text:
see/hear
Newport Daily News
Anchor Bend Glassworks, 16 Franklin St., Newport. (401) 849-0698. www.anchorbendglass.com. Through 9-30: "Hope, History, and Hospitality." Open Mon.-Fri., 10 a.m.-5 p.m.; Sat., 10 a.m.-6 p.m.; Sun. 11 a.m.-5 p.m.
Bailey Art Gallery, 42 Spring Street, #5, Newport. (401) 848-2919. www.baileyfineart.com. Though 8-20: work from Susan A. Anderson of Newport. Open Thurs.-Sat., noon-5 p.m.; Sun., 10 a.m.-3 p.m.
Bristol Art Museum, 10 Wardwell St., Bristol. (401) 253-4400. www.bristolartmuseum.org. Through 8-31: "Allegories and Reliquaries" by John Udvardy in Livingston Gallery and "I AM Lidholmtheviolinmaker" by Lasse Antonsen in Abbot Low Gallery and Brick Gallery. Open Thurs. & Sun., 1-6 p.m.; Fri. & Sat., 1-4 p.m.
Charlestown Gallery, 5000 South County Trail, Charlestown. (401) 364-0120. www.charlestowngalleryri.com. Through 8-14: Work by Antonia Tyz Peeples and Larry Horowitz. Open Mon.-Sun., 10 a.m.-5:30 p.m.
DeBlois Gallery, 134 Aquidneck Ave., Middletown. www.debloisgallery.com. Through 8-31: 30th annual Members' Show and Celebration. Open Wed.-Sun., 1-5 p.m.
Gallery 4, 3848 Main Road, Tiverton. www.gallery4tiverton.com. (401) 816-0999. Through 9-7: "TRIO: Texture, Structure, Passion." Mon.-Sat., 10 a.m.-5 p.m.; Sat., noon-5 p.m.
Four Corners Arts Center, 3852 Main Road, Tiverton. (401) 624-2600. www.tivertonfourcorners.com/artscenter. Through 10-31: 2014 Annual Sculpture Park. Open daily.
Hera Gallery, 10 High St., Wakefield. www.heragallery.org. (401) 789-1488. Through 8-30: "current," group exhibition featuring members. Open Wed.-Fri., 1-5 p.m.; Sat., 10 a.m.-4 p.m.
Hope Gallery, 435 Hope St., Bristol. (401) 396-9117. www.hopegalleryfineartfinecraft.com. Through 8-1: "Hot and Hazy," painting by Sue Prideaux, Mary Ann Rousseau, Jessica Wheeler & "New Beginning," varied mediums by Sue Butler, Ewa Romaszewicz, and Tatiana Roulin. Open Thurs.-Sun., 12:30-5:30 p.m.
Jamestown Arts Center, 18 Valley St., Jamestown. (401) 560-0979. www.jamestownartcenter.org. Through 8-30: "PAPER-MADE," 3-D works made of paper. Gallery hours Mon.-Fri., 9:30 a.m.-5 p.m; Sat., 10 a.m.-2 p.m.
Narrows Center for the Arts, 16 Anawan St., Fall River, Mass. (508) 324-1926. www.ncfta.org. Through 8-30: "A Collaborative Journey." Open Wed.-Sat., noon-5 p.m.
Portsmouth Arts Guild, 2679 East Main Road, Portsmouth. (401) 293-5278. www.portsmoutharts.org. 8-8 through 9-21: "Surf, Skate and Sail" non-juried. Opening reception Fri., 8-8, 6-8 p.m. Open Fri.-Sun., 1-5 p.m.
South County Art Association, 2587 Kingstown Road, Kingston. www.southcountyart.org. (401) 783-2195. Through 8-23: Members and Staff Invitational. Open Wed.-Sun., noon-5 p.m.
Spring Bull Gallery, 55 Bellevue Ave., Newport. (401) 849-9166. www.springbullgallery.com. Through 8-31: Open Juried artist choice. Open daily noon-5 p.m.
Studio Z at Butcher Block Mill, 25 Eagle St., Providence. (401) 751-1970. galleryzprov.com/galleryzprov/studioz.html. Through 8-9: Anthony Quinn and Agustin Patino. Open Thurs.-Sat., noon-6 p.m.
Van Vessem Gallery, 63 Muse Way, Tiverton. (401) 835-6649. Through 8-23: "Available Light," works by Cynthia Farnell and Dan Powell. Open Thurs.-Sat., 1-5 p.m.
National Museum of American Illustration, 492 Bellevue Ave., Newport. (401) 851-8949. www.americanillustration.org. Through 8-31: "Norman Rockwell and His Contemporaries." Thurs.-Sun., 11 a.m.-5 p.m. Guided tours every Fri., 3 p.m. Admission $18, $16 seniors, military, $12 students, $8 children, 5-12. No children younger than 5 admitted.
