This is a love letter, the first I have ever actually finished.
I am sharing it with the world, because it is something I will never, ever be ashamed of.
You came into my life when I most needed someone like you in it.
Life, as it always is, had been particularly cruel and I was running away and hiding like a wounded animal.
When I saw you on the fateful evening, I knew that maybe you will be someone to heal me.
You are like an angel rising from the ashes of my razed hopes. You are everything I have ever really wanted – someone true and brave, someone strong and unselfish and so beautiful of soul that sometimes I think I don't deserve to be next to you.
We have weathered so many storms and grown up so much since the beginning.
I love you. No matter what happens.
Last January, after many years of waiting, I was finally able to purchase a domain name that I so wanted for such a long time, Pikachu.nu. I launched the website late last month but I wanted to dedicate a blog entry, and a piece of my heart, to the dog whose name it bears.
Pikachu, who was shamelessly named after my favorite perky, literally electrifying Pokemon, was my pet, my baby. She was a beautiful Japanese Spitz, all white and furry and fluffy. I last saw her on 14 May 2015. She passed away later that year.
The above photos were taken back in 2007, give or take few months before I left for Oman. I found all these files from the memory card of my long-retired Nokia 6600. Apologies for the not-so-high quality of the images!
Pikachu was not a pure Japanese Spitz. Her mother, Choco, was, but her father was apparently a strapping poodle. Thus, you can see that Pikachu had inherited her sire's big eyes and floppy ears.
Taken October 2006, this is one of my best photos of Pika!
She first came into my life in May 2003. She was so tiny when she first arrived at our home, being only a few months old back then. She didn't know how to eat from her pet bowl, but would guzzle milk like there's no tomorrow.
Pikachu grew fast and shed and grew back her thick white fur even more quickly. She liked to eat my favorite food as well – chicken liver, baked ziti with mixed tomato and white sauce, roasted and butter-fried chicken, among many others.
When I last saw her, she was already pretty frail from old age. Her right eye had gone blind and there was a lump in her belly.
What else is left to say, but, "Pikachu, I choose you!" in true Pokemon fashion, because I always will.
I have been playing Candy Crush Saga created by King Entertainment for the past couple of years now. Initially, I used the Android app on my Samsung tablet, then synced it up on FaceBook and eventually my Galaxy mini smartphone.
In a nutshell, Candy Crush Saga is a video game, specifically a match-three puzzle similar to the classic Bejeweled. It was released in April 2012 online and November that same year for mobile. Each level has a minimum score and/or task required in order to proceed to the next one.
True to its name, the game's pieces are candies in various colors, such as red jelly beans and yellow lemon drops. The other elements are also candy-themed, with chocolate, toffee and meringue among the obstacles, and with striped, wrapped and bomb-style candies among the power-ups. The main character is a little girl named Toffette, nicknamed Tiffi, who goes around Candy Kingdom helping its residents solve various problems, around which the gameplay unfolds.
1. Real friends will get you out of a tight spot. They will give you spare chances, another try at the game, and they will help you move forward. To be a good friend, you must also help others out. Friendship is a two-way street, baby!
2. We have limited chances to reach our goals: limited moves, limited time, limited resources. We must look into our own selves for the solutions to our obstacles, not rely on nebulous power-ups and/or luck.
3. We sometimes have to step back, gather energy and strategy, and wait before we give difficult challenges another shot.
4. Every move has a consequence. You choose one way, and the other options might be lost afterward. Choosing right and thinking ahead are essential.
5. There are just some candies and jellies that are too sticky to eliminate. Bad habits die hard. Hammer them away (with a lollipop) – act now and don't wait for the right combination or any bloody future date!
6. The quest never becomes easy. You just get tougher and smarter.
7. Keep your eye on the objective. Always make your moves toward your goal. All effort will be inconsequential if nothing happens when your time is up.
8. Finally, it won't be so good if not for the challenging nature of the game. Life won't be beautiful without its challenges, too.


I know what you're thinking. The moment you read durian jasmine tea, your eyebrows probably scrunched up in confusion and even disgust. Trust me, I did too. But what if I told you, it's actually so good that I took not one gulp but finished the whole drink?
Since 27 May 2018, Hi Tea has been serving up seasonal D24 Premium Durian Jasmine Tea at Far East Plaza, and will also offer this special drink at their second outlet opening soon at Northpoint City.
We've had our fair share of durian pizza, durian bingsu and even durian steamboat. But Hi Tea has managed to find the balance between the rich and creamy fruit, and the gentle and floral jasmine tea, giving birth to this bizarre concoction — making it easier for us to now, drink durian.
Run by local founders, the brand strives to spread their love and knowledge about traditional Chinese tea, especially amongst us millennials who tend to stick to milk tea with pearls. But what we all know, despite the differences in age, gender or background, is durian.
Like all of their drinks on the menu, the D24 Premium Durian Jasmine Tea ($6.80) is cold-brewed which makes it possible to retain the tea flavours but reduce the harsh bitterness. The durian flesh and cold-brewed jasmine tea are blended together then layered with their secret recipe of a rich and fragrant durian cream.
In order to fully enjoy the drink, you should drink directly from the cup first for the fluffy sweetness of the cream, and then savour the jasmine tea blended with durian through a straw for an aromatic aftertaste.
At first, I thought it'd be too heavy to be a drink, but it was surprisingly refreshing, smooth and well-blended with the jasmine tea which helped to soften the intense flavour of the fruit.
It was so refreshing that I found myself reaching for more sips; and coming from neither a durian lover nor hater, that's something.
If you're not up for their durian tea challenge just yet, there is a wide range of other refreshing fruit teas.
From chunks of pineapple to watermelon, lemon, lime, strawberry and passion fruit, the Mix Fruit King ($5.80) was zesty with a mild, bittersweet oolong taste. It is advised to wait for a few minutes before drinking this, to let the cut fruits soak in the tea which can later be eaten with an attached fork.
You can also try their best-seller Watermelon Snow ($4.80) blended with freshly-cut watermelon and jasmine tea, and the recently launched Avocado Snow ($6.80).
Tea traditionalists may opt for Hi Tea's Cloud Teas instead, with their house-brewed Oolong, Jasmine, Pu'er and Red tea topped with "clouds" of fresh cream and milk.
I tried the Lychee Red ($3.80) and Rose PuEr ($3.80), which were fragrant with a soft bitter taste which cleansed my palate. You may also request to add the "cloud" to the cold brew fruit teas like the Watermelon Snow, Rockmelon Ice and Strawberry Snow, for a great pairing.
But hey, before the durian season is over, I'd say you should just take up the durian jasmine tea challenge for a pleasant surprise. You'll thank me later.


text:
The Spencer Art Reference Library (SARL) is a library housed in the Bloch Building of the Nelson-Atkins Museum of Art in Kansas City, Missouri in the United States. Its collection of over 260,000 visual arts related resources support the work of the museum.

Architecture
Plans for a library were included in the original design for the Nelson-Atkins Museum of Art, however, the Kenneth and Helen Spencer Art Reference Library did not officially open until 1962. The library's growing collection necessitated an expansion in 1977 which was led by Helen Spencer. The library was again expanded in June 2007 as part of the Bloch Building expansion led by architect Steven Holl.

Collection
The library's collection currently holds 264,000 volumes covering the history of art and other topics to support the museum's art collections. In addition to books, the library provides access to arts journals, auction price indexes, online art research resources. Access to these collections is provided via the library's online catalog.

Services
The library operates as reference library to members of the public, as well as a service to museum staff. It provides reference assistance in person, by email and phone. For teachers and college faculty members, the library supports personal learning/research goals in the visual arts. The library also hosts educational events including
Browse, Doodle, Chat & Create: Hosted in partnership with Third Thursday, participants use the resources in the library for their personal creative explorations.
Explore the Hidden Life of your Objects: Participants use the materials available in the library to explore their own personal artifacts through photos of the objects they bring in.
Natural Inspirations: KC's Artists Inspired by Nature: A discussion with a panel of local Kansas City artists who are featured in the Artist File Initiative.  Each one of their creative processes is inspired by nature.

