 13 (1989), 1251 - 1267.
Pham Huy Dien, Phạm Hữu Sách, Second order optimality conditions for the extremal problem under inclusion constraints. Appl. Math. Optim. 20 (1989), 71 - 80.
Hoàng Xuân Phú, A solution method for regular optimal control problems with state constraints. J. Optim Theory Appl. 62 (1989), 489 - 513.
Vũ Ngọc Phát, New results on controllability of linear nonstationary systems with constrained controls and states. In: Proc. of 14th Inter. Conference on Math. Optimization and Applications, Eisenach, FRG, December 11-16, 1989, 92 - 103.
Vũ Ngọc Phát, Controllability of linear discrete-time systems with multiple delays on controls and states. Int. J. Contr. 5 (1989), 1645 - 1654.
Nguyen To Nhu and Ta Khac Cu, Probability measure functors preserving the ANR-property of metric spaces. Proc. Amer. Math. Soc. 106 (1989), 439 - 501.
Lê Dũng Mưu, W. Oettli, A Lagrangian penalty function method for monotone variational inequalities. Numer. Funct. Anal. Optim. 10 (1989), 1003 - 1017.
Dinh Quang Luu, N. V. Hung, Relations between laws of large numbers and asymptotic martingales in Banach spaces. Ann. Sci. Univ. Clermont-Ferrand II, Sér. Probability and Appl. 8 (1989), 105 - 118.
Dinh Quang Luu, A remark on limits for games which become fairer with time. Acta Math. Vietnam. 14 (1989), 123 - 124.
Dinh Quang Luu, A short proof for bitting lemma. In: Seminaire d'Analyse Convexe, Montpellier 1989, Exp. 1, 1 - 13.
Dinh The Luc, An existence theorem in vector optimization. Math. Oper. Research 14 (1989), 693 - 699.
Dinh The Luc, Introduction to nonlinear optimization. Cinvestav IPN, Mexico D.F., 1989.
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Do Ba Khang, Okitsugu Fujiwara, A new algorithm to find all vertices of a polytope. Oper. Res. Letters 8 (1989), 261–264.
Dinh Van Huynh, Nguyen V. Dung and Patrick F. Smith, Rings characterized by their right ideals or cyclic modules. Proc. Edinburgh Math. Soc. 32 (1989), 356 - 362.
Nguyen Viet Dung, Dinh Van Huynh, Robert Wisbauer, Quasi-injective modules with ACC or DCC on essential submodules. Arch. Math. 53 (1989), 252 - 255.
Dinh Van Huynh and P. Dan, Rings characterized by cyclic modules. Glasgow Math. J. 31 (1989), 251 - 256.
Lê Tuấn Hoa, Algorithmetical aspects of the problem of classifying multi-projections of Veronese varieties. Manuscipta Math. 63 (1989), 317 - 331.
Đinh Nho Hào, Finite difference method for an optimal control problem of quantum processes. Acta Math. Vietnam. 14 (1989), 3 - 11.
J. Saint-Pierre, Trương Xuân Đức Hà, Integration of the Jacobian of a locally Lipschitz function. Sem. Convex Anal. Montpellier 2 (1989), 1 - 18.
Nguyen Viet Dung, Some conditions for a self-injective ring to be quasi-Frobenius. Studia Sci. Math. Hungar. 24 (1989), 349 - 354
Huynh The Phung and Pham Huy Dien, On the closedness of the set-valued mapping defined by the generalized gradient of the support function of a locally Lipschitz set-valued map. Acta Math. Vietnam. 14 (1989), 31 - 36.
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Bui Khoi Dam, BMO-sequences and armats. Acta Math. Hungar. 53 (1989), 271 - 279.
Nguyen Ngoc Chu, T. X. Sinh, Integer programming with reverse convex constraints. AMSE Review 12 (1989), 1 - 10.
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text:
Suspected Israeli strikes kill 10 pro-Iran fighters in Syria: monitor
Suspected Israeli strikes kill 10 pro-Iran fighters in Syria: monitor /node/1734396/middle-east
Syrian air defenses respond to Israeli missiles targeting south of the capital Damascus in an earlier strike on July 20, 2020. (AFP file photo)
https://arab.news/yf2ur
The Observatory has previously reported suspected Israeli air strikes on Deir Ezzor
Syria's war has killed more than 380,000 people and displaced millions more since starting in 2011
BEIRUT: Suspected Israeli air strikes in eastern Syria on Monday killed 10 pro-Iran fighters, most of them Iraqis, a war monitor said.
