"I have said all that I have to say. There is nothing left for me to do but scream."
As Sage's vision grows increasingly hopeless, glimmers of red, flowing drapery, and rolling eggs metamorphose to become complex and unstable architectural hiding places. After a privileged childhood, Sage moved to Italy, where she lived and worked in the company of a group of artists. Having married an Italian Prince however, she soon felt stifled and without artistic inspiration, so moved to Paris, where she met fellow painter Yves Tanguy, became involved with the Surrealist group, and started what she would later call, her "real life". She began to favor the geometric over the organic, and landscapes turned from natural vistas into barren psychological spaces. Constructed in mind, Sage built stage sets on canvas that typically look transitional, temporary, and unstable like scaffolding or theatre rigging. Following the unexpected death of her love, Tanguy, she suffered greatly at the end of her life. As a concluding tragedy that one wonders from the overarching tone of sadness that her paintings had already foreseen, Sage became partially blind and took her own life.
The work of Sage differs dramatically from that of other Women Surrealists. Whilst other women involved in this movement often depicted symbolic motifs imbuing their pictures with ethereal positivity and relatively obvious meaning, Sage obscures such meaning and instead presents a typically nihilistic, cold, and impenetrable view of the world.
Like Giorgio de Chirico, Sage is interested in constructed artifice, sharp perspective, and poetry, but where the older Italian's scenes typically suggest uncanny narrative, Sage's settings are more foreboding and sometimes even apparently dangerous. Like the English Vorticists, who made desolate wartime paintings, Sage too depicts broken, threatening, and uninhabitable terrains.
Sage had a complex and destructive personal and working relationship with Yves Tanguy. Although it seems that Sage could not live without her partner, friends recall that they did not live together harmoniously either. Their work developed in parallel but was also markedly different. Whilst Tanguy held on to biomorphic forms and a jewel-like palette, Sage maintained a color wheel much more subdued and scenes became all the more constructed and formally abstract. The couple was very reluctant to exhibit together and did so only once close to Tanguy's death.
The presence of the egg in Sage's work links her childhood and her autobiography. Her father had a collection of rare and unusual birds eggs that she would look at as a child and she titled her autobiography China Eggs (1955), focused on the fragile time before she moved to Paris. The egg is also perhaps the most meaningful object in her pictures. More typically Surrealist, it points to notions of alchemy and transformation and suggests hope of new life in a way that little else in her oeuvre does.
Katherine Linn Sage was born on June 25, 1898 in Waterliet, NY, north of Albany. She was the second daughter of a well-established family who had made their fortune in the Northwest timber industry. Her father, Henry Sage, was president of the Sage Land and Improvement Company. He was also the director of various banking and business enterprises, and had served as a state senator from 1911 to 1921. Sage's mother, Anne Ward, married Henry when she was very young, age eighteen, in order to satisfy financial and social needs. She defied expectations and proved to be a recalcitrant wife. As historian Stephen Robeson Miller states, speaking of Sage, "the combination made for an unstable childhood". Very early on in their marriage, the artist's parents established separate lives. Henry remained in Albany while Anne traveled around multiple European cities to escape the duties of the spouse of a wealthy politician and businessman. Sage often accompanied her mother on these extended trips while her sister would only join them during the summer.
This is a relatively early work made when Sage was still experimenting with various styles, and especially with geometric abstraction. The painting is composed of tri-dimensional rectangles of different sizes that have been stacked together randomly and precariously. There is a great sense of perspective based on oblique lines converging towards a vanishing point in the upper middle of the canvas, and also the sense that the structure could topple down before our eyes. Colors mostly belong to a muted blue palette and give a cool, oceanic or sky-like atmosphere to the whole painting. Brushstrokes, precise and not visible, add a quality of stillness and clarity and highlight the artist's abilities as an incredible draughtswoman.
With the use of geometric forms, the artist paints an enigmatic scene and invites the viewer to imagine the story behind it. The title gives a hint that we as the viewers are the onlookers to the remnants of some past events. Typically in the work of Sage, we never, or very rarely, 'see' a human, but we are given subtle clues to the presence of something softer than the surrounding dominant and harsh constructions. Here, the presence of emotion and hope comes in the form of the white curve in the upper part of the painting, as though placed there as a celestial pathway for escape from a less forgiving setting at large. Made in Paris, this painting was exhibited at the Salon des Surindependants and was among the works that first attracted Breton and Tanguy's attention.
This is an early surrealist work that shows de Chirico's strong influence on Sage and also introduces the artist's recurrent motif of the egg. The artist borrows several elements from the older Italian, including the stairwell and open archway, and in turn builds in her own distinctive voice. The egg is at the very center of the canvas and seems to lean against a curved wall that divides the space in two. Like de Chirico, by using objects from daily life and setting up uncanny juxtapositions, Sage creates a "metaphysical space". The shadows suggest further spaces invisible to the viewer, while the horizon line extends the space further into the background as well. This work is one of a cluster made at the time, all of which depict a variant combination of eggs, drapery, arches and stairways.
Many other Surrealist women artists working simultaneous to Sage, including Leonora Carrington, Leonor Fini, and Remedios Varo used the image of the egg. Whitney Chadwick points out, that there is an "alchemical identification of the egg with the woman's creative powers". This motif does indeed appear many times in Sage's early canvases, but there is a point when it disappears completely, along with the punctuating color of red. Chadwick observes that in the case of Sage, the egg remains ambiguous and serves both as a formal device to relieve the strict geometry of her compositions and as a momentary bearer of mystery "implying life and landscapes otherwise devoid of human presence." Sage quite unusually always puts the egg in a precarious position, as though about to roll away, perhaps there is a sense that it represents something grasped for but never reached.
The work is associated with a poem written by Sage and given the same title. One cannot help but extract a conflict and division at work here in both the painting and in the psyche of the artist. It is as though the 'red door' signifies the hope of new life, but this is the door that 'cannot be opened' and the grayness that remains brings nothing. An overall feeling of isolation and entrapment seems to be underlined in the poem. The author sees no escape and looks outside at the infinity.
One door is red and the other is gray.
The gray door does not interest me.
And look out of the window.
This painting is a desolate, geometric landscape dominated by a tall, cloaked guardian in the foreground. The human looking figure is composed of a central pole and swirling drapery. The fluid and animated drapery is well rendered. As a critic noted in 1947, "Sage paints draperies like the masters did". The feeling of movement and blowing wind through the cloth made the figure contrast with the extreme stillness of the landscape. Surrounding the figure, a 'building block' landscape is depicted with simple shapes, mainly triangles and rectangles. An interesting perspective is created and underlined by the various sizes of the shapes and by the horizon line in the background. Colors are soft and similar all across the canvas. Only the partially visible pole stands out with its red tone, as though at this point Sage still has an internal core of red; there is life inside.
In typical Surrealist style, Sage puts in place a set of oppositions in this painting. The animated drapery contrasts with the inanimate setting and there is a parallel to be made in the opposition between the verticality of the pole and the horizontality of the landscape. These contrasts create a disorienting effect. The guardian humanized only by her drapery seems to preside over a city once inhabited. The cloth recalls that of the victorious Greek statue, Nike of Samothrace that the artist probably saw at the Louvre. One wonders though, as war rages in Europe and cities fall, that this is an image of defeat rather than one of victory. The title adds a further clue to the fact this is a painting made in mourning. Like the Louvre statue that survives through history, the guardian here bears witness to tragic current events but lives on. At this point in her career, Sage depicts the egg less and drapery and the color red more. Indeed, if the egg is an obvious symbol of womanhood and the urge to bring forth new life, drapery is a subtler motif and can be easily related to death as well as life. The cloth could become a shroud and the color red expresses the feeling of pain. Also arguably freer than the closed space of the egg and, especially in this painting, drapery poetically recalls the flowing hair of a woman.
In this painting, a contorted, insect-like structure with exposed innards is set against a lonely horizon. This could be the scene of a broken creature fallen from flight (the starling?), a ship-wreck, or, as suggests the title, a caravan of travelers moving through the desert. Once again, there is no human figure to guide us so elements of meaning are only suggested and open to vast interpretation. The painting is well structured with clear and simple lines that confer with vitality even though the image is static. The drapery is beautifully rendered and the painting has more details and colors in general than other works by Sage. The influence of Tanguy can be seen as he included many small multi-colored organic shapes in his work. Sage picks up the color and maybe some of the playfulness of her husband's paintings but integrates them here in her own serious linear and structured composition. As with other works by the artist, the painting deals with the theme of travel. Instead of depicting actual sailing though, or the path of flight in motion, Sage presents the aftermath of such activities. Debris, pieces of cloth, wood pieces or bones, of what appears to be a broken vessel hint to the prior presence of life in this now deserted landscape.
This work was exhibited first in the 1948 Carnegie exhibition in Pittsburg and recognized at the time as one of Sage's best surrealist works. With great maturity and balance, it includes almost all of Sage's signature elements and themes. The structure is more complex and is not comprised into a strict geometrical composition. The artist begins to incorporate the scaffolding and latticework elements that become so typical of her iconography in later career. Instead of blank, impenetrable, flat walls, Sage uses now an open ribbing structure. This presence of more curved lines and shapes give a less oppressed atmosphere despite the suggested scene of a wreck. It is a desolate scene but it is also colorful and the cage is open making the feeling of entrapment and isolation not as strong as in many other works.
Art Historian Whitney Chadwick writes that this portrait directly addresses the issue of "psychic barrenness". The motif of hair that we saw in the I saw Three Cities painting comes up again here, but this time as a sort of red mane and the only natural aspect of an otherwise entirely mechanically constructed face. Interestingly a very similar shock of red hair appears in an earlier work by Tanguy called Girl With Red Hair, painted in 1926. This subtle and hidden reference to a woman's hair, gives the viewer a clue to what Sage is generally interested in her own highly complex and difficult to interpret language. She is interested in the overarching question, What is Woman? She considers the possibility that the egg, and thus perhaps birth makes a woman, but then she asks if the answer to the question may lie in our hair. There is a constructed idea created by a patriarchal society to what a woman is or should be and Sage is perpetually challenging and de-constructing this notion.
There is also a revealing visual comparison to be made between Small Head and both the Lovers (1928) painting by René Magritte, and the cloth sculpture by Eileen Agar, Angel of Anarchy 1940, made ten years earlier. All of these faces lose their actual biological features either to be shrouded in the case of Agar and Magritte, or rebuilt in the case of Sage. The message is one about the intensity of internal work, as though the self is distracted by the external world and that knowledge of any personality is found entirely by looking within, by somehow 'seeing' that which is invisible to see.
This painting depicts four tower-like constructions in a gray and foggy landscape. Each tower is different and built of wooden scaffolding. They are not all on the same ground and divide the space into foreground, middle ground, and background. The pole on the right suggests the possibility of further construction yet to take place. It is unclear whether these structures are standing on the ground or floating in the air, either way they are vulnerable and unstable. Each tower contains a trapped cloth-wrapped figure.
This work was the first painting Sage realized five months after the passing of Tanguy in 1955 and one of her last large compositions before she commits suicide in 1963. It is mostly considered as a grim metaphor of her grief. All the elements convey a sense of loneliness and of isolation. In a barren landscape, the scaffoldings are left half-built or half-destroyed. The towers stand incomplete, exposed, and open to attack. The wrapped figures within are powerless to escape, and at the same time seem not to be willing to try. The title, Tomorrow is Never, confirms this reading. There is no future, hence no past, just the very present of this intense isolation and heavy grief. The creation of mist is unusual in Sage's vocabulary usually linear and clear, and reflects the state of suspension and uncertainty experienced by the artist.
Some critics and scholars also add sexual connotations to this work: the cloth that often symbolizes a female figure in Sage's work is enclosed in a phallic male tower. This perfect match represented by these latticework towers can also be interpreted as a last homage of Sage to her life within a couple and the representation of physical love. The tower is a repeated motif used by female artists, most notably by Louise Bourgeois, who like Sage uses the symbol to visualize an eternal, internal, and paradoxical feeling of strength and fragility.
This was Sage's last self-portrait painted before her death and unusually depicts the human figure. The artist herself sits naked to the waist looking over a bleak and barren landscape. The parallel to be made with Frida Kahlo's The Broken Column (1942) is a revealing one. Kahlo too wears only a loincloth, as though imitating the condemned Jesus Christ. Kahlo depicts her own psychological pain through the fissure through her torso and small nails that pierce her skin. As we have come to know is typical of Sage, she does not make her suffering so explicit. She simply turns her back on the viewer - unable to look us straight in the eyes - she internalizes her grief entirely. With no motif or means for release, Sage is consumed by her own internal struggle and cannot be free from it.
In one of her very last paintings, Sage depicts a mass of frames, canvas, stretchers, and blank rectangular shapes. The horizon line suggests an infinite number of these essential painter's tools. The strictly linear structure of the composition conveys a feeling of order and organization despite the multitude and layers of objects. A palette of browns, greys, and muted blues dominate making the whitish canvas in the foreground with the shadow cast a highlight.
The artist seems to make a statement on her own legacy. Her usual latticework is transformed into empty stretchers and the blank canvasses become at once paintings that would never be created, but also explanation that she has nothing to say. The title clarifies this idea and underlines Sage's artistic negation of now refusing to go on with life. The work is said to be a partner piece for Quote, Unquote of the same year. According to Judith D. Suther, most of the last paintings by Sage were conceived and painted in pairs. These two paintings indeed, as Suther states, echo one another in design and composition as well as in the particular configurations of the blank canvas and empty easels. Actually in this group of last paintings, Sage experiments with a different kind of iconography of emptiness: the repetition of the same element ad infinitum. Always made in a pairing, one cannot help but suggest that the artist begins to create in this way as homage to her lost love, Tanguy.
Indeed, the work also seems to reference Tanguy's Multiplication of the Arcs (1954) where he represents an infinite number of rubble against a blue sky signifying emptiness through saturation. With all of these references to her late husband, Sage appears to justify why the answer is now 'no'. Sadly, 1958 is the year when the grieving artist attempted suicide for the first time. When she didn't die she stopped painting and made some collage until her later "successful" suicide in 1963.


