text:
Author: Rebecka
African American Teachers and Confidence
A lot of education professionals believe that African American history is a crucial subject. It allows children to better understand their culture and how society as a whole has changed. Until fairly recently this subject was neglected. That has begun to change thanks to initiatives such as black history month.
In many areas school staffing is a major issue. As a result there are some education establishments that struggle to provide basic curriculums. If this trend continues then African American history is in danger of being sidelined once again. There are also issues related to the psychological wellbeing of teachers which need to be addressed.
Staying Confident
When talking to a class full of children the teacher needs to have a very high level of self confidence. It is vital that they can command the attention of the entire room. Occasionally there will be disruptive pupils to deal with. This can sometimes throw the teach off. Confidence issues tend to be linked to their life outside of work.
For example, the African American history educator might be uncomfortable with their natural body shape. If this affects their school performance then they need to fix the problem. This may involve attaining a teardrop implant from the company Motiva. On the surface augmentation can seem like an extreme response. However, the results speak for themselves. Many women feel renewed after undergoing this type of operation.
Augmentation can allow African American history teachers to stave off their confidence issues. As a result they will instead focus on providing key information to their students. If women are interested in Motiva procedures they can undergo them during the summer break period.
Posted on December 24, 2022 Author RebeckaCategories Uncategorized
Choosing Rugs for an African American History Class
Before starting a class on the subject of African American history, it is undoubtedly essential to decorate the interior space in an engaging way. It is common to utilise multi-coloured elements in these environments. This is due to the fact that a lot of famous African American artists use vibrant hues. The goal is to make the room not seem bland.
The floor should not be neglected. A high-quality rug from Trend Carpet can make all the difference. Round shaped ones will be particularly appealing for classrooms.
Rugs in Bright Colours
When deciding on a design scheme for these kinds of classrooms, there is no such thing as being too colourful. This is especially true if very young children are going to be educated within it. Filling the space with plenty of colours will help to engage the minds of children. Therefore the teacher should pick vibrant round rugs from the Trend Carpet website.
Rugs That Have a Historical Connection to African Culture
When possible, the décor should have some kind of connection to the subject being taught. There are many different cultures of Africa, each with a rich history. The teacher could pick a rug that contains patterns inspired by one of these cultures.
Filling Empty Classroom Space
If an educational space feels empty, then it can exude a very dull tone. This will tend to impede the engagement of children. One of the primary skills of an interior designer is filling empty spaces in visually appealing ways. Circular shaped rugs can be perfect for this task. When placed in the centre of the floor, they make the interior feel more cohesive.
Being Aware of Classroom Safety
The teacher must always prioritise the safety of students. Rugs can present a tripping hazard if they are placed in the wrong area. It is vital to bear this in mind when rug shopping.
Posted on August 14, 2021 Author RebeckaCategories Uncategorized
Storing Your Afro-American History Literature
African Americans have had a long and rich history, which many people would want to associate with or read about. This is known as African American/Afro-American history. The narrative begins during the so-called Atlantic slave trade. Africans were captured as slaves by the Europeans, who transported them to America to work on plantations. Of the 10.7 million slaves taken from Africa, only 450 of them were taken to North America. They would later multiply and grow in number. This group of people, who currently live in the United States, are known as African Americans or Black Americans (although they don't like being referred to by the latter).
Now, not so many people have written African American history as accurately as it should be. That's why you will want to jealously guard any authoritative African American history literature you come across. If you happen to lay your hands on such books, including Black Reconstruction in America and The Dead Are Arising, the least you can do is store that literature well, for your own good and that of the coming generations. You must have been to a library, so you know how the books are neatly arranged and kept on shelves. Having a rack like that in your office or home space is not a bad idea at all.
Better still is if you can purchase a bookshelf from a reputable supplier, such as Royal Design, which is known for high-quality and durable shelf storage systems to help you store books and other items, such as pictures, newspapers, and magazines. With Royal Design shelving systems, you will reap the following benefits:
The system offers a sense of neatness and organization, keeping your space clutter-free.
The shelves also allow you to store other items besides books. These items may include your laptop, pens, and other study materials.
Royal Design shelving systems come in a variety of shapes, sizes, and colors. Whatever choice you make, you will have well-organized storage that offers easy access to your Afro-American literature.
The shelves will add a beautiful feel to your interior design decor. Besides, Royal Design shelves are made from durable materials, and they are easy to assemble. You don't need an expert or many tools to get the job done.
So, when searching for shelves to store your precious Afro-American history books, you may not want to look further than what Royal Design has in store.
Posted on April 10, 2021 Author RebeckaCategories Uncategorized
Historical African American Figures
Martin Luther King was a crucial figure in the emergence of the Civil Rights Movement. He helped to organise the Great March on Washington, which advocated for the equality of black Americans. In 1964 the Baptist minister won the Nobel Peace Prize.
King was sadly assassinated in 1968. His death galvanised the country and some claim that it helped to speed up the process of equal rights. Half a century later, US citizens are still enjoying the benefits of King's sacrifice and work.
In 2009 Barack Obama became the first ever African American president. His term of office would not end until 2017. He helped to launch a number of liberal policies throughout the country. This included universal health care.
Despite no longer being in office, Obama continues to be a popular figure amongst the public. He is considered one of the greatest presidents of all time. He and his wife Michelle are still active and vocal in the political sphere.
Mohammed Ali
Ali was one of the most successful boxers of the 20th century. He is most famously remembered for the Rumble in the Jungle of 1974. During this fight he competed against George Foreman.
Ali lived to see the internet age. It is astounding to think that a figure so tied to the 1960's would also survive to see the emergence of online services such as movon.com. The latter is a medical app that provides healthcare online. Ali used modern technology like this for a number of philanthropy endeavours.
Jesse Owens made the headlines during the 1936 Olympics. This African American athlete specialised in the long jump and sprinting. In track and field sports he is often cited as the very best.
The 1936 Olympics was attended by the dictator Adolph Hitler. During the games Owens won four gold medals. This helped to dispel the Nazi myth of white genetic supremacy. Today it is seen as a great victory for humanity.
Malcolm X was active in the Civil Rights Movement at the same time as Martin Luther King. However, X is considered a much more controversial figure. He was an extreme proponent of racism in America and an influential person during this period.
Like Martin Luther King, X was also the victim of an assassination plot. He is remembered for being a proponent of black self defence, self determination and anti-racism. A film was later made about his life directed by Spike Lee.
Michael Jackson is considered one of the greatest musicians that ever lived. He had a string of best selling albums during the 1980's. One of his greatest hits, Thriller was extremely influential to popular culture.
Jackson mixed modern music with urban dance moves. He has been dubbed the King of Pop by his adoring fans. His music continues to be enjoyed by millions of people worldwide.
Posted on November 1, 2018 November 9, 2018 Author RebeckaCategories Uncategorized
Black History Month: Its Origins and Humble Beginnings
The origins of Black History Month initially started in Chicago in the midst of summer in 1915. During this time, Carter G. Woodson who was an alumnus of the University of Chicago traveled to the state of Illinois to take part in a nationwide celebration of 50 years of emancipation. A large number of African American people came from different parts of the country to view exhibits that reflected progress that African-Americans have made since slavery was abolished. Even though this celebration was held at the Illinois Coliseum, which was also home to the Republican convention of 1912, an estimated 6,000-12,000 people patiently waited outside to see the exhibition. Being inspired by the celebration, which lasted for three weeks, Woodson made a decision to create an organization geared towards the promotion of the study of the lives of African-Americans, mainly through science. On the day of September 9, Woodson arrived at the YMCA of Wabash, meeting with A.L. Jackson and 3 others. Together, they formed the now historic group, the Association of the Study of Negro Life and History (ASNLH).
Woodson had a strong belief that historic scientific events that were published would change race relations for the better. He believed that this would be achieved by destroying the widespread untruths regarding the achievements of African-Americans and Native Africans. He had hopes that more individuals would promote the findings that his group would publish in The Journal of Negro History, which was made in 1916. Woodson advertised his ideas, heavily persuading black organizations of civic leaders to help promote the achievements that his research team had discovered. He worked with his college fraternity, Omega Psi Phi, to create Negro History and Literature Week or Negro Achievement Week. The results of their efforts were very positive. However, Woodson had bigger ideas that he wanted to achieve.
These efforts were the beginning of the progressive idea of celebrating black history, along with a vision to reflect on the great achievements and historical timeline of the plight of African-Americans. During the 1940s, West Virginia African-Americans started to celebrate February as Negro History Month. In the time of the Black Pride movement of the 1960s, Negro History week would expand to Black History Month. Frederick H. Hammurabi, a cultural activist, began celebrating Negro History Month during the mid-1960s. By the time of the late 1960s, many young Black college students began learning more of their African heritage, thus promoting Black History Month through the community at a speedy pace. The transition to the celebration becoming a month-long event began before the death of Dr. Woodson, which occurred on April 3, 1950.
The historical fight to reflect the achievements of African-Americans were part of an ongoing universal plight for equality. These efforts have since been reflected in many industries, such as healthcare. For example, kry.care is an organization with a global vision of providing health care that is equal, along with accessible, to people of all types. These type of ongoing efforts help continue the universal goal of equal rights for people of all backgrounds.
Posted on July 14, 2018 Author RebeckaCategories Uncategorized
A New African American Culture
The African migration into the American either by own volition or through slavery has had a profound influence on the American Culture. Anthropologists, as well as cultural analysts, have worked tirelessly to analyse the overall effect of the African-American cultural intermarriage. When Africans were transiting through the Indian and Atlantic Oceans they took with them African customs, traditions, values, and even taboos. Dancing styles, systemized beliefs, and religious practices were also taken to the American land. Owing to a number of factors such as intermarriages between the blacks and White American, a set of new people "Black Americans" emerged. Their cultural orientation is significantly different from the two latter groups. However, this distinct culture bears some resemblance to some original practices of either American or African descent.
The Growth African-American Culture
A lot has been discussed concerning the flourishing of the African-American culture in the post-slavery period. However, it is the period between 1920 and 1930 that witnessed concerted efforts towards embracing this new cultural reality. The Harlem Renaissance, for instance, provided a crucial platform on which African-American music, literature, and art works were espoused. This has hitherto culminated into a number of global platforms through which the art world's response to the birth of Black Power has been expressed. Such exhibitions are held annually with some catchy titles such as 'The Soul of a Nation', which focuses on the lives of black people between 1963 and 1983. The African-American cultural movement that was launched in the early 1960s immensely contributed to the growth of this culture by promoting ethnic cohesion and racial pride. It also buttressed efforts that were geared towards African-American literature and artistic expressions.
A Summary Of African-American Culture