The raids against militant positions south of the town of Albu Kamal in Deir Ezzor province took the lives of eight Iraqi and two Syrian combatants, the Syrian Observatory for Human Rights said.
Observatory chief Rami Abdel Rahman said the strikes, which also destroyed munition depots and vehicles, were "likely" carried out by Israel.
The Observatory has previously reported suspected Israeli air strikes on Deir Ezzor, but these reports are rarely corroborated by Syrian state media or the Jewish state.
A US-led coalition is also present in the area after years of backing Kurdish forces in their fight against the Daesh group.
On September 3, presumed Israeli air strikes on eastern Syria killed 16 Iran-backed fighters, the Observatory said at the time.
The monitor says it relies on flight patterns, as well as type of aircraft and ammunition involved, to determine who was behind an aerial bombing.
Along with Russia, Israel's nemesis Iran has been a key backer of the Damascus regime in its nine-year-long civil war.
Israel has carried out hundreds of air and missile strikes on Syria since the civil war broke out in 2011, targeting Iranian and Lebanese Hezbollah forces as well as government troops.
The Israeli army rarely acknowledges individual strikes, but did confirm on August 3 that it had used fighter jets, attack helicopters and other aircraft to hit military targets in southern Syria.
Syria's war has killed more than 380,000 people and displaced millions more since starting in 2011 with the brutal repression of anti-government protests.
Topics: Israel Syria
Syria reports Israeli airstrike near northern city of Aleppo
Syria's air defenses intercept Israeli missiles: state media
Lebanon inks final deal for 2.1 mln doses of Pfizer-BioNTech vaccine /node/1794071/middle-east
The vaccines are expected to arrive in batches starting February
The ministry is also cooperating with the private sector to secure 2 million vaccine doses from Astrazenca and Sinopharm
BEIRUT: Lebanon's caretaker health minister signed a final deal on Sunday to secure 2.1 million doses of Pfizer-BioNTech's COVID-19 vaccine as the country battles a steep rise in infections.
The vaccines are expected to arrive in batches starting February, the ministry said in a statement.
The ministry is also cooperating with the private sector to secure 2 million vaccine doses from Astrazenca and Sinopharm, it added.
Lebanon is under a three-week lockdown that ends on Feb. 1 and a strict 24-hour curfew until Jan. 25 after lax measures over the Christmas and New Year's holiday period led to a spike in cases.
In addition to these deals, Lebanon has also signed up for 2.7 million doses to be delivered through COVAX, the global scheme backed by the World Health Organization to provide vaccines to poorer countries.
Topics: Coronavirus Lebanon Pfizer-BioNTech vaccine


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This shoe was created for second life world, now is time to release for use in other grids, still image renders, games etc..
The shoe is optimized for game engines, specially if the camera can go close, around the shoe, like in OpenSim servers.
This shoe is optimized for game engines, specially if the camera can go close, around the shoe, like in OpenSim servers.
A few months ago I published this shoe for Second life, now I open the door to other uses publishing their 3d models along with everything you need to texture or add materials.
The shoes are built with different separate pieces, not a single mesh, so that it is easier to recognize and modify parts. The wedge is the same in all the shoes and then the rest of the shoe is another instance (in the case of version 3 are 2 pieces).
In blender files are included materials, ready to render in Cycles. If you want to use FBX, obj or collada, you should apply textures and materials to adjust values of the specular etc. .. according to your software for treatment of 3D objects.
When we are willing to explore other worlds must be prepared for everything!
These boots for woman explorer, are provided with various revolutionary systems for the easiest tasks of any universal explorer.
► These new high-tech systems, will allow you to light a lantern, simply pressing a button!
► Includes a rubber band (like roasting chickens), perfect for holding maps in the leg and prevent breakage.
► Anti-drop system. simple and efficient, which will prevent you fall backwards.


RDi will colorize it appropriately.
Ok new thread now that I've had some time to digest.
RPG or CL then sure, knock yourself out.
send the statement and then put that in the WHERE clause.
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