Machapunga Tribe: Said to mean "bad dust," or "much dirt," in the native Algonquian language.
Machapunga Connections. The Machapunga belonged to the Algonquian linguistic stock.
Machapunga Location. In the present Hyde County and probably also in Washington, Tyrrell and Dare Counties, and part of Beaufort.
Machapunga Villages. The only village named is Mattamuskeet (probably on Mattamuskeet Lake in Hyde County). However, we should probably add Secotan on the north bank of Pamlico River in Beaufort County, and perhaps the town of the Bear River Indians.
Machapunga History. The Machapunga seem to have embraced the larger part of the descendants of the Secotan, who lived between Albemarle and Pamlico Sounds when the Raleigh colony was established on Roanoke Island (1585-86) though the Pamlico may also have been included under the same head. They were reduced to a single village by 1701, took part with other Indian tribes of the region in the Tuscarora War, and at its close were settled on Mattamuskeet Lake with the Coree. In 1761 a small number were still living in North Carolina, evidently at the same place, and the Rev. Alex. Stewart reported that he had baptized seven Indian and mixed-blood children belonging to the "Attamuskeet, Hatteras, and Roanoke." On a second visit 2 years later he baptized 21 more.
Machapunga Population. The Machapunga are estimated by Mooney (1928) to have numbered 1,200, including some smaller tribes, in 1600. In 1701 Lawson gives 30 warriors, probably less than 100 souls (Lawson, 1860). In 1775 there were said to be 8 to 10 on the mainland and as many more on the off-shore banks. In 1761 the number of warriors was only 7 or 8. The Bear River Indians may have combined with these.
Connection in which they have become noted. In the form Machipongo, the name is applied to a post village in Northampton County, Va.