After the migration of African into the new land of American, there was great culture shock between the blacks and American whites. As time went on, the African intermarried, co-worked and lived in the same neighbourhoods with the Americans. This led to the rise of African-American culture that has continued to grow to date.The kind of music and the slang language developed by African-Americans are an indispensable part of American culture today. The Kitenge fashion with its origin in Africa is a major outfit in the American soil. Well-established online sites like the https://www.barnebys.co.uk/ have dedicated entire web pages on some of the cultural outfits that were introduced to the Americans by the migrating Africans. Paintings, as well as other early African paintings are also available. From clothing to ancient weapons all can be accessed at www.Barnebys.co.uk
Posted on October 19, 2017 October 2, 2017 Author RebeckaCategories Uncategorized
The creators of Blues music
Around the 19th century the amazing music genre blues was born, some say in the american south. It has a deep and tragic story behind it though. To feel "blue" means that you're somehow feeling sad and that's very true. The music genre blues is originated from African musical traditions, African-American work songs, spirituals and folk music.
African-American work songs is a nicer name for slavery work songs. The slavery was very rough, specially in the south of USA.
The music genre blues is something truly amazing though. Some say that the most beautiful and emotionally moving songs are blues.
Mississippi John Hurt was a blues artist who was born in 1893. He was an amazing artist who learned how to play the guitar when he was only 9 years old. It evolved and he started playing guitar and singing in local pubs and parties and he became a great singer. A little down the road he was signed by a music label, then he got a small career that didn't last very long. Sadly he returned to his home town of Avalon and started working as a farmer. He only released to songs with the music label, one of them was Louis Collins. The song is about a mother, Mrs. Collins, who's sad that her son is leaving to join the army.
To truly experience the real blues music you should go to the american south and walk the same blocks that these old blues legends used to walk and find inspiration in. You can find cheap and nice flights to your favourite blues-town destinations at http://avionero.com/.
Another great blues musician was also born in Mississippi, Nehemiah Curtis James, also known as "Skip James". Skip James wasn't born in Avalon as Mississippi John Hurt, Skip James was born in Bentonia.
Skip James was born in 1902 and passed away in 1969. During his musical career he managed to learn how to play the guitar and the piano. He recorded his very first album with the music label Paramount and it was released in 1931. Due to the economic depression at the time it wasn't very easy to sell alot of records. The music label didn't like the fact that so few records were sold and Skip James didn't record anymore music in over 30 years.
But in the year of 1960 he was rediscovered by three other blues musicians. Their discovery lead to that Skip James played at the Newport Folk Festival in 1964, and he kept on playing at several folk and music festivals until his passing in 1969.
During these years Skip James recorded alot of music and lots of his songs have been interpreted by lots of other musicians.
Posted on July 27, 2017 July 14, 2017 Author RebeckaCategories Uncategorized
Going Back in Time with Afro-American History
Afro American History makes up a very important part of the American heritage and is something that should be studied by everyone. The contributions that the African people have made across the globe should never be forgotten. Neither should the long history of hardships that were faced be downplayed or set aside.
What does looking at Afro American History Mean?
Looking at Afro American history means recognizing how it pertains to the African Americans that played a role in the US that helped to create the foundation for this country and their contributions.
It is of such importance that February has been designated as Black History Month and is celebrated by all walks of life. It means looking at the many years of slavery and the revolts that have been documented throughout history that led to freedom. It includes looking at those figures who were prominent throughout the years with their contributions towards the African American population.
Looking at Slavery
Slavery took its roots in America in Hampton Virginia. It was Massachusetts that was the first region to make slavery legal. Originally slaves were kept in captivity to act as servants but after a period of time they would be released only to be replaced by new slaves. Once this practice became legalized slaves were no longer set free and their children inherited the same slavery conditions as their parents were exposed to.
The Time Line
While there were many slavery revolts of varying degrees that results in additional hardships and bloodshed some of these revolts were more prominent than others. When looking back into black history one has to go all the way back to 1619 when the first African American slaves arrived. It wasn't until 1808 that the importing of slaves became illegal as a ruling of congress.
While in the years following more steps we re being attempted to free slaves and abolish slavery it was still very much in existence. In 1857 it was determined that Congress held no authority when it came to putting bans in place regarding slavery as slaves were not considered to be citizens.
When Abraham Lincoln took office it was a welcoming event for many. The Southern States were not happy about this and especially when in 1863 when Lincoln enacted the Emancipation Proclamation that rebellious territories had to free their slaves and these slaves were never to be held in captivity again.
While it may have been thought that end of hardship and persecution had come to an end after this point that was not the case.
In 1866 The Civil Rights Act is passed and all blacks are considered to have the same equal rights as the whites. However, at the same time the Ku Klux Klan reared its ugly head starting in Tennessee.
Posted on March 19, 2017 May 18, 2017 Author RebeckaCategories Uncategorized
Prominent People Involved in African American History
It takes people to bring about change and that is exactly what it took to abolish the slavery of the African American people. Throughout the history of the African Americans a long list of prominent people can be named. Both those who played a role in obtaining freedom for slaves and those who after their freedom fought and stood up for their rights will long be remembered.
William Lloyd Garrison
Mr. Garrison was truly a voice for the American slaves and was able to make his stance for them through the newspaper The Liberator which he co-founded with Issac Knapp in 1831. William became active in the anti-slavery movement at the young age of 25.
Harriet being a slave herself managed to escape from this bondage. Instead of going into hiding and keeping a low profile Harriet played a major role in the formation and carrying out of the famous underground railroad. It has been estimated that about 75,000 slaves found their escape from the North as a result of this railroad.
The voice for freedom of the African Americans. The one man who had the power to set the slaves free in the rebellious states.
Although slavery was abolished and the African Americans were supposed to be considered equal with whites this was certainly not evident or being practiced in many of the individual states. Martin Luther King Jr. became a strong voice for the civil rights movement.
Rosa is an example of just how one person speaking out and standing up for their rights can make a difference. Between the 1950's and the 1960's racism was faced head on by people like Rosa that made a difference for the future.
Yet again another voice for the African Americans who used is expertise in the law to gain traction for civil rights. His involvement played an important role in segregation matters especially in segregation in the Schools. While slavery was no longer an issue civil rights were.
This is just a short list of some of the many that hold recognition in the African American black history. There are many more equally as important both black and white in color that can be added to this.
Posted on January 25, 2017 May 18, 2017 Author RebeckaCategories Uncategorized
Important African American Slavery Revolts
It would be inconceivable to even imagine that revolts would not transpire when the horrific transgressions against the African Americans was in existence as it was during the slavery period. There were many revolts with some being more prominent than others and that gained recognition as being part of the African American history.
While slaves were under the stringent rules of the white population their conditions were for the most part deplorable and understandably slaves were taken to their breaking point where the dangers of revolt outweighed the dangers of their captivity. This rebellion was a classic example of this where it is deemed that it was the largest slave revolt to take place within the colonies. The slaves that participated were estimated to be about a hundred and managed to hold off their captors for more than a week before facing defeat.
Albeit considered to be a small rebellion the New York City Rebellion was based on a group of African Americans taking credit for the setting of several fires some of which were executed.
The rebellion of Nat Turner was one of the most highly recognized even though it only started with a group of small followers comprised of five that turned into eighty as they progressed through the ir killings of white people as they moved through the farm land. It is estimated that they racked up a death toll of 60 whites. While this may seem small in comparison to the what was taking place among the blacks it was enough to strike fear in the hearts of their captors.
While these are just a few examples of the more noted revolts there were many others that were consistently taking place throughout the slavery period.
Posted on December 22, 2016 May 18, 2017 Author RebeckaCategories Uncategorized
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Stefan Molyneux Vs. The Ant-Men
(or, Why Stefan Molyneaux Needs Moral Absolutes)
The Queen of the Formics from "Ender's Game" (2013) directed by Gavin Hood.
A few days ago Stefan Molyneux debated J. F. Gariepy on the topic of morality. Molyneux argued in favour of Universal Preferable Behaviour (UPB) and J. F. argued in favour of Moral Nihilism.
UPB is an attempt by Molyneux to formulate a system of absolute moral standards built upon a materialist (atheist) foundation. He lays out the reasoning behind UPB in an e-book which is available here. I have not read it, so I cannot claim to fully grasp his reasoning, but as far as I can tell from listening to him on YouTube, he attempts to get around the conventional objections that arise when you try to build absolute moral standards within an atheistic framework by appealing to the concept of "symmetry", by which I think he may be referring to some form of the Golden Rule: "Do unto others as you would have them do unto you". He believes that this "symmetry" makes his moral standards absolute.
J. F. argued in favour of Moral Nihilism, which I would characterize as the belief that in a Godless universe, morality is an illusion, right and wrong do not really exist, and that standards of behaviour can only be described as preferences.
Both Molyneux and J. F. agree that the human mind and the standards of acceptable behaviour adopted by human beings evolved through a process of natural selection.
As a Christian, I was surprised by my own reaction to the debate because although I generally sympathize more with Molyneux and support him financially, I could not identify any flaws in J. F.'s logic. In my opinion, Moral Nihilism is a logical conclusion to reach if God does not exist. Also, I think it is very easy to disprove the possibility of moral absolutes existing in a Godless universe by pointing out that if the human mind and human standards of behaviour are the result of evolution and natural selection, then the way they work is arbitrary---and nothing that is arbitrary can be absolute. Appealing to "symmetry", whatever Molyneux may mean by the word, does not negate this arbitrariness.
Perhaps I am being unfair. If I read Molyneux's book, I might have to change my perspective.
If evolution had taken a different path, human beings might have evolved from ants or some other branch on the tree of life, and our conceptions about right and wrong would probably be quite different. Our perceptions of murder, marriage, theft, casual slaughter, personal property, and obedience to authority would doubtlessly be quite different. The primary moral dilemmas facing ant-people might be things that would never occur to us primates. Orson Scott Card speculated about this sort of thing in the Ender's Game novels.
If at some point in the future we encounter aliens who evolved from ant-like ancestors, there would be no way to reconcile our differing concepts of morality. Among the ant-men there would no doubt be an ant-man equivalent to Stefan Molyneux claiming that ant morality is absolute and no compromise is possible. There might be no way for our two races to solve our differences except through the application of force. One side would almost certainly annihilate or subjugate the other.
I believe that this hypothetical situation goes a long way toward explaining why Molyneux is so intent upon formulating moral absolutes despite his atheistic framework. One of Molyneux's driving principles is the Non-Aggression Principle (NAP). He does not believe that anything can be right or true or justifiable if it is based on force. For example, he does not believe that the existence of government is justifiable because government ultimately gets its authority through the threat of force. The hypothetical ant-man confrontation reveals that even his "Universally Preferable Behaviour" ultimately derives its authority from force, which means he would have to reject it. If he had to concede that UPB is not actually universal, and in fact only derives its authority from the willingness of human society to impose it through force, this would devastate his entire worldview.
Artist Profile: Mike Mignola
In Defense of Art as a Christian Profession