Newport Art Museum, 76 Bellevue Ave., Newport. (401) 848-8200. www.newportartmuseum.org. In Ilgenfritz Gallery through 8-12: "Heaven and Earth," paintings by Elizabeth Congdon. In Wright Gallery through 9-1: "Marine Botanicals," by Mary Chatowsky Jameson. In Studio Gallery through 9-7: "Magic Gold, Full Sun," by Corrine Colarusso. Open Tues.-Sat., 11 a.m.-4 p.m.; Sun., noon-4 p.m. $10, $8 seniors, $6 students & military with ID, younger than 5, members free. Sat. admission by donation, 10 a.m.-noon.
Redwood Library & Athenaeum, 50 Bellevue Ave., Newport. (401) 847-0292. www.redwoodlibrary.org. Through 1-31-2015: "Portraits of Interiors: Newport Illustrators in Newport Collections," guest curated by Preservation Society of Newport County's Paul Miller. Every Thurs., 5 p.m.: "If It's Thursday, It Must Be Shakespeare," reading aloud from the Bard's works. Guided tour daily at 2 p.m., $5. Open Mon.-Wed., Fri. & Sat., 9:30 a.m.-5:30 p.m.; Thurs., 9:30 a.m.-8 p.m.; Sun., 1-5 p.m.
RISD Museum, 224 Benefit St., Providence. (401) 454-6500. www.risdmuseum.org. Through 8-3: "Graphic Design: Now in Production." Through 11-16: UuDam Tran Nguyen: Waltz of the Machine Equestrians. Open Tues.-Sat., 10 a.m.-5 p.m., Thurs., 10 a.m.-9 p.m.; closed Mon. $12, $10 seniors, $5 college students with valid ID, $3 youth ages 5-18, free younger than 5, RISD staff, faculty, students, museum members. Free admission every Sun., & 3rd Thurs. of month, 5-9 p.m.
Rough Point, 680 Bellevue Ave., Newport. (401) 847-8344. www.newportrestoration.org. Through 11-9: "No Rules: The Personal Style of Doris Duke." Seasonal exhibit examines wardrobe of the late tobacco heiress. Tours Tues.-Sun., 10 a.m.-3:45 p.m., through 11-9. $25, free children 12 and younger.
2nd Story Theatre, 28 Market St., Warren. (401) 247-4200. www.2ndstorytheatre.com. Upstage through 8-31: "And Then There Were None." Performances Thurs. & Fri., 7:30 p.m. Upstage through 8-29: "Hay Fever." Performances Sat. & Sun., 7:30 p.m. Tickets $30. $21 for 21 and younger.
The Contemporary Theater Company, 327 Main St., South Kingstown. (401) 218-0282. www.thecontemporarytheater.com. Through 8-9: "Noises Off," by Michael Frayn. Performance Thurs.-Sat., 7 p.m. $20, $15 Thursday.
Firehouse Theater, 4 Equality Park Place, Newport. (401) 849-3473. www.bitplayers.net. Improv comedy with the Bit Players every Fri. & Sat., 8 p.m., tickets $15. Encore performance Sat., 10 p.m., $10. BYOB. Reservations suggested.
Granite Theatre, 1 Granite St., Westerly. (401) 596-2341. www.granitetheatre.com. Through 8-24: "Run For Your Wife." Performances Thurs.-Sat., 8 p.m.; Sun., 2 p.m. $20, $17 seniors, $12 children younger than 12.
Marley Bridges Theatre Company, Newport Art Museum, 76 Bellevue Ave., Newport. (401) 848-8200. www.newportartmuseum.org. Every Sat., 7 p.m., through 8-30: "Mobsters and Molls." $25, $15 museum members, $20 seniors and active military, $15 for 17 and younger.
Newport Playhouse & Cabaret Restaurant, 102 Connell Highway, Newport. (401) 848-PLAY. www.newportplayhouse.com. Through 9-14: "Murder at the Howard Johnson's." Tues.-Thurs., Sat. & Sun., 1 p.m., Fri.-Sun., 8 p.m. Dinner, theater and cabaret, $49.95; theater only, $34.95.
Theatre By The Sea, 364 Cards Pond Road, South Kingstown. (401) 782-8587. www.theatrebythesea.com. Through 8-16: "Mary Poppins." Performances Wed. & Thurs., 2 & 8 p.m.; Fri., 8 p.m.; Sat., 4 & 8 p.m.; Sun., 5 p.m.; Tues., 8 p.m. Tickets $42-$62.
Bring Your Own Improv (BYOI) hosts auditions for two new members to round out the cast. Fri., 8-8, 5:30 p.m. Warwick Museum of Art, 3259 Post Road, Warwick. Email info@bringyourownimprov.com to reserve audition slot. www.bringyourownimprov.com.
Hitchcock Matinees: "Stage Fright," (1950, 110 min.) Wed., 8-6, 2:30 p.m. Newport Public Library Program Room, 300 Spring St., Newport. (401) 847-8720, ext. 208. www.newportlibraryri.org. Free.