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September 18, 2020 Feature / Interviews
Interview: Erin Entrada Kelly Believes Everyone Deserves To See Themselves In Books
"All young people deserve to see themselves in books. No one is invisible, and no one should be treated like they are," according to author Erin Entrada Kelly. That is maybe why she writes about Filipino characters like herself in her books, so that Filipino readers know they aren't invisible.
As a matter of fact, her book, The Land of Forgotten Girls, was the first chapter book I'd seen the Filipino side of myself represented. (The first picture book was Cora Cooks Pancit.) That's one of the reasons I'm so excited to be interviewing her!! I love Erin Entrada's books because they are relatable and have captivating lines that stick with you. In You Go First, this line of the book still is stuck in my head, even though I read it a few years ago: "Twelve-year-old Charlotte Lockard balanced an unopened Dr. Pepper can on her hand and thought, This is what it feels like to hold my Dad's heart."
Not only are her stories interesting, her life is too. Erin Entrada Kelly had worked as a newspaper reporter, magazine editor, copywriter, book publicist, and a copy editor before getting a book deal in 2012. Now, she has published six books and has even won the Newbery Medal for her book Hello, Universe! The book will soon be turned into a Netflix movie and her book You Go First is going to be a stage play.
Erin Entrada Kelly now writes full-time and teaches part-time. She is currently on the graduate fiction faculties at Rosemont College in Rosemont, Pa., and Hamline University in Saint Paul, Minn. Erin Entrada Kelly says reading, writing, and teaching are some of the greatest joys in life. Doing this interview with her may be one of my greatest joys! Read it below.
Question: What does it feel like to have won the 2018 Newbery Medal for Hello, Universe?
Answer: It's very surreal. Winning the Newbery Medal is a life-changing experience. I still can't believe it!
Q: Can you explain your path to becoming an author?
A: I've wanted to be an author since I was eight or nine years old. It's been a lifelong dream. I started as a short story writer, so that's where I got my first publications. My first short story was published in 2008. Meanwhile, I queried agents. I found my agent in 2011 and got a book deal in 2012. But I've been reading craft books, writing magazines, and articles about publishing virtually my entire life–all in preparation for a dream that eventually came true.
Q: What three pieces of advice do you have for budding authors?
A good writer is a good reader. Read, read, read.
Write, write, write!
If you don't finish a project because you get distracted by a shiny, new idea, it's OK. Write where your muse takes you.
Q: Do you have a quote or motto you live by? How has it affected you and your writing?
A: "Wherever you go, there you are." I think about that quote a lot. It reminds me that no matter what, you have to love yourself first. No amount of book deals, money, or awards can make you love who you are. You have to appreciate all the things that make you beautiful before you can appreciate what other people see in you.
Q: A lot of your books represent diversity. Some of your books have characters who are Asian and Filipino. Why do you think diversity is important in children's literature?
A: All young people deserve to see themselves in books. No one is invisible, and no one should be treated like they are.
Q: What is your favorite Filipino dish and why? Mine is pancit, because it is like a noodle salad!
I love pancit so much! But if I had to choose a favorite, it would be lumpia.
A: Out of any of your books, which of the characters is your favorite? Which one is the most like you?
A: It's difficult to pick a favorite because I love them for different reasons. I love Ben Boxer from You Go First, because he is sweet and optimistic and he's interested in things that most kids his age don't care about, like presidential history and recycling. I love Soledad from The Land of Forgotten Girls because she is tough and loyal and independent. I love Virgil from Hello, Universe, because he is quiet and kind; Valencia because she is strong-willed; and Kaori because she is a free-thinker.
As far as the characters who are most like me: Apple from Blackbird Fly and Lalani from Lalani of the Distant Sea. They are both sensitive and empathetic and unaware of all their strengths. I'm also a lot like Cash in We Dream of Space, because he really hates school — and so did I.
Q: In Hello, Universe; Valencia's chapters are written in first person, while the others are in third. Why is that?
Valencia's chapters are in first person because she doesn't interact with many people in the beginning of the novel. One way readers learn about characters is seeing them interact with other people. By writing her chapters in first person, she's able to interact with the reader.
Erin Entrada KellyfeaturedFilipinoHello UniverseInterviewsThe Land of Forgotten GirlsYou Go First
Review: Characters In Hello, Universe See The World In Many Different Ways
Thank You For Helping To Rebuild A Detroit School Library
Thank you so much for sharing this, Elena! I am also always on the lookout for books that represent my kids' Filipino heritage. I really loved Lalani and the Distant Sea, as well as Cora Cooks Pancit.

redpajama_set_name: RedPajamaCommonCrawl


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Bundesliga: Bayern unimpressed by the Cologne goals gala
FC Bayern Munich goes into the first home game of the year against 1.
23 January 2023 Monday 08:56
FC Bayern Munich goes into the first home game of the year against 1. FC Köln unimpressed by the opponent's seven-goal gala.
"The seven goals do more to Cologne than to us. The people of Cologne will not have less self-confidence now," said coach Julian Nagelsmann the day before the game this Tuesday (8.30 p.m. / Sat.1 and Sky) in the Allianz Arena. Cologne had started with a furious 7:1 against Werder Bremen after the winter break.
"They play very courageously, often with an open visor. We have to bring emotion onto the pitch and defend ourselves," said Nagelsmann, whose team secured the top spot in the Bundesliga with a 1-1 draw at RB Leipzig on Friday. Before the game against Cologne, central defender Dayot Upamecano had to stop training with Bayern Munich due to a problem with his toe. However, Nagelsmann assumed that the Frenchman could play against the Rhinelanders.
Nagelsmann expects a better attacking performance against Cologne, who are eleventh in the table, than against Leipzig. The structure of the game was not optimal against the cup winners, the team lacked the rhythm, said the 35-year-old coach. He left it open whether Thomas Müller was in the starting XI this time. "It's always about evaluating training and game performance, including momentum," said Nagelsmann. He has not yet decided on the Müller question.
1 Film Festival: Five German films in competition at... 2 New in cinemas: the film releases of the week 3 Local transport flat rate: the introduction takes... 4 Jobs: IG Metall: Ford wants to cut up to 3200 jobs... 5 Anti-war song: 40 years of "99 Luftballons"... 6 Kylie Jenner: Bizarre appearance with a lion's... 7 Border between France and Switzerland: Hotel is located... 8 Protests against the regime: Because of renewed executions:... 9 Extremism: German criticism of Koran burning in Stockholm 10 2. Bundesliga: 1. FC Magdeburg extended with midfielder...
Bundesliga: After Bobic-Aus at Hertha: successor duo should be ready
Grand Slam tournament: Triumph at the Australian Open: Sabalenka at the goal of her dreams
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Burning smudge, called smudging, is used as a spiritual offering and as a means of purifying the energy around people and places. This is often called "creating sacred space".
First Nations burn various herbs (sage, Canadian cedar, sweet grass and juniper) as incense. The ones described here are used by most of all First Nations in North America. The smoke of these herbs purifies and is an offering to Spirit. The Elders say that spirits feed on the fragrances of our offerings. This is the reason why plants and incenses used as offerings by all religions throughout the world give off pleasant and inspiring odours.
For Native Americans smoke offerings also have an important role as ritual purification. This is called smudging by Native Americans. All First Nations of Great Turtle Island (North America), smudge people and places at the beginning of every important event. We use sage, sweet grass and/or cedar. We prepare the space and the people by cleansing and clearing away any useless or harmful energy or any evil spirits by the means of this ritual. We thus prepare the participants and the environment for the activities we wish to engage in. This is called creating sacred space.
One of my teachers, OhShinnah Fastwolf, a wonderful and powerful woman warrior, shaman and moon priestess of the Apache people, studied this smudging process with scientific means. She tried to understand why all First Nations used the same herbs. Together with researchers at the university where she was working, she discovered that the smoke of these plants takes an electrical charge in the air molecule called the positive ion, and carries it away. The positive ion is a vehicle for pollution by maintaining, for example, the particles of dust in the air.
The negative ion, the opposite charge in the air molecule, is beneficial for our health. We find a high concentration of negative ions by the sea. The movement of the salt water waves favours the creation of negative ions. Thunderstorms also create negative ions. We also find them in high concentrations in pine forests and on granite mountains. This is the reason why the air is so vivifying in these places. It is saturated with negative ions.
Today, we find on the market air purifiers that generate negative ions. You may notice when these devices have worked for a while near a wall and are then moved, a ring or outline on the wall, around the purifier. This is due to the fact that the negative ion, when it is emitted, cancels the charge of the first positive ion it meets. The particles of dust held by the positive ion are then going to agglutinate on the closest surface, in this particular case on the wall near the device.
Smudging with cedar, sage and sweet grass works in the same way. According to Native American tradition, the smoke of these plants eliminates evil, heavy and harmful energies and spirits. All spirits and conscious energies need a vehicle to move about in the physical world. I form the hypothesis that negative spirits and all forms of heavy and evil energies, like particles of dust and pollution, use the positive ion to move. By eliminating the negative ions these harmful energies are less able to remain in our environment.
Today numerous therapists and health practitioners on all continents appreciate the effects of smudging because it eliminates from the start many of the electromagnetic heaviness and pollution in the aura of the patient. Not only does smudging offer the advantage of offering a more neutral electromagnetic field in which to work but it also allows an easy elimination of the stagnant energies that may have remained in the environment after the departure of the patient.
First Nations are not the only ones using this technique. All spiritual traditions of the world use incense as an offering as well as to purify and inspire.
More soon on the different herbs used to smudge.
Bravo Blue Eagle! Amazing stuff!