redpajama_set_name: RedPajamaCommonCrawl


Prince Andrew is facing calls for an inquiry amid claims he acted as a fixer in a multi-million deal in Kazakhstan.
The royal had been in line for a £4million payout if the deal for a foreign consortium had gone through, The Mail reports.
It is claimed he used his position to get a £385million venture off the ground while he was working as a special trade envoy for Britain.
The deal later fell through due to unrest in the oil-rich country. Former Liberal Democrat MP Norman Baker said: 'Prince Andrew's continuing close relationship with questionable figures in Kazakhstan brings the Royal Family into disrepute.
The prince reportedly helped Greek water firm EYDAP and Swiss finance business Aras Capital bid for contracts for water and sewage networks.
It is claimed he used his relationship with Kazakh oligarch Kenges Rakishev to lend a hand.
The deal fell through in 2011 after police opened fire on striking oil workers, killing 14.
EYDAP pulled out, fearing unrest.
Graham Smith, who heads anti-monarchy organisation Republic, called for an inquiry.
The Mail said the Palace instructed a law firm to block publication of an email between the prince and Mr Rakishev on behalf of the two companies in April 2011, saying it was a breach of the royal's privacy.


text:
class Accessibility
  attr_accessor :resource, :action

  def initialize(resource, action=:show)
    @resource = resource
    @action = action
  end

  def users
    action.present? ? filtered_users : connected_users
  end

  def connected?(user)
    users.include?(user)
  end

  def disconnected?(user)
    users.exclude?(user)
  end

  private

  def filtered_users
    connected_users.select do |user|
      policy(user).send("#{action}?")
    end
  end

  def policy(user=nil)
    policy_klass.new(current_user: user, resource: resource)
  end

  def connected_users
    policy.connected_users.uniq.to_a.compact
  end

  def policy_klass
    klass_name = "#{resource.class.name.pluralize}Policy"
    klass_name.constantize
  rescue NameError
    raise ApplicationPolicy::ApplicationPolicyNotFound, "Could not find #{klass_name} for #{resource}"
  end
end

redpajama_set_name: RedPajamaGithub


When you come across a fantastic restaurant or see a great movie, you make sure your friends know about your discovery! We hope you will do the same with BOZ, The Green Bear Next Door. You can send a quick e-note to a friend with preschoolers referring them to the BozTheBear.com website by filling in the information below. They'll be glad you did!
I wanted to let you know about a great new preschool program: BOZ! He's a lovable green bear that lives in a tree house. BOZ loves exploring God's world with his friends Drew and Gracie. I thought you might enjoy exploring BOZ's website. Just click the link below and you'll be at www.BozTheBear.com. Be sure to let me know what you think about BOZ, The Green Bear Next Door.


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Vitéz dálnokfalvi Bartha Károly (Budapest, 1884. június 18. – Linz, 1964. november 22.) magyar katona, honvédelmi miniszter.

Életrajza
1904-ben végzett a mödlingi műszaki katonai akadémián. Az első világháború idején magasabb parancsnoki tisztségeket töltött be Budapesten és Triesztben. 1919-ben a Vörös Hadsereg soraiban harcolt előbb a csehek, majd a románok ellen. A Tanácsköztársaság bukása után a Nemzeti Hadseregbe lépett be, ahol 1920-ban alezredesi rangot kapott. 1936-tól a Honvédelmi Minisztériumban volt katonai csoportfőnök, majd 1938-ban táborszernagy lett. Ugyanebben az évben honvédelmi miniszter lett az Imrédy-kormányban. Ezt a tisztségét a Bárdossy-kormányban is megőrizte. 1941-ben vezérezredesi rangot kapott.

Honvédelmi miniszterként

Mandátuma idején történtek a Bécsi döntések, a Bácska és a Muravidék megszállása, valamint Kassa bombázása, amiért 1941. június 26-án Magyarország belépett a második világháborúba. Szintén mandátuma idején történt a délvidéki razzia, melynek során az általa és Szombathelyi Ferenc vezérkari főnök által kirendelt Feketehalmy-Czeydner Ferenc által irányított honvédi és csendőri alakulatok lemészároltak több mint 3000 bácskai - főként szerb - polgári lakost.

1942. szeptember 24-én Horthy kormányzó lemondatta. Ennek kiváltóoka a túlzott és a Kállay-kormány irányvonalával össze nem egyeztethető németbarátsága, a németek által igényelt biztosító hadosztályok kiküldésének túlontúl készséges támogatása, a miniszterelnök bizalmas tájékoztatásának a német követtel való közlése és a magyar hadiipari tevékenység német ellenőrzése körüli vitában a kormány kompromittálása volt. Bartha Károlyt ezt követően nyugdíjazták.

Nyugdíjaztatása után

Bartha Károly nyugdíjaztatása után nem vállalt sem politikai, sem katonai szerepet. A háború után a népbírósággal együtt működő Katonai Bíróság lefokozta és elcsapta a honvédségtől, ugyanis őt tekintették egyik felelősének, hogy Magyarország belépett a II. világháborúba. A kommunista hatalomátvételt követően állandóan figyelemmel tartották, zaklatták, emiatt az 1950-es években nyugatra emigrált, Venezuelában telepedett le, ahol vasútépítő mérnökként dolgozott. 1964-ben, egy európai látogatása után hunyt el az ausztriai Linzben.

Jegyzetek

Források

 Rövid életrajza a Vitézi Rend honlapján

Magyar katonák
20. századi katonák
Az Osztrák–Magyar Monarchia katonái az első világháborúban
A Magyar Királyság katonái a második világháborúban
Magyarország honvédelmi miniszterei
Budapesten született személyek
Emigráns magyarok
A Vitézi Rend tagjai
1884-ben született személyek
1964-ben elhunyt személyek

