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Home Automobile Mahindra releases Mahindra Thar 2020 model. Look what's new in the second...
Mahindra releases Mahindra Thar 2020 model. Look what's new in the second generation Thar
By Parina
Mahindra and Mahindra is set to unveil the second generation of the Mahindra Thar today in India on Independence Day. The 2020 Thar is set to be the new flagship offering from the SUV maker and is expected to be far more upmarket offering than before. Also expected is a wide range of engine options to go with the heavy-duty off-road gear that the Thar is best known for.
Leaks and roomers were coming out about this car for a long time. The car was also seen on the roads several times during testing. Many changes have been made to its second generation model. Much has been changed in the car from both a cosmetic and mechanic perspective. It has been introduced with the new BS6 engine.
Mahindra Thar will be available in two engines in the Indian market. In this, customers will get a 2.2-liter mHawk diesel engine with BS6 compliant and a 2.0-liter turbocharged mStallion petrol engine.
Mahindra Thar has included a petrol engine from the company for the first time. Its new turbo petrol engine will generate maximum power of 150 bhp and peak torque of 320 Nm. Its diesel engine will generate maximum power of 130 bhp and peak torque of 300 Nm.
Mahindra is also aiming to export the new-gen Thar to select international markets, which confirms that the new model will receive a new petrol engine along with diesel powertrain. Moreover, the rising demand for petrol SUVs will also play an important role in the development of the new Thar.
Mahindra Thar 2020 Price-
Colours-
5 key specs and features of The New Mahindra Thar 2020
Mahindra Thar 2020 is going to launch in India with an estimated price of Rs. 10 Lakh for the base model and go up to Rs 15 lakh for the high-end variant.
According to Mahindra, the 2020 version of the Thar will be available in six colour options — Red Rage, Napoli Black, Aquamarine, Mystic Copper, Rocky Beige and Galaxy Grey.
1) Airbags, ESP, traction control and more aids will be introduced
2) New structure/body which will be safer and compliant with upcoming BS6 norms
3) A new wider and bigger ladder platform will be made
4) More comfort features – Push Start Stop/Touchscreen/Power Windows/ Reverse Parking Sensors and Camera and much more
5) The car will also get a new BS6 compliant engine and could be offered in a 5 door configuration
The next-gen Mahindra Thar will be equipped with a newly developed 2.0-litre or a 2.2-litre, 4-cylinder, turbocharged unit, which will be tuned to offer different power outputs. This engine will also power the next-gen Scorpio and the XUV500.
It is expected to produce around 140bhp of power and excess of 350Nm of torque. With new powertrain and platform, the new Mahindra Thar 2020 could be better in terms of performance, handling and fuel efficiency.
The new-gen Thar is most likely to receive a new 1.5-litre T-GDI turbocharged petrol engine, which is capable of producing 163bhp of power and 280Nm of torque.
The company could also use the new 2.0-litre mStallion turbocharged petrol engine, which will also power the new Scorpio and the XUV500. This engine churns out 190bhp of power and 380Nm of torque. Transmission choices will include a 6-speed manual and a 6-speed torque convertor automatic.
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NRB Neodymium Magnetic Assemblies - Armstrong Magnetics Inc, Inc.
- Assembled with a round neodymium magnet, brass ring insulator and soft steel cover. The three parts are pressed together and bonded with epoxy. The steel cover is Chrome plated.
- There is a tap hole on the back of NRB for mounting. And NRB-31, and NRB-38 has a Stop-hole on the back to prevent them turning.
- Max pull is tested on a ½" thick and flat machined steel plate. The actual pull should be smaller if your steel is thinner, rough, rusty, coated or not very flat. For any critical applications, three-time safety factor is strongly recommended.
- Max operating temperature is 148°F (65°C).


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3346 Constellation Road, Lompoc, California 93436 • (805) 733-3333
About Reverend Quandt
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Valley of the Flowers United Church of Christ (UCC) was founded in 1962 by Reverand Richard Harris. The group soon built a distinctive A- frame church located at the corner of Constellation Road and Jupiter in Vandenberg Village, California.
The church's other distinctive features include its round sanctuary, its pipe organ (the only one in Lompoc), its ethnically diverse and independent-thinking congregation, its first-Sunday communion service where everyone joins hands in a circle of fellowship, and its inclusion of a variety of music styles. Throughout the year we host the concerts of the Lompoc Music Association (LMA), a leader in classical music in our area, in our sanctuary.
The United Church of Christ, the denomination which nurtured Barack Obama, believes that God is still speaking. The Gospel never changes but the times do. Scripture then, must be understood in today's context.
Lt. Col. and Mrs. Smiley E. Wilkins, Sr. USAF (Ret.)
Our church was among the first in Lompoc to call a woman as pastor and has long been sensitive to issues of understanding and fairness. The late Smiley Wilkins Sr., president of the local branch of the NAACP for two decades, was a leader in our congregation. He rests at Arlington.
In 2006 Valley of the Flowers UCC participated in a year of scripture study and self-examination before proudly declaring itself "open and affirming" with regard to gay, lesbian, bisexual and transgender pastoral candidates and members.
The church supports the Lompoc Food Pantry, the Marks House, the Bridge House, Community Kitchen, and Meals on Wheels. We also actively participate in the National UCC's four wider church annual offerings.
Valley of the Flowers United Church of Christ is a progressive, diverse, open and affirming rainbow community of Christians that welcomes all people no matter their race, class, sexual orientation or gender.
All Rights Reserved | Valley of the Flowers United Church of Christ | Lompoc, California

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Home / Politics / Mohan Bhagwat did not say nationalism means Hitler, fascism – Media misreports
24th February 2020 / 8:42 pm / Last updated: 24th February 2020 24th February 2020
Mohan Bhagwat did not say nationalism means Hitler, fascism – Media misreports
by Archit Mehta
Rashtriya Swayamsevak Sangh (RSS) chief, Mohan Bhagwat, was at Mukherjee University, Ranchi on February 19. Since then, several media outlets have reported that Bhagwat said, "Avoid using the word 'nationalism', as it is derived from Hitler or Nazi."
The report was first published by ANI (archive link) which was later picked up by The Quint (archive link), NDTV (archive link) and Economic Times (archive link). Times of India (archive link) attributes the report to Press Trust of India (PTI), while The Hindu (archive link) sourced the report from PTI and IANS.
India Today (archive link) and Hindustan Times (archive link) have published independent reports.
NDTV also covered Bhagwat's speech on TV claiming that he said nationalism implies nazism.
Similarly, several Twitter accounts also shared the viral claim.
Alt News performed a keyword search on YouTube and found Bhagwat's full speech uploaded by VSK JHARKHAND in two parts (part 1, part 2) on February 19. At 4:00 in the first part, Bhagwat begins to speak about nationalism. Prior to this segment, he spoke about the policies by RSS and how they are linked with India's growth.
At 4:30 mark, Bhagwat shared his experience from his trip to the United Kingdom. He said, "Some years back, I visited the UK because of RSS's work and spoke to intellectuals there. I had a discussion with 40-50 people from the city about the RSS. One of our workers from the UK told me to be cautious while using English words since it is not our mother tongue." In the next part, Bhagwat quotes the worker in direct speech – "You will use the word as per the books you have read. But while speaking, the meaning is often lost. That's why you shouldn't use the word nationalism."
[Translated from कुछ वर्ष पूर्व संघ की योजना से UK जाना हुआ तो वहाँ के बुद्धिजीवियों से बात होती थी। चालीस पचास शहरी लोगों से संघ के बारे में चर्चा हुई। वहां के अपने कार्यकर्ता ने कहा कि शब्दों के अर्थों के बारे में सावधान रहिए, अंग्रेज़ी आपकी भाषा नहीं है और आप अपने पुस्तक में जो अंग्रेज़ी पढ़ी है उसके अनुसार बोलेंगे. परंतु यहां बातचीत में शब्दों के अर्थ भिन्न हो जाते हैं. इसलिए आप नैशनलिज़्म इस शब्द का उपयोग मत कीजिए.]
At 5:17 mark, Bhagwat continues to directly quote the worker, "If you say nation, it's fine. If you say national, it is fine. Even nationality is fine. But don't use the word nationalism because nationalism has roots in Hitler, nazism, and fascism. The word has got a bad reputation there. But we know that as a nation whenever India has grown, the world has benefited."
[Translated from आप नैशन कहेंगे चलेगा, नैशनल कहेंगे चलेगा, नैशनैलिटी कहेंगे चलेगा, नैशनलिज़्म मत कहो। क्योंकि नैशनलिज़्म का मतलब होता है हिटलर, नाज़ीवाद और फ़ासीवाद। अब ऐसी ही शब्द वहाँ बदनाम हुआ है। परंतु हम जानते हैं कि एक राष्ट्र के नाते भारत जब-जब बड़ा हुआ तब तब दुनिया का भला ही हुआ है.]
Rajiv Tuli, state executive member RSS-Delhi, spoke with Alt News and said, "Mohan Bhagwat ji was sharing an anecdote from this trip to the UK. Media organisations have misquoted him."
RSS chief Mohan Bhagwat was, therefore, quoting an RSS worker he claimed to have met in the UK. The words were not his but stated by the worker.
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Archit Mehta
Archit is a senior fact-checking journalist at Alt News. Previously, he has worked as a producer at WION and as a reporter at The Hindu. In addition to work experience in media, he has also worked as a fundraising and communication manager at S3IDF.
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The 2020 bwin World Series of Darts Finals was the sixth staging of the World Series of Darts Finals tournament, organised by the Professional Darts Corporation. The tournament took place at the Salzburgarena, Salzburg, Austria, from 18 to 20 September 2020, with smaller, masked, socially distanced crowds. It featured a field of 24 players.

Michael van Gerwen was the defending champion, having defeated Danny Noppert 11–2 in the 2019 final. However, he was beaten 6–4 in the second round by Glen Durrant.

Gerwyn Price won the tournament for the first time, his first World Series title, after beating Rob Cross 11–9 in the final.

Prize money
The prize money remained the same as the previous year.