"Jaws," (1975, 130 min., PG) Wed., 8-6, 8:15 p.m. (dusk) Ballard Park, Hazard Road, Newport. (401) 619-3377. www.ballardpark.org. Free.
"The Starfish Throwers," (2013, 83 min.) Thurs., 8-7, 7 p.m. Jamestown Arts Center, 18 Valley St, Jamestown. (401) 560-0979. www.jamestownartcenter.org. Documentary by Jesse Roesler about a five-star chef, a 12 year-old girl, and a retired school teacher working separately in movement to fight against hunger. Part of Rhode Island International Film Festival.
"Tikotin- A Life Devoted to Japanese Art" (2013, 77 min.) Fri., 8-8, 7 p.m. 18 Valley St, Jamestown. (401) 560-0979. Documentary follows a grandson in search of his Jewish-German Japanese art dealer's grandfather's turbulent history. www.jamestownartcenter.org.
"How to Die in Oregon," (2011, 107 min.) Thurs., 8-7, 5:30-7:30 p.m. Redwood Library & Athenaeum, 50 Bellevue Ave., Newport. (401) 847-0292. www.redwoodlibrary.org. Free.
Narragansett Cafe, 25 Narragansett Ave. (401) 423-2150. www.narragansettcafe.com. Thurs., 8-7, The Merge, 8-11 p.m.; Fri., 8-8, Mac Odom Band, 9:30 p.m.-1 a.m.; Sat., 8-9, Steve Smith & the Nakeds; Sun., 8-10, Tom Ferraro, Dave Howard & the High Rollers reunion party, 4-7 p.m.
Atlantic Beach Club, 53 Purgatory Road. (401) 847-2750. Sat., 8-9, Jazz, Rock, Latin – John Monllos, Joanne Rodino and John Cunha, 9 p.m.-1 a.m.; every Sun., 3-7 p.m., Mac Chrupcala Quartet.
Custom House Coffee, 796 Aquidneck Ave. (401) 842-0008. www.customhousecoffee.com. Every Fri., 6-9 p.m., open mic night with John Hillman & Graham Gibbs.
@ The Deck, 1 Waites Wharf. (401) 846-3600. www.waiteswharf.com. Fri., 8-8, & Sat., 8-9, DJ Maddog; Sun., 8-10 & Mon., 8-11 Steel Appeal; Tues., 8-12, DJ Nate Deez.
Buskers, 178 Thames St. (401) 846-5856. www.buskerspub.com. Thurs., 8-8, Brian Twohey, 8-11 p.m.; Fri., 8-9, The Amadons, 8 p.m.-midnight; Sat., 8-9, Brian Twohey, 8 p.m.-1 a.m.
The Candy Store, Clarke Cooke House, Banister's Wharf. (401) 849-2900. Every Sun., 12:30-3:30 p.m., "American Songbook" with pianist Bobby Ferreira.
Dockside, 1 Waites Wharf. (401) 619-1588. www.waiteswharf.com. Every Sun., The Ravers. Every Fri., DJ Face; Every Sat., Never in Vegas.
Empire Tea & Coffee, 22 Broadway. (401) 619-1388. www.fineloosetea.com. Every Tues., 7:30 p.m., Geezers (acoustic folk jam); every Wed., 7:30 p.m., chess group.
The Fastnet Pub, 1 Broadway. (401) 845-9311. www.thefastnetpub.com. Every Sun., 5-9 p.m., traditional Irish music; every Mon., 10 p.m.-1 a.m., The Ubiquitones.
The Fifth Element, 111 Broadway. (401) 619-2552. www.thefifthri.com. Every Mon., 7-10 p.m., The Groove Merchants; Sun., 8-10, Andy & Beth.
Gas Lamp Grille, 206 Thames St. (401) 845-9300. www.gaslampgrille.com. Every Sun., live acoustic; every Mon., Trivia Night; every Tues., karaoke w/Collin Van Pelt; Fri., 8-8, DJ Mike; Sat., 8-9, Neal McCarthy Problem.
Jimmy's Saloon, 37 Memorial Blvd. (401) 846-5121. Every Thurs., 9 p.m.-1 a.m., open mic; Fri., 8-8, Cactus Attack, Bella's Bartok, Hot Side of Zero, 9 p.m. $5.
The Landing, 30 Bowen's Wharf, Newport. (401) 847-4514. Sat., 8-9, & Sun., 8-10, Honky Tonk Knights, 12:30-3:30 p.m.
Newport Grand, 150 Admiral Kalbfus Road. (401) 849-5000. www.newportgrand.com. Sat., 8-9, Think Pink Floyd — Pink Floyd tribute acts, 9 p.m.
Newport Blues Cafe, 286 Thames St. (401) 841-5510. www.newportblues.com. Closed Mon. Wed., 8-6, Reggae Night; Thurs., 8-7, Erika Van Pelt; Fri., 8-8, Erika Van Pelt; Sat., 8-9, Sugar.
Norey's, 156 Broadway. (401) 847-4971. www.noreys.com. Wed., 8-6, Fife and Drom.
O'Brien's Pub, 501 Thames St. (401) 849-6623. www.theobrienspub.com. Sat., 8-9, DJ C-Gray; every Sun., karaoke.