redpajama_set_name: RedPajamaWikipedia


text:
Writing about dance
Personal musings about dance and other related topics
Dance Blogs and Webzines
Crystal Pite, Jonathon Young, Kidd Pivot in Revisor at Sadler's Wells
Posted: March 18th, 2020 | Author: Nicholas Minns & Caterina Albano | Filed under: Performance | Tags: Alessandro Juliani, Crystal Pite, David Raymond, Doug Letheren, Ella Rothschild, Jay Gower Taylor, Jermaine Spivey, Jonathon Young, Kidd Pivot, Meg Roe, Nancy Bryant, Nikolai Gogol, Owen Belton, Revisor, Tiffany Tregarthen, Tom Visser | Comments Off on Crystal Pite, Jonathon Young, Kidd Pivot in Revisor at Sadler's Wells
Crystal Pite and Jonathan Young with Kidd Pivot in Revisor at Sadler's Wells, March 5
Doug Letheren as Director of the Complex in Revisor (photo: Michael Slobodian)
Choreographer Crystal Pite and playwright Jonathan Young have collaborated previously on two productions, Betroffenheit for Pite's company, Kidd Pivot, and The Statement for Nederlands Dance Theatre. Although each work is quite independent of the other in terms of emotional heft, they both use the technique of lip-synching to recorded voices as a choreographic tool. In The Statement, the relationship between language and choreography is the basis of the entire work, taking Young's one-act play about corporate disinformation to expressive heights, while Betroffenheit combines choreography and text in a haunting expression of trauma. Their latest collaboration for Kidd Pivot, Revisor, presented recently at Sadler's Wells, pushes the boundaries of text and its physical embodiment further than both The Statement and Betroffenheit, with mixed results.
What Young has proposed is his adaptation of Nikolai Gogol's The Government Inspector (Revizor in Russian), a farce written in 1836 on the theme of government corruption in a small provincial town. Young's production uses the recorded voices of nine actors directed by Meg Roe with original music and sound design by Owen Belton and Alessandro Juliani. By making a pun on the Russian title, Young changes the function of the Revizor to a Revisor of government documents; it has no bearing on the outcome of the farce but the word play informs the adaptation. After the curtain rises to an ominous rumbling of thunder, we hear the voice of a narrator (Roe) revising her description of the scene a couple of times before she's happy with it. We're in the office of the Director of the Complex (Doug Letheren) who has called in his cronies to discuss the arrival of a revisor (Tiffany Tregarthen) who they mistakenly believe has been sent by head office to report on their incompetent practices. The clarity of Jay Gower Taylor's minimal period set, Nancy Bryant's lush costumes and Tom Visser's lighting engage with that of Pite's gestural response to the voices. The ensuing scene of heated discussion sets in motion a thrill of choreography-as-farce as we take in Pite's transmutation of language into gesture and the imagery she extracts from every nuance of the script. The dancers embody their characters through total corporal articulation and lip synchronisation to a degree of verisimilitude where we see the voices and hear the gestures. Jermaine Spivey's physical translation of Juliani's speech-impaired Postmaster Wieland's dialogue keeps the audience in gales of laughter and on the edge of their seats in anticipation of its continuation, while Ella Rothschild as Minister Desouza fleetingly combines imagery of the Russian orthodox church and classical ballet in a passing phrase about religion and culture.
The sheer energy of creative investment in this opening scene, so intricately woven and detailed, is remarkable. In the subsequent dialogue with the revisor and his assistant (David Raymond), however, and in the further convolutions of the plot, Pite's transmutation of language plays second fiddle to Young's adaptation of the script, which now takes us on a digression through a conceptual landscape — what Young calls a deconstruction of a farce. The dancers are in rehearsal clothes, and the dialogue is replaced by the narrator's 'report' on the action using stage directions, looped vocal phrases and fragments of recorded text. It is difficult to tell if this 'report' demands something less precise of Pite's choreography, or if her choreographic ingenuity loses traction in the treatment of dialogue. What were the dancers' individual textual-corporal characterisations gradually evolve into danced solos and duets — even sections of unison choreography — that change Pite's focus away from the text into movement. Just when Young's deconstruction seems in danger of completely losing the plot, the opening scene and its characters return for the play's resolution. Once again the dancers are in their costumes and their dialogue becomes lip-synched action. But by now the effect has waned and a sense of déjà vu sets in. What Pite and Young had begun with such promise just an hour before appears to be already overused, or perhaps that long, conceptual, self-reflexive middle section has numbed our choreographic interest and drained the dramatic action of its momentum. In an intense collaboration like this, if one partner pulls too much in one direction the other's contribution suffers. Betroffenheit and The Statement held the balance like a high-wire act between theatre and choreography, each on their own terms; Revisor is ultimately disappointing because that balance is not maintained throughout the work, and there is nothing the extraordinary cast can do to save it.
Nederlands Dans Theater 1 at Sadler's Wells
Posted: July 2nd, 2018 | Author: Nicholas Minns & Caterina Albano | Filed under: Performance | Tags: Andrew Wheeler, Aram Hasler, Chloé Albaret, Colleen Wheeler, Crystal Pite, Jay Gower Taylor, Jeff Buckley, Joke Visser, Jon Bond, Jonathon Young, Jorge Nazal, Marco Goecke, Marne van Opstal, Meg Roe, Myrthe van Opstal, Nederlands Dans Theater 1, Paul Lightfoot, Rahi Rezvani, Rena Narumi, Roger Van der Poel, Sol León, Tom Visser | Comments Off on Nederlands Dans Theater 1 at Sadler's Wells
Nederlands Dans Theatre 1, León & Lightfoot, Pite and Goecke, Sadler's Wells, June 26
Jon Bond, Roger Van der Poel, Aram Hasler and Rena Narumi in The Statement (photo: Foteini Christofilopoulu)
The first work on Nederlands Dans Theatre 1's season at Sadler's Wells plays uncomfortably between entertainment and oppression. It's as if house choreographers Sol León and Paul Lightfoot have abruptly interrupted the five dancers — Myrthe van Opstal, Chloé Albaret, Marne van Opstal, Roger Van der Poel and Jorge Nazal — in Shoot The Moon and leave us to observe the intensity of their unstable relationships on a revolving set of three rooms from which the only exit is through a door or window into the next one. The program note suggests each room contains its own love story, but the febrile gestural vocabulary, clinical partnering and the open mouths of despair suggest each individual is going through hell and has no psychological space for anyone else, while the pervasive trope of effortless high extensions suggest a compulsive narcissism. It is as if Ibsen's dramas of domestic claustrophobia have met Virginia Woolf's fragmented narratives without the nuanced psychology of the former and the acute formal tension of the latter. One might almost conclude that set, costumes and live, voyeuristic video of the dancers projected on the clerestory-level screen are all part of a hermetically sealed aesthetic of neurosis. León and Lightfoot choose Philip Glass's Movement II from his Tirol Concerto for piano and orchestra to lend the work emotions that are absent from the choreography; it is not music on which the dancers rely for their musicality but rather a score to appease the audience.
If the elements of Shoot the Moon were limited to conjuring up the images it portrays it would make an interesting study in the power of the unconscious to affect a choreographic outcome, but seeing the company's assistant choreographer Marco Goecke's Woke up Blind suggests an NDT 1 house aesthetic. Again the subject is love, as expressed in two songs Jeff Buckley recorded, his own You and I and Van Morrison's The Way Young Lovers Do. The first person we see from a cast of seven is Nozal who hasn't yet recovered from the tension of Shoot the Moon, but Buckley's voice is also in a register of despair. At least Goecke is trying to match the fevered pitch of his choreography to Buckley's overwrought state of delivery, but given its gestural similarity to Shoot the Moon and its translation onto technically precise dancing bodies, the effect barely shifts NDT 1's tormented aesthetic.
It only takes a pause to rectify this. In The Statement, Crystal Pite uses four dancers — Aram Hasler, Rena Narumi, Jon Bond and Roger Van der Poel — to recreate a boardroom scene in an international investment office that has just fomented an international conflict in order to profit financially. On an otherwise dark stage, Jay Gower Taylor places a long, shiny oval table that Tom Visser lights from a similarly dimensioned hood above it; the concentration of light on the figures assembled around the perimeter dressed neatly and expensively by Pite and Joke Visser is intense. Their preoccupation is how to make a statement that exonerates their superiors without taking the blame themselves. Using a recorded one-act play by Jonathon Young with the voices of Young, Meg Roe, Colleen Wheeler and Andrew Wheeler, Pite choreographs to the accents and inflections of its tightly woven and increasingly confrontational argument. In extending choreography into mime and mime into choreography, Pite puts the polished virtuosity of the dancers at the service of gesture; nothing is gratuitous. In its message and expressive power, The Statement can be seen as a contemporary successor to Kurt Joos's The Green Table.
It's hard to return to the house style of León and Lightfoot in the final work, Stop-Motion, where love is replaced by 'a process of farewell and transformation', the revolving rooms by an empty space and Philip Glass by a mournful Max Richter. The set by León and Lightfoot with its chalk dust is visually arresting under Tom Bevoort's lighting and its effect is evocative of the ephemeral nature of life. The large-scale, close-up video work, directed by Rahi Rezvani, conceived by León and Lightfoot and featuring their daughter Saura, is reminiscent of choreographer Édouard Lock's interest in and integration of film and performance for La La La Human Steps. However the visual gratification of Stop-Motion is no substitute for psychological insight and emotional strength and while the choreographic use of space has changed from Shoot the Moon, the vocabulary remains within a narrow band of imagination that fails to release the full potential of these dancers beyond their shapes and extensions.
Ballet British Columbia's Triple Bill at Sadler's Wells
Posted: March 12th, 2018 | Author: Nicholas Minns & Caterina Albano | Filed under: Performance | Tags: 16+ a room, Ballet BC, Ballet British Columbia, Bill, Crystal Pite, Dirk Haubrich, Emily Molnar, Gai Behar, Jay Gower Taylor, Joke Visser, Jordan Tuinman, Kate Burrows, Omer Sheizaf, Ori Lichtik, Sharon Eyal, Solo Echo, Tom Visser, William Forsythe | Comments Off on Ballet British Columbia's Triple Bill at Sadler's Wells
Ballet British Columbia, Triple Bill, Sadler's Wells, March 6
Scott Fowler and artists of Ballet British Columbia in Bill (photo: Chris Randle)
The UK tour of Ballet British Columbia that Dance Consortium has organized coincides with a change of government in Canada where the current liberal party under Justin Trudeau has filled up the cultural sector coffers the previous conservative party had spent years diminishing. Thus a medium-sized company from the West coast of Canada has been able to add to the country's cultural profile in the UK and from the program Ballet BC offered at Sadler's Wells it looks decidedly healthy. Artistic Director Emily Molnar's opening choreography for this triple bill, 16+ a room, reminds us of the connection she has had with William Forsythe at Ballett Frankfurt although she has made the work very much in the image of her company. Only two of the current dancers remain from before Molnar became artistic director in 2009, so this is a group she has developed through exposing them to a rich gamut of commissioned works, choreographic methods and styles. It is a finely honed company that puts technical strength at the service of an engaging and generous choreographic language.
From the beginning of 16+ a room (2013) there is a sense of an intellectual approach to the physical language, as if the dancers are working out amongst themselves the problem Molnar has set them. At the same time the problem she has set — what would happen if you put 16 people in a room and started tipping it — creates its own dynamic of sliding, balancing, suspending and tilting that she wraps in a vocabulary of muscular classicism. Jordan Tuinman's lighting provides a sense of both luminous intensity and architectural shift while Kate Burrows' costumes give freedom to the contained force and articulate extension of the dancers. The energy that tips the room comes from the declamatory electronic score of Dirk Haubrich, providing a high-voltage current through its three sections to bind together the choreography, visual form and aural environment of 16+ a room into a single organic entity.