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Home News Director Lynn...
Director Lynne Ramsey exits Jane Got a Gun on First Day of Production
Kenji Lloyd
Jane Got a Gun began production at the start of the week out in Santa Fe, and with a superb cast led by Natalie Portman, this is definitely a film we've been looking forward to.
But now things are left up in the air, as director Lynne Ramsey has exited the project. And Deadline are reporting that she did so by not showing up to work on Monday for the first day of production, abruptly dropping out of the film.
Producers Portman and Scott Steindorff (The Lincoln Lawyer; Runner, Runner) were included in those who learned of Ramsey's exit on the first day of production.
Led by Portman, the cast includes Joel Edgerton, Jude Law, and Rodrigo Santoro, with Brian Duffield set to make his debut penning the script.
Jane Got a Gun centres on a woman whose outlaw husband returns home riddled with bullets. Convinced his gang will return to finish him off and destroy her farm, the woman turns to an ex-lover she hasn't seen in a decade to help her defend the farm.
Ramsey's exit comes as a surprise to all. Her last feature, We Need to Talk About Kevin, won her critical acclaim back in 2011, and she followed that up with the BAFTA-winning short film, Swimmer, last year.
As of yet, no details have surfaced as to what exactly happened. But we do know that the cast and crew are still showing up to work, and Steindorff says the project is close to finding a new director.
"I have millions of dollars invested, we're ready to shoot, we have a great script, crew and cast… I'm shocked and so disappointed someone would do this to 150 crew members who devoted so much time, energy, commitment and loyalty to a project, and then have the director not show up. It is insane somebody would do this to other people. I feel more for the crew and their families, but we are keeping the show going on, directors are flying in, and a replacement is imminent."
With such tight time constraints, it will be interesting to see in the coming days who has been flying in to meet with the production. Portman and Steindorff are no doubt working incredibly hard to keep things on the right track – as much as possible in a situation like this – and we're really hoping that things will work out for them. More as we get it.
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Since graduating, I spend as much time as possible watching films/TV shows, reading books, and listening to music. So getting to write about what I love is nothing short of awesome. Biggest film-related hope for 2014/ever: Guy Ritchie announcing the RocknRolla sequel is finally moving forward.
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Sotomayor: No "Law-and-order" judge
By jcnadmin | June 9, 2009
TO: JCN MEMBERS AND INTERESTED PARTIES
FROM: WENDY E. LONG, COUNSEL
RE: SOTOMAYOR: NO "LAW-AND-ORDER" JUDGE
Today's staged attempt by Vice President Biden and the Obama Administration to portray Judge Sonia Sotomayor as a "law-and-order" judge is an unprecedented political campaign by a White House for a Supreme Court nominee.
In the past, outside groups have held such events independent of the White House and were not controlled by the White House. Today's event looks like a county sheriff election rally. The purpose of this sideshow is to avoid facts in Sotomayor's actual record that indicate a soft-on-crime judge who twists the law, particularly law at the intersection of race and crime issues, and who avoids binding precedent as a lower court judge in ways that unnecessarily favor criminals and hinder law enforcement.
A few examples:
* Judge Sotomayor and the White House have failed to disclose information about her past activism on crime-related issues and have withheld from the Senate at least one pertinent document, the memorandum she signed when she was an assistant D.A. in Manhattan, asserting that "capital punishment is associated with evident racism in our society" and making other one-sided and irresponsible assertions about the death penalty. It's hard to believe there is not much more in the record, in addition to this omitted memo which the White House has called a "clerical error."
* Judge Sotomayor would have needlessly hampered law enforcement, dissenting from denial of rehearing a Second Circuit case en banc, with her view that police created an "express racial classification" just because they searched for a black suspect, when a 70 year-old woman was attacked and described her assailant as a young black man.
* Judge Sotomayor would have granted the claim of convicted felons who are in prison that their right to vote had been violated on account of race or color. Her fellow Clinton appointee, Judge Jose Cabranes, ruled for the majority that imprisoned felons have not been disenfranchised on account of race under federal law just because they are in prison and accordingly cannot vote. Judge Sotomayor dissented, saying she would grant the claims of the imprisoned felons.
* The U.S. Supreme Court reversed Judge Sotomayor's ruling in which she attempted, contrary to existing Supreme Court precedent, to create a federal right for prisoners to sue private prison contractors for alleged violations of their constitutional rights.
* Judge Sotomayor has undermined law enforcement and done a disservice to public servants in the fire and police departments with her race-based activism, both on and off the bench, in pressing for racial preferences and quotas that deny jobs and promotions to qualified white police officers and firefighters. In the Ricci case, now being reviewed by the U.S. Supreme Court, she allowed the City of New Haven to deny merit-based promotions to firefighters on account of race. And when she served on the board of the Puerto Rican Legal Defense Fund, the PRLDEF forced the New York City police department to institute racial quotas for the hiring and promotion of police officers. Like her PRLDEF work on the death penalty, she and the White House have not disclosed this to the Senate.
Filed Under: JCN Bench Memo


« I'm late, I'm late!
This entry was posted on Saturday, December 12th, 2015 at 7:23 PM and filed under Customer Collaboration.
I like that you end by saying "while estimating future work based on past experience is simple, it's still not always easy". I have seen that teams struggle with the accuracy of estimates, especially when contracts and formal commitment supersede trust, customer collaboration, and openness to experimentation… it is not easy for many to accept estimates for what they are – just estimates! Sometimes teams waste a tremendous amount of time discussing how to estimate with more accuracy. However, when trust is established, teams evolve. They might move away from planning poker with story points, to faster methods like t-shirt sizing and bulk estimates, or embrace #noestimates. Some also move from Scrum to Kanban and start slicing projects & stories really thin. That boosts throughput and team morale, bolstering trust even further.


I happen to be doing a research paper for my Developmental Psychology course on Mid-Life Stress. I find the research fascinating and would love some help in the process.
If you happen to be between the ages of 35-50, would you be willing to answer my poll question to the left? It would help me out!! Thanks!!
Interview two males and two females between the ages of 35 and 50. Discuss their experience in middle adulthood. Develop a common set of interview questions (approximately 10-15) to be used with each individual that will help you understand the issues, concerns, joys and challenges of middle adulthood. Compare your findings with your reading in your textbook. Do your interviews confirm the concepts taught in your textbook with regards to middle adulthood? Submit your interview questions and responses. Also, submit a two to three page paper that compares your finding with the reading in the text and answers the questions as to whether the interviews confirm the concepts taught in the text and how.
How have your eating habits changed in reference to your early adulthood?
Do you maintain an exercise regimen? It is a necessity to maintain this?
What type of health concerns do you have now as opposed to your early adulthood?
Has the fear or concern caused you to adapt your habits at this time? How?
Do you feel the proverbial "mid life crisis"?
Do you feel depressed or angry about things at this stage?
What upsets you the most about this age phase?
What coping mechanisms do you employ as you traverse mid-life?
How has your mental capabilities changed from early adulthood to now?
How has your memory been effected?
What steps do you take to maintain a healthy mental strength?
How have your relationships adapted during this phase?
How do you feel satisfied at this stage of your vocation?
I just sent you an email with answers to the survey.
Awesome!! You rock!! Thank you!
Tami, could you resend the email? I can't seem to see the email in my inbox, nor my spam folder.
I would love to contribute if you'd like?
Thank you so much for the offer, but I already turned in this assignment. I cut it too close this time ;-) Procrastination does NOT work well for me anymore!