Qualification
Due to the COVID-19 pandemic, no events were held on the World Series of Darts between the 2019 and 2020 finals. Instead of the standard rules of the top 8 players on the World Series Order of Merit being seeded, the PDC invited the eight top-ranked players in the PDC Order of Merit to make up the seeds. Twelve more players were invited unseeded (consisting of the next 4 players on the Order of Merit, plus players representing the regions of the world where the events were due to take place), with the final four players being determined by a qualifier for Tour Card holders held on 11 September at H+ Hotel, Niedernhausen, Germany.

Kyle Anderson was originally invited, but withdrew due to personal reasons. Glen Durrant replaced him. Gary Anderson was originally invited as the eighth seed, but also withdrew, with James Wade moving into the seeded places and Krzysztof Ratajski receiving an invitation.

The following players qualified for the tournament:

Draw

References

World Series of Darts
World Series of Darts
+2020
World Series of Darts Finals

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do hawks eat other birds
Hawks prefer to eat rodents and rabbits for the main part of their diet, however, your crows may have been taking cover while the hawk was in the area just to be safe. Accipiters such as the Cooper's Hawk, primarily feed on birds, but also can take small mammals like cottontail rabbits and squirrels. These raptors rocket in with talons-out, surprise attacks on birds that eat seeds. All raptors are carnivorous and eat only meat. Well, Charles Pruit, as I say in my reply to the answer already posted, there are no true " sea hawks". By "buzzard" do you mean the kind of scavenger bird commonly called a "buzzard" in North America? A soaring hawk can be majestic to see over the yard, but some of the glamour is lost when birders realize hawks eat birds and may be hunting favorite backyard species. Besides large mammals, other raptors (a classification for birds with sharp beaks and talons and keen eyesight) pose a threat to hawks and sometimes even eat them. Hawks are the birds of prey that not only feeds on small mammals, rodents, lizards, and snakes, but also on other small and mid-sized birds species that can be seen in their surroundings. Indeed, sharp-shinned (left) and, especially, Cooper's hawks have adapted so well to human-altered habitats that they now are common at bird feeders nationwide. Source: thespruce.com. Sometimes the young birds end up being food. Owls and hawks are for example, deadly enemies since they are often competing for the same prey and nesting sites. 0 0. What do hawks eat? Different families of raptors catch and consume a variety of prey. Yes, hawks do eat crows and other birds in some cases, but most birds are too wary to be caught. First you need to clarify your term. Many birders prefer to protect their backyard birds from hawks rather than contribute to a predator's meals. At a quick glance, they resemble gulls, but they have predatory habits that resemble true hawks. There are however, Jaegers, and Skuas. Well, my first thought was "because they're hungry." But as Steve Schafer eloquently explains, it's a bit more complicated (and elegant) than that. This is actually a Turkey Vulture. And no, most hawks and other birds of prey leave them alone. read more.
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do hawks eat other birds 2020


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This is Tourism Ireland's corporate website.
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Tourism Ireland welcomes additional services from Great Britain to Shannon and Knock Airports
Tourism Ireland warmly welcomes the announcements today of two new services from Great Britain to the West of Ireland. A new, year-round service operated by Flybe from Glasgow to Shannon Airport will operate three times a week, beginning on 2 May. And Ryanair has announced additional evening departures on its London Stansted to Ireland West Airport Knock (every Friday and Sunday for the summer months), which means an additional 9,000 seats, increasing the service from seven to nine flights per week.
Niall Gibbons, CEO of Tourism Ireland, said: "We look forward to working closely with both Ryanair and Flybe to maximise the promotion of these routes. AS an island, direct, convenient and competitive access services are critical to achieving growth in inbound tourism. Tourism Ireland is committed to working with Flybe, Ryanair, Shannon and Knock Airports and other tourism interests, to drive demand for these flights, and all other services to the island of Ireland, and to help maintain our vital network of routes and services.
Niall Gibbons continued: "Great Britain is the largest and most important market for tourism to the island of Ireland and we are rolling out the new 'GB – Path to Growth' strategy to restore this market to sustained growth. Tourism Ireland has a strong and comprehensive promotional programme under way right now, which includes a major focus on The Gathering Ireland 2013. We are extending an invitation to the millions of people in GB who have ancestral links with Ireland to 'come home' this year."
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Adaptations to aerial vision have been described for the eyes of several species of the genera Periophthalmus, Boleophthalmus, Periophthalmodon and Scartelaos. However, much of this scientific work is quite old and heavily affected by systematic uncertainty (Clayton, 1993).
The same names of these genera recall the extreme dorsal position and the great mobility of their eyes. Periophthalmus sp. can move its eyes independently, ranging from a 10-15° stereopsis when frontally placed, through to a complete back to back apposition. The turreted position of their eyes creates two 180° fields on each side, as well as above and below the fish. Eyes can be raised or depressed by a hammock-like muscular structure, composed of the extraocular muscles obliquus oculi inferior and rectus inferior (Schwab, 2003).
This structure allows mudskippers such as Periophthalmus koelreuteri (= P. argentilineatus or P. kalolo) (Karsten, 1923), Periophthalmus sp. (= Periophthalmodon schlosseri) and Boleophthalmus sp. (= Boleophthamus sp. or Scartelaos sp.) (Oliva & Skorepa, 1970a; b, respectively) to quickly displace their visual field without moving their heads, a function accomplished by the neck in most terrestrial tetrapods (Schwab, 2003; Romer & Parsons, 1986).
Visual fields in Periophthalmus sp., dorsal view; red dashed lines: limits of each eye's visual field; red: stereoptic visual field.
All the species of the genera Periophthalmus, Boleophthalmus, Periophthalmodon, Scartelaos and Zappa (Polgar et al. 2010) present a special dermal cup below the eyes. When out of water, dermal cups retain capillary water and mudskippers periodically retract their eyes beneath them to moisten them (blinking). This trait is unique among all living fishes (Karsten, 1923; Munk, 1970; Murdy, 1989).
High-resolution aerial vision in Periophthalmus sp. is achieved by means of a slightly flattened lens and a steeply curved cornea (a trait usually found only in terrestrial vertebrates: Schwab, 2003); both are adaptations to the refractive index of light in air, which is smaller than in water (Zander et al., 1999).
Periophthalmus sp. is also capable of extreme accommodation to focus on distant objects (Harms, 1929; Graham, 1971; Zander et al., 1999; Kotrschal, 1999; Schwab, 2003). As in other fishes, during accommodation the lens is retracted towards the retina, and it is used for near vision when unaccommodated.
The iris has a functional sphincter that seems to have a role both in accommodation (Clayton, 1993; Schwab, 2003) and in adaptation to different light intensities (e.g. in Boleophthalmus pectinirostris: Zhang & He, 1989).
The unaccomodated eyes of Periophthalmus sp. seem to be slightly hypermetropic in air (Clayton, 1993); while it is still debatable whether they are emmetropic in water (Clayton, 1993; Schwab, 2003).
The cornea is divided into proximal and distal lamellae (cornea propria and c. conjunctiva, respectively), to provide additional protection to dessiccation and mechanical damage.
In some supratidal rockskippers (Blenniidae), such as Alticus kirkii, the cornea propria can be retracted to create an additional eye chamber that can be extended by retracting the lens, and that displaces the focal point to adapt to aquatic or aerial vision (Zander et al., 1999); it is unknown whether a similar function is accomplished by the bilamellar cornea of Periophthalmus spp.
Periophthalmus sp. has a 'ramp' retina: the distance from the centre of the lens to the retina increases in the vertical direction (Karsten, 1923; Munk, 1970); this contemporaneously allows it to focus on near objects in the dorsal portion of the retina, and distant objects in the ventral one.
Higher density of photoreceptors are found in the dorsal part of the retina.
In Boleophthalmus sp. and Periophthalmus sp. the retina is rich in cones and strongly regionalised: photoreceptors are arranged in horizontal bands dorsally to the fundus (Munk, 1970; Kotrschal, 1999; Schwab, 2003).
This would allow a higher resolution and a lower perceptive threshold for movement, especially on the horizontal plane and at right angles to the anatomical axis of the eye, probably increasing the ability to detect small preys (Clayton, 1993).
A regionalised retina had also been found in other unrelated gobies and blennies, and seems to be an adaptation to benthic life in small fishes (Kotrschal, 1999).
In Periophthalmus sp. the optic nerve fibres do not converge on the optic disc as in other fishes, but are spread out over a larger part of the retinal surface, possibly to avoid reducing the sensitivity of the areae (Munk, 1970).
Some species of the genus Periophthalmus present high concentrations of pigments (Graham, 1971) to protect the retina from the intense illumination of the exposed subaerial environment (e.g. on the mudflat).
Other species instead present a strongly reflective argentea fibrosa (Karsten, 1923), an adaptation to dark environments (e.g. inside the forest, or at night).
The eyes of some species of Periophthalmus living in the high mangrove forest visibly reflect the light of a torch in the darkness, even from within their burrows (Polgar, 2004).
Aerial vision could be important also for homing behaviour, and some studies suggest that Periophthalmus sobrinus (= P. argentilineatus) is capable of using the sun to orient (Berti et al., 1992; 1994).
Also mechanoreception apparently has an important role. For instance, P. chrysospilos seems to orient by means of a rheotactic response at ebb tide, when it forms coordinated schools of individuals to follow the water edge (Polgar, 2004).
SEM image of an isolated neuromast of a goby (Awaous guamensis).
It is a cluster of mechanosensory cells with hair-like structures that protrude from the skin surface (cilia), and are surrounded by a gelatinous cupula (not visible in this image). The cupula is secreted by supporting cells. The hair cells are connected with cells of the acoustic nerve.
St= Stereocilia (short, non-motile); K= kinocilia (long, motile); S= supporting cells.
Not unlike many gobies, oxudercines lack a lateral line system, and completely lack canal-organ systems. They only present isolated neuromasts on the head (pit organs), which in Periophthalmus koelreuteri (= P. barbarus) are deeply embedded in the epithelium and innervated by several cranial nerves; only two "posterior organs" are superficial, being visible as thin relieved lines behind orbits (Afzelius 1956).
Elements of mechanical communication s.l. are probably present in Periophthalmus sobrinus (= P. argentilineatus) during agonistic and courting encounters (e.g. Brillet, 1969b; 1970; 1975; 1984a).
Examples are: 1) the 'piétinement' - the fish hits the ground with the pectoral fins, producing vibrations that propagate through the wet mud; and 2) the 'ondulation' - the fish waves its tail while standing in place, partially emerged, displacing the water around its body (Brillet, 1975).
This latter behaviour has been also observed during the courting sequence of males of P. modestus (Y. Ikebe, Mudskipperworld).
The 'piétinement' instead, could be a substitute or vacuum activity triggered by conflict, induced by aggressive encounters (Brillet, 1975).
The capability to discern sounds (258-651 Hz) propagated through air has been demonstrated in Periophthalmus koelreuteri (=?) (Diesselhorst, 1938), yet the location of the sound receptor is still unknown.
Acoustic communication while out of water was demonstrated in Periophthalmodon septemradiatus during aggressive interactions, a unique case in all non-tetrapod vertebrates (Polgar et al. 2011). The mechanism of sounds' production and transmission is however still unknown (as in other soniferous gobioids).