From Haubrich to Brahms is more of a musical step than it is to move from the style of Molnar to that of Crystal Pite. Each choreographer acknowledges a debt to Forsythe, and in Solo Echo (2012) Pite interpolates her vocabulary in the calm of Brahms' chamber music (the Allegro non troppo from his Cello sonata in E minor and the Adagio affetusoso from his Cello sonata in F major). She quotes a poem by Mark Strand, Lines for Winter, in the program note, but Solo Echo is a poem in itself written on the bodies of the seven dancers and suggested in Jay Gower Taylor's setting of falling snow. Between the exquisite opening solo of Brandon Alley and the ineffable sigh of his slumped body abandoned in the snow at the end is 'a human journey from adolescence to adulthood' that breathes with the emotional intricacy of the music. This is pre-Polaris Pite where the hive mentality has not yet coalesced; the sense of community is suggested rather through a constant tide of individual comings and goings, one motion inspiring another, not unlike the way the cello and piano weave their respective melodies yet maintain their respective voices. The unity of this intensely musical work is further enhanced by Pite and Joke Visser's spare costumes of dark, pinstriped waistcoats and trousers while Tom Visser's evocative lighting subtly indicates the shifting focus of our attention. If 16+ a room is extrovert and energetic, Solo Echo turns the dancers on themselves in a state of poignant reflection.
After the second intermission, Sharon Eyal and Gai Behar's Bill (2010), originally created for Batsheva Dance Company with a score by Ori Lichtik, promises to further extend the scope of Ballet BC's achievement. Unitards concentrate our attention on the structure of the body, its lines, shapes and gestures in four male solos that are respectively sensually outrageous, energetically comic, fluidly articulate, and stoically introspective. But the fifth, female solo begins to de-emphasise the individual to pave the way for the communal — a duality that pervades Israeli choreography. Expanding our focus to take in the entire stage at once, the nature of the visual game is searching the shifting unity of the 18 undulating, gesticulating dancers for subtle changes in rhythm and shape that Omer Sheizaf's tonal lighting both emulates and encourages. Eyal and Behar extract sufficient differentiation within the group, but after the assertive individuality of the first two works Bill feels in its latter construction disconcertingly insubstantial. It is perhaps a case of the work's formal integration into the company's West coast ethos lacking the vital context of its social and cultural origins.
(Ian Abbott was the first to see this program at the Birmingham Hippodrome in 2016)
The Royal Ballet, works by Dawson, Wheeldon and Pite
Posted: April 5th, 2017 | Author: Nicholas Minns | Filed under: Performance | Tags: After the Rain, Christopher Wheeldon, Crystal Pite, David Dawson, Flight Pattern, Greg Haines, Henryk Górecki, Jay Gower Taylor, Kristen McNally, Marcelino Sambé, Nancy Bryant, The Human Seasons, Thomas Visser | Comments Off on The Royal Ballet, works by Dawson, Wheeldon and Pite
The Royal Ballet, Triple Bill, Royal Opera House, March 23
Kristen McNally and artists of the Royal Ballet in Flight Pattern (photo: Johan Persson)
This is a program of repertoire works by former Royal Ballet dancers, David Dawson and Christopher Wheeldon, wrapped around a new commission by Crystal Pite, the first female choreographer to perform her work on the main stage in a long, long, time. Despite this landmark achievement, Pite is not a classical choreographer, nor are her works in the classical idiom. Borrowing a leaf from Tamara Rojo's astute book, the Royal Ballet has brought in a lauded contemporary name on a contemporary theme at an appropriate moment. It is also borrowing from the book of Sadler's Wells associate artists. Much as I love Pite's work, Flight Pattern blends uneasily with both the accompanying repertoire and the surroundings. It's a beautifully fraught work (beautiful and fraught) about the fate of migrants, not a subject that lends itself naturally to the velvet and gilded glamour of the Royal Opera House. It's an oddly imbalanced program, too, because Flight Pattern is not a natural closer, and neither Dawson's nor Wheeldon's work prepares for it in any way; it comes out of nowhere. It is nevertheless a sublime conception, both scenically and choreographically, for a mass of 36 dancers with the suggestion of a lead migrant couple (an incongruous notion) of Kristen McNally and Marcelino Sambé. Anyone who saw Pite's monumental Polaris on the Sadler's Wells stage for the See The Music Hear The Dance program just over two years ago will remember her powerful massed forms of 64 dancers responding to Thomas Adès' orchestral storm of the same name. Flight Pattern is more poetic and less menacing, influenced by the eerie refinement of the first movement of Henryk Górecki's Third Symphony, but its subject is harrowing. The work visualises the endless lines of stooped humanity on a desperate trek to an unknown future but Jay Gower Taylor's set, Thomas Visser's lighting and Nancy Bryant's costumes bestow epic proportions on the entire journey. The movements of the dancers are muted and repressed throughout the work, hemmed in by heavy overcoats and by the giant partitions of the set that close inexorably on them until only a gently rocking McNally and a seething Sambé remain isolated. It is a moment that almost spits with rage but Sambé at this crucial point allows his pyrotechnical wizardry to infiltrate his character, dissipating Pite's entire psychological build-up.
There's plenty of legitimate technical display on the rest of the program, however, and the men get a thorough workout in Dawson's first work for the Royal Ballet, The Human Seasons, to a commissioned score by Greg Haines. You know you're at the Royal Ballet with this level of technical skill, though the loud landings (and there are many of them) of the men in particular exhibit some weakness in execution. The women are on display too, especially when upright; they are less so when being dragged unceremoniously along the ground.
Seeing The Human Seasons (2013) side by side with Wheeldon's After The Rain (2005) one can't help seeing similarities; both are in the neo-classical style with stripped down costumes, and there are one or two quotes by Dawson of Wheeldon's lifts and slides. Where the two works differ is in the use of space as part of choreographic form. For all its intense movement, its entrances and exits, and its asymmetrical groupings, The Human Seasons, unlike Keats' sonnet that inspired it, is constantly crying out for some kind of form to hold them all together. This is amplified by a lackadaisical deportment in the men in between partnering duties or bravura steps; they just amble over to the next sequence, killing the dynamics. Haines' score can't hold the work together either, so with all these holes Dawson's form fails to gel, leaking out in all directions over the course of the work's 35 minutes.
Scored for three couples, the first section of After The Rain is set to the first (Ludus) movement of Arvo Pärt's Tabula Rasa; as soon as it begins, Wheeldon's spatial stagecraft is apparent. The form is held in place by the harmony of the music allied with the harmony of the choreography, pumpkin rolls and all. The second movement, to Pärt's Spiegel im Spiegel, is joined to the first but not closely related. It is often performed as a separate duet and its renown makes it appear as the feature film we've been waiting for. Marianela Nuñez and Thiago Soares make it a powerful meditation on the beauty of strength and the strength of beauty, where each gesture is thought through and flows seamlessly to its natural resolution. But while the consummate elegance of this movement is framed on one side, the absence of a final, contrasting movement leaves it floating in splendid isolation; it should either be set free for good or the frame completed.
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MacBook Air now uses scissor switch Magic Keyboard, what about 13-inch MacBook Pro?
Chance Miller
- Mar. 21st 2020 8:53 am PT
@ChanceHMiller
Apple this week introduced a new version of the MacBook Air, bringing not only internal performance improvements but also a redesigned scissor switch Magic Keyboard. Now that the MacBook Air and 16-inch MacBook Pro feature the new keyboard design, there's one clear outlier: the 13-inch MacBook Pro.
Butterfly keyboard backstory
Apple debuted the first version of the butterfly keyboard in 2015 with the launch of the 12-inch MacBook. In 2016, despite early complaints about the butterfly keyboard's reliability, Apple brought it to the MacBook Pro lineup as well.
Apple doubled down on the butterfly keyboard design again in 2018, releasing a new version of the keyboard to the MacBook Pro and MacBook Air. Apple claimed that the 2018 butterfly keyboard design, technically the third iteration, would be quieter, thanks to a new "thin, silicone barrier" under each key.
The membrane didn't solve the problems, though, and users continued to complain of reliability and key travel issues. In 2019, Apple again updated the MacBook Air and MacBook Pro with a new version of the butterfly keyboard. This fourth-generation design brought new membrane covers and dome switches for improved reliability and quieter typing.
Keep in mind that throughout each iteration of the butterfly keyboard, Apple was (and still is) offering free repairs through its Keyboard Service program. In fact, the July 2019 MacBook Pro and MacBook Air models were added to the Keyboard Service program the same day they were released.
But finally in November of last year, Apple did what at one point seemed impossible: it reverted to the 2015-style scissor switch keyboard. The new "Magic Keyboard," which has been praised for being more reliable and quieter, debuted first in the 16-inch MacBook Pro and made its way to the MacBook Air yesterday.
What about the 13-inch MacBook Pro?
At this point, the 13-inch MacBook Pro is the only Apple laptop still sold brand-new with the butterfly keyboard. The 15-inch MacBook Pro was updated in November to become the 16-inch MacBook Pro with the new Magic Keyboard. The 12-inch MacBook was discontinued last year as well.
With the MacBook Air's transition to Magic Keyboard now out of the way, the 13-inch MacBook Pro is surely next on the docket. Reliable Apple analyst Ming-Chi Kuo has said that Apple is accelerating its MacBook refresh plans, and that we should expect a new 13-inch MacBook Pro with the Magic Keyboard during the first half of this year.
Rumors have also suggested that Apple is planning to give the 13-inch MacBook Pro the same treatment as the 15-inch model received. That is, reduce the bezel sizes slightly and bump the screen size up by an inch, making it the 14-inch MacBook Pro.
What's unclear is whether the next update to the 13-inch MacBook Pro will be the update that takes the screen size to 14 inches. The 14-inch MacBook Pro is expected to feature a mini-LED display, and we don't expect Apple to have mini-LED technology ready until the end of the year.
So here's one possibility:
Before July: 13-inch MacBook Pro update with Magic Keyboard
Later this year: 13-inch MacBook Pro update that bumps screen size to 14 inches with mini-LED
But no matter what happens, our advice remains the same: Do not buy the 13-inch MacBook Pro in its current state. We expect an update soon that at least fixes the disastrous butterfly keyboard, and might also have other improvements as well.
Should you just buy the MacBook Air instead?
You shouldn't completely write off the new MacBook Air. Now that it features the more reliable Magic Keyboard, it's perhaps the easiest Apple laptop to recommend. For people who are primarily going to do word processing, web browsing, email, and similar tasks, it's more than powerful enough.
Plus, it also got cheaper yesterday with a new starting price of $999. That's down from the original 2018 pricing of $1,199, and down from the 2019 price drop to $1,099. For Apple to have finally gotten the Retina MacBook Air's starting price under $1,000 is a notable feat, and it's likely to make it a pretty popular choice.
So with a $999 starting price and a Magic Keyboard design, the MacBook Air should be an easy sell for everyone who doesn't need a lot of power.
But if the MacBook Air isn't powerful enough for you, and you can't wait any longer for the 13/14-inch MacBook Pro, then your only option is the 16-inch MacBook Pro. It's certainly pricier, but it also packs a more impressive performance and a larger screen, not to mention the Magic Keyboard.
What do you think of Apple's current MacBook lineup? Are you still holding out for the 13-inch MacBook Pro to add a Magic Keyboard? Let us know down in the comments!
Apple's premium laptop comes in 13- and 16-inch screen sizes. Each model includes 2-4 USB-C ports for charging, accessories, and data transfer. Higher-end models also include the Touch Bar.
In 2008 Steve Jobs introduced the first ultra-thin, lightweight MacBook Air by dramatically sliding it out of an inter-office envelope. The idea of a dramatically thin, lightweight, and fully functional laptop continues on.
Chance is an editor for the entire 9to5 network and covers the latest Apple news for 9to5Mac.
Tips, questions, typos to chance@9to5mac.com
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Мескалес има више значења:

 Мескалес (Ла Уерта), насеље у савезној држави Халиско у Мексику
 Мескалес (Виља Пурификасион), насеље у савезној држави Халиско у Мексику
 Мескалес (Талпа де Аљенде), насеље у савезној држави Халиско у Мексику
 Мескалес (Компостела), насеље у савезној држави Најарит у Мексику
 Мескалес (Баиа де Бандерас), насеље у савезној држави Најарит у Мексику


Here is a fantastic rendition of this great song by the legendary cabaret super-icon Claiborne Cary. She is today an underrated singer (at least among the general public) who deserves to be better known for her shows and art are unique. Enjoy!


In some cases, when a team of individuals come together, conflict arises. How that conflict is dealt with can mean the difference between success and failure for the business at large. Learning to deal with people of difference backgrounds, perspectives, and personalities is an important step in your professional education because from time to time you might run into a difficult co-worker. These individuals can hinder your productivity at work, resulting in a decrease in your happiness or even your ability to accomplish your day to day responsibilities. Rather than getting mad, get to work. Here are 3 ways to deal with someone like this and get things back on track at work.
If you are having difficulty dealing with a difficult co-worker, take a minute to try to see things from their perspective. Viewing the situation from another perspective can increase understanding and empathy for the other team member and result in more openness to compromise. If you acknowledge that every individual brings unique experiences and perspectives to the table and the value of a team is in everyone's ability to contribute in their own way, you can move past the difficulty and find common ground. Remember that everyone you meet is fighting a harder battle, one you might not be aware of. Take that into consideration when your patience runs thin.
Workplace tensions are more easily dispelled when there is an overall culture of positivity within the team. A positive outlook and good motivation will help avoid the sort of disagreements that will bring work to a standstill. By propagating positivity, you are facilitating productivity and strong team spirit. Positivity is contagious too. If you are having difficulty with a co-worker, don't allow your negativity to make interactions more difficult. Lead by example and make sure you have a good attitude. Make a conscious effort not to hold grudges and actively move forward to a better relationship.
Often the solution to negative emotions is more connection so seek out more time with the individuals you have difficulty with. Take the time to get to know each other, grab lunch, work closer together, find common ground and soon you will feel more supported in their efforts to work together.
If a disagreement goes too far that you are no longer able dispel the tension by yourself, then consider engaging a neutral third party to facilitate further discussions. Human resources are a great resource, and they are a natural choice to mediate conflict in a professional and lawful manner. If your company does not have a strong human resources team, requesting assistance from an outside party, one that is completely neutral, may also be a good option. First, evaluate and outline what you and the conflicting parties want to get out of such a mediation, and work with an outside partner to meet those goals. The peace and release of tensions brought about by such interventions can do wonders for the long-term success and collaboration skills of your team.
We at PSG Mississippi are ready to help you achieve your career goals through better communication and matching strong candidates to great opportunities. Contact us today!
It is always a great feeling to help someone get a good job at a large company with a terrific benefit package, but I particularly take pleasure in helping small businesses compete and win at hiring the best talent. The PSG difference is the effort we put into cultivating a "trusted advisor" relationship with our clients and candidates. This collaborative experience produces the very best hires!


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If you wish to improve your clothing, baggage or accessories then using iron on badges are a fun way to generate the distinctive appearance you want. Today you can get many good quality iron on patches and badges that you can fix on your clothes, hats, bags, luggage bags, blankets, quilts, pillows, cushions etc. You can even use these patches on jeans and jackets and take a regular item of apparel from boring to quirky in a jiffy.
Once you have ironed these badges on the surface that you want, you can be positive these particular badges will not come off. The adhesive in the back of the badge is very strong and also heat sealed. This will make sure that the badge doesn't get removed and can certainly be applied over a range of fabrics.
You can get a number of designs and patterns at your local embroidery store if you are looking for iron on badges. You can also look online for these badges if you would like more variety from which to choose. One great way to obtain the badge that you would like will be to make it yourself. It's very easy to make iron on badges from home. All you will need is a little amount of creativity and several supplies.
You could make embroidered iron on badges using an embroidery machine. But these badges can be made as easily by sewing them by hand as well. It is possible to pick the style of the badge from a book or draw inspiration and develop your personal design. Now you might want to give shape to your design on paper. Try to make the design on paper in a very precise manner by adding touches just like the stitch type and colors. Once you've succeeded in doing so it's about time to transfer the design to the cloth where you will make your badge. Using a tracing paper trace the pattern in the cloth and secure a backing paper on the back of the design. When you're making a badge be sure that you draw a thick outline that can act as the border or 'frame' of the badge. A thick border will be slightly elevated which can make your badge look almost store bought.
When you make a badge be sure that you don't have a pattern that's too busy since badges are small. If you prefer a busy pattern then have small shapes in it to ensure that it looks neat. For instance should you wish to create a bouquet then have small roses or daisies made instead of large flowers to get a neat look. Complete embroidering your badge, take it out of the embroidery hoop and get ready for you to do some ironing.
It is simple to have the iron on adhesive for your iron on badges from the embroidery store. Take your badge and set it face down on an ironing board. Go ahead and take adhesive patch, peel one side of the paper and place it in the patch. Now obtain a portion of clean cloth and place it over this sheet of adhesive. Put your iron on low or silk configuration and iron over this patch. Your patch has become ready to use. All you need to do is take away the backing sheet from your adhesive, secure it to the place you would like to and then iron on the reverse.


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The House of Unexpected Sisters
Alexander McCall Smith: Little, Brown $29.99
HAVING an uncommon surname is just one of many things distinguishing the "traditionally built" Mma Precious Ramotswe as a noteworthy Botswanan woman.
Another is running the country's only all-female investigation outfit, an operation based on the outskirts of the capital, Gaborone: the nationally famous No. 1 Ladies' Detective Agency.
It is to this agency that Precious's fellow Batswana turn when a husband is suspected of cheating, a debt is not paid, a loved one vanishes – or, in the latest instance, a sister of a colleague of an associate is dismissed from her role as a sales assistant for allegedly insulting a customer.
The now-unemployed Charity is adamant there was no rudeness, leading Precious and her second-in-command, Mma Grace Makutsi, to suspect the employer might have concocted an excuse for the firing. Is he going to give the position to a mistress, perhaps?
As the two begin their covert sleuthing a longstanding nemesis reappears: Violet Sephoto, Grace's former classmate at the Botswana Secretarial College. Is this shameless woman with her too-short skirts, her deplorable student record and her focus on attracting male attention somehow behind Charity's dismissal?
Before that question can be answered a third conundrum arises: an unfamiliar Ramotswe, a nurse, is mentioned in a newspaper report.
Precious has never heard of this apparent relative. Is she a legitimate family member or an imposter passing herself off as a Ramotswe for unscrupulous reasons?
With Grace on the case of the seemingly unjustified layoff, Precious focuses on her own mystery and how it might relate to her beloved father, the now-late cattle baron Obed Ramotswe.
As his No. 1 Ladies' Detective Agency series celebrates its 20th anniversary this year, author Alexander McCall Smith is visiting Australia. He will speak about his latest releases and favourite characters in Melbourne and Warrnambool next week.