Do you remember the Country Boys Market with its wooden floors? Walter Smiths was the place to go for clothes on the Fulton Mall. Penny Candy had great blacklight posters and don't forget Whitie's Pet Store on Blackstone. What vintage retail do you remember growing up in Fresno?
I grew up with Arthur's Toys - the location on Blackstone that's now Whitey's Pets. I remember Arthur's was a great mix of high end toys and just plain fun stuff. Along with the usual board games and yo-yos', there were fancy dolls and little model steam engines. As a kid I wondered "who buys those steam things?" I remember during Christmastime they would put up a moving display in their window - these little figures rising up and down from inside these boxes. In later years they left the display up all year long - but it wasn't running. I remember my family driving to Arthur's just to see the display one Christmas. When I got bigger I remember getting lead figures to play Dungeons & Dragons when it first came out. They were kept in a glass counter. When I walk through Whitey's now I can still remember the section where that counter was. It was a special store and I had a lot of fun visits.
Does anyone know anything about the people who owned Arthur's? Just wondering, always been curious. They bounced around a ton at the very end and even just did pool supplies for a time!
*Note from admin: Newspaper clipping added from 1969 showing Arthur's ad for a swimming pool.
Any pictures of when it was on Chestnut?
Hi Lindsay (hope you get this message); I have fond memories remember your father Brent, at the Fulton Mall Store in the early 70's. He helped me numerous times with models and slot cars. He was very kind and fun. Is he still with you? If so give him a hug for me.
I'm a bit older than those posting so far...cuz, I remember Authors as being on the south side of Broadway, just north of Kern or maybe Tulare avenues. My mother put some fancy dolls on "Lay-a-way" for my sister and me. The store manager would bring the dolls out and let us play with them every time my mom went in to make a payment, what a nice kind thing to do. It had to be in the early 1950s.
You might be remembering Grand Central Toys, just NW of the Crest Theater.
I remember Cameron's Toys it was on Tulare Street across from the old Coney Island Hot Dogs in Downtown. Then they moved to the Fulton Mall location near a men's clothing store and the new (what was then Long's Drugs).
I used to go to the one on Blackstone & Barstow because I lived in the area. I don't remember ever going into the store on Chestnut but remember driving by it from time to time and for some reason I thought it looked cooler. I think they sold more pool stuff there than they did at the n. Blackstone location, but I could be wrong.
I remember clearly today, when I was living in the neighborhood of Palm & Clinton in the late 1960's When I was done collecting for my newspaper routes from the Bee and Fresno Guide, I would ride my bike all the way over to Shields and Blackstone. First I'd get a double cheeseburger, fries, and a Chocolate shake from McDonalds. When finished, I go across the way to Arthur's Toy's and spent agonizing time over which military Airfix military figure sets I'd buy. Most of them costs only $1.00 each. What a shame when Arthur's Toys was sold. Some years later I moved to Bakersfield and found that the new owner had opened a store next to Montgomery Wards. Sometime after that the store burned down under mysterious circumstances. The then owner was charged with Arson.
I remember there was an Arthur's Toys at the kind of in the back of the Ashlan Park Shopping Center back in the 1990s, when I first moved to Fresno. It's long gone, now, along with a whole lot of other things that used to make Ashlan Park much better than it is, today.


Image Title: Ikea Bathroom Vanities Cool With Trendy Wooden Regard To Decor 3. Filename: ikea-bathroom-vanities-cool-with-trendy-wooden-regard-to-decor-3.jpg. Image Dimension: 900 x 924 pixels. Images Format: jpg/jpeg. Publisher/Author: Giles Dare. Uploaded Date: Saturday - December 29th. 2018 07:05:06 AM. Category: Architecture. Image Source: hgtv.com.
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Designing Spaces is the signature girls-centered house enchancment present that travels all over the country remodeling, redesigning and redefining the areas we call dwelling. The show brings viewers revolutionary dwelling reworking, house decorating, and home design ideas, do-it-yourself initiatives, and step-by-step transformations to encourage girls all over the place to tackle their dwelling enchancment challenges and decorating dilemmas. The mission of Designing Spaces is to make each house count and supply trusted solutions so viewers will love where they stay, work and play. One factor that you will need to think about with every room of your house is the point of interest. The point of interest is where you need your visitors and guests to look after they walk in. This can be in the type of art work, a bit of furniture or a tv. These simple-to-comply with tutorials assist you to each step of the way in which till you step again and notice you've achieved it. Tasks like these assist save you money and educate you the brand new DIY skills that will proceed to enhance your life and living spaces.
Before you signal a contract with anybody to rework or renovate your house, ask loads of questions and get loads of referrals. Take the time to do your due diligence. Verify with the Better Business Bureau and state licensing boards to find out if there are any current complaints or claims filed in opposition to a contractor. And never, ever hire an unlicensed builder or contractor.
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'Age cannot wither her, nor custom stale her infinte variety. Other women cloy the appetites they feed, but she makes hungry where she most satisfies'.
This famous line from Enobarbus is the inspiration for our exclusive cotton apron, created to celebrate the National Theatre's production of Antony & Cleopatra.
'Age cannot whither her, nor custom stale her infinte variety. Other women cloy the appetites they feed, but she makes hungry where she most satisfies'.


text:
'Strikes in Libya justified by UN'
Published: MARCH 20, 2011 17:59
RIO DE JANEIRO - The military action being taken by US and allied forces in Libya is justified by the United Nations Security Council resolution passed last week, a senior US official told Reuters on Sunday.
"The resolution endorsed by Arabs and UNSC (the United Nations Security Council) included 'all necessary measures' to protect civilians, which we made very clear includes, but goes beyond, a no-fly zone," the official told Reuters during a visit by President Barack Obama to Rio de Janeiro.
The official was responding to criticism by the Arab League chief on Sunday that allied military action had gone beyond imposing a no-fly zone over Libya.