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Reading: Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss
Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss
A. David Lewis
Massachusetts College of Pharmacy and Health Sciences, US
About A.
Massachusetts College of Pharmacy and Health Sciences, Faculty Member
When originally published at the turn of the century, Pedro and Me: Friendship, Loss, and What I Learned (2000) was riding both the popularity of its reality television roots and the growing awareness of homosexuality in the popular consciousness. At that time, too, Macmillan publisher Henry Holt had its own website set up to support Winick's work; it featured interviews, tour dates, and, most importantly, omitted scenes originally drafted but not completed by the author. The opportunity to finally include this apocrypha was missed in the newer 2009 addition, as the publisher opted for a one-page afterword. This paper discusses how this constitutes a missed opportunity to reconnect with Pedro. In as much as the original graphic novel—or any graphic novel—is a construction, the tenth anniversary edition of Pedro and Me disallowed the excluded raw material from being included in audience's score-overdue deconstruction of the work.
Keywords: homosexuality, constructedness, race, heteronormativity, latinindad
How to Cite: Lewis, A.D., 2015. Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss. The Comics Grid: Journal of Comics Scholarship, 5(1), p.Art. 12. DOI: http://doi.org/10.5334/cg.bf
It has been twenty years since Pedro Zamora died, yet the most recent edition of Judd Winick's Pedro and Me graphic novel (published in 2009) failed, in some measure, to live up to its subtitle: it remained a story about Friendship but inadvertently added to the Loss by adding little to What I Learned over the past two decades. When originally published at the turn of the century, Pedro and Me: Friendship, Loss, and What I Learned was riding both the popularity of its reality television roots in The Real World and the growing awareness of homosexuality in the popular consciousness. At that time, too, Macmillan publisher Henry Holt had its own website set up to support Winick's work; it featured interviews, tour dates, and, most importantly, omitted scenes originally drafted but not completed by the author. The opportunity to finally include this apocrypha was missed in the newer 2009 addition, as the publisher opted for a one-page afterword on Updates (p. 185) focused on characters' expanded biographies. The shame here is that these unrealized scenes aptly reflected the unresolved issues of identity, ethnicity, and orientation raised in the content and analysis of the original edition. In as much as the original graphic novel—or any graphic novel—is a construction, the tenth anniversary edition of Pedro and Me disallowed this raw material from being included in audience's score-overdue deconstruction of the work. Moreover, this new edition follows the original book's visual motif of a steadily dwindling Pedro except for the restorative, positive, and, arguably, essential coda at the end, Pedro as an intact memory. For those missed opportunities to reconnect with Pedro, we should continue to mourn, even now in 2014.
"The White Pedro"
In their reviews of the 2000 first edition of Winick's graphic novel, Ricardo Ortiz and Web Behrens each comment on the author's unique placement—and not just as a member of MTV's barrier-breaking The Real World cast: He's straight, Jewish, and physically healthy, all things that fellow Real Worlder Pedro Zamora was not. "The balance he strikes is indeed delicate," notes Ortiz (2000, p. 33), commenting on Judd's bond with castmate Pedro. Judd engages in several balancing acts—mediating between graphic novelist and memoirist, between his television Real World personae and his real-life personality (and, even, his textual characterization), between furthering Pedro's cause and abusing Pedro's popularity, et cetera. Judd comes to share Pedro's space, then fill the void left by Pedro's death from AIDS as the series concluded its broadcast. This overlap is emphasized as the opening of Pedro and Me, where "Winick smartly contrasts his own childhood with Zamora's in the early chapters, then brings them both together in their MTV house" (Behrens 2000, p. 34). In fact, the dual biographies that open the book shift from parallel lines of a Latino and secular Jewish American, two contrasting origins for two young men, to an intersection between friends who become strongly linked to one and another. "It also establishes that this is the story of how one (sensitive, thoughtful, and creative, but otherwise apparently conventional) young straight man from suburban America come not only to accept and to tolerate, but to embrace in friendship, and in love, a young Gay man with AIDS" (Ortiz 2000, p. 33).
At certain moments (e.g., in the book's title, during moments of friendly banter, or in these reviews), Judd and Pedro are practically equated. "Like Zamora before him, Winick emplores young people to learn how to talk about sex with their friends and partners — but most importantly, to value themselves" (Behrens 2000, p. 34, my emphasis). And, there seems to be a fair amount of support from both the text and cultural theorists that to read Judd as transcending his own sexual orientation & ethnicity and/or crossing over into Pedro's has certain merit. Looking back, though, perhaps this applause of mutual blending neglects to scrutinize categorization itself; it fails, to paraphrase Behrens, to value itself in any sort of post-racial or post-sexual contexts.
In his analysis of The Real World's third season, José Esteban Muñoz (1999, p. 155) describes Judd as simply "a Jewish cartoonist from Long Island," presumably denoting a Caucasian ethnicity. While not necessarily an incorrect description, Muñoz's flat designation certainly is limiting. Muñoz provides a quick rationalization: "I am aware that the preceding descriptions seem to be somewhat stock, but these were the primary identity accounts that the program offered." That caveat hints at the incongruities of analyzing Pedro Zamura, his ethnicity and sexuality, without doing so for, and perhaps starting with, Judd's as well. The words of Eve Kosofsky Sedgwick (1999) and Eric Lott (1999) are helpful in this regard. In her essay, "Axiomatic," Sedgwick says:
After all, to identify as must always include multiple processes of identification with. It also involves identification as against; but even did it not, the relations implicit in identifying with are, as psychoanalysis suggests, in themselves quite sufficiently fraught with intensities of incorporation, diminishment, inflation, threat, loss, reparation, and disavowal. (p. 338)
Sedgwick, in short, says that identity is sticky; one cannot befriend it, be against it, or remain entirely parallel to it without taking some of it upon one's self. In fact, the construction of "self" is largely dependent on interaction—certainly, the construction of "whiteness" is, says Lott (1999):
To assume the mantle of whiteness, these examples seem to say, if not only to 'befriend' a racial other but to introject or internalize its imagined special capacities and attributes. The other is of course 'already in us', a part of one's (white) self, filled out according to the ideological shapes one has met in one's entry into the culture […] it also insures that the color line thus erected is constantly open to transgression or disruption. Several theorists have termed this predicament "abjection." (p. 247)
Judd, at least as he is portrayed by Winick1 in the graphic novel, does not seem to fear this transgression, whether it is a line between his heterosexuality and Pedro's homosexuality or his whiteness and Pedro's race. Notably, nearly no character in Winnick's black-and-white art is illustrated with any differentiating tint or tone of skin, suggesting something about the author's choice to elide racial difference. Lott says that "one result of all this is that whiteness itself ultimately becomes an impersonation. The subterranean components of whiteness that so often threaten it require an edgy, constant patrolling" (p. 254). Judd, presumably, does little of that patrolling, and, when he does, it is only to the degree of deferential as an outsider (Winick 2000, p. 68); he does not claim to be gay or Latino, but, as his later relationship to Pam might suggest, he does not claim to be or adhere to being strictly white in a strictly white world, either.2
What does it mean for Judd not to be "strictly white?" What is he, if not white? To paraphrase Norman Mailer (2003), is Judd a 'white Pedro?' Or even a 'straight Pedro?' Both these phrases play on the title of Mailer's essay, "The White Negro," wherein the elements of 1950s Hip-ness are investigated. One key element of the hypothetical '50s hipster, says Mailer, is his language: "I have jotted down perhaps a dozen words, the Hip perhaps most in use and most likely to last with the minimum of variation. The words are man, go, put down, make, beat, cool, swing, with it, crazy, dig, flip, creep, hip, square" (p. 595). There are other terms both employed and chronicled in Mailer's essay, such as gig, cat, bag, and "goof (the ugliest word in Hip), if you lapse back into being a frightened stupid child, or if you flip, if you lose your control, reveal the buried weaker more feminine part of your nature" (p. 597). Judd, when not engaged in his role as the book's narrator, utilizes some of this same language, suggesting a relationship between him and Mailer's hipster. That is, Judd's engagement in any '90s hipster culture may destabilize any intractable whiteness. Even in formal interviews, traces of Hip remain: "I was hiding behind goofy little stories rather than talking about Pedro having shingles" (quoted in Behrens 2000, p. 34, my emphasis). Here, Winick suggests a link: Mailer's white '50s imitators of black culture may share a destabilizing trait with "a Jewish cartoonist," a self-selected member of '80s and '90s comic book culture.
Some of Pedro and Me's digital apocrypha, the excised "goofy little stories" overlooked for the 2009 edition and since, include an acknowledgment by Judd that he is not Pedro; in his encounter with a new and frightened gay youth group, he says, "I can't do what Pedro did. I can't be who Pedro was. I can't be a role model for gay youth […] I'm out of my depth" (Figure 1). For whatever reason, this scene was not included in the final draft of Pedro and Me originally, thereby upholding a potential equation between Judd and Pedro, between the Caucasian and the Latino. Pedro is credited as saying, "I promised the schools I'd come and speak…They'll get a straight boy cartoonist instead. They'll manage" (Winick 2000, 134). Yet, Behrens cannot help but note the moment: "It's not often that a 30-year-old heterosexual man commands the rapt attention of a queer youth group" (Behrens 2000, p. 33), inviting one to ask why this may feel so incongruent.
Judd feels "out of his depth" in Pedro's place. This sequence by Judd Winick originally appeared on a former Henry Holt mini-site to support the release of the first edition of Pedro and Me. Judd Winick, Henry Holt defunct Pedro and Me site, still available at https://web.archive.org/web/20071018075021/http://www.captionbox.net/pedro/cutpages2.html. © 2000 Judd Winick.
At the same time, it is Pedro's gradual disappearance – rather than Judd's carrying of his banner – that is pictorially emphasized: the visualized diminishment of his health and the hole he will leave behind with his death. As Judd goes out to lecture in Pedro's place, the ailing man begins to lose his speech faculties. "He wanted to talk. It was bursting out of his eyes. 'He's losing words,' the doctor explained" (Winnick 2000, 142). And, indeed, concurrent with this late point in the book, Pedro no longer has any speech balloons,3 no longer has any means to communicate save facial expressions and body language.
Soon, Pedro as a figure begins to ebb: first as only a small head surrounded by family, then as a further emaciated and shrunken form, especially when juxtaposed to the large and vital visage of Pam on the phone with Judd. Even the double-page spread that features only him shows Pedro at a distance, a small bed-ridden man in a spaciously yawning room, and then in reverse silhouette: the outline or space he is soon leaving behind. Then, he is only a sunken-cheeked, silent mouth – perhaps emphasizing his breathing, the only thing Pedro can now accomplish: "We sat in the hospital room and we listened to Pedro breathe" (Winnick 2000, 153– as his friends and family assume a deathwatch that leaves Pedro entirely off the panel. When the nurses come to make his death official, Pedro is a silhouette cameo, no longer truly there; as if to echo the double-page spread only a few pages earlier, blackness fills all but the tiny aerial view of Pedro's empty shell below. He cannot be reduced any further: He is gone.
The Culture of Difference and of Omission
Returning to Mailer's essay and Judd's thin connections to Hip: These can only take us so far. Judd's vocation as a cartoonist could be read as another link—that this razor's edge, high/low pop culture, artistic/capitalistic occupation is in some way connected to "the source of Hip [that] is the Negro for he has been living on the margin between totalitarianism and democracy for two centuries" (Mailer 2003, p. 585). Judd relates a low ebb just before auditioning for The Real World where his comic strip Nuts and Bolts is canceled by syndicators: "It was out of nowhere. I didn't see it coming. Killing me would have been easier […] I was miserable" (Winick 2000, p. 18). This is the hell of the hipster, says Mailer; this is the hell where "one is beat, one has lost one's confidence, one has lost one's will, one is impotent in the world of action and so closer to the demeaning flip of becoming a queer, or indeed closer to dying" (p. 598, my emphasis). While Mailer's generational biases could damage "The White Negro"—"a text whose mythologies are as telling as its analysis" (Lott 1999, p. 248)—this awkward linkage at least suggests that Judd may have occupied a position that collapses him from being purely 'straight' or wholly opposite Pedro prior to their friendship. "We weren't really the stereotypes our backgrounds or TV made us out to be," says Winick in Pedro and Me. "We were more. And we saw that in each other" (112).