This month's Classics Circuit features Meiji-era Japanese literature! I chose to read some short stories by Higuchi Ichiyō , the most well-known woman writer in Meiji Japan.
In the Shade of Spring Leaves, by Robert Lyons Danly, is part biography of Ms Ichiyō and part a collection of nine of her short stories. I decided to read the stories first and then go back to the biography. To my disappointment, I didn't like any of the stories, and I struggled to get through the 150 pages of stories before today. Alternatively, I'm now reading a little bit about her life and it sounds very interesting. She was a celebrity in Meiji Japan (a "shooting star," says the introduction, page vii), and her stories are distinct because of the realism in them: "one imagines a yarn as much to tell the truth as to tell a story." The realism may have been my problem. I prefer happy endings.Higuchi Ichiyō certainly was good at telling the truth! Her stories all ended in a very realistic way, but this was part of the trouble for me. A few examples: in "The Thirteenth Night", the abused wife returns to her husband. (I really disliked that ending, realistic as it may have been.) In "Troubled Waters," the drunk man's wife leaves him and the unhappy geisha commits suicide with her lover. Even in "Child's Play," probably my favorite story, it ends with the children not talking to each other: they've grown up and let annoyances and fights ruin the friendship. There was genius in this ability to capture the tragedies of life, but I personally didn't like reading so much emphasis on tragedy and the rotten side of human nature.
And then we come to the writing. To be nice, I'll say I disliked it. Especially in the first stories, I felt Ms Ichiyō forced dialog. She also spent too long describing settings and characters rather than letting them show themselves, the epitome of "tell and not show." I also disliked her lack of segues. In the longer stories, such as "Child's Play," she shifted from one set of people to the next, with the result being confusion as to how each scene relates to the previous one. I suppose rereads are in order in order to see how the entire story fits together. But, needless to say, I don't have the patience to do so. The stories were frustrating. Ichiyō definitely improved through the nine representative stories in this volume, but her writing style was still not engaging or interesting to me. I just didn't like it. I had to force myself to keep reading, story after story. And there were only nine of them!
I recently enjoyed the fictional account of Ginko Ogino, the first woman doctor in Meiji Japan, so I was excited to read of another Meiji woman, this time reading her own words! I guess I should have stuck with reading about her life, as I'm very curious to know how she was a "shooting star" in the 1890s. I may still peruse the story of her life. It may turn out to be more interesting to me than her stories were.
At any rate, this was a reminder of why I don't want review copies: it makes me feel awkward when I have to say "I didn't like this book." Although the Classics Circuit does not provide "review copies," it's kind of similar in that we're writing about a specific work we've selected. Add to that the fact that The Classics Circuit is kind of my baby, and it becomes hard to criticize a classic that I was encouraging others to read. Let it be noted that I can now better understand people who say "Classics aren't for me." I have to say, some aren't for me either!
Also on my personal Meiji-era Japanese literature list are a number of novels by Natsume Soseki: I Am a Cat (I began it this summer but stall) and Kasamakura are two I own. We'll see if the Classics Circuit encourages me to add any others!
Check out the schedule to see where else Meiji-era Japan is touring this week.
How interesting that the story of her life was a much better read than her book. I would love to read the fictional story about the Meiji-era doctor. I'm putting "Beyond the Blossoming Fields" on my reading list.
Pamela Swearingen, I have not yet read the story of her life (I may not) but it's interesting that she was a well-known celebrity. I guess there is something in the stories that I didn't get… Enjoy Beyond the Blossoming Fields!
I relate to your feeling of awkwardness around writing negative reviews for an organized tour or program. That said, it's sometimes as helpful (to those of us trying to learn about an era) to read why someone DIDN'T like something. Anyway, appreciate your thoughts here! I don't particularly gravitate toward happy endings, but forced dialogue & telling rather than showing do bother me.
Emily, I wonder if it's just me that was bothered by the forced dialogue? Maybe others don't think so. At any rate, yes, for ME, this was not an author I loved reading….
I wouldn't worry at all about giving a critical review of a book just because it is a tour piece. We pick our books and give our views about them. Some we will like, others we won't. The term "classics" covers a massive variety of authors and books and even if we write critically about some of them, we are bringing them to the attention of others who may not hae been aware of them and our critical thoughts are just as valuable as our positive thoughts. Anyway, thoroughly enjoyed your piece.
Falaise, yes, I try not to worry, I just didn't realize how awkward I'd feel! I do love most of the classics I read. Anyway, I do hope someone is intrigued by this author, despite the fact that I didn't love it!
I don't think realistic necessarily equals unhappy, and it bothers me when authors seem to think it does. That's why I loved Simon Van Booy's Love Begins in Winter so very much. He focuses on the beautiful bits of life, and it's so refreshing!
It's tough for me to read unnecessary descriptions. It's amazing how much less effective telling is than showing.
I was one of those "classics aren't for me" people until very recently. Contrary to being put off when bloggers talk about what they don't like about certain classics, I'm actually encouraged. I've definitely come across classics I didn't like. Knowing that other people–people much better versed in classics than I am!–don't like all the classics either makes me feel better!
Erin, well, in this case, the stories ended like they needed to end in order to be realistic. I think it was as it should have been. I just didn't want to be depressed!! Yes, I do think it was ineffective how she "told" but it sounds like she's been praised for her wonderful ways of creating setting, so I apparently miss something. I'm glad that you have been encouraged to read classics. I certainly have been pleased with most of what I've read!
There's nothing wrong with saying you didn't like a book! Your review was great (and honest!). We can't all love every book we read 🙂 But it doesn't really sound like I'd enjoy In the Shade of Spring Leaves either…so thanks for sharing your thoughts.
Booksploring, yes, I wonder now, though, about all the praise I read about it…. I obviously missed something.
Victoria Dixon, yes, I'm thinking maybe it is just the style to not have happy endings! It's okay, i just wasn't interested in these stories at all. Which was too bad. I hope you like them more!
mee, from what I've read of Soseki, though, it's a bit different. I AM A CAT chapter one is so funny (haven't finished the book but even that chapter is wonderful just on its own). I haven't read his others but have a few on my shelf. So don't completely give up on Meiji-era authors! I think each author is different. But yes, was disappointed in this.
Rebecca, I have actually read I am A Cat too chapter one. I quite liked it, just haven't got the inclination to continue yet. Natsume Soseki is someone I would like to read more in the future, definitely. I'm just not sure about the other authors of his era.
mee, I admit I haven't had the inclination to continue I AM A CAT too although I've begun. It becomes very philosophical…But yes, I don't know about the other author of Soseki's era. I wish I liked the one I read more!


Essential Statistics for Economics, Business and Management assumes no prior knowledge of statistics. It will also be highly relevant for the statistics component of courses in quantitative methods. The style of the book is similar to that of the highly successful Essential Mathematics for Economics and Business by Teresa Bradley and Paul Patton, with many worked examples integrated throughout.
Emphasis is placed on verbalising concepts, problems and results of statistical analysis. This will help students learn how to start a problem, complete the calculations, and report the results in a way that makes sense to a non-statistician.
Each concept is introduced with a brief but plausible explanation followed by Worked Examples. The Worked Examples will provide students with the necessary practice that they need in order to succeed at the subject.
Emphasis is also placed on learning through doing problems. Excel is used to encourage students in doing problems and to enhance understanding (with links to datasets online). Minitab printouts are also included in the text.
Skills Development Exercises with brief solutions are included within the chapters, and Progress Exercises on theory and applications are provided at the end of each chapter. Solutions to all the worked examples and progress exercises are available as an appendix.
Web-based supplementary materials will be provided for lecturers adopting the text, including additonal exercises and solutions, excel datasets and exercises, powerpoint slides with key formula, figures and tables. Students can access an online glossary and weblinks.
Buy Essential Statistics for Economics, Business and Management by Teresa Bradley from Australia's Online Independent Bookstore, Boomerang Books.