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Presidential Communications
Chazanoff Donation
Staten Island Advance Article For optimal viewing, please use Google Chrome
Lucille and Jay Chazanoff and their record-setting gift to the College are profiled in the 2019 issue of the alumni magazine Eye on CSI.
FOR IMMEDIATE RELEASE – ISSUED JUNE 24, 2019
Photo Courtesy of Staten Island Advance
What: Record–setting $7.5M Chazanoff Donation to Benefit School of Business
Where: College of Staten Island, 2800 Victory Boulevard, Staten Island, NY 10314
The College of Staten Island has received a $7.5M cash gift from Class of '65 alumni Lucille and Jay Chazanoff to benefit the School of Business. The gift is the largest individual donation ever made to a nonprofit within the Borough of Staten Island. With the potential to dramatically transform the work of the School, the Fund will be used to support the Lucille and Jay Chazanoff School of Business, including accreditation pursuant to the Association to Advance Collegiate Schools of Business (AACSB) – an international organization that is the preeminent accrediting body for business schools in the United States. There are 845 business institutions in 56 countries and territories that have earned AACSB Accreditation.
The income generated by the Fund will support a wide range of objectives, including retaining faculty, many of whom have garnered national recognition as Fulbright Scholars, National Science Foundation grant recipients, and National Academy of Science expert panel members. CSI Business faculty hold positions on journal editorial boards, occupy leadership roles in professional organizations, and consult to federal, state, and local governmental agencies.
The College will also use this endowment to undertake a well-defined series of strategic program improvements that will significantly strengthen both CSI and the Lucille and Jay Chazanoff School's national standing and improve student success.
College President William J. Fritz commented that "the Fund will greatly augment the effectiveness, impact, and reach of our School of Business, providing levels of instruction and excellence that were once only imagined. In addition, it exemplifies the power of personal legacy through private philanthropy, which strengthens our College and, ultimately, our community by giving us an Opportunity to Ascend consistent with our Strategic Plan. Lucille and Jay are part of the fabric of this Island, and we are deeply grateful for their support of the School of Business and the College of Staten Island.
Founding Dean of the School of Business, Susan L. Holak, remarked that "we are exceedingly grateful for this generous, transformational gift that will provide expanded opportunities for experiential learning and student success; support faculty hiring, retention, and scholarship; and raise our level of community engagement. The Chazanoff CUNY Fund demonstrates confidence in our School's mission and programs, while affording us the flexibility and capacity to innovate at a faster pace. Lucille and Jay Chazanoff are exemplary alumni, exceptional members of our community, and generous philanthropists. We are immensely proud that our School will bear their name."
The donors, Lucille and Jay Chazanoff, stated that "it is an honor to have the opportunity to support the School of Business, and the College of Staten Island. We met at Staten Island Community College and the education we received there gave us the foundation to launch successful careers and lives. We are proud to pay it forward to future students with the hope of giving them greatly enhanced career opportunities so that they may follow in our footsteps."
In consideration, appreciation, and reliance upon the Fund, The City University of New York has approved naming the School of Business the Lucille and Jay Chazanoff School of Business at the College of Staten Island. This gift signifies the largest philanthropic donation to date for CSI, and represents the largest gift ever to a public not-for-profit on Staten Island and, as such, will be pivotal in transforming fundraising in the borough at large.
About Lucille and Jay Chazanoff
Lucille and Jay Chazanoff met while attending classes at Staten Island Community College, a predecessor of CSI. They are longtime benefactors of the College of Staten Island and the community at large. Previously, they established the $100,000 Jay and Lucille Chazanoff '65 Endowed Scholarship Fund that provides support for full-time Business majors. Their philanthropy within the community includes the establishment in 2004 of the family-run Carmine and Robert DeSantis Charitable Foundation, named after Lucille's late brothers. The Foundation, whose motto is "one child at a time," assists children with special needs on Staten Island, providing more than $1M in support to date. In addition, the Chazanoffs are the lead benefactors of the JCC of Staten Island-sponsored Lucille and Jay Chazanoff Sunrise Day Camp, a free camp for children affected by cancer and their siblings.
Lucille, also a graduate of Pace University, worked as a CPA in the international accounting firm Arthur Young & Co. for four years, before joining the National Broadcasting Company (NBC), eventually rising to the position of Vice President and Controller. After a seven-year career with NBC, Lucille returned to her Staten Island-based family business, Royal Press, serving as COO until her retirement in 2012. Upon returning to Staten Island, Lucille began to take on leadership roles with various nonprofit organizations, including the Visiting Nurses Association and Meals on Wheels, which culminated in her being acknowledged as a Staten Island Advance Woman of Achievement in 1994. Lucille served on the CSI Foundation Board of Directors for 12 years, including as the Founding President of the Board of Directors (1992-1994) and remains active on the Boards of the Northfield Bank Foundation and Richmond University Medical Center Foundation, where she serves as Treasurer.
Jay also earned his Bachelor's degree from Pace University and an MBA from Long Island University. He began his career as a CPA at the international accounting firm Ernst & Ernst, prior to joining a young publicly traded financial services company in 1973, where he rose to become a senior executive over a 20-year term as the company grew into Fortune 500 status. After managing the company's corporate restructuring as the COO and President in the early 1990s, he began his second career as an entrepreneur by co-founding a technology-based claims management company to provide services to the corporate reorganization industry. The company grew to become the nation's largest claims administrator and Jay oversaw the company's successful sale to a publicly traded company in 2003. In 1997, Jay also became a partner in Pembroke Companies, Inc., a commercial and residential real estate investment, development, and management enterprise. Over the years, Pembroke Companies, Inc., has been actively engaged in the real estate industry and currently, among its various projects, serves as an operating partner with The Blackstone Group, managing a large, multifamily real estate portfolio. Jay has served the Staten Island community extensively, notably as a representative and Board member of the former St. Vincent's Hospital of Staten Island, as part of the team that brought cardiac surgery to the Borough, also serving for two years as the Vice Chair of the Board of Directors of The Heart Institute. He is currently the Vice President of the Jewish Community Center on Staten Island, where from 2004-2006, Lucille and Jay co-chaired a $40M capital campaign. Jay has also served as a member of the Board of Directors of the College of Staten Island Foundation since 2013, and is slated to join the UJA-Federation of New York Board of Directors this July.
College of Staten Island/The City University of New York
Serving as an Anchor Institution for the Borough, The College of Staten Island is a four-year, senior college of The City University of New York that offers exceptional opportunities to all of its students. Programs in the liberal arts and sciences and professional studies are offered that lead to associate's, bachelor's, and master's degrees. Doctoral degrees are offered at the College or jointly with The Graduate Center of The City University of New York. The College also has an extensive Continuing Education program, offering professional certificate programs.
Reflecting our high-achieving students, world-class faculty, and outstanding staff, the College has received national recognition celebrating our excellence and value from Washington Monthly, Forbes, Money magazine, U.S. News & World Report, G.I. Jobs, PayScale College Salary Report, CollegeNET, Business Insider, and TIME magazine.
The College's 204-acre campus is the largest site for a college in New York City. Mature trees and woodlands, flowering trees and ornamental plantings, fields and outdoor athletic facilities, the Great Lawn, art installations, and seating areas create a rural oasis in an urban setting. Our destination campus includes state-of-the-art classrooms, laboratories, studios, and offices in two academic quadrangles, and is home to the CUNY Interdisciplinary High-Performance Computing Center. Other noteworthy facilities include the Astrophysical Observatory, the Biological Sciences and Chemical Sciences Building, the Center for the Arts, the Sports and Recreation Center, and the Library. The College opened its first student residence halls in fall 2013.
As the only public institution of higher education on Staten Island, CSI is committed to borough stewardship through initiatives such as the two newly opened facilities: CSI St. George and the CSI Tech Incubator. CSI St. George makes college-level instruction accessible to the approximately 18,000 college-ready residents in the area, many of whom find it difficult to commute to the Willowbrook campus. The CSI Tech Incubator offers assistance to budding entrepreneurs on the Island.