The Archives
The library hosts the Nelson-Atkins Museum of Art archives which include correspondence, memoranda, and other records relating to the building, staffing and development of the collections of the museum, the Nelson Gallery Foundation and related organizations. Among these major record groups and collections are the William Rockhill Nelson Trust Records, the Paul Gardner Papers, the Director's Office Records, the Laurence Sickman Papers and the Friends of Art Records. Various administrative and curatorial records are held in the archives as well, which include documentation of the Museum's acquisitions, exhibitions, and educational programs.

Artists' File Initiative
The Artist File Initiative was established in 2015 by Marilyn Carbonell, the Head of Library Services. Carbonell works with Kansas City artists documenting the careers of the creative community to preserve their legacy. The files are cataloged in the library.

References

Education in Kansas City, Missouri
Libraries in Missouri
Culture of Kansas City, Missouri
Tourist attractions in Kansas City, Missouri
Research libraries in the United States

redpajama_set_name: RedPajamaWikipedia


text:
Why Fundraising Matters
We are about to launch Mozilla's largest and most ambitious fundraising campaign. Ever.
The success of the Mozilla project is the direct result of one thing: contribution. We are a global movement of people who give their time and resources to build, shape, and teach people about the Web we need. Contribution empowers us to compete — and win — against closed systems, deep pockets, and misguided regulation.
Mozillians care about the Web. We understand its power and its potential. We believe that an open Web is the foundation for civic, cultural, and economic engagement.
But we also recognize that the Web is under threat. That what we call the 'world's largest public resource' is susceptible to walled gardens, privacy violations, and centralized control. And that if we are going to win, if open is going to beat closed, we will need all the contributions of time, expertise, and money we can get.
This year, Mozilla will have a total operating budget of around $311M. That's a huge amount of money by any measure, except the one we face: the combined strength of our competitors. Last year, Google spent more on advertising than we spent on everything.
There are two ways to look at this. The first is to be discouraged at the scale of the challenge.
But the second is to marvel at what we've achieved so far. To realize that a small community has built something amazing that not only competes, but wins against big odds. And to get excited about what that group of people can do next.
We are hard at work pursuing that dream. We are are teaching thousands more people how to help build the web, launching strong products into the mobile space, and working to get better at fundraising. To make donating a meaningful way to contribute to the mission.
Our community has an enormous, nearly untapped capacity to raise money for the Web. And what's more, the dedication of our contributors and the reach of our products positions us to raise amounts that can truly drive our growth.
Health charities raise tens of millions from donor bases a tenth our size. At the high end, universities and international aid organizations raise hundreds of millions each year. While a program this scale is a long way away, it's possible in the short term to see us match Wikimedia, which raised more than $30M last year.
Starting in November, we'll be using e-mail and social media to tell our shared story, engage new contributors, and grow the pool of resources we all need to achieve our vision of an open web. Watch for it, share the message, and help us hit our goals. #lovetheweb
Categories: Fundraising

redpajama_set_name: RedPajamaCommonCrawl


text:
LINE 01 - THE TIMELESS
THE TENNIS STRIPE
THE IVORY TAILOR
March 08, 2019 · By Morgane Allietta· well-being , self-confidence , sport , talk
Relive the backstage of Talk Admise # 2 with Julie Pujols-Benoit
On Wednesday, February 6, a small handful of privileged people stood in Talk Admise # 2 at the Admise boutique on rue de la Folie Méricourt.
After the success of Talk # 1 in the presence of Alice Darfeuille, journalist at BFM TV, the Talk Admise continues, with journalist and sports coach Julie Pujols-Benoit. The goal of these intimate events: to give you the keys to have confidence in yourself and to combine your private and professional lives with as much ease and style as possible, as in Admise!
On the program of this new talk: health, sport and well-being advice, and a warm and spontaneous atmosphere between the many customers who came to attend the event. Among these curious and ambitious women, there are lawyers, researchers in biology, an airline pilot, a ceramic designer, an urban planner, an actress… So many diverse and fascinating profiles to punctuate the spontaneous exchanges with Julie.
For nearly an hour and a half, Julie shared with them her precious advice with kindness and good humor before taking part in an aperitif dinner. Health!
Meeting with Julie Pujols-Benoit
Julie is first and foremost an outstanding career and a journey that is out of the ordinary. A journalist by training, passionate about music, the crisis of cultural magazines is pushing her to retrain and pass her license to become a sports coach.
She trained in Pilates, a method invented in the United States in the 20s which combines muscle strengthening and breathing "at a time when it was not yet glamorous". Later, she developed her own discipline, called "booty pilates", a method that combines dance, Pilate and playful sequences to help strengthen the muscles of the glutes and legs. Today, she practices her two professions in parallel, since she contributes regularly to the health and well-being sections of Elle and Paris Match magazines in addition to her coaching activity.
His advice for a better life
Without language, with a disconcerting naturalness, Julie distributed her advice, tips and well-being tips to an assembly eager to benefit from her expertise. With each time a lot of common sense, and a watchword: pleasure !!!
For sport, first of all, you have to know how to vary them, the pleasures. If regular physical activity is important, at least twice a week, it is best to combine different practices: pilates and cardio, cardio and yoga, running, etc. Julie nevertheless warns of the permanent injunction to do sport which exists in our society, reminding us of the importance of doing things at their own pace and according to their wishes. "Sometimes, going for a drink with a girlfriend can be more effective than a workout, you have to know how to listen to yourself! "
Same credo for food: follow basic rules, of course, such as eating a balanced diet, not snacking, not consuming prepared meals, eating light in the evening, but always keeping the notion of pleasure to avoid frustration. Julie confesses to being a "nutella addict" herself! "There are too many prohibitions today, we can eat anything but in moderation".
Last subject that Julie tackles with the same conviction and which resonates particularly in the room: that of the image of oneself in the age of social networks. How not to compare and submit to the dictates of ultra-thinness when influencers, models and other sports coaches send us the image of a perfect body throughout Instagram feed? Here again, Julie invites you to be vigilant: "you have to manage to put a little distance and put things into perspective, the images you see on Instagram are fabricated, retouched, exaggerated, it's not real life. It is important to educate young people on this ".
Of course, that evening, the Admitted women left with a little more than one trick in their tailor's pocket, all re-boosted as they were by Julie's wise advice.
Previous publication Back to blog Next post
We welcome you from Tuesday to Saturday from 12:30 p.m. to 19:30 p.m. at the boutique at 43 rue de la Folie-Méricourt, Paris 11th
Practical links
Copyright © 2021 Admitted.
Be the best version of Yourself


2016 Met Gala Red Carpet Photos: Taylor Swift, Beyonce, Kanye & More!
Red Carpet Arrivals for the "Manus x Machina: Fashion In An Age Of Technology" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 2, 2016 in New York City.
After-Party Arrivals for the "Manus x Machina: Fashion In An Age Of Technology" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 2, 2016 in New York City.