One Pelham East, 270 Thames St. (401) 847-9460. www.thepelham.com. Every Wed., Stu Sinclair from Never in Vegas; Thurs., 8-7 Sweet Beats; Fri., 8-8, Get Lucky; Sat., 8-9, Rusty, 3-7 p.m., Fevah Dream, 10 p.m.-1 a.m.; Sun., 8-10, Dueling Pianos, 7-11 p.m., Mon., 8-11, Bruce Jacques.
Parlor Bar & Kitchen, 200 Broadway. (401) 848-9081. www.barandkitchennewport.com. Sat., 8-9, Gumption and Glory with Boo City.
Perro Salado, 19 Charles St. (401) 619-4777. www.perrosalado.com. Thurs., 8-7, Honky Tonk Knights acoustic trio.
The Perry Mill Tavern, Restaurant and Music Hall, 337 Thames St. (401) 846-0707. www.perrymilltavern.com. Every Tues., karaoke, 10 p.m.-1 a.m.Every Thurs., Tavern: Throwback Thursdays w/DJ Double G; Fri., 8-8, J-Krak and Cairo; Sat., 8-9, Omega Sounds DJs.
The Port Grille & Raw Bar, 359 Thames St., (401) 619-5892. Every Thurs., Terry Bradley 6-10 p.m.; Every Sat., Alger Mitchell, 2-6 p.m.; Every Sun., STU Krous; Fri., 8-1, Andy Scott, 7-11 p.m.; Sat., 8-2, Diesel, 8 p.m.-12 a.m.
Pour Judgement, 32 Broadway, Newport. (401) 619-2115. www.pourjudgement.com. Every Sun., 10 p.m.-1 a.m., Los Duderinos.
The Rhumbline, 62 Bridge St. (401) 849-3999. www.rhumblinebistro.com. Fri., 8-8, Joe Parillo; Sat., 8-9, Lois Vaughan, 6:30-10 p.m.
Sardella's, 30 Memorial Blvd. (401) 849-6312. www.sardellas.com. Wed., 8-6, 7:30-10 p.m., Dick Lupino, Joe Esposito, Kent Hewitt.
Tavern on Broadway, 16 Broadway. (401) 619-5675. www.tavernonbroadway.com. Every Fri., The Mintones, 10 p.m.; Sat., 8-9, Silverteeth.
Wharf Pub, 37 Bowen's Wharf. (401) 846-9233. www.thewharfpubnewport.com. Every Mon., Trivia Night; Every Wed., Brian Scott; Every Thurs., 9 p.m., Bingo; Fri., 8-8, Andy & John, 9 p.m.; Sat., 8-9, Alissa Musto, 9 p.m.; Sun., 8-10, Brian Scott, 2 p.m.
Greenvale Vineyards, 582 Wapping Road, Portsmouth. (401) 847-3777. Sat., 8-9, Dick Lupino, Shawnn Monteiro, Kent Hewitt, Rick Wells, 1-4 p.m.
Atwater Donnelly, Wed., 8-6, 5-8 p.m. Blithewold Mansion, 101 Ferry Road, Bristol. (401) 253-2707. www.blithewold.org. $10, $7 members.
Boz Scaggs – The Memphis Tour, Wed., 8-6, 7 p.m. Newport Yachting Center, 4 Commercial Wharf, Newport. www.newportwaterfrontevents.com. (401) 846-1600. $39.50-$59.50.
Sundown Thursdays with Andy & Judy and Matt Bruneau & Leslie Grimes, Thurs., 8-7, 6-7:30 p.m.; 7:30-sundown. Fort Adams, Newport. (401) 619-0888. www.fortadams.org. Free.
Leo Leo, Thurs., 8-7, 6-8 p.m. Carolyns Sakonnet Vineyard Summer Concert Series, 162 West Main Road, Little Compton. (401) 635-8486. www.sakonnetwine.com. $10.
Roger Ceresi and his All Starz, Thurs., 8-7, 7 p.m. The Towers, 35 Ocean Road, Narragansett. (401) 782-2597. www.thetowersri.com. $15.
Comedy Show: Funny Stuff @ Four Corners hosted by Doug Key, Thurs., 8-7, 8 p.m., doors 7:30. Meeting House, 3850 Main Road, Tiverton. tivertonfourcorners.com/artscenter. (401) 624-2600. $15.
Christopher Kavi Carbone, Fri., 8-8, 11 a.m.-1 p.m. Blithewold Mansion, Gardens & Arboretum, 101 Ferry Road, Bristol. (401) 253-2707. www.blithewold.org. Free.
Abbey Rhode, Fri., 8-8, 6-8 p.m. Young Family Farm Concert, 260 West Main Road, Little Compton. (401) 635-0110. www.abbeyrhode.com. $10 per car load.
Nick Swardson, Fri., 8-8, 7:30 p.m. Newport Yachting Center, 4 Commercial Wharf, Newport. www.newportwaterfrontevents.com. (401) 846-1600. $29-$35.
Tumbling Bones, Fri., 8-8, 8 p.m., doors 7:30. Sandywoods Center for the Arts, 43 Muse Way, Tiverton. (401) 241-7349. www.sandywoodsmusic.com. $15, $12 advance.
Dom Flemons of Carolina Chocolate Drops, Fri., 8-8, 8 p.m. Narrows Center for the Arts, 16 Anawan St., Fall River, Mass. (508) 324-1926. www.narrowscenter.org. $23, $20.