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HomeAMCThe Walking Dead: World Beyond
AMCThe Walking Dead: World Beyond
Tonight! The Walking Dead: World Beyond Season 2 Episode 5 "Quatervois"
At the end of episode 4 of The Walking Dead: World Beyond, Indira is the sick one. Asha tells her that no one will because she informed him she was sick. Huck's mother How many survived in Omaha, and do they have names? Elizabeth refuses to give it to her because it's confidential and above her status. She says she has just regained what she lost due to a terrible mistake. She dreaded hearing that she hadn't learned her lesson. Huck recalls her journey to Omaha and bursts into tears. The full Episode 4 may be found in our recap section. What is going to happen next? We'll have to delve a little deeper to find out. From the release date to the summary, (www.tvacute.com) here's everything you need to know about TWD: World Beyond Season 2 Episode 5 titled "Quatervois". To cap off AMC FearFest's 25th anniversary, The Walking Dead: World Beyond will debut its inaugural episodes on Halloween night. For the first time since The Walking Dead aired on October 31, 2010, AMC will air new Walking Dead episodes on Halloween night.
The Walking Dead: World Beyond Season 2 Episode 10 Release Date
The Walking Dead: World Beyond Season 2 Episode 9 Recap
The Walking Dead: World Beyond Season 2 Episode 5 Spoilers
The action is heating up in the second season. With only five episodes left, everything is possible. As the survivor's scheme against the Civic Republic Military, Hope (Alexa Mansour) and Iris (Aliyah Royale) set in motion a risky plan. Huck and Hope arrive at Indira's. Hope is pleased to see her sister and tries to encourage her to join her at CRM camp. Iris, Will, and Felix keep bringing up Omaha to try to convince Huck that her mother lied to her. When Huck asks her mother about Omaha, she is told that is above her pay grade. Huck is overcome with emotion as she recalls her journey to this point. Indira, not Asha, is the sick one, and she lied to Elton to protect her mother. Will Percy ever get his vengeance on his uncle?
The Walking Dead: World Beyond Episode 205 Synopsis, "Quatervois," "Members of the group put a dangerous plan into motion, while others have serious reservations. More startling revelations come to light."
The Walking Dead: World Beyond Season 2 Episode 5 Release Date
The Walking Dead: World Beyond Season 2 Episode 5 will air on October 31st, 2021 at 10:00 p.m. This season's episodes drop every Sunday. If you missed the show on AMC, we'll tell you where you can watch it online. There are several ways to watch The Walking Dead: World Beyond online. If you have cable, you may watch it on the AMC website. For more info, contact your provider. Second, if you don't have cable, you have options. Second, you can pay for a service like DirecTV, YouTube TV, Sling TV, Philo TV, or Fubo TV to live to stream the programs. Finally, Amazon Prime Video sells the published episodes.
World Beyond Season 2 Episode 4 Recap
Starting with a flashback of Huck. A few days later, she's still adrift in the river. Huck meets Indira today. Hope then sees Iris and jumps into her arms. When Felix and Will see Huck and Hope, they turn around. Felix tells Will to hide in case Huck spots him. He had to sneak Hope out, but their father is OK. Hope reunites with Felix. Indira is told by Huck that her mother doesn't know she's there. That is all she wants. To keep the boundary safe, Indira says that it hasn't seen bloodshed since its inception. Felix wonders about Huck. Hope interrupts and invites him and Iris back. Grady, Tiga, and Webb use light and sound to entice the dead, blow them up, then clean up. Silas Plasket cuts the music and prepares for cleanup. Felix opposes departing with them.
Hope believes the objective is to keep them secure and their father safe. He's frightened and will riot if they don't return soon. She cautions Iris that he may be hurt. Huck informs the team They just need to deny knowing she was CRM, the codebooks, and the fuel caches. Her mother will protect them. Iris asks about Omaha. Huck reveals that the CRM couldn't save them both. Iris accuses the CRM of arranging it. The empties were a ruse. Huck claims they're about saving the globe. Iris informs Hope she's not leaving Huck. It's not about Huck, Hope yells! It's Dad! Iris says she wants to meet him, but she needs a way out. Silas is alive, Huck says. Nearby culling and maintenance post. She made sure He was okay. Asha catches Elton roaming around and tells him to forget what she witnessed. She admits to being unwell. Iris and Hope are alone. Hope thinks Iris is older. A doctor from Portland and another from Omaha helped her understand why her father is so into it. She also tells her about Mason's girlfriend. Iris refuses to accompany her, fearing they'll be imprisoned. Hope reminds her of their loss. Them alone.
Huck and Felix are lost. He rear-ends her. Then he threatens her with an empty. They'll come looking, Huck warns. He tells her he won't murder her tonight. He just wanted to know how it will feel. Webb and Grady abduct Silas and transport him to the parade, a training facility. Silas is alone, with only a baseball bat, and in utter darkness. They told him to swing at everything moving. Empties abound. He kills ten of them. In under 2 min. He flees, enraged and betrayed Will tells Felix he just saw Percy leave the armory. Felix warns him that if he goes after Huck first, he'll murder them all. Will exposes himself to Huck, who thought he was dead, as Percy is about to shoot him. He adds he had to fool the CRM to get them off his trail. They're out to get him. They slew him. He's wanted dead. Asha assures Elton that she is OK as long as she keeps up with her dialysis. She thanks him for protecting her. He admires her bravery.
Will tells Huck he was right about Omaha. That's why they killed him. To hide their actions. Huck won't believe him. Saying the CRM would've destroyed Omaha via her mother. She would've said. Felix tells her to look up. She's lying. As the sun rises, Huck decides to find Hope. She swears not to reveal Will's identity. She's their closest buddy in the CR. Hope departs. She leaves her buddies. Iris and Hope hug and she pledges to get them and their father out. They can't remain, Felix says Will. It's no longer safe. Will feels Huck should keep this quiet. She exposes herself if she tells the CRM. It's doomsday. Will finds Silas at a culling station. When Felix asks him about getting everyone out, he replies, "I think I'm there." Percy visits Iris in her bed.
But he should've been thinking about everyone, not just Huck. Will. Felix & Iris leans in for a kiss. Indira is worried about Elton telling everyone. Indira is the sick one. Asha tells her that no one will because she informed him she was sick. Huck's mother How many survived in Omaha, and do they have names? Elizabeth refuses to give it to her because it's confidential and above her status. She says she has just regained what she lost due to a terrible mistake. She dreaded hearing that she hadn't learned her lesson. Huck recalls her journey to Omaha and bursts into tears.
Beyond Season 2 Episode 5
The Walking Dead World Beyond Season 2
The Walking Dead World Beyond Season 2 Episode 5
TWD World Beyond
#Halloween Night with Doctor Who: Flux Season 13 Episode 1 – "The Halloween Apocalypse."
Halloween Night with Fear the Walking Dead Season 7 Episode 3 "Cindy Hawkins" Release Date


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Q: Prevent a Python-embedded to look in my default path C:\Python38 for modules I'm using Cython in --embed mode to produce a .exe. I'm evaluating the Minimal set of files required to distribute an embed-Cython-compiled code and make it work on any machine. To do this, I only copy a minimal number of files from the Python Windows embeddable package.
In order to check this, I need to be sure that the current process I'm testing doesn't in fact use my system default Python install, i.e. C:\Python38.
To do this, I open a new cmd.exe and do set PATH= which temporarily removes everything from the PATH. Then I can test any self-compiled app.exe and make sure it doesn't reuse C:\Python38's files under the hood.
It works, except for the modules. Even after doing set PATH=, my code app.py
import json
print(json.dumps({"a":"b"}))

when Cython---embed-compiled into a .exe works, but it still uses C:\Python38\Lib\json\__init__.py! I know this for sure, because if I temporarily remove this file, my .exe now fails, because it cannot find the json module.
How to completely remove any link to C:\Python38 when debugging a Python program which shouldn't use these files?
Why isn't set PATH= enough? Which other environment variable does it use for modules? I checked all my system variables and I think I don't find any which seems related to Python.

A: Python has a quite complicated heuristic for finding its "installation" (see for example this SO-question or this description), so probably it doesn't find the installation you are providing but the "default" installation.
Probably the most simple way is to set the environment variable PYTHONPATH pointing to the desired installation prior to start of the embedded interpreter.
By examination of sys.path one can check whether the correct installation was found.

A: Thanks to @ead's answer and his link getpath.c finally redirecting to getpathp.c in the case of Windows, we can learn that the rule for building the path for module etc. is:

*

*current directory first

*PYTHONPATH env. variable

*registry key HKEY_LOCAL_MACHINE\SOFTWARE\Python or the same in HKCU

*PYTHONHOME env. variable

*finally:

Iff - we can not locate the Python Home, have not had a PYTHONPATH
specified, and can't locate any Registry entries (ie, we have nothing
we can assume is a good path), a default path with relative entries is
used (eg. .\Lib;.\DLLs, etc)

Conclusion: in order to debug an embedded version of Python, without interfering with the default system install (C:\Python38 in my case), I finally solved it by temporarily renaming the registry key HKEY_LOCAL_MACHINE\SOFTWARE\Python to HKEY_LOCAL_MACHINE\SOFTWARE\PythonOld.
Side note: I'm not sure I will ever revert this registry key back to normal: my normal Python install shouldn't need it anyway to find its path, since when I run python.exe from anywhere (it is in the PATH for everyday use), it will automatically look in .\Lib\ and .\DLL\ which is correct. I don't see a single use case in which my normal install python.exe wouldn't find its subdir .\Lib\ or .\DLL\ and requiring the registry for this. In which use case would the registry be necessary? if python.exe is started then its path has been found, and it can take its .\Lib subfolder, without help from registry. I think 99,99% of the time this registry feature is doing more harm than good, preventing a Python install to be really "portable" (i.e. that we can move from one folder to another).

Notes:

*

*To be 100% sure, I also did this in command line, but I don't think it's necessary:
set PATH=
set PYTHONPATH=
set PYTHONHOME=

*Might be helpful to do debugging of an embedded Python: import ctypes. If you haven't _ctypes.pyd and libffi-7.dll in your embedded install folder, it should fail. If it doesn't, this means it looks somewhere else (probably in your default system-wide Python install).

redpajama_set_name: RedPajamaStackExchange


text:
Urbain Cassan, né à Narbonne le  et mort dans le  le , est un architecte polytechnicien français.