Self may be a construction, and whiteness is likely a construction also, but The Real World is certainly anything but real, a commercial construction, if that is not a redundancy.
The question that may arise is how authentic Pedro and Me, a story emerging from that artificial MTV-space, could be? Whereas no cameras or overtly corporate influence dominate Judd's artistic medium, it must have similar maneuvers of verisimilitude to achieve its narrative objectives, such as the visual ebb of Pedro matching the drop in his health, mentioned above. MTV could be both applauded and suspected for ensuring that the "the twenty-something group is usually racially diverse," but a feeling of tokenship rather than inclusion could also be descried; as Muñoz (1999, p. 151) says, "Zamora was the third season's house queer." This statement implies that it was his status as an Other that garnered his inclusion, just as Pam's being Asian, Judd's being Jewish, or even castmate Rachel Campos's being right-wing – assuming that 'Republican' is also an Other to "young, straight, suburban Americans […] MTV's primary audience" whom could also be read as 'liberal' (Ortiz 2000, p. 33). To pull from Cornel West (1999), MTV of the late '90s amateurishly plays in the culture of difference; its executives could easily be seen as:
marginalized First World agents who shun degraded self-representations, articulating instead their sense of the flow of history in light of the contemporary terrors, anxieties, and fears of highly commercialized North Atlantic capitalist cultures (with their escalating xenophobias against people of colour, Jews, women, gays, lesbians, and the elderly) (p. 257).
However easy as it may be to paint television mega-corporations as the bad guys, Pedro and Me sometimes fails where The Real World succeeds. Certain very compelling and 'real' moments have been excluded from Judd's book as well as its rerelease, either having been drafted and left by the wayside or simply overlooked entirely. One passage, involving Judd and two Texans (Figures 2 and 3) at an airport, may have been cut due to its "goofy" content originally. But, in a moment that seems both too ironic and too fitting to be anything but real—necessitating its inclusion at a safe, ten-year distance—one of the Texans who had been imploring Judd to tell about his women-conquests praises Pedro's courage by saying, "Had himself a pair on him." Another passage addresses Judd's failings as the standard-bearer of Pedro's crusade and the darker, more fearful side to growing up gay.
Too "goofy" for inclusion in Pedro and Me's anniversary edition? This sequence by Judd Winick originally appeared on a former Henry Holt mini-site to support the release of the first edition of Pedro and Me. Judd Winick, Henry Holt defunct Pedro and Me site, still available at https://web.archive.org/web/20071018075021/http://www.captionbox.net/pedro/cutpages1.html. © 2000 Judd Winick.
A moment of awkward sincerity, excised from the final book. This sequence by Judd Winick originally appeared on a former Henry Holt mini-site to support the release of the first edition of Pedro and Me. Judd Winick, Henry Holt defunct Pedro and Me site, still available at https://web.archive.org/web/20071018075021/http://www.captionbox.net/pedro/cutpages1.html. © 2000 Judd Winick.
Winick omits several instances from The Real World that could easily have been pertinent to the narrative of Pedro and Me. First, there are the in-house conflicts to which Judd alludes in only one panel of the book: "It got real bad when we asked our housemate Puck to move out. To say the least, Puck was obnoxious, acted homophobic, and, in general, had a problem 'playing with others.' So we asked him to leave" (Winick 2000, p. 114). In truth, he was voted out unanimously by all the housemates. Puck, one of The Real World's most widely known personalities, was removed for his many homophobic comments, since "these comments from Puck were a regular household occurrence that was, through editing strategies, downplayed by the producers" and, it seems, by Pedro and Me (Muñoz 1999, p. 155). Also overlooked by both The Real World and Pedro and Me is "the fact that Pucks' lack of hygeine was nothing short of a medical risk for a person living with a compromised immune system."
But Winick's perspective—or, more accurately, Pedro and Me's—also obscures the influence and presence of several other housemates tied to Pedro in some way. Winick acknowledges Cory Murphy as a late addition – "Our trio became a quartet," he notes (Winick 2000, p. 111) — but The Real World portrays her as the first to engage Pedro (Muñoz 1999, p. 154). While it's true that "by the twentieth and final episode, Pedro has become very close to Cory, Pam, and Judd," her decision to go play with Puck rather than support Pedro at his school presentation is left unmentioned by Pedro and Me (Muñoz 1999, p. 156). Also omitted from the book is Rachel's aversion to Pedro's lifestyle. "Rachel was put off by this display [of Pedro's activist scrapbook] and proceeded, during an interview in the confessional, to voice her AIDSphobic and homophobic concerns about cohabitating with Pedro" (155). Lastly, on the same page as Puck's brief ostracization, Winick recounts how he and Pam would lie about Pedro's health: "It was important to him that he not be viewed as sick but just like everyone else. Pedro hid a lot of it. Pam and I helped him hide it […] We'd lie" (Winick 2000, p. 114). However, Muñoz (1999, p. 156) reports that "Zamora, in a post-Real World interview, explained that he had wanted to show it all, the good days and the bad days." So, where is the distortion: Muñoz, the interview, Winick, or The Real World? Un-reality swirls all around.
The particular shame of the 2009 edition remaining so bare or, more accurately, without further deconstruction is that it deviates from the visual motif that carried the concluding section of the book itself. That is, as already noted, Pedro is diminished visually – both in size and in detail – as his illness increases. However, as Judd fondly remembers his friend in the closing pages of the book, Pedro is suddenly visually restored. This is not the ailing Pedro that occupied the hospital scenes; this is the smiling and content Pedro, the healthy and shining gay man who "took a risk and put himself in the spotlight so we'd all learn" (Winnick 2009, p. 179).
If readers have forgotten Pedro in the years since the book's initial release, if he had grown vague and indefinite, then this new edition had the opportunity to do as the final pages of the book did: not just restore him but to resurrect his legacy. This new apocrypha material could have reconstructed him in a way entirely in keeping with the media from which his image emerged into the public vision. While the production of a 2009 edition itself highlights his legacy, the lack of any new performance, of any enhanced recollection of Pedro, deprives those who would continue to learn from him.
Performing an Epilogue
Pedro and Me is the product of two media: television and sequential art. And, as such, sexual orientation operates as a primary performance for both the show and the book, in that sexuality itself is often relegated to being that which remains publicly un-performed. "Nothing divides the personal from the public more than the idea that the personal is where intimacy happens, with sex being the most immediate area of all" (During 354). The reaction Judd receives, more from the wincing middle school teachers than the guffawing students, when discussing "stuff like mutual masturbation and dental dams" exemplifies this point (Winick 2000, p. 162). Unless one is willing — and, in some cases, hoping — to confine any acknowledgement of a homosexual orientation to private clubs and clandestine meetings, he/she may have to perform sexuality so as not to be drowned out by American society's rampant heteronormativity, even in 2014. "Zamora is willing to sacrifice his right to privacy because he understands that subjects like himself never have full access to privacy […] the national fantasy of privacy to which other subjects in the public sphere cling" (Muñoz 1999, p. 150). Muñoz reminds us that heterosexuality is just as much a public performance as homosexuality — but, if so many of us are singing in unison, one stops noticing his or her own voice, only those who are in another key or whistling a different tune entirely.
Pedro traverses/performs both hispanicism and homosexuality, thereby being beholden to neither while being recognized as both. Bill Clinton — who said that Pedro "gave AIDS, a very 'human face.' Beyond that, he gave it a vibrant, attractive, politicized, and brown face" (Muñoz 1999, p. 154) — makes it possible for the rest of Pedro's Cuba-bound family to come to him in his final hours and take part in that recognition. "It is thus important to see this family embrace their son and brother without hesitation. The image of Cuban-Americans loving, accepting, and bring proud of a gay son complicates the map of latinidad that is most available within U.S. media" (Muñoz 1999, p. 156). Their performance is as important as Pedro's, yet also shows that 'performance' and 'genuineness' need not be mutually exclusive. Nor are such performances meant to necessarily undo the performances of others. "The performance of a commitment ceremony itself might be read as an aping of heterosexual relationships. Such a reading would miss some important points […] Pedro and Sean's ceremonial bonding is not about aping bourgeois heterosexuality; rather, it is the enacting of a new mode of sociality" (Muñoz 1999, p. 159).4 This point is that one can perform for others and one can perform for one's self; in fact, that is what we are always doing: performing for one's self so as to build it. Pedro does not not perform; he performs, and is depicted as performing, in accordance with his overlapping, congruent sense(s) of self.
In the twenty years since Pedro's death and fifteen years since Pedro and Me's first publication, American media has, in many important ways, shifted in terms of its depictions of both sexual orientation and ethnicity—thoroughly covered in others books and writings.5 The concern here with the reissue of Pedro and Me is how much, despite any changes in the media climate and Americans' sensibilities, performativity remains a vital component of any popular medium. Thanks in part to Pedro and Judd's televised, lectured, and illustrated friendship, a greater space now exists not only for works like Pedro and Me but also for its acknowledgment of constructedness. The absence of Winick's apocrypha or retrospective on what Real World was then as compared to what purpose it can serve now likewise weakens the relevance of Pedro and Me. Had he not died, Pedro Zamora surely would have wanted to grow and mature; Pedro and Me, frozen in time and unwilling or unable to modify its original performance, is now doubly an example of loss—the loss of Pedro and the loss of an opportunity to bring his life back into a new context.
The author declares that they have no competing interests.
1Where necessary, "Winick" is the name that will be used for the creator of the graphic novel; "Judd" is utilized to denote the edited television personality and graphic novel character.
2It is worth noting that Judd's interracial relationship with and castmate-turned-wife Pam Ling blossomed "only after the show stopped filming" (Muñoz 215, note 25), even though his feelings for her began during their cohabitation, according to Winick (84).
3With the exception of six words he manages to muster for President Clinton (Winnick 2000, p. 144–145).
4However, Muñoz does not extend this flexibility later in his accusations of Puck and Toni's own engagement being an overriding response by the producers to Pedro and Sean.
5See, for instance, Dines, G. & Humez, J.M. (2010) Gender, Race, and Class in Media: A Critical Reader and Becker, R. (2006) Gay TV And Straight America.
Behrens, W (2000). People will never forget you. The Washington Blade, November 24 2000: 33–34.
Lott, E (1999). Racial cross-dressing and the construction of American whiteness In: During, S ed. The Cultural Studies Reader. New York: Routledge, pp. 241–255. PMid: 10363536.
Mailer, N (2003). The white negro In: Charters, A ed. The Portable Beat Reader. New York: Penguin, pp. 582–606.
Muñoz, J E (1999). Disidentifications: Queers of Color and the Performance of Politics. Minneapolis, MS: University of Minnesota Press.
Ortiz, R (2000). Fighting ignorance, bigotry, and AIDS. The Washington Blade, November 24 2000: 33.
Sedgwick, E K (1999). Axiomatic In: During, S ed. The Cultural Studies Reader. New York: Routledge, pp. 320–339.
West, C (1999). The New Cultural Politics of Difference In: During, S ed. The Cultural Studies Reader. New York: Routledge, pp. 256–267.
Winick, J (2000). Pedro and me: friendship, loss, and what I learned. New York: Henry Holt.
Lewis, A.D., 2015. Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss. The Comics Grid: Journal of Comics Scholarship, 5(1), p.Art. 12. DOI: http://doi.org/10.5334/cg.bf
Lewis AD. Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss. The Comics Grid: Journal of Comics Scholarship. 2015;5(1):Art. 12. DOI: http://doi.org/10.5334/cg.bf
Lewis, A. D. (2015). Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss. The Comics Grid: Journal of Comics Scholarship, 5(1), Art. 12. DOI: http://doi.org/10.5334/cg.bf
Lewis AD, 'Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss' (2015) 5 The Comics Grid: Journal of Comics Scholarship Art. 12 DOI: http://doi.org/10.5334/cg.bf
Lewis, A. David. 2015. "Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss". The Comics Grid: Journal of Comics Scholarship 5 (1): Art. 12. DOI: http://doi.org/10.5334/cg.bf
Lewis, A. David. "Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss". The Comics Grid: Journal of Comics Scholarship 5, no. 1 (2015): Art. 12. DOI: http://doi.org/10.5334/cg.bf
Lewis, A. D.. "Pedro Zamora and Pedro and Me in Requiem: Scoring the Loss". The Comics Grid: Journal of Comics Scholarship, vol. 5, no. 1, 2015, p. Art. 12. DOI: http://doi.org/10.5334/cg.bf