Going to the edge of your budget: mortgage agents are often going to give you much more money than you should reasonably spend on a your first home. A mortgage agent is going to give you the maximum amount that you qualify for without counting for some of your basic monthly expenses. It's important to stay realistic and to keep the total cost of your home and no more than 32% of your total monthly income. Stretching yourself too far can make the process of living in your home very difficult.
Looking at the bare minimum: having a first home that's extremely reasonable can be one thing but if you have no room to actually grow for your family or for your storage concerns, you could be severely limiting yourself in the home you buy. By purchasing a home that's too small or too under budget you may only find yourself in a first home for a few years or end up with an investment in east London real estate that doesn't make you much money in the end.
Forgetting about hidden costs: there are a number of hidden costs associated with the final sale of a home. We advise many of our East London real estate purchasers to allot between 2 to 4% of the final sale price of the home available for closing costs on the home. These can range from lawyers' fees, service hookups, commissions, transfer taxes and more.
Foreclosed properties is good place to start for first time home buyers. Keep some of these mistakes in mind and remember that Proper Local is a company that's here to guide you through your first real estate purchase.


text:
Philippines Requests ICC to Halt Drug War Investigation
ASEAN Beat | Politics | Southeast Asia
Manila has repeated its claim that The Hague-based court has no jurisdiction over anti-drug killings committed under President Rodrigo Duterte.
By Sebastian Strangio for The Diplomat
Credit: Depositphotos
Late last week, the Philippines' government officially requested the International Criminal Court (ICC) to not resume its investigation into the violent anti-drug war launched by former President Rodrigo Duterte.
On September 8, the office of Solicitor General Menardo Guevarra said in a statement that it had transmitted the country's official reply to the "alleged crimes against humanity" via the Philippine embassy to the Netherlands, as the Daily Tribune reported.
The statement from Guevarra's office made a number of points. The first is that the ICC "has no jurisdiction over the situation in the Philippines." The second is that "the alleged murder incidents that happened during the relevant period do not constitute 'crimes against humanity,' considering that said incidents do not qualify as an 'attack' against the civilian population."
The third argument it made is that the complaints filed before the ICC "are already being investigated and prosecuted by the proper agencies" and that under the tribunal's "complementarity principle," in which the court only acts in cases where a nation is unwilling or unable to do so itself, there are no grounds for proceeding with a case.
"The Philippine government explained to the ICC Pre-Trial Chamber the extent of the drug problem in the Philippines and the process of investigating and prosecuting drug-related offenses under the Philippine legal and judicial system," the statement added.
Duterte's deadly "war on drugs," which was modeled on the ruthless approach to illegal narcotics that he took as mayor of Davao City in the southern Philippines, began at almost the moment that Duterte was sworn into office in mid-2016. By the end of his six-year term, it had claimed unknown thousands of lives; some human rights groups put the death toll as high as 12,000.
In September of last year, judges at the ICC authorized an investigation into the Philippines', describing it as a "widespread and systematic attack against the civilian population." While Duterte responded to the possibility of an ICC investigation by withdrawing the Philippines from the Rome Statute, the treaty that governs the ICC, in 2019, court prosecutors claim that they have jurisdiction over crimes committed prior to that point.
In late 2020, former ICC chief prosecutor Fatou Bensouda announced that a preliminary probe had found "a reasonable basis to believe that the crime against humanity of murder has been committed on the territory of the Philippines" between July 1, 2016, when Duterte came to office, and the country's withdrawal from the Rome Statute on March 16, 2019. In its announcement last September, the ICC also included in the scope of the investigation killings committed on Duterte's watch in the area of Davao City prior to his taking national office in 2016.
Shortly before Marcos succeeded Duterte following his landslide election victory in May, the new ICC chief prosecutor Karim Khan requested the resumption of the court's investigation into the anti-drug campaign. This had been paused since a deferral request from Manila the previous November, to allow it to make progress in its own investigations into cases of extrajudicial killings attributed to the police during anti-drug operations.
Of course, human rights groups claim that these investigations are threadbare and insufficient. The U.S.-based advocacy group Human Rights Watch said last week that it had "found no compelling evidence that the government was seriously investigating these cases, let alone prosecuting those responsible," adding that"the killings are continuing and impunity for police officers and others implicated in these abuses by all accounts remains intact."
At the start of August, barely a month after succeeding Duterte, Marcos said that the Philippines had "no intention" of rejoining the ICC or cooperating with an investigation. This latest announcement merely reinforces Manila's message that prosecutors can expect no cooperation if they choose to proceed with its investigation. Even if they gather enough evidence to issue indictments, they will then face the challenge of securing the defendants, something that for nationalist reasons it is hard to imagine any Philippine government being willing to do – even if it is controlled by Duterte's opponents.
Staff Author
Sebastian Strangio
Sebastian Strangio is Southeast Asia editor at The Diplomat.
Duterte and the International Criminal Court
International Criminal Court (ICC)
Philippines drug war
Philippines Refuses to Cooperate With 'Unacceptable' ICC Drug War Investigation
By Sebastian Strangio
Last week, the International Criminal Court ordered the restarting of its investigation into former President Rodrigo Duterte's violent "war on drugs."
Philippines Will Not Rejoin International Criminal Court, Marcos Says
The announcement came after the Hague-based ICC sought to restart its investigation into former President Rodrigo Duterte's "war on drugs."
Duterte Says He Will 'Never Apologize' for Drug War Deaths
The Philippine leader's war on narcotics is perhaps the only policy that he has carried through consistently since his election in 2016.
Philippine President Duterte Unabashedly Threatens to Kill Drug Dealers
By Jim Gomez
Duterte devoted most of a rambling, nearly three-hour televised speech to non-pandemic topics he has addressed repeatedly in the past.


Error Message says "Delete part 1 did not regenerate properly: Select parts to delete"
Why can I not delete the default geometries selected, even though there are "x" marks indicating that I can.
The error message indicates that you have not selected anything? You can only delete Parts (solids), surfaces and curves (in the parts list, bottom left).


text:
Q: Nginx v1.14.2 -- too many redirects In my limited experience with Nginx, I get too many redirects when I deploy many WEB projects on the one domain.
I want to use one 'location' to match multiple items.
File path: /mnt/vue/web and /mnt/vue/admin and /mnt/page/web
When I visit https://${domain}/page/single, it is wrong. It redirects to https://${domain}/page/single/index.html/index.html/index.html/...
When I visit https://${domain}/vue/web, it is ok.
I've tried multiple variations of this, but none of them seem to work. Any ideas? Thanks in advance.
Here is my Nginx conf:
server {
    listen       443 http2;
    server_name  ${domain};

    ssl on;
    ssl_certificate   /etc/nginx/conf.d/cert/web/web.pem;
    ssl_certificate_key  /etc/nginx/conf.d/cert/web/web.key;
    ssl_session_timeout 5m;
    ssl_ciphers ECDHE-RSA-AES128-GCM-SHA256:ECDHE:ECDH:AES:HIGH:!NULL:!aNULL:!MD5:!ADH:!RC4;
    ssl_protocols TLSv1 TLSv1.1 TLSv1.2;
    ssl_prefer_server_ciphers on;

    # wechat verify
    root /mnt/wechat;

    # for vue h5-wechat
    location ~ /(.*)/web {
        root /mnt;
        try_files $uri $uri/ /$1/web/index.html =404;
    }

    # for vue admin-web
    location ~ /(.*)/admin {
        root /mnt;
        try_files $uri $uri/ /$1/admin/index.html =404;
    }

    # for api
    location ~ /(.*)/api/(.*)$ {
        proxy_pass http://172.16.184.254:$1;
        rewrite /(.*)/api/(.*)$ /$2 break;
    }

    # for single pages  !!!!!  Where the problem occurred.
    location ~ /(.*)/single/ {
        alias /mnt/$1/web/;
        index index.html;
    }

    # for cache
    location ~ /(css|img|js|fonts|image)/ {
        add_header Cache-Control "public, max-age=300";
    }

    location /files {
        rewrite /files/(.*)$ /$1 break;
        proxy_pass https://172.16.92.152;
    }

}
server {
   listen 80;
   server_name ${domain};
   return 301 https://$server_name$request_uri;
   #rewrite ^(.*)$  https://$host$1 permanent;
}