Biographie
Après des études à l'École nationale supérieure des beaux-arts et à l'École polytechnique (promotion 1911), Urbain Cassan commence sa carrière à la Compagnie des chemins de fer du Nord. Il participe à la reconstruction du réseau après la Première Guerre mondiale avec l'ingénieur en chef Raoul Dautry. Celui-ci en fera son conseiller lors de son passage au ministère de l'Armement en 1939.

Il est à l'initiative d'une enquête lancée en 1941 (appelée « chantier intellectuel 1425 ») sur l'architecture rurale en France menée par Georges-Henri Rivière dans le cadre du Musée national des arts et traditions populaires.

En 1944, le même Dautry le nomme directeur général de la construction au ministère de la Reconstruction et de l'Urbanisme. Il est architecte-conseil pour Électricité de France entre 1946 et 1955 et est nommé architecte en chef des bâtiments civils et palais nationaux en 1953.

Il est élu à l'Académie des beaux-arts en 1965 en remplacement de Paul Tournon. Il a présidé l'ordre des architectes.

Réalisations

Notes

Voir aussi

Article connexe
 Barres de Cassan

Liens externes

 Notice biographique, présentation et repérage du fonds dans ArchiWebture, base de données du centre d'archives de l'Institut français d'architecture (Cité de l'architecture et du patrimoine)

Naissance en mars 1890
Naissance à Narbonne
Décès en avril 1979
Architecte français du XXe siècle
Élève de l'École nationale supérieure des beaux-arts au XIXe siècle
Élève de l'École polytechnique
Académie des beaux-arts (France)
Décès dans le 14e arrondissement de Paris
Décès à 89 ans

redpajama_set_name: RedPajamaWikipedia


text:
/*
 * This file is generated by jOOQ.
*/
package com.sunshine.security.jooq;

import com.sunshine.security.jooq.tables.Authority;
import com.sunshine.security.jooq.tables.Function;
import com.sunshine.security.jooq.tables.Role;
import com.sunshine.security.jooq.tables.SchemaVersion;
import com.sunshine.security.jooq.tables.User;
import com.sunshine.security.jooq.tables.records.AuthorityRecord;
import com.sunshine.security.jooq.tables.records.FunctionRecord;
import com.sunshine.security.jooq.tables.records.RoleRecord;
import com.sunshine.security.jooq.tables.records.SchemaVersionRecord;
import com.sunshine.security.jooq.tables.records.UserRecord;

import javax.annotation.Generated;

import org.jooq.ForeignKey;
import org.jooq.UniqueKey;
import org.jooq.impl.AbstractKeys;

/**
 * A class modelling foreign key relationships between tables of the sunshine-security
 * schema
 */
@Generated(
    value = {
        "http://www.jooq.org",
        "jOOQ version:3.9.5"
    },
    comments = "This class is generated by jOOQ"
)
@SuppressWarnings({ "all", "unchecked", "rawtypes" })
public class Keys {

    // -------------------------------------------------------------------------
    // IDENTITY definitions
    // -------------------------------------------------------------------------

    // -------------------------------------------------------------------------
    // UNIQUE and PRIMARY KEY definitions
    // -------------------------------------------------------------------------

    public static final UniqueKey<AuthorityRecord> KEY_AUTHORITY_PRIMARY = UniqueKeys0.KEY_AUTHORITY_PRIMARY;
    public static final UniqueKey<FunctionRecord> KEY_FUNCTION_PRIMARY = UniqueKeys0.KEY_FUNCTION_PRIMARY;
    public static final UniqueKey<RoleRecord> KEY_ROLE_PRIMARY = UniqueKeys0.KEY_ROLE_PRIMARY;
    public static final UniqueKey<SchemaVersionRecord> KEY_SCHEMA_VERSION_PRIMARY = UniqueKeys0.KEY_SCHEMA_VERSION_PRIMARY;
    public static final UniqueKey<UserRecord> KEY_USER_PRIMARY = UniqueKeys0.KEY_USER_PRIMARY;

    // -------------------------------------------------------------------------
    // FOREIGN KEY definitions
    // -------------------------------------------------------------------------

    public static final ForeignKey<FunctionRecord, RoleRecord> FK_ROLE_FUNCTION_ID = ForeignKeys0.FK_ROLE_FUNCTION_ID;

    // -------------------------------------------------------------------------
    // [#1459] distribute members to avoid static initialisers > 64kb
    // -------------------------------------------------------------------------

    private static class UniqueKeys0 extends AbstractKeys {
        public static final UniqueKey<AuthorityRecord> KEY_AUTHORITY_PRIMARY = createUniqueKey(Authority.AUTHORITY, "KEY_authority_PRIMARY", Authority.AUTHORITY.ID);
        public static final UniqueKey<FunctionRecord> KEY_FUNCTION_PRIMARY = createUniqueKey(Function.FUNCTION, "KEY_function_PRIMARY", Function.FUNCTION.ID);
        public static final UniqueKey<RoleRecord> KEY_ROLE_PRIMARY = createUniqueKey(Role.ROLE, "KEY_role_PRIMARY", Role.ROLE.ID);
        public static final UniqueKey<SchemaVersionRecord> KEY_SCHEMA_VERSION_PRIMARY = createUniqueKey(SchemaVersion.SCHEMA_VERSION, "KEY_schema_version_PRIMARY", SchemaVersion.SCHEMA_VERSION.INSTALLED_RANK);
        public static final UniqueKey<UserRecord> KEY_USER_PRIMARY = createUniqueKey(User.USER, "KEY_user_PRIMARY", User.USER.ID);
    }

    private static class ForeignKeys0 extends AbstractKeys {
        public static final ForeignKey<FunctionRecord, RoleRecord> FK_ROLE_FUNCTION_ID = createForeignKey(com.sunshine.security.jooq.Keys.KEY_ROLE_PRIMARY, Function.FUNCTION, "FK_ROLE_FUNCTION_ID", Function.FUNCTION.ROLE_ID);
    }
}

redpajama_set_name: RedPajamaGithub


text:
U.S. Constitution Becomes Amazon Best-seller After Father's Powerful Rebuke of Trump
Outside Source
Excerpt from Mashable
LOS ANGELES — A pocket version of the U.S. Constitution has become a best-seller on Amazon.com. The Constitution emerged as a best-seller days after Muslim-American lawyer Khizr Khan, whose son was killed while serving in Iraq, flashed a pocket Constitution and offered to lend it to Republican presidential candidate Donald Trump during a speech at the Democratic National Convention.
RELATED: Trump (Almost) Never Mentions the Constitution, Liberty or Freedom
"Donald Trump, you are asking Americans to trust you with our future," Khan said. "Let me ask you, have you ever read the United States Constitution? I will gladly lend you my copy."
Khizr Khan, whose son died serving in the US military, schools Donald Trump on the Constitution #DemsInPhilly pic.twitter.com/ElGMQTALcu
— Mashable News (@MashableNews) July 29, 2016


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text:
package nu.validator.messages.types;

public abstract class MessageType {

    public static final MessageType ERROR = new Error();

    public static final MessageType FATAL = new Fatal();

    public static final MessageType INFO = new Info();

    public static final MessageType INTERNAL = new Internal();

    public static final MessageType IO = new Io();

    public static final MessageType NON_DOCUMENT = new NonDocumentError();

    public static final MessageType SCHEMA = new Schema();

    public static final MessageType WARNING = new Warning();

    private final String flatType;

    public MessageType() {
        this.flatType = getSuperType() + (getSubType() == null ? "" : " " + getSubType());
    }

    public abstract char[] getPresentationName();

    public abstract String getSuperType();

    public String getSubType() {
        return null;
    }

    /**
     * Returns the flatType.
     *
     * @return the flatType
     */
    public String getFlatType() {
        return flatType;
    }
}


City Winery's fully functioning winery is the only urban winery in Tennessee. It holds around 300 American and French oak barrels, with the ability to have up to 50 wines on tap throughout its facility. The tap lines automatically cool the wine to optimal temperatures -- and they are eco-friendly by removing the need for bottling the wine before it is served!
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