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Southern Africa region: Stories of talent and resilience on World Refugee Day 2019
Divine Ndizihiwe, refugee at Dzaleka Refugee Camp, Malawi, volunteers at the Jesuit Refugee Service (JRS) NAWEZA Girls Education and Empowerment project at the camp, empowering Primary and Seconday students / Hugo Ivanove Mpenzi
Tantine Barantize: "The saloon makes us busy and reduce stress, life in the camp is not easy but we are able to cope with it."
World Refugee Day always reminds everybody of the increasing magnitude of people forced to leave their homes every year. At the end of 2018, there was 13.6 million newly displaced individuals worldwide due to conflict, persecution, violence or the violation of their most basic human rights, according to the UN High Commissioner for Refugees (UNHCR). This would imply 37 000 forced displacements on a daily basis. As the result of prolonged crisis, political neglect, corruption, intolerance and climate change, an average of 70.8 million people are currently forcibly displaced -within the national borders or between states. And the path is not easy for those fleeing. Risks and challenges await for them both during the journey towards a safe place and in host communities.
However, World Refugee Day is also a day to celebrate and recognize the resilience and talent of all those who, despite countless struggles, learn and give their utmost best to their work and new communities. Committed to accompany, serve and advocate on behalf of asylum seekers and refugees, the Jesuit Refugee Service (JRS) believes that creating sustainable and equal opportunities, such as access to education and healthcare, will open the door to a supportive, integrated and fair global community. In the Southern Africa region, which UNHCR calculates as hosting more than 210 900 refugees and 274 800 asylum seekers, the JRS benefits over 83.000 refugees, asylum seekers and migrants without documents in Angola, Malawi, Zimbabwe and South Africa. Mostly through educational programs, livelihoods, vocational training, healthcare services and pastoral accompaniment.
Our aim at JRS is to contribute to create a community which upholds asylum seekers and refugee's rights to work, fulfil their human potential and to earn a living. A community where displaced people can also contribute to society and build their lives with their own two hands.
Malawi: Divine Ndizihiwe
"I want to advocate for the rights of women in the future," expressed Divine Ndizihiwe, a 21 years old woman from the Democratic Republic of Congo (DRC). She currently volunteers at the JRS NAWEZA Girls Education and Empowerment project in Dzaleka Refugee Camp, Malawi, helping to facilitate life-skills sessions for girls at the JRS Umodzi Katubza Primary School and JRS Dzaleka Community Day Secondary School (CDSS). Skills such as sexual reproductive health, human rights, gender equality and how to handle and report these kind of situations. "My work has a great positive impact on the community since I advocate for girls who face a lot of problems in Dzaleka Refugee Camp," she explained, "As a result, we managed to change the lives of girls as well as encourage them to stay in school instead of getting married at an early age or getting early pregnancies." She is herself a refugee who fled her country in 2013 with her family due to ethnic attacks. "According to the story of the Banyamulenge tribe, our ancestors fled from Rwanda to DRC," Divine accounted, "My parents were born in DRC, and when [we] were attacked by DRC soldiers, we did not know where to go; those who refused to leave the country were killed."
As a young girl, she remembers facing several challenges when arriving to the camp in Malawi. Challenges such as "Poverty, insecurity, oppression, domestic violence, and lack of opportunities." However, that has not prevented her from building her own path. After completing Secondary Education at the CDSS in 2016, she accomplished several certifications at JRS Professional and Post-Secondary Education (PPSE), such as Computer Literacy, Early Childhood Development, Maisha/Life Skills, Psychosocial Case Management, Psychological First Aid Training, and Youth Servant Leadership in Peace Building and Co-existence. At the moment she studies a Diploma in Liberal Studies at the Jesuit Worldwide Learning, majoring in Social Work. Divine feels safe in the host community but laments she can't fully exercise her Human Rights. "I am considered a refugee; hence it is hard to get opportunities outside of the camp," she explains. As countless other fellow refugees, she dreams for a safe free future, where she can further her studies and be able to "give back to the community."
Malawi: Matthias Ngandu Yemba
Life became uneven for Matthias Ngangu Yemba, 39 years old, while working as a Head Teacher at a secondary school in the Democratic Republic of Congo. "My life was exposed to an increasing insecurity in the midst of tribal discriminations, ethnic, and armed group conflicts," he expressed, "[It] endangered not only my life, but also my family members." After fleeing to the Dzaleka Refugee Camp in 2014, "The first challenges I faced were trauma resulting from what I suffered in my home country, lack of enough means to effectively meet daily needs for myself and my family, and uncertainty of our future," he remembered. Yet, in a short period of time, he joined the JRS English as Second Language programme within the Adult Education Department, starting to work as a volunteer teacher in July 2014.
Matthias currently volunteers as a Non-Formal Education Coordinator at the JRS PPSE project. "I assist the organization's project in offering oversight to 8 English as a Foreign Language classes, and leading, training, and coaching 8 teachers and monitoring all activities related to Non-Formal Education section," he stated. "I have assisted the organization fulfill its mission through the PPSE project in providing access to post–secondary level courses to over 800 refugees, asylum seekers and host community members in and around Dzaleka Refugee Camp each year," Matthias added. According to him, JRS brought him hope and help him to overcome challenges and shape his skills, in order to be able to serve the community and decide his future. His main aspiration: "to become a great teacher able not only to teach effectively, but also to produce other effective teachers for our current and future generations."
South Africa: Kadija Mathe
Some Tuesdays, Kadija Mathe walks along the central streets of Johannesburg. She reads different advertisements, goes inside different properties and asks for prices. "My dream is to have my own make-up and manicure salon," Kadija explains. "Just make-up and nails, I can't do hair anymore," she added laughing, too many years brushing and cutting. She came from Zimbabwe 15 years ago, "I jumped from school directly to South Africa because there was nothing in Zimbabwe; I didn't have any way to survive" she accounted. As her father passed away, she had to send money to support her mother and sisters back at home. And she still does it nowadays.
Like many fellow asylum seekers in South Africa, her case remains pending and she must renew her documents every six months. However, Kadija doesn't regret coming to her host community: "I wouldn't have learnt so much." In fact, she feels it is always a good moment to improve skills and knowledge. "I can't say I am old," she expressed, "You don't stop learning every day!" From the moment she arrived to Johannesburg, Kadija learnt the subtleties of becoming a hairdresser. She even ran her own salon between 2013 and 2017. "I was happy, I love to do things on my way," she remembered. Yet, the salon ended closing due to different difficulties.
Luck came back again in 2018, she explained, after being accepted at the nails and make-up course at the JRS Arrupe Skills Centre. Now she is part of the almost 15 stylists working at a beauty salon in Gandhi Square, central Johannesburg –the same venue where Kadija attended her internship with JRS, which hired her later. "I can't quit my job, whatever person that comes, brings more people," she affirmed. Hopefully, soon, she will open the doors of her centre.
South Africa: Chiagozie
Chiagozie (27 years old, Nigeria) normally arrives to the salon at eleven in the morning, after taking care of her three years old daughter and her two-month son. A small and cosy establishment, Chiagozie Salon opened on March this year –after Chiagozie graduated at the JRS Arrupe Skills Centre (Johannesburg) in December 2018. She came all the way to South Africa by car when she was 20 –due to family and inheritance issues after the death of her father. "They [her father's relatives] said 'You are a woman, you are not married, you can't take properties...' and I didn't want the issue to get worse, so I gave it to then," she explained, "I said 'Ok, let me have my own life,' I don't want to go back."
For six years, she made a living with different jobs, but she mostly offered haircuts, dreadlocks hairstyles and manicure with her godmother –who is also the owner of the salon with Chiagozie's name. "My sister [how Chiagozie calls her grandmother] was also the one who took me to Arrupe," Chiagozie explained. Despite she had limited resources to afford the transportation costs to the centre, Chiagozie finished her make-up and nails course. "And I am still learning nails with my godmother at her other shop in Yeoville," she added.
Currently, Chiagozie manages the salon and offers make-up, manicure, hairdressing and pedicure services, along with three employees. "When you start a business you have to be patience, strong and focus on what you want to do," Chiagozie affirmed. She also stressed the importance of the social aspect of her job. "I like to talk with different people, especially in this kind of business, you have to be friendly, kind… if not they won't come back again," Chiagozie laughed.
Even though she is happy in South Africa, "sometimes it is tough, but that's life, even your country is though," she expressed, "In this life, things can't be sweet all the time; sometimes you laugh, sometimes you cry, and, at the end of the day, you wipe your tears." With energy and determination, Chiagozie runs her business and her life.
Chiagozie and Chiagozie's Salon are fake names intended to preserve fthe privacy of the testimony.
Zimbabwe: Tantine Barantize
Tantine Barantize, a 20 years old refugee from Burundi, arrived to the Tongogara Refugee Camp, Zimbabwe, in 2013. There, she attended the JRS's cosmetology and hairdressing vocational training. "I have learnt about how to treat hair, plaiting, blowing, and setting hair, manicure and pedicure," she proudly accounted. With her achieved skills, she is able to generate an income. "The saloon makes us busy and reduce stress, life in the camp is not easy but we are able to cope with it," Tantine added.
Zimbabwe: Josephine Tshimanga
"My name is Josephine I was trained in cosmetology, hair dressing and beauty therapy at JRS," told Josephine Tshimanga, 27 years old. Original from the DRC, she fled to the Tongogara Refugee Camp in 2009. "Currently, I am an intern in a group through the support of JRS staff; the skill fulfilled my dream to be trained in cosmetology," she affirmed. In her opinion, the course helped her to improve is status within the refugee community, as well as enhancing her income from the $13 subsidy she receives every month. "My plan for the future plan is to run my own business to earn more money, so am grateful to JRS for teaching me this life skill," she explained.
Zimbabwe: Bugingo Gustave
Bugingo Gustave (38 years old, DRC) has become a welding professional at the Tongogara Refugee Camp. "I trained under JRS/Silveira House trainings in arch welding and we are now working in groups to make different types of products," he explained. Following client's demands, they produce a wide array of products such as wheelbarrows, chariots, screen gates, bicycles carriers and stands. This way, the family can respond to their household needs. Yet, "The economic situation is not easy in Zimbabwe," he expressed, "Our main challenge is the power supply due to long hours of electrical supply and diesel shortages in the country." However, education and training have also helped him to feel more respected and encouraged to train other welders amongst the community at Tongogara.
Press Contact Information
Irene Galera
irene.galera@jrs.net