Newport Waterfront Reggae festival. Featuring Freddie McGregor, John Brown's Body, Mighty Mystic, Etana, New Kingston, Soul Rebel Project. Sat., 8-9, noon. Newport Yachting Center, 4 Commercial Wharf, Newport. www.newportwaterfrontevents.com. (401) 846-1600. $45.
Singing Out Against Hunger Benefit Concert, Sat., 8-9, 1-5 p.m. Sakonnet Collective, 3842 Main Road, Tiverton. www.singingoutagainsthunger.org.
Tim Carr and DIA, Arborea, and Haunt the House, Sat., 8-9, 7:30 p.m., doors 7. Music at Lily Pads, 27 North Road, Peace Dale. www.musicatlilypads.org. $10.
Erin McCracken: In Concert, Sat., 8-9, 7:30 p.m. Ocean State Theatre, 1245 Jefferson Blvd., Warwick. (401) 921-6800. www.oceanstatetheatre.org. $35.
The Rowan Brothers, Sat., 8-9, 8 p.m., doors 7:30. Sandywoods Center for the Arts, 43 Muse Way, Tiverton. (401) 241-7349. www.sandywoodsmusic.com. $15, $12 advance.
Jerry Douglas Band, Sat., 8-9, 8 p.m. Narrows Center for the Arts, 16 Anawan St., Fall River, Mass. (508) 324-1926. www.narrowscenter.org. $40, $35.
Chelley, Bill & Dyl, Olivia Chaves opening, Sun., 8-10, 3-6 p.m. King Park, Newport. Part of NIMFest. Free.
Yiddishkeit Klezmer Ensemble, Sun., 8-10, 4:30 p.m. Patriots Park, Touro St., Newport. (401) 847-7335. commonfencemusic.org. Free.
Gregg Allman with special guest Jaimoe's Jasssz Band, Sun., 8-10, 6 p.m. Gates open 5. Newport Yachting Center, 4 Commercial Wharf, Newport. www.newportwaterfrontevents.com. (401) 846-1600. $29.50-$59.50.
Back Eddy Bluegrass, Tues., 8-12, 6-8 p.m. Sweet Berry Farm, 19 Third Beach Road, Middletown. (401) 847-3912. www.sweetberryfarmri.com. Free.
"Richard Morris Hunt's Early Newport Interiors." Thurs., 8-7, 6 p.m. Paul Miller, curator for the Preservation Society of Newport County discusses colonial interior design. Newport Art Museum, 76 Bellevue Ave., Newport. www.newportartmuseum.org. (401) 848-8200. $15, $10 members.
"Legendary Locals of Bristol." Thurs., 8-7, 7 p.m. Local author Christy Nadalin, reveals the fascinating history of legendary locals in Bristol. 500 Hope St., Bristol. (401) 253-0390 or www.lindenplace.org.
"Raphael: The Beautiful Male Portrait." Tues., 8-12, noon. Richard Tyre hosts a lunch-time discussion about achieving beauty in portraits. Newport Art Museum, 76 Bellevue Ave., Newport. www.newportartmuseum.org. (401) 848-8200. $8, members free.
Aquidneck Growers' Market, every Wed., 2-6 p.m. Memorial Blvd. between Chapel and Edgar streets, Newport. Every Sat. through 10-25, 9 a.m.-1 p.m., Newport Vineyard and Winery, 900 East Main Road, Middletown. (401) 848-0099. www.aquidneckgrowersmarket.org.
Tango Weekend in Newport, Fri., 8-8, & Sat., 8-9, Salve Regina University, Young Buiding, 518 Bellevue Ave., Newport. Presented by Providence Tango and Boston Tango Society. Fri: Milanga 8 p.m.-2 a.m. with light buffet dinner, cash bar and DJ Milton "El Gallo" Azevedo. Sat., 8-9, Classes with Instructors Fernanda Ghi and Guillermo Merlo; 4-6 p.m., all levels, 5:15-6:45 p.m., intermediate; 7-8:30 p.m., intermediate-expert; Milonga with full buffet 8:30 p.m.-2 a.m. Individual classes $30-$40; Full pass $145. Registration online at www.providencetango.com/newport. (401) 288-1170.
Rose Island Battle of the Bay, Sat., 8-9, registration 7-8:15 a.m. Stand Up Paddle, kayak & surf ski event. Rowers start 9, long course 9:05, short course 9:10, recreational group start 9:15. Paddlers launch at Fort Adams and race to Rose Island. Prizes awarded for each class. Registration at Fort Adams State park on the beach behind Sail Newport, 60 Fort Adams Drive, Newport. www.roseisland.org. (401) 847-4242
Listings, like life in general, are subject to change. Please send your listings info by noon the Wednesday BEFORE the Wednesday edition you want it listed in to listings@newportmercury.com.