^ The average commercial electricity rate in Van Buren, IN is 7.21¢/kWh.
^ The average residential electricity rate in Van Buren, IN is 8.5¢/kWh.
^ The average industrial electricity rate in Van Buren, IN is 5.43¢/kWh.
The average commercial electricity rate in Van Buren is 7.21¢/kWh.
This average (commercial) electricity rate in Van Buren is 21.12% less than the Indiana average rate of 9.14¢/kWh.
The average (commercial) electricity rate in Van Buren is 28.54% less than the national average rate of 10.09¢/kWh. Commercial rates in the U.S. range from 6.86¢/kWh to 34.88¢/kWh.
The average residential electricity rate in Van Buren is 8.5¢/kWh.
This average (residential) electricity rate in Van Buren is 19.28% less than the Indiana average rate of 10.53¢/kWh.
The average (residential) electricity rate in Van Buren is 28.45% less than the national average rate of 11.88¢/kWh. Residential rates in the U.S. range from 8.37¢/kWh to 37.34¢/kWh.
The average industrial electricity rate in Van Buren is 5.43¢/kWh.
This average (industrial) electricity rate in Van Buren is 14.35% less than the Indiana average rate of 6.34¢/kWh.
The average (industrial) electricity rate in Van Buren is 18.59% less than the national average rate of 6.67¢/kWh. Industrial rates in the U.S. range from 4.13¢/kWh to 30.82¢/kWh.
Van Buren is a town located in Grant County in the state of Indiana, and has a population of approximately 864.
For more information about Van Buren electricity, or for additional resources regarding electricity & utilities in your state, visit the Energy Information Administration.


text:
Home Solar Energy 101
In this age of an increasingly crowded planet and an even more sharply rising demand for cheap electricity, it is clear that the use of traditional fossil fuels is rapidly ceasing to be the best bet. Not only is it in increasingly shorter supply, the exploration, extraction, transportation and usage of fossil fuels has often left a scar on the planet and imposed heavy human costs. And finally, there have long been financial, political and social costs for the dependence on fossil fuels from a relatively few suppliers.
Fortunately, the development of renewable energy has now reached the point where it is viable as a clean, sustainable and financially competitive alternative to fossil fuel based energy.
Here at Context Solar, we believe that as essential as information and insights are, context is also vital. So our aim is to always provide you with the context for the content we provide – and that includes this introduction to this section. With that said, if you need to dive right in to find a particular article, we understand. Simply click here to skip down the bottom of this page for our full contents list for this section.
Renewable Energy 101
In today's current climate, there is mounting concern that society and the planet is at a crossroads. In one direction is the continued adoption of greener policies and practices for energy production and consumption (and a host of other environmental topics). The alternative route paves the way to increased fossil fuel extraction, in many cases at alarming environmental and human cost. In addition, this path is tied to alliances and dependencies of increasingly unknown implications and futures. Beyond all this, fossil fuels are running out, even if that endgame is decades away. Meanwhile, the environmental damage and the knock-on effects on livelihoods, health and wealth are manifold.
Renewable Energy Is Now a Serious Alternative
Fortunately, renewable energy has not only come of age, it is now a serious, significant option for green conscious energy production and consumption. Not only is renewable energy providing cost-competitive utility-scale power, it is also being used by a growing number of Fortune 500 companies.
Renewable Energy Types
In addition to being dramatically greener than traditional fuel sources, renewable energy comes in several different forms, making it easier to adapt to local conditions. These types include:
Solar energy – the use of photovoltaic ( PV) cells (in the form of groups of solar panels) to convert sunlight into electricity (or in some cases, heat)
Wind power – converting wind into electricity via wind turbines with built-in generators
Hydropower – converting the flow of water into electricity via water turbines attached to large generators
Tidal and wave energy – harnessing the power of the oceans, in the form of tides and waves, which power water turbines connected to generators
Geothermal – capturing the immense heat under the Earth's surface to power steam-powered electricity generators
Biomass – burning natural waste, such as wood waste, sawdust and combustible agricultural waste materials in clean-burning generator plants
Biofuels – converting biomass materials into fuels such as ethanol and biodiesel
Renewable Energy is Growing Rapidly
The use of renewable energy has been growing strongly for years, and the REN21 Renewables Annual Report 2017 reported that:
The amount of renewable energy installed in 2016 was 9% greater than in 2015, bringing the global total to more than 2,016 Gigawatts (GW) (920 GW if hydropower is excluded).
As of 2015, an estimated 3% of the planet's energy consumption was provided by renewable energy sources.
Furthermore, renewable energy goes beyond being healthy for the planet. Renewable energy produces far fewer harmful side effects that can be unhealthy or even dangerous for people. Renewable energy is also great news for business, powering an ever-increasing number of new jobs, many of which tap into local skills and cannot be outsourced to competitors abroad.
Solar Energy Overview
Not All Forms Of Renewable Energy Are Created Equal
As great as renewable energy is, not all forms of renewable energy are created equal. For example, tidal and wave energy is only available in certain oceanic coastal areas.
Likewise, wind energy is only viable where there is a sufficient, consistent supply of wind. (And to call out the elephant in the room, wind energy has more than a little opposition to the spread of wind farms, whose detractors say they are a blight on the landscape.)
Hydropower likewise is a powerful solution, but is limited to available sites and does impose trade-offs in terms of its environmental impact, displacing people, flora and fauna during its installation and beyond.
To a lesser extent, the same can be said of geothermal, biomass and biofuel solutions.
And finally, most of these renewable energy sources are fundamentally utility-scale solutions, meaning they are suited primarily, if not almost exclusively, for use in electricity generating plants. This also means that the electricity they produce must be transmitted over distances to be used, which subjects it to leakage, loss and other inefficiencies.
Solar energy, however, does not suffer from these limitations. That is why of all the renewable energy solutions, solar energy shines brightest on many fronts.
Solar Energy is Available Cheaply Virtually Everywhere
Firstly, solar energy is available literally everywhere on the Earth's surface. Of course, it is more effective in hot regions that are constantly soaked in sunshine, but even 'northern' climates are making extensive and rapidly increasing use of solar energy.
Second, the price of solar energy is dropping rapidly, and has been year-on-year for decades. This thanks to a combination of continued solar power technology advances, financial and policy incentives and significant market momentum.
Solar Energy Applications Are Quickly Becoming Limitless
Third, solar energy has the widest, deepest range of applications of any form of renewable energy.
From hand-held gadgets to home, business and public buildings, to agriculture and even space exploration, it is becoming difficult to find an area of human activity where solar energy is not already being employed, or could be readily. Even the admirable qualities of wind power and the other forms of renewable energy cannot compete on such a broad scale of availability and ready application across so many spheres.
Solar Energy Growth is Now 'A Thing' (In a Big Way)
Turning again to the REN21 Renewables Annual Report 2017, solar energy accounted for 47% of the renewable power capacity installed in 2016, compared to 34% for wind power and 15.5% for hydropower. This growth is also reflected in the rapid growth in solar-related jobs, which are seeing the fastest growth and greatest total number of new jobs in the United States as a whole. In other words, solar energy is booming and will continue to grow, as the demand keeps increasing and there is so much untapped opportunity to increase its usage worldwide.
Now that you have a feel for the overall content in this part of Context Solar, here is our current list of articles in this section:
Did you find this page useful and engaging to read? Then register now to receive our new posts as soon as we publish them. And as our special thanks, we will automatically enter you in our prize raffle of a Simon solar power system.
While you're here, we'd also like to invite you to join us and fellow like-minded advocates for clean energy on our social media channels: Facebook, Google+ and Twitter. We Value Your Privacy As If It Were Our Own!
Renewable Energy Bulb: Sergey Nivens | Shutterstock.com
Solar Energy Overview: Rawpixel.com | Shutterstock.com
Solar Energy 101: Alberto Masnovo | Shutterstock.com


Progress talked about his unique artist marketing strategy, and how being multidisciplinary avoids artist's block. We also discussed the lack of innovation in mainstream Toronto hip-hop music. Below is a transcription, play the podcast to hear more!
Chedo: You've said that you never put out a project if it doesn't have a whole planet our society attached to it. What do you mean by that?
Matthew Progress: It means 360 degrees of communication. As a creative, I think that music is a vehicle, film is a vehicle, fashion is a vehicle, culinary arts are a vehicle. I'm concerned with the content in the vehicle, and I think that it's most powerful when that vehicle can change regularly or frequently. When I have a piece of content, I'm looking at how it can translate to all of those different vehicles.
Chedo: Through that vehicle, are you trying to inspire action?
Progress: There's not a specific part that I'm trying to inspire. What I'm trying to inspire is for people to think differently, shift paradigms, and shift frequency. What action comes out of that, will be up to the individual. I really am concerned with the chains of monotony and the hamster wheel breaking off of people's heads. How can we create content that inspires that to happen? Do something enlightened and innovative that inspires the same breaking of chains in other people.
Progress: I don't know if the record-buying market has picked the [Toronto] sound, I think that the machine has picked that sound. I think that some of the most significant international media platforms have picked that sound as the prevailing sound in Toronto. I'm a big a fan of a lot of artists that use that sound. But there's much more going on in the city… The idea for that article was primarily a call for innovation, in the urban music space. Also just to comment on the fact there's quite a monotony that we see in terms of what Toronto acts from the "urban scene" are getting a major push and visibility. There is an issue there of the diversity of subject matter, and the diversity of the bodies in the social location of the people that are making the music. There's major lack of diversity there, that's problematic.
Progress: Male dominated, conceptually it's the same concept. Me against the world. Money pursuit, I get the girls, etc. Which can be beautiful music, I'm a fan. I love trap, love it, love it, love it. So it's not anger towards those artists, and not saying that this music isn't hot because it is. It's just people deserve a palate of music. People deserve an option of things to choose from.


We have been working on many exciting projects in 4th grade! We are reading By the Great Horn Spoon! and learning all about the Gold Rush and Westward Expansion. Science experiments are being conducted weekly and we are learning so much about energy. Spring has been full of great learning in 4th grade!


text:
Q: how to animate selected portion of image I have implemented game application in which i have select some portion of image.Now i want to animate selected portion of image on shake effect?Is it possible?if possible then how to implement give me some idea about that?

A: Try placing an image view overtop of that portion, capturing the image under it, and animating that? A starting point:
    CGRect contextRect  = CGRectMake(50, 50, 200, 200);// whatever you need
    UIGraphicsBeginImageContext(contextRect.size);

    [self.view.layer renderInContext:UIGraphicsGetCurrentContext()];
    UIImage *viewImage = UIGraphicsGetImageFromCurrentImageContext();
    UIGraphicsEndImageContext();

from http://www.iphonedevsdk.com/forum/iphone-sdk-development/2353-possible-make-screenshot-programmatically-2.html

redpajama_set_name: RedPajamaStackExchange


The BBA in General Business is designed to give students a broad range of course options in business rather than a narrow focus on a single discipline. Graduates may find careers in large and small businesses, in government agencies, and in the not-for-profit sector. The major is designed for students interested in starting or acquiring a small business or entering a family business upon graduation.