text:
Farlowella is a genus of fish in the family Loricariidae native to South America. This genus is broadly distributed in Amazon, Orinoco, Paraná and coastal rivers of the Guyana Shield. It is absent from the Pacific slope of the Andes and from the coastal rivers of the Brazilian Shield. Many of these species are kept in aquariums. This genus has a unique body shape that resembles a thin stick of wood. The body is slender and elongate, often with a pronounced rostrum and a brownish color with two lateral dark stripes beginning at the tip of the rostrum, passing over the eyes and ending at the tail, which are periodically interrupted on the caudal peduncle.

Taxonomy
The genus is placed within the tribe Harttiini of the subfamily Loricariinae. Morphological, molecular and phylogenetic studies have placed Farlowella as sister to Sturisoma. The genus name of Farlowella is named in honor of William Gilson Farlow, a famous American botanist of Harvard University whose main work was working with algae plants, the favorite food of this slender catfish.

Species
There are currently 28 recognized species in this genus:
 Farlowella acus (Kner, 1853)
 Farlowella altocorpus Retzer, 2006
 Farlowella amazonum (Günther, 1864)
 Farlowella colombiensis Retzer & Page, 1997
 Farlowella curtirostra G. S. Myers, 1942
 Farlowella gianetii Ballen, Pastana & L. A. W. Peixoto, 2016
 Farlowella gracilis Regan, 1904
 Farlowella hahni Meinken, 1937
 Farlowella hasemani C. H. Eigenmann & Vance, 1917
 Farlowella henriquei A. Miranda-Ribeiro, 1918
 Farlowella isbruckeri Retzer & Page, 1997
 Farlowella jauruensis C. H. Eigenmann & Vance, 1917
 Farlowella knerii (Steindachner, 1882)
 Farlowella mariaelenae Martín Salazar, 1964
 Farlowella martini Fernández-Yépez, 1972
 Farlowella mitoupibo Ballen, Urbano-Bonilla & Zamudio, 2016
 Farlowella nattereri Steindachner, 1910
 Farlowella odontotumulus Retzer & Page, 1997
 Farlowella oxyrryncha (Kner, 1853)
 Farlowella paraguayensis Retzer & Page, 1997
 Farlowella reticulata Boeseman, 1971
 Farlowella rugosa Boeseman, 1971
 Farlowella schreitmuelleri C. G. E. Ahl, 1937
 Farlowella smithi Fowler, 1913
 Farlowella taphorni Retzer & Page, 1997
 Farlowella venezuelensis Martín Salazar, 1964
 Farlowella vittata G. S. Myers, 1942
 Farlowella yarigui Ballen & Mojica, 2014

References

Loricariidae
Fish of South America
Freshwater fish genera
Taxa named by Carl H. Eigenmann
Taxa named by Rosa Smith Eigenmann
Catfish genera


A Systems Approach to Study Immuno- and Neuro-Modulatory Properties of Antiviral Agents.
There are dozens of approved, investigational and experimental antiviral agents. Many of these agents cause serious side effects, which can only be revealed after drug administration. Identification of the side effects prior to drug administration is challenging. Here we describe an ex vivo approach for studying immuno- and neuro-modulatory properties of antiviral agents, which may be associated with potential side effects of these therapeutics. The current approach combines drug toxicity/efficacy tests and transcriptomics, which is followed by mRNA, cytokine and metabolite profiling. We demonstrated the utility of this approach with several examples of antiviral agents. We also showed that the approach can utilize different immune stimuli and cell types. It can also include other omics techniques, such as genomics and epigenomics, to allow identification of individual markers associated with adverse reactions to antivirals with immuno- and neuro-modulatory properties.
Knowledge base toward understanding actionable alterations and realizing precision oncology.