1-Take General view on the art movements acquired in the 20th century and develop artistic sense for the students.
2- Study and obtain the values of each art movement and train them how to be artistic connoisseurs and how to recognize the features of each movement.
3- Comparing and analyzing all the art movements and architecture styles.
2- Studying the heritage of painters and architectures like Vincent van gauche, Paul Cezanne , Paul Gauguin , Antonio Gaudi , Le Corbusier, Frank Lloyd wright…etc. and the directions of connoisseur toward creativity and innovation.
3- Illustrate the relationship between the art movements and values on the artworks and its constituents.
عرفان سامي. عمارة القرن العشرين . 5 أجزاء . القاهرة : دار النشر للجامعات المصرية ، 1959-1969م .
محمود البسيوني, الفن في القرن العشرين. مكتبة الفنون التشكيلية منشورات مركز الشارقة للإبداع الفكري. الشارقة, د.ت .
-Jencks, Charles. Modern Movements in Architecture, 1986.
Gossel, Peter. L\'architecture du 20ème Siècle. Taschen, 1991.
Jencks, C. Architecture Today, Academy Editions, Great Britain, 1993.
Klotz, H., The History of Post Modern Arch.1988.


The numberFire basketball writers have a fantasy hoops league. Here's how the draft went.
Welcome to the numberFire Hoops Writers League draft recap for the 2018-19 season.
Every year, numberFire's hoops team puts together a 12-team league made up entirely of guys who write about the NBA and fantasy basketball here at the site. The format is head-to-head, and we use the default Yahoo settings for scoring (nine categories) and team size (13 players, 10 of whom start).
Our hope is that by sharing the results of our draft and some analysis with you, you'll have a guide of sorts to help you with your own drafts as we head into the final weekend before the NBA season. You can always peruse our preseason fantasy content, but sometimes it's interesting to see which players we would pick when we're in the driver's seat and bragging rights are on the line.
Throughout the recap, I'll be referring to our fantasy projections. Make sure you check them out and keep them handy.
Here's the randomly assigned draft order we followed. You can click on each writer's name to browse his bio and recently released content, or click on the "Twitter Handle" links below and follow our whole hoops crew for up-to-the-minute advice on fantasy hoops all season long.