A: Using alias within a regular expression location block, you need to capture the entire URI. See this document for details.
For example:
location ~ ^/(.*)/single/(.*)$ {
    alias /mnt/$1/web/$2;
    index index.html;
}

redpajama_set_name: RedPajamaStackExchange


text:
Watch Henry Poole Is Here
"Changing his attitude will take a miracle."
Henry Poole is Here is a drama. This movie follows Henry Poole who is suffering from a terminal illness. He buys a home in Los Angeles and spends his days drinking whiskey and eating pizza. His neighbor named Esperanza is very religious and see the face of Jesus Christ in a stain inside his home. She even brings a local priest in to bless the home. Henry starts to come around and becomes friends with Dawn and her young daughter.
After seeing the stain the young girls starts becoming social again. A near blind friends comes and see the stain of Jesus. After that she can see perfectly again. Henry does not believe in this stain and smashes it. This weakens his home and the entire house crashes down around him. Henry is taking to the hospital where he is greeted by all of his neighbors. Henry finds out more information about his health condition and that is it slowly getting better. At this point Henry starts to believe that good things can happen.
The movie stars Luke Wilson, Adriana Barraza, and George Lopez.
Henry Poole Is Here is an Comedy, Drama movie that was released in 2008 and has a run time of 1 hr 40 min. It has received mostly poor reviews from critics and viewers, who have given it an IMDb score of 6.4 and a MetaScore of 44.
Where do I stream Henry Poole Is Here online? Henry Poole Is Here is available to watch free on Tubi TV and stream, download, buy on demand at Amazon Prime, Amazon, Vudu, Google Play, iTunes, YouTube VOD online. Some platforms allow you to rent Henry Poole Is Here for a limited time or purchase the movie and download it to your device.
| 2008 | 1 hr 40 min | 6.4/10 | 44/100
Luke Wilson, Radha Mitchell, Adriana Barraza, George Lopez
Mark Pellington
Gary Gilbert, Tom Lassally, Tom Rosenberg, Gary Lucchesi, Richard S. Wright
Watch All of
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With Mother's Day just around the corner, we thought we'd give you a quick and easy guide on how to make your Mama;s day spectacular.
The time has finally come! Our Valentine's Day line has been released!
Valentine's Day is fast approaching! As one of the busiest days of the year for any flower shop, we thought we'd plan ahead and give you a survival guide on how to make it through V-Day unscathed.


text:
HomeEnglish Ancestors of Charles Ballard, Sr of Somerset County, Maryland.William Ballard of Southwell, Nottinghamshire (c.1540-1605).
William Ballard, the son of Phillip Ballard and Joane Fitzwilliams, was baptized c. 1540. William Ballard held property at Southwell, Nottinghamshire, England, in 1576, as evidenced by the court case of Ballard v. Weste. (Court of Chancery: Six Clerks Office: Pleadings, Series II, Elizabeth I to Interregnum).
Bill of Complaint of William Ballard, 1576, of Southwell, Notts, gentleman. Thomas West of Upton, Notts, yeoman, was seized of one messuage house in Southwell. About a year ago he sold it to Ballard, his heirs and assigns along with all the evidences, deeds and writings concerning the property. But some of these writings are held by Robert West of Southwell. Ballard has asked West for these but he has refused. Asks that a subpoena be issued to order West to appear before the court.
Circa 1587 he held property at Nottingham, Nottinghamshire, England, as proven by the Court of Chancery case at C3/305/14, William "by several deeds, purchased, at several times, various messuages and tenements in the Town of Nottingham and in the County of Nottingham from Edward Samon Esq."
He was involved in another Chancery suit in 1619 regarding property at Nottingham, Nottinghamshire, England, in 1587 as evidenced by the Chancery suit in 1619 of Claye v Ballard. "William Ballard of Southwell, Nottinghamshire, gentleman v. George Crawe alias Fenwick Spoiling of peas belonging to plaintiff by lading together with rotten beans. Nottinghamshire, Yorkshire. Two bills, commission, answer." Short title: Ballard v. Crowe alias Fenwick. C 2/Eliz/B8/40 in 1589.
He William Ballard of Southwell, Notttinghamshire, gentleman v. Richard Banes, clerk. Refusal to pay £20 expended by plaintiff to procure a benefice for defendant. Lincolnshire, Nottinghamshire. Bill only. Short title: Ballard v Baynes. C 2/Eliz/B7/8 in 1590.
He was mentioned in the litigation of William Ballard on 11 June 1602, and was refered to in the case of Forrest v. Ballard. [Note: document has lower part torn off and missing] (Notts John Forrest of Haughton v. William Ballard, C3/270/2, Court of Chancery: Six Clerks Office: Pleadings, Series II, Elizabeth I to Interregnum, The National Archive).
Bill of Complaint of John Forrest of Haughton, Notts.
About four years ago he needed to borrow 300 or 400 pounds. He was acquainted with William Ballard the elder of the County of Nottingham, gentleman, and knowing him to be a man well monied and willing to lend money at interest. He asked Ballard for a loan of 400 pounds who, at first, seemed unwilling to lend it, but 'yet in kindness and goodwill, as he then pretended', he agreed to lend the plaintiff as much money as he requested in return for the security of a lease on the Manor of Haughton, which the plaintiff had purchased from Mr Doctor Tyndall, one of the prebends of the Collegiate Church of Southwell; the title of the Manor being in the gift of the Abbey and was sold to William Nevill Esq. by Edward VI by virtue of the Statute of Dissolutions in 1547, as well as a mortgage of certain lands lying in the Manor called the Vicar's lands. Loan from William Ballard was at the rate of 10 pounds per hundred on the profit of two meadow closes called the Swamp Closes for the term of one year, which closes are usually let for 10 pounds.
By deed of 1 January 40 Elizabeth [1597/8], the plaintiff mortgaged the lands known as the Vicar's Lands and the lease of the Manor of Haughton. But not to William Ballard himself but to his son, William. But he only received 200 pounds. He was further prompted by William senior that he would lend more money, if needed, on the same security. Soon afterwards, the plaintiff asked for a further 100 pounds which Ballard agreed to lend but he was 'too greedy and covetous', that he forgot his previous promise and would have the plaintiff acknowledge a Statute Marchaunte or else the plaintiff would not have any further money, but such was the need of the plaintiff, and having no other lands to act as assurance, was enforced to agree to Ballard's demands and to acknowledge a statute before the Mayor of Nottingham. He received the 100 pounds.
The plaintiff was unable to repay the total debt of 300 pounds when it became due because he could not sell the premises because he had been 'ensnared and entangled' by William Ballard Senior. The statute became forfeited and Ballard Junior tried to extend the statute, which the plaintiff endeavoured to avoid and they came to an agreement whereby the Junior Ballard would lend the plaintiff 100 more, and have three years for its redemption. At the end of 3 years, as before, the plaintiff would pay 500 in one payment. If the plaintiff failed to pay, then William Jnr would have the premises for 16 years, paying the plaintiff 50 pounds a year. In order not to weaken the former assurance [the original agreement] the new lease of 16 years was to be granted to John Marten of Denton, Lincs., yeoman.
An Indenture of Covenant was to be made between the plaintiff and Ballard Jnr in the nature of a Defeasance to frustrate and make void all former assurances and also to reconvey the premises to the plaintiff on the payment of 500 pounds in one sum. Since the plaintiff could repay anytime within 3 years, and dispossess William Jnr of the premises, thus leaving him without a house for his wife and children and grazing for his cattle, therefore it was further agreed that the plaintiff would give William Jnr six months notice of the payment and the place of payment be the Manor House of Haughton, where William then lived. It was further agreed that William would not meddle with the expelling of any of the tenants, should only have the rent payable by the tenants and wood necessary for hedging and fencing only. He was also to have the 'Boones' and services of the tenants as he pretended that he could not occupy the manor without such help. Accuses William Jnr of not drawing up the agreement correctly but the plaintiff was, by the extremity of his position, his living of 100 pounds about to be taken from him, was driven to seal the agreement. He received the 100 pounds, which should have been in two payments, in ten payments instead, which was a great hindrance to him.
William is now breaking the agreement by expelling some of the tenants and spoiling the woods with his cattle and suffered the houses to fall into ruin and decay and intends to plough up the meadow grounds because he knows that the plaintiff can only repay the debt by the sale of the whole premises or part of them. [Rest is missing].
William Ballard left a will dated 8 December 1596 at Southwell, Nottinghamshire, England, which was probated 8 October 1605 (Prerogative Court of Canterbury Wills: 68 Hayes 1605).
In the name of God Amen. The 8th day of December in the year of our Lord God one thousand five hundred ninety six.
I William Ballard of Southwell in the county of Nottingham gent being as it pleases god sicke in bodie but in his goodness and mercy of sound mind and memory for which I render most humble and hearty thanks unto him do make and ordain this my present testament containing herein my last will in manner and form following.
First I recommend my soul to Almighty God and my body to the earth from whence it came trusting through the merit and passion of our Lord and Saviour Christ Jesus and by no worldly means or help that it shall be raised again to life everlasting in the kingdom of heaven.
And for those worldly blessings which the Lord in merit hath bestowed upon me I will and give and bequeath to my son William Ballard in full satisfaction and discharge of his filial and child's part of my goods the sum of 100 pounds and
I will and bequeath and devise to my nephew William Ballard some <???>? all those my land tenements hereditaments left <????> and being within the >< fields and territories of Nottingham <????> of Nottingham amounting to <?the yearly?> value of 16 pounds or thereabouts be it more or less which land tenements and hereditaments I first purchased of Edward <Samon> esquire as by my deeds of my first purchase made of and from the said Edward it doth and may appear to have and to hold all the said land tenements and hereditaments with the appurtenances to the said William Ballard the <?son?> and his heirs forever and
I will that with the profits and issues of the said lands and premises my said nephew be brought up in good learning.
Also I bequeath to <outwit> of the younger children of my said son William Ballard 10 pounds and
I do ordain and make my son Henry Ballard the sole and lawful executor of this my testament or last will and for his pains to be taken in the execution of the same I give and bequeath unto him all the residue of my goods and chattels <???> <???> and <???> legacies paid up and discharged and I remit and forgive to Henry Robertson of <Oxf??> in the county of Nottingham all <???????> <?????> all I have here put my hand and seal these being witnessed John Martiall, Edmund Robert farmer, William Ballard.
Probate granted London, to Henry Ballard son of the deceased 8 October 1605
William Ballard was buried on 14 September 1605 at Saxilby, Lincolnshire, England.
The name of his wife is not known. The children of William Ballard were:
HENERY, born 4 March 1564.
WILLIAM, born 23 March 1564, died 20 June 1616.
Anne, born 6 April 1566, died 1573. Baptismal Register of Southwell Minster.
John, born 14 December 1568, died 1569. Baptismal Register of Southwell Minster.


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An enchanting portrait of a little girl holding a tame white dove that is tethered with blue ribbon. Wearing an ankle-length white dress over frill-edged pantaloons, she has golden brown ringlets framing her face.
The portrait is drawn in pencil with touches of watercolour and is signed with the artist's initials bottom left and dated 1830. It is handsomely presented in a rosewood frame with a gilt slip. Excellent condition.
London-born Henry Bryan Ziegler studied art under watercolourist John Varley. He took up portrait painting whilst only eighteen years of age and went on to enjoy royal patronage and to exhibit from 1814.


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The Board of Directors (the "Board") of Abraxas Petroleum Corporation (the "Company") has determined that appropriate steps should be taken to reinforce and encourage the continued attention and dedication of members of the Company's management, including yourself, to their assigned duties. In order to induce you to remain in the employ of the Company, in consideration of your agreement to continue employment with the Company, and in consideration of your agreement to the termination of any existing employment or severance agreement you may have with the Company, the Company agrees that you shall receive, upon the terms and conditions set forth herein, the benefits set forth in this letter agreement ("Agreement") during the term hereof.
The Board of Directors (the "Board") of Abraxas Petroleum Corporation (the "Company") has determined that appropriate steps should be taken to reinforce and encourage the continued attention and dedication of members of the Company's management, including you, to their assigned duties. In order to induce you to remain in the employ of the Company, in consideration of your agreement to continue employment with the Company, and in consideration of your agreement to the termination of any existing employment or severance agreement you may have with the Company, the Company agrees that you shall receive, upon the terms and conditions set forth herein, the benefits set forth in this letter agreement ("Agreement") during the term hereof.
This REGISTRATION RIGHTS AGREEMENT (this "Agreement") is made and entered into as of August 9, 2017 by and between Abraxas Petroleum Corporation, a Nevada corporation (the "Company"), and Blackbeard Resources, LLC, a Delaware limited liability company ("Blackbeard"), a holder of outstanding common shares of Common Stock of the Company.
This Purchase and Sale Agreement ("Agreement") is entered into this 22nd day of May, 2017 (the "Execution Date") between Abraxas Petroleum Corporation, a Nevada corporation ("Buyer"), having an address of 18803 Meisner Drive, San Antonio, Texas 78258, and Devon Energy Production Company, L.P., an Oklahoma limited partnership ("Seller"), having an address of 333 West Sheridan Avenue, Oklahoma City, Oklahoma 73102. Buyer and Seller are collectively referred to herein as the "Parties" and each individually referred to herein as a "Party."
This Amendment No. 3 to Third Amended and Restated Credit Agreement dated as of May 16, 2017 (this "Agreement") is among Abraxas Petroleum Corporation, a Nevada corporation (the "Borrower"), the undersigned Guarantors (the "Guarantors"), the financial institutions party to the Credit Agreement described below as Lenders (the "Lenders"), and Societe Generale, as Administrative Agent for the Lenders (the "Administrative Agent") and Issuing Lender.
THIS PURCHASE AND SALE AGREEMENT (this "Agreement"), dated as of September 20, 2016, but effective as of the Effective Time, is between ABRAXAS PETROLEUM CORPORATION, a Nevada corporation ("Seller"), and FROSTWOOD ENERGY, LLC, a Delaware limited liability company ("Buyer"). Seller and Buyer may be referred to herein individually, as a "Party," and collectively, as the "Parties." Capitalized terms used in this Agreement and not otherwise defined herein are defined in Schedule 1 hereto.
INDENTURE, dated as of ______________ ________, 20_____, between ABRAXAS PETROLEUM CORPORATION, a corporation duly organized and existing under the laws of the State of Nevada (herein called the "Company"), having its principal office at 18803 Meisner Drive, San Antonio, Texas, 78258, and U.S. Bank National Association, a national banking association duly organized and existing under the laws of the United States of America, as Trustee (herein called the "Trustee"), the office of the Trustee at which at the date hereof its corporate trust business is principally administered being 5555San Felipe, Suite 1150, Houston, Texas 77056, Attention: Corporate Trust Services.
This Amendment No. 2 to Third Amended and Restated Credit Agreement dated as of April 20, 2016 (this "Agreement") is among Abraxas Petroleum Corporation, a Nevada corporation (the "Borrower"), the undersigned Guarantors (the "Guarantors"), the financial institutions party to the Credit Agreement described below as Lenders (the "Lenders"), and Societe Generale, as Administrative Agent for the Lenders (the "Administrative Agent") and Issuing Lender.
This Third Amended and Restated Credit Agreement dated as of June 11, 2014 is among ABRAXAS PETROLEUM CORPORATION, a Nevada corporation ("Borrower"), the lenders party hereto from time to time as Lenders (as defined below), and SOCIETE GENERALE, as Administrative Agent (as defined below) and as Issuing Lender (as defined below).
THIS PURCHASE AND SALE AGREEMENT (this "Agreement"), dated as of December 5, 2013 (the "Execution Date"), but effective as of the Effective Time, is between ABRAXAS PETROLEUM CORPORATION, a Nevada corporation ("Seller") and F-250, LLC, a Delaware limited liability company ("Buyer"). Seller and Buyer may be referred to herein, individually, as a "Party," and, collectively, as the "Parties."
THIS PURCHASE AND SALE AGREEMENT (this "Agreement"), dated June 14, 2013, is between ABRAXAS PETROLEUM CORPORATION, a Nevada corporation ("Seller"), with offices at 18803 Meisner Drive, San Antonio, TX 78258, and NRP OIL AND GAS LLC, a Delaware limited liability company ("Buyer"), with offices at 601 Jefferson St., Ste. 3600, Houston, Texas 77002. Seller and Buyer are sometimes referred to individually as a "Party" and together as the "Parties."
INDENTURE, dated as of ______________ ________, 20_____, between ABRAXAS PETROLEUM CORPORATION, a corporation duly organized and existing under the laws of the State of Nevada (herein called the "Company"), having its principal office at 18803 Meisner Drive, San Antonio, Texas, 78258, and U.S. Bank National Association, as Trustee (herein called the "Trustee"), the office of the Trustee at which at the date hereof its corporate trust business is principally administered being 5555 San Felipe, Suite 1150, Houston, Texas, 77056, Attention: Corporate Trust Services.
THIS AGREEMENT ("Agreement"), dated as of March 29, 2013, is made by and between Abraxas Petroleum Corporation, a Nevada corporation ("Abraxas" or the "Company"), and the entities listed on Schedule A hereto (collectively, the "Clinton Group") (each of the Company and the Clinton Group, a "Party" to this Agreement, and collectively, the "Parties").
This Amendment No. 3 to Second Amended and Restated Credit Agreement dated as of October 31, 2012 (this "Agreement") is among Abraxas Petroleum Corporation, a Nevada corporation (the "Borrower"), the undersigned Guarantors (the "Guarantors"), the financial institutions party to the Credit Agreement described below as Lenders (the "Lenders"), and Societe Generale, as Administrative Agent for the Lenders (the "Administrative Agent").
This Agreement to Dissolve Blue Eagle Energy, LLC (this "Agreement") is entered into as of the 4th day of September, 2012, by and among Blue Eagle Energy, LLC, a Delaware limited liability company ("BEE"), Abraxas Petroleum Corporation, a Nevada corporation ("Abraxas"), and Rock Oil Company, LLC, a Delaware limited liability company ("Rock Oil").
THIS LOAN AGREEMENT (this "Agreement") dated as of September 19, 2011 between Raven Drilling, LLC, a Texas limited liability company (together with its successors and assigns, "Borrower"), and RBS ASSET FINANCE, INC., a New York corporation (together with its successors and assigns, "Lender").
This Second Amended and Restated Credit Agreement dated as of June 30, 2011 is among ABRAXAS PETROLEUM CORPORATION, a Nevada corporation ("Borrower"), the lenders party hereto from time to time as Lenders (as defined below), and SOCIETE GENERALE, as Administrative Agent (as defined below) and as Issuing Lender (as defined below).
This LIMITED LIABILITY COMPANY AGREEMENT OF BLUE EAGLE ENERGY, LLC, dated as of August 18, 2010 (the "Agreement"), is entered into by and between Abraxas Petroleum Corporation, a Nevada corporation ("Abraxas"), and Blue Stone Oil & Gas, LLC, a Delaware limited liability company ("Blue Stone"), as Members of Blue Eagle Energy, LLC, a Delaware limited liability company (the "Company").
RIGHTS AGREEMENT, dated as of March 16, 2010 (the "Agreement"), between Abraxas Petroleum Corporation., a Nevada corporation (the "Company"), and American Stock Transfer & Trust Company, LLC, a New York limited liability trust company, as Rights Agent (the "Rights Agent").


text:
Strategic hypocrisy: the British imperial scripting of Tibet's geopolitical identity
Anand, D. 2009. Strategic hypocrisy: the British imperial scripting of Tibet's geopolitical identity. Journal of Asian Studies. 68 (1), pp. 227-252. doi:10.1017/S0021911809000011
Anand, D.
The protests in and around Tibet in 2008 show that Tibet's status within China remains unsettled. The West is not an outsider to the Tibet question, which is defined primarily in terms of the debate over the status of Tibet vis-à-vis China. Tibet's modern geopolitical identity has been scripted by British imperialism. The changing dynamics of British imperial interests in India affected the emergence of Tibet as a (non)modern geopolitical entity. The most significant aspect of the British imperialist policy practiced in the first half of the twentieth century was the formula of "Chinese suzerainty/Tibetan autonomy." This strategic hypocrisy, while nurturing an ambiguity in Tibet's status, culminated in the victory of a Western idea of sovereignty. It was China, not Tibet, that found the sovereignty talk most useful. The paper emphasizes the world-constructing role of contesting representations and challenges the divide between the political and the cultural, the imperial and the imaginative.
Tibet, China, British India, sovereignty, imperialism
Journal of Asian Studies
68 (1), pp. 227-252
Anand_2009_as_published.pdf
Colonization with Chinese Characteristics: Politics of (In)Security in Xinjiang and Tibet
Anand, D. 2019. Colonization with Chinese Characteristics: Politics of (In)Security in Xinjiang and Tibet. Central Asian Survey. 38 (1), pp. 129-147. doi:10.1080/02634937.2018.1534801
Remembering 1962 Sino-Indian border war: politics of memory
Anand, D. 2012. Remembering 1962 Sino-Indian border war: politics of memory. Journal of Defence Studies. 6 (4), pp. 229-248.
China and India: postcolonial informal empires in the emerging global order
Anand, D. 2012. China and India: postcolonial informal empires in the emerging global order. Rethinking Marxism: A Journal of Economics, Culture & Society. 24 (1), pp. 68-86. doi:10.1080/08935696.2012.635039
Hindu nationalism in India and the politics of fear
Anand, D. 2011. Hindu nationalism in India and the politics of fear. New York Palgrave Macmillan.
Generating Islamophobia in India
Anand, D. 2010. Generating Islamophobia in India. in: Sayyid, S. and Vakil, A. (ed.) Thinking through Islamophobia London C. Hurst.
Challenging "Tibetan exceptionalism": Exotica Tibet as an orientalist construct
Anand, D. 2010. Challenging "Tibetan exceptionalism": Exotica Tibet as an orientalist construct. in: Arslan, S. and Schwieger, P. (ed.) Tibetan Studies. An Anthology. Proceedings of the 11th Seminar of the International Association for Tibetan Studies, Königswinter 2006 Halle International Institute for Tibetan and Buddhist Studies.
Beyond Tibet
Anand, D. 2010. Beyond Tibet. in: Knott, K. and McLoughlin, S. (ed.) Diasporas: concepts, identities, intersections London Zed.
Diasporic subjectivity as an ethical position
Anand, D. 2009. Diasporic subjectivity as an ethical position. South Asian Diaspora. 1 (2), pp. 103-111. doi:10.1080/19438190903109412
Moving beyond the blame game: China-India border relations
Anand, D. 2009. Moving beyond the blame game: China-India border relations. East Asian Forum.
Tibet: a victim of geopolitics
Anand, D. 2009. Tibet: a victim of geopolitics. New Delhi Routledge.
Anand, D. 2009. Nationalism. in: Shepherd, L.J. (ed.) Gender matters in global politics: a feminist introduction to international relations London Routledge. pp. 280-291
Porno-nationalism and the male subject: an ethnography of Hindu nationalist imagination in India
Anand, D. 2008. Porno-nationalism and the male subject: an ethnography of Hindu nationalist imagination in India. in: Parpart, J.L. and Zalewski, M. (ed.) Rethinking the man question: sex, gender and violence in international relations London Zed.
Dangers of management speak: politics of crisis management and erasures of histories
Anand, D. 2008. Dangers of management speak: politics of crisis management and erasures of histories. in: Eskola, S. (ed.) Crisis management in crisis? Helsinki National Defence University. pp. 19-24
Geopolitical exotica: Tibet in Western imagination
Anand, D. 2007. Geopolitical exotica: Tibet in Western imagination . Minnesota, USA University of Minnesota Press.
Anxious sexualities: masculinity, nationalism and violence
Anand, D. 2007. Anxious sexualities: masculinity, nationalism and violence. British Journal of Politics and International Relations. 9 (2), pp. 257-269. doi:10.1111/j.1467-856X.2007.00282.x
Western colonial representations of the other: the case of Exotica Tibet
Anand, D. 2007. Western colonial representations of the other: the case of Exotica Tibet. New Political Science. 29 (1), pp. 23-42. doi:10.1080/07393140601170685
The West and the Tibetan issue
Anand, D. 2006. The West and the Tibetan issue. in: Sautman, B. and Teufel Dreyer, J. (ed.) Contemporary Tibet: politics, development, and society in a disputed region Armonk, N.Y., USA M.E. Sharpe, Inc. pp. 285-304
The violence of security: Hindu nationalism and the politics of representing 'the Muslim' as a danger
Anand, D. 2005. The violence of security: Hindu nationalism and the politics of representing 'the Muslim' as a danger. The Round Table: the commonwealth journal of international affairs. 94 (379), pp. 201-213. doi:10.1080/00358530500099076
A contemporary story of "diaspora": the Tibetan version
Anand, D. 2003. A contemporary story of "diaspora": the Tibetan version. Diaspora: a journal of transnational studies. 12 (2), pp. 211-229.
(Re)imagining nationalism: identity and representation in the Tibetan diaspora of South Asia
Anand, D. 2000. (Re)imagining nationalism: identity and representation in the Tibetan diaspora of South Asia. Contemporary South Asia. 9 (1), pp. 271-287. doi:10.1080/713658756
Permalink - https://westminsterresearch.westminster.ac.uk/item/90qyv/strategic-hypocrisy-the-british-imperial-scripting-of-tibet-s-geopolitical-identity


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You can do this with rental or investment property as well. As long as you meet the requirements above this applies to any property you own. You can not use this exclusion if the property is part of a 1031/Starker Exchange.


text:
9-2-3 Jobs: our story
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text:
THE GLEAN
Sara Stevenson
What Should an Art School be? by Murdo Macdonald
AN INTRODUCTION TO TOM NAIRN The Enchanted Nat by Mitch Miller & Johnny Rodger
Billed as 'groundbreaking', the Edinburgh City Art Centre exhibition, Glean – curated by Jenny Brownrigg – gathers the work of 14 pioneering early 20th century women photographers and filmmakers. Sara Stevenson reviews it for The Drouth, and considers it an 'impressive achievement'.
GLEAN -An exhbition at the City Art Centre, Edinburgh
Curator – Jenny Brownrigg
This splendid show is staged by the Edinburgh City Art Centre, with two other good exhibitions, of the photographs of Ron O'Donnell and Paul Duke. It is cheering to see the City continuing to engage with fine photography and filmmaking. But Glean is not specifically an art exhibition. It is concerned with photography in different aspects and with different motivations. It shows the work of 14 photographers and filmmakers, working with still images and moving film; operating from the west and northern islands down to the cities of Glasgow, Edinburgh and London; and from the beginning to mid 20th century. It offers an impressive piece of visual research, drawing on no less than seventeen archives, principally in Scotland, and ranging from Galloway in the south to Shetland in the north.
The roll call of women presents Violet Banks (1886-1985), Helen Biggar (1909-1953), Christina Broom (1862-1939), M.E.M. Donaldson (1876-1958), Dr Beatrice Garvie (1872-1959), Jenny Gilbertson (1902-1990), Isobel F Grant (1887–1983), Ruby Grierson (1904-1940), Marion Grierson (1907-1998), Isobel Wylie Hutchison (1889-1982), Johanna Kissling (1875-1961), Isabell Burton MacKenzie (1872-1958), Margaret Fay Shaw (1903-2004) and Margaret Watkins (1884-1969).
The North Rotunda from the Finnieston Crane, Margaret Watkins, Silver Gelatin Print, c.1935. Copyright: Joe Mulholland, The Hidden Lane Gallery, Glasgow
The exhibition starts with photographs by Margaret Watkins, who was unquestionably a practising artist. She was a sophisticated Canadian photographer who trained in New York with Alice Boughton and Clarence White, and was responsive to the international art movements of her time – interested in the overlap and challenge between advertising and Fine Art and the abstraction of shapes in geometry and the reality of domestic life. In the late 1920s, she moved to Europe, settling in Glasgow to look after aged aunts who were living in desolate circumstances. Her photography seemed to have slowed down at this time, but the exhibition reveals some of her Scottish work. Her dense images of Glasgow's dockside, taken about 1930, have a seductive miniature force; her aerial view of the Rotunda with the road occupied by horse-drawn delivery lorries, including one apparently drawing a boat offers another idea of the miniature with the animate detail reduced to toy size from her height on the Finnieston Crane. Watkins was much influenced by music, and used it as a photographic metaphor, in an essay about the emergence of advertising photography out of painting: 'Weird and surprising things were put upon canvas; stark mechanical objects revealed an unguessed dignity; commonplace articles showed curves and angles which could be repeated with the varying pattern of a fugue.'
The exhibition as a whole is closer to an exercise in documentary photography. The word, 'documentary', in terms of filmmaking, was coined by John Grierson. The film made by Jenny Brown, (A Crofter's Life, 1931) was shown to Grierson, who paid it tribute in a letter. It was made, he wrote: 'on the unique assumption that the dramatic unity of a crofter's life could not conceivably be the period of a six weeks' summer holiday. That is the way to make a film. You have to belong.' This critical issue of informed empathy and belonging (which chimes with the modern anxiety about the outsider's gaze) is necessary to successful documentary work. The photographer and her camera are not seen in the work but they are there in the full view and knowledge of the subject. Ruby Grierson, herself, passionately political, criticised her brother's work in stringent terms: 'you look at human beings as if they lived in a goldfish bowl. And I propose to smash the goldfish bowl right in front of your eyes'. Part of her technique for this was to ask the people she was filming to speak to the camera, without an intermediary interviewer, offering a direct and independent voice.
Housing Problems (1935), Rose Grierson was an uncredited part of the Production Team and made the direct-to-camera interviews.
The camera is one of the many inventions of the industrial age seized on and promoted by commercial interest, as 'easy' 'certain' 'cheap'. No sooner had the acute difficulties of photography been resolved – around the mid-1850s – than an enthusiastic hoard of practitioners rushed in with their own prescriptive instructions. Portrait photography was staged in studios – stand cameras and single focus, the customers fixed in place with metal clamps, with painted and papier-mache backdrops giving glamour to the paying citizen. Following this first rush, Henry Peach Robinson, pictorial photographer and author of successful manuals of advice, rejected most of the human subjects he saw: 'as regards models, I seldom find the "real thing" to quite answer my purpose. The aboriginal is seldom sufficiently intelligent to be of any use, especially if you have "intention" in your work.' He gave an example of a beautiful Welsh lass who was picking potatoes. 'Knowing how shy the Welsh peasant is, I got the gamekeeper who carried my camera to speak to her first, and I approached the subject warily by beginning an agricultural talk with her mother.' It is scarcely surprising that the girl was thoroughly unnerved. Robinson's solution to this problem was not to try for social grace, but to buy the clothes of the country girl and put them on a model.
Reality – the power of photography – was cloaked by his social incompetence.
Unfortunately, Robinson, as a voice of Art, has blocked the view of the original art of social documentary. Implausibly, in the 1840s and working with a nearly intractable process, D O Hill and Robert Adamson succeeded in inventing that art in their series, The Fishermen and Women of the Firth of Forth. It is difficult to analyse skill of this kind, but it is clear that the critical elements, in this group of more than 120 photographs involving many of the people of Newhaven, lay in the social and responsive nature of the people and in the admiration, attention and amiability of Hill and Adamson in their photographic practice.
It seems reasonable to suppose that one of the advantages shared between this early work and that of The Glean photographers and filmmakers lies in the lack of class structure among the Scots, which so handicapped the English Robinson.
Self-consciousness and need for dignity were of course part of the encounter between the photographers and their subjects. Isabell Burton Mackenzie records the response of Mrs Macdonald of North Uist dying wool, trampling it with her bare feet. She annotates the two photographs in her scrapbook: 'she looked up and "posed" with her most Sunday expression, and every muscle stiff and tense. This second photograph is after she relaxed slightly and was just hearing, "it is all over now". She was very anxious to hide her bare feet'. Burton McKenzie went north with a professional role, as the travelling organiser for the Highland Home Industries, which aimed to raise standards in the islands' knitting and weaving tweed. Another of her photographs – a long group on Bernaray in 1912, shows a similar distancing, influenced by her role as an organiser and critic. Here the islanders have taken the dignified status of Sunday dress, with fine hats to restore the social imbalance.
Untitled – self-portrait and shadows, Margaret Watkins, Photograph, c. 1935. Copyright: Joe Mulholland, The Hidden Lane Gallery, Glasgow
Dr Beatrice Garvie worked as a medical doctor in North Ronaldsay in the 1930s and 40s. Her authority was mellowed by the intensity of attention and interest required of a doctor examining a patient, and of her direct interest in the children she saw born. One of her most pleasing images, which is eccentric in its vigour and in its only partial control, is 'Sidney Scott at the pier' hurling the mooring rope to the departing boat, with the drops of water still falling into the sea.
Dr I F Grant was attempting the cultural record of life in the Highlands and Islands, with the idea of setting up a museum. She would collect the photographs by others and followed a systematic pattern of photographing, for example, building methods. Grant was highly conscious that her work was dogged by the shift in culture in the 1920s and 30s – quite literally, she would be travelling out by boat to the islands to make her record, in company with the Scottish Board of Agriculture's supplies to improve standards of housing: 'piles of window frames, sanitary equipment, etc. one began to wonder if any cottage of the traditional style would be left.'
Margaret Fay Shaw's approach to Uist was radically different. She was a musician, and there to learn the Gaelic songs at source. Her experience was informed by the music: 'their lives were so saturated with songs that they would be singing unconsciously while engaged in any kind of task, there was no end to the number of songs thy seemed to know. ' She was aware of the sounds of life: 'noise of children, primus stoves and tilly lamps; clocks ticking, rats scuffling in the walls, cats growling under the dresser'. Shaw lodged with two sisters, Màiri and Peigi MacRae, for six years, and she said they: 'taught me more than university, they were the most interesting and knowledgeable women'. So close did the relationship become, that she chose to be buried alongside them in South Uist.
Her photographs show that intimacy – the picnic of the two sisters with their young boy, in a comfortable group, cat and dog curled in the centre; Màiri MacRae standing in her doorway, holding a large cod by its gills, with three enthusiastic cats bustling up, the leader clasping the fish's tail with outstretched paws. 'Peigi Macrae Milking Dora the Cow', in a blustering wind thrusting the animal's air, and Peigi's own hair and overall. The same wind would be battering the photographer, who found it necessary to build piles of stones or even ask someone to go down on all fours to give her a stable surface for the camera.
The sense of real experience and even belonging is evident in the attention that such photographs may show. Grierson's point about the whole year is crucially important in the crofting life. The film and photographs both reveal the essential relationship between people, animals, sea and landscape, the way the crofters lived in the conditions of weather, light, cold and warmth, the way the seasons dictated the line and rhythm of life. It is a world of nature, a reality which we have overlaid with machinery and lockdown, in factories, offices, in concrete housing – offended by ice and rain, fearful of wet leaves. And while it is clearly a hard and laborious life, it offers a variety of action from planting potatoes with a foot plough in rock-strewn land, to the unloading and gutting of large quantities of wet fish, in Jenny Brown's, A Crofter's Life in Shetland (1931). Brown gives us the detail of the fishwives washing off the quantities of fish scales they would have covered themselves with during the day, and offers a pleasing secondary vision of them glittering in the light. She shows us the crofters plucking the wool from the sheep in large tufts, which they would then proceed to wash in the cold burns, dye, spin and knit. In the film, there is the small episode of a lass staggering up steps in Lerwick, carrying a bucket of water, slopping over as she mounts– a simple expression of the modern advantage in owning a household tap.
Installation view, 'Glean: Early 20th century women filmmakers and photographers in Scotland', City Art Centre, Edinburgh (2022/23). Photo: Greg McVean.
The exhibition is largely organised in themes rather than with groups of individual work, and this can be a bit confusing. It does, however, justify a few side issues – such as birds, where the picture of the crow's nest on the cliff edge, tangled undergrowth, thrift and the rolling sea below is particularly effective; as is the oystercatcher perched comfortably on Shaw's outstretched hand.
The show ends with photographs by Christina Broom, which are strikingly unlike most of the work. She was a successful London photojournalist. There are here a group of her pictures of the marching suffragettes in 1909 – strong images that respond to their organisation and determination, and the way that they constructed a pageant of Women's Trades and Professions from real groups – such as pottery workers, nurses and midwives. But we are given an unexpected counterpoint to these in a photograph from work she took as the official photographer to the elite Household Division of the army, based in London – an eminently masculine stronghold. This picture shows three men, not in uniform or on parade, but simply as cheerful and responsive individuals.
Comprehensive and exploratory exhibitions of this kind have a resemblance to large parties – you enter, maybe knowing one or two people, but needing to navigate in a personal way. You will not come away knowing everyone. The exhibition is an impressive achievement and should prompt us to further investigation in greater detail. We may visit it several times (entry is free) and be led into the complex and different alleyways these women have explored and shown us.
Jenny Brownrigg's examination of these seventeen archives is important. Very few of us spend time examining photographs within archives – it is apt to be a specialist business. Exhibitions breaking new ground in this way address thousands of people, opening eyes and doors, causing people to connect with the other pictures, and photographers and filmmakers they may know, and bring them too into the light.
Main (Title) photo: Jenny Gilbertson, (with Cuthbert Cayley), Digital Print from photograph of the original, 1938/39. Courtesy of Shetland Museum and Archives.


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Jamnyzja (; ) ist ein Dorf in der ukrainischen Oblast Iwano-Frankiwsk im Osten der historischen Landschaft Galizien mit etwa 3300 Einwohnern (2001).

Am 28. Juli 2017 wurde das Dorf im Norden des Rajon Tysmenyzja zum Zentrum der neugegründeten Landgemeinde Jamnyzja (Ямницька сільська громада/Jamnyzka silska hromada), zu dieser zählen auch noch die Dörfer Pawliwka, Silez und Tjasiw, bis dahin bildete es die 20,76 km² große gleichnamige Landratsgemeinde.

Am 12. Juni 2020 kamen noch 4 weitere in der untenstehenden Tabelle aufgelisteten Dörfer zur Landgemeinde hinzu.

Am 17. Juli 2020 wurde der Ort Teil des Rajons Iwano-Frankiwsk.

Folgende Orte sind neben dem Hauptort Jamnyzja Teil der Gemeinde:

Die Ortschaft liegt im Tal der Bystryzja am Ufer der Jamnytschanka (). Das Stadtzentrum der Oblasthauptstadt Iwano-Frankiwsk befindet sich 8 km südlich und das Rajonzentrum Tysmenyzja 20 km südöstlich von Jamnyzja.

Durch das 1444 erstmals schriftlich erwähnte Dorf verläuft die Fernstraße N 09 und die Bahnstrecke Lwiw–Tscherniwzi, an der Jamnyzja einen Bahnhof besitzt.

Weblinks

 Eintrag zum Ort in der Enzyklopädie der Geschichte der Städte und Dörfer der Ukrainischen SSR (ukrainisch)

Einzelnachweise

Ort in der Oblast Iwano-Frankiwsk
Rajon Iwano-Frankiwsk
Ersterwähnung 1444