In the village of Beaulieu you can visit the 13th century Beaulieu Abbey, Palace House and the church. Stop to browse in the shops or, just off the route, tour the National Motor Museum.
Heading out of the village, the path climbs up onto Beaulieu Heath, an area of moorland and the chance of spotting a nightjar, snipe or red shank.
Follow on down an old twisting lane, to Hythe and the huge drowned estuary of Southampton Water.


text:
Distrust That Particular Flavor
By William Gibson
Category: Literary Collections | Technology
Jan 03, 2012 | ISBN 9781101559413
About Distrust That Particular Flavor
A collection of New York Times bestselling author William Gibson's articles and essays about contemporary culture—a privileged view into the mind of a writer whose thinking has shaped not only a generation of writers but our entire culture…
Though best known for his fiction, William Gibson is as much in demand for his cutting-edge observations on the world we live in now. Originally printed in publications as varied as Wired, the New York Times, and the Observer, these articles and essays cover thirty years of thoughtful, observant life, and are reported in the wry, humane voice that lovers of Gibson have come to crave.
"Gibson pulls off a dazzling trick. Instead of predicting the future, he finds the future all around him, mashed up with the past, and reveals our own domain to us."—The New York Times Book Review
Also by William Gibson
See all books by William Gibson
About William Gibson
William Gibson is credited with having coined the term "cyberspace" and having envisioned both the Internet and virtual reality before either existed. He is the author of Neuromancer, Count Zero, Mona Lisa Overdrive, Burning Chrome, Virtual Light, Idoru, All Tomorrow's Parties,… More about William Gibson
Sep 04, 2012 | 272 Pages | 5-1/2 x 8-1/4 | ISBN 9780425252994
Jan 03, 2012 | 272 Pages | ISBN 9781101559413
People Who Read Distrust That Particular Flavor Also Read
"One of the most astute and entertaining commentators on our astonishing, chaotic present."—The Washington Post Book World
"I forget that in addition to being a major novelist (Zero History, Neuromancer, etc.), he's one of the best essayists and critical observers currently operating within our sociocultural sphere. This is his first essay collection, and it's messed up how good it is: raw, weird, honest, smart."—Lev Grossman, Time Entertainment
"Exquisitely written, done to a turn with both insight and that unmistakable prose that is just shy of spectacular….This is a fine and even essential complement to the Gibson canon, and a delight to read."—BoingBoing.net
"Though he's often lauded as a big-picture man, these pieces make one thing clear: He's even better with the little details."—A.V. Club
"[Gibson's] new collection of nonfiction shows that his secret strong suit is with the here and the now."—Los Angeles Times
"The most startling pieces here crackle with his excitement at discovering some unexpected aspect of the new."—The Globe and Mail (Canada)
"A breezy, engaging read."—The Milwaukee Journal Sentinel
"Potent…elegant prose."—The Seattle Times


Once the application process is complete you will start your training programme. The training will provide you with the skills you need to carry out the responder role and will build your confidence before you deal with a patient alone.
Pre-learning: six online learning modules provide all the background knowledge you need to allow you to maximise the benefit of the classroom days you will attend.
Classroom: Consisting of three days of tutor-led instruction, discussion, practical session and scenarios to allow you to consolidate your learning and practice your new skills.
Once you have completed your assessment and become a 'live' responder, you will be required to complete a number of mandatory training modules each year and to successfully pass an annual reassessment. This is to ensure your skills remain current and to the required standards.
Once you have been in the role for 12 months you could have the opportunity to learn new skills by training to be an enhanced responder.


text:
Cargile Ranches began in October 1904 when John Stark Cargile and his long time friend and business partner, R.N. Garrett, purchased Rocky Ranch at Arden, Texas. Cargile, President of the Arkadelphia Elk Horn Bank, wanted to expand into Texas and move his son Jess, who was battling tuberculosis, to a much dryer climate. At the age of seventeen, Jess moved to Texas and began ranching at Rocky. His brothers, Howard and Frank, eventually joined him on the ranch.
Frank Cargile and his wife, Estelle, had two children, John Stark and Carolyn. John developed an interest in ranching at an early age and, after graduating from the University of Texas, returned to the ranch to make it his life's work. In 1954, John and his father purchased Producers Livestock Auction which his family still operates. Producers are the largest sheep and goat market in the United States and one of the largest cattle markets in Texas.
Cargile served as President of the Texas and Southwestern Cattle Raisers Association, the Texas Sheep and Goat Raisers Association, and is a recipient of the 1993 Texas Tech Ranching Heritage Center Golden Spur Award and the 2007 TCU Ranch Management Program Partners Award.
The Cargile family ranching business, run by John's four children, operates Cargile Cattle Company. The ranches run commercial cows bred to Red Angus and Hereford bulls as well as commercial hair sheep on deeded and leased ranches located mostly within a 100-mile radius of San Angelo, Texas.
The ranching operation is headquartered at Rocky Ranch, twenty miles west of San Angelo. Charley Christensen and his staff are responsible for the daily operation of the ranches.
Conserving natural resources and being a good steward of the land are among the guiding principles of the Cargile ranching business. Rocky Creek, which runs through the Arden ranch, stood dry for many years until mesquite and cedar were removed. A riparian buffer zone is now in place and, as a result of conservation efforts, natural springs flow through the ranch to the Middle Concho River throughout much of the year. Many species of wildlife, including trophy whitetail deer, Rio Grande turkey, and bobwhite quail, make the ranch their home.
Cargile Cattle Company strives to create a balance between a commercial livestock operation and natural wildlife habitat on all of the land that they manage. Good livestock and wildlife management, along with continued brush control and sound range management practices, have been the basis of this ranching operation for decades. We are dedicated to continuing these practices into the future.
Copyright © 2018 | Cargile Ranches | All Rights Reserved.


text:
Liothrips lepidus är en insektsart som beskrevs av Cott 1956. Liothrips lepidus ingår i släktet Liothrips och familjen rörtripsar. Inga underarter finns listade i Catalogue of Life.

Källor

Rörtripsar
lepidus


I really enjoyed stumbling across this wonderful website today. Take a peek if you're looking for some interesting reading on sustainability, food or farming as well as plenty of how-tos. My favourite articles include "Raising backyard chickens for dummies", "A day in the life of a bee wrangler" and "why does beer smell so delicious?".
If you want a distraction in visual form, here is a beautiful instagram account worth following.


Norcool - a leading supplier of Cold Rooms, Corner Fridges, Refrigerated Drawers, Wine Cabinets and Wine Cellars.
Frigoglass develops, manufactures and markets solutions for the storage of food and drinks under the brand Norcool.
Trading since the 1970s Norcool has been a leading supplier of Cold Rooms, Corner Fridges, Refrigerated Drawers, Wine Cabinets and Wine Cellars.
Norcool is a brand within the Frigoglass group with headquarters in Athens, Greece.


text:
The Mathias J. Alten House and Studio is a single-family home located at 1593 East Fulton Street in Grand Rapids, Michigan. It was owned and lived in by Mathias Alten, a German-American impressionist painter, from 1914 until his death in 1938. The house was listed on the National Register of Historic Places in 2009.

History
Mathias J. Alten was born in 1871 in what is now the Hunsrück in Germany. There, he served a three-year apprenticeship as a muralist before emigrating with his parents and family to Grand Rapids in 1888. He continued to paint, making a living by sign lettering, scenery painting, furniture decoration, and painting murals and frescoes. In 1895 he married Bertha Schwind and began working for her cabinet-maker family. He also continued painting, which proved popular, and in 1898, with the help of generous patrons, he attended art schools in Paris for a year. On his return to Grand Rapids, his family moved into rented quarters and Alten began painting full-time, using a series of downtown studios. By 1905 he was being invited to show at major institutions across the United States. In 1906, the Altens moved into a new Dutch Colonial house on Hope Street in Grand Rapids. However, by 1914, they were looking for a new place to live.

The land where the Alten House now stands was previously a working farm, first established in 1835. In the 1860s, the 40-acre section where this house now stands was purchased by W.H. Wood. It passed through multiple owners, and in 1904 it was purchased by Albert and Emily Stacey. Farming activity on the land eventually ceased, and in 1907 the Staceys built a new foursquare house on the property. The Staceys sold the property in 1914, and later that year Mathias Alten purchased it on a land contract. Mathias, Bertha, and their three daughters moved to the house, along with Bertha's mother.

After moving in, the Altens tore down the original farmhouse. A barn on the property was left standing until the 1920s. Alten also constructed a garage, and later a small honeymoon cottage for his daughters as they married. The land contract was paid off in 1927, after which the Altens platted the farm acreage and began slowly selling lots. When the Great Depression began, Alten gave up his rented studio space downtown, and remodeled part of his house into a painting studio. He remained both living and painting in the house until his death in 1938.

After Mathias Alten's death, the last of the platted lots was sold, with Bertha Alten retaining three of them, including the one this house sits on. In the early 1940s, she went to live with her daughter, and rented out the foursquare Alten house. She later sold it; the house passed through a series of owners before being purchased by Alten's granddaughter in 2002.

Description
The Mathias J. Alten House and Studio is a two-story foursquare house with a low pitched hip roof having three wide hipped dormers. It sits on an uncoursed granite foundation. A single-story kitchen wing with a gable roof is at the rear. The front facade has a massive full-width porch, also sitting on a granite foundation, with wood railings and spindles. Granite piers topped with concrete support tapered cylindrical wooden Tuscan columns. Concrete steps lead up to a front entry with a wooden door flanked by sidelights. Most windows on the house are wood-framed, double-hung single-glazed units.

References

National Register of Historic Places in Kent County, Michigan
Colonial Revival architecture in Michigan
Residential buildings completed in 1914


Whether you are building new or remodeling, a walk-in bathtub is an investment in your family's comfort and convenience, and even safety if your household includes aging members.
People with limited mobility, whether due to age, accident, or infirmity, may find it difficult or impossible to climb in and out of a standard bathtub. The new walk-in tub and shower systems from Tropical Plumbing & Walk-in Bathtub have been the answer for many families with members unable to bathe without assistance.
Tropical Plumbing & Walk-in Bathtub sells and installs tub and shower systems with a wide range of styles and sizes. You can select the features and accessories that best fill your needs and suit your lifestyle. In addition to built-in or hand-held showers, easy-turn style faucets, neck rests, and grab bars, such features as water jet massage, whirlpool heater, chromatherapy, and aromatherapy are also available.
The tubs sold and installed by Tropical Plumbing & Walk-in Bathtub are made in the U.S. The company also does custom bathroom remodels with marble, Travertine and tile options.
A Tropical Plumbing & Walk-in Bathtub specialist can acquaint you with the features of the various models and help you select the one that best suits your family's needs, right in your own home. Call 847-0970 to schedule an appointment for a free on-site estimate.


text:
id: 56533eb9ac21ba0edf2244ab
title: Comprendiendo la sensibilidad de mayúsculas en las variables
challengeType: 1
videoUrl: 'https://scrimba.com/c/cd6GDcD'
forumTopicId: 18334
dashedName: understanding-case-sensitivity-in-variables
---

# --description--

En JavaScript todas las variables y nombres de función son sensibles a mayúsculas y minúsculas. Esto significa que la capitalización importa.