text:
package org.fife.rsta.ac.java.rjc.ast;

import java.awt.Point;
import java.util.ArrayList;
import java.util.Iterator;
import java.util.List;

import org.fife.rsta.ac.java.rjc.lang.Annotation;
import org.fife.rsta.ac.java.rjc.lexer.Offset;
import org.fife.rsta.ac.java.rjc.lexer.Token;
import org.fife.rsta.ac.java.rjc.notices.ParserNotice;

/**
 * A CompilationUnit is the root node of an AST for a Java
 * source file.
 *
 *

 * CompilationUnit:
 *    [[Annotations] 'package' QualifiedIdentifier ';' ] {ImportDeclaration} {TypeDeclaration}
 *

 *
 * @author Robert Futrell
 * @version 1.0
 */
public class CompilationUnit extends AbstractASTNode
							implements TypeDeclarationContainer {

	private List<Annotation> annotations;
	private Package pkg;
	private List<ImportDeclaration> imports;
	private List<TypeDeclaration> typeDeclarations;
	private List<ParserNotice> notices;

	private static final Offset ZERO_OFFSET = new ZeroOffset();

	public CompilationUnit(String name) {
		super(name, ZERO_OFFSET);
		imports = new ArrayList<>(3); // Usually not many,
		typeDeclarations = new ArrayList<>(1); // Usually only 1
	}

	/**
	 * Adds an import declaration to this compilation unit.
	 *
	 * @param dec The import declaration.
	 * @see #getImports()
	 */
	public void addImportDeclaration(ImportDeclaration dec) {
		imports.add(dec);
	}

	/**
	 * Shorthand for "<tt>addParserNotice(new ParserNotice(t, msg))</tt>".
	 *
	 * @param t The token to add a parser notice for.
	 * @param msg The message of the parser notice.
	 * @see #addParserNotice