`MYVAR` no es lo mismo que `MyVar` ni `myvar`. Es posible tener múltiples variables distintas con el mismo nombre pero diferente capitalización. Se recomienda encarecidamente que por el bien de la claridad, *no* utilices esta funcionalidad del lenguaje.

**Buena Práctica**

Escribe los nombres de las variables en JavaScript en <dfn>camelCase</dfn>. En <dfn>camelCase</dfn>, los nombres de variables de múltiples palabras tienen la primera palabra en minúsculas y la primera letra de cada palabra posterior en mayúsculas.

**Ejemplos:**

```js
var someVariable;
var anotherVariableName;
var thisVariableNameIsSoLong;
```

# --instructions--

Modifica las declaraciones y asignaciones existentes para que sus nombres usen <dfn>camelCase</dfn>.

No crees ninguna variable nueva.

# --hints--

`studlyCapVar` debe estar definido y tener un valor de `10`.

```js
assert(typeof studlyCapVar !== 'undefined' && studlyCapVar === 10);
```

`properCamelCase` debe estar definido y tener una cadena con valor `A String`.

```js
assert(
  typeof properCamelCase !== 'undefined' && properCamelCase === 'A String'
);
```

`titleCaseOver` debe estar definido y tener una cadena con valor `9000`.

```js
assert(typeof titleCaseOver !== 'undefined' && titleCaseOver === 9000);
```

`studlyCapVar` debe usar camelCase tanto en las secciones de declaración como de asignación.

```js
assert(code.match(/studlyCapVar/g).length === 2);
```

`properCamelCase` debe usar camelCase tanto en las secciones de declaración como de asignación.

```js
assert(code.match(/properCamelCase/g).length === 2);
```

`titleCaseOver` debe usar camelCase tanto en las secciones de declaración como de asignación.

```js
assert(code.match(/titleCaseOver/g).length === 2);
```

# --seed--

## --seed-contents--

```js
// Variable declarations
var StUdLyCapVaR;
var properCamelCase;
var TitleCaseOver;

// Variable assignments
STUDLYCAPVAR = 10;
PRoperCAmelCAse = "A String";
tITLEcASEoVER = 9000;
```

# --solutions--

```js
var studlyCapVar;
var properCamelCase;
var titleCaseOver;

studlyCapVar = 10;
properCamelCase = "A String";
titleCaseOver = 9000;
```

redpajama_set_name: RedPajamaGithub


Jade Jones graduated from Princeton University in June 2014 with an undergraduate degree in English and certificates in African-American Studies and Creative Writing. In her undergraduate career, she has studied abroad at the Goethe Institute in Munich, Germany and Cambridge University in Cambridge, England. She also worked as a research fellow at the Schomburg Center for Black Research the summer of her junior year. Her main activities on Princeton's campus included leadership positions in the Black Student Union, Community Action, Black Arts Company: Drama, and the Princeton Animal Welfare Society. She has tutored all grade levels in a variety of subjects in Trenton, NJ since her freshman year. She has also tutored for the SAT and PSAT since high school. She is a National Achievement Scholar and the valedictorian for Bishop Eustace Preparatory School's Class of 2010. May 2017, she earned a Masters in Fine Arts degree from the Iowa Writers' Workshop at the University of Iowa where she was an adjunct professor. She has taught English Composition, Creative Writing, and Creative and Professional Business Communications. She is also Tailored Tutoring's senior editor, copywriter, and program director.


text:
Q: Android Development - What device are the best and Why? Which devices are the best for development and testing.
I'm mobile and tablets. Should I stick to the most popular
systems (2.3 mobile, 3.0-3 tablets) or start pointing the
future devices (4.0)?

A: There are no such 'best devices for testing' in my opinion. You should try to test it in several devices with different screen sizes and from different vendors if you have the possibility, since each vendor usually has a different "flavour" of Android. If this is not possible simply stick to the most popular Tab and Phone and aim at them.
Regarding the platform I would recommend you to develop for 4.0 and try to be compatible with previous versions, this can be hard at times since there are things in ICS that cannot be done or require hard work to be functional in previous versions but it is worth the effort since you will be able to offer your app to most smartphone/tablet owners. Otherwise you are simply reducing the available market for your app.
If you develop and try to be compatible, take a look at the android compatibility library:
http://developer.android.com/sdk/compatibility-library.html
Cheers!

A: I would say, all of them, because when you develop an application, more real test you can do better it is.
There's nothing like testing with the device in hand. I agree that isn't possible to have all kind of devices, so I suggest to, at least, have a 4.0 device since most of new devices will use this OS version.
But keep in mind there's no perfect device for development/testing.

redpajama_set_name: RedPajamaStackExchange


Following a fire in July 2012 which destroyed the existing boarding house, BHM successfully obtained Planning Consent for a new 62 bed boarding house on a new location within the School's campus. The site chosen had previously been identified within a recently developed master plan for the school boarding expansion by BHM.
The boarding house accommodates 62 girls in a mixture of room layouts ranging from three and four bedroom for the younger girls with communal washroom facilities, to one and two bed rooms with en-suite accommodation for the older girls, together with a large common room and other facilities associated with a modern boarding house. A five and four bedroom staff houses and a two bedroom staff flat are also accommodated within the building.
As the building is situated within the village's conservation area and in recognition of the heritage associated with the previous Follyfield boarding house, the decision was made to for a traditional approach in the use of materials and extensive use was made of handmade clay roof tiles, and bricks, but these are all interwoven into a design that also incorporates modern aluminium widows and zinc cladding. Dormer windows and bay windows have also been used to reduce the visual impact of the building on the surrounding and create interest in the facades.
Construction commenced in August 2013 and the building was completed for occupation by the girls in September 2014.


text:
Meet the Democratic and Green Party candidates running for the 42nd Assembly District
Photo courtesy of Deni For Assembly
Democratic candidate DeniAntionette Mazingo.
Carol A. Bouldin Facebook page
Green Party candidate Carol A. Bouldin
■ By Melissa Diaz Hernandez / Editor
In addition to the three Republicans in the race for the 42nd Assembly District, there are two other candidates: DeniAntionette Mazingo (Democrat) and Carol A. Bouldin (Green Party). Mazingo and Bouldin are two newcomers running on progressive platforms. The 42nd Assembly District includes cities encompassing parts of Riverside and San Bernardino Counties including Hemet and San Jacinto.
Meet DeniAntionette Mazingo
Mazingo is a Hemet resident. She has been a practicing attorney for the last 16 years and also provides pro bono services. According to her candidate statement, Mazingo has "made countless contributions to the community, focussing on improving the lives of those less fortunate. As Third District Commissioner for Women, Deni established a program to educate young people about the dangers of human trafficking."
Mazingo, on her campaign website, is running to create a "legislature for a transition program for children who have reached 18 years of age and have been living in foster care then are removed with no-place to go."
Mazingo continues, "Help me wipe-out the glass ceiling by creating an equitable pay system for both women and men who work the same job and deserve equal pay. For all the seniors who must choose between food, medicine or housing, let's work together to protect them from having to walk away with nothing after working so hard to help their partnership succeed. I believe in single-payer medical coverage."
Mazingo will be at Yucca Valley's 68th Annual Grubstake Days Parade from 8-11 a.m. on May 26. For more information on Mazingo, visit https://deniforassembly.com/.
Meet Carol A. Bouldin
On Dec. 13, 2017 on her campaign Facebook page, Bouldin stated: "If you believe that it's time that someone represents our district who supports single-payer healthcare, clean energy, banning fracking, getting money out of politics, and doing away with "top two" primaries, please support my campaign for A.D. 42. Green Party candidates do not take any dark money, including money from corporations."
During an interview with Green Party of Santa Clara County, Bouldin said that she is the only third-party person running. Her motivation to run came when the Assembly Speaker – "Anthony Rendon (D-Lakewood) – who's a Democrat giving lip-service to single-payer healthcare, decided to stick it [single-payer healthcare] in the rules committee last year. Thus, basically shelving it for the entire legislative session. And then we found out that he's gotten contributions from the insurance industry in almost a half a million dollars, I think it is… We need some Greens in there, not these corporate Democrats." You can listen to the entire interview on her campaign website at http://www.cabouldin4ad42.org/.
Bouldin is a member of Therapists for Single Payer and told the newspaper that she is a member of the "San Bernardino Green County Council" and decided to run because, "we need people in office who represent real people, not corporate interests. The Green motto is 'People, Peace, and Planet Over Profit.' My top issues are single-payer healthcare, electoral reform, affordable housing, converting to clean energy, and banning fracking in the state of California."
Bouldin is hosting a meet-and-greet at 2 p.m. on May 12 at the Oasis Botanical Sanctuary, 12393 1st St., Yucaipa.
A chance to fix biggest bullet train mistake
MSJC announces new location for 2018 commencement


Sustainable Supperclub produces events where like-minded individuals come together to participate in an interactive learning experience focused on food waste education and sustainable practices, while providing meals to those in need.
Our objective is to raise awareness on food waste- highlighting how much food is needlessly wasted, while at the same time supporting organizations whose mission it is to assist those who wonder where their next meal is coming from.
We have gathered forces with Miami based organizations that share a passion for this important mission. Together with our partners we provide unique events throughout the city that focus on plant based, healthy meals.
We all need to do our part and be the change in order to achieve zero waste and zero hunger. Make a difference. Waste not, want not.
Feel free to send us an email at hello@sustainablesupper.org. You may also get in touch with us by using the contact form below.


You have your closest family and friends flying in for your wedding and you want to make sure that you look after them while they are here.
A pre wedding get together is a great idea to break the ice before your wedding.
Why not reserve an area in one of our sunset bars and welcome everyone to your celebration week with Cocktails and the sunset ?
A post wedding party is a fantastic way to get all of your guests together for one last time . A relaxing end to the celebrations and a way for you to show your thanks once again for all your wedding attendees.
Why not think about a relaxing boat day out on a large catamaran.. or perhaps a sunset cruise. It's a great way to create lasting memories for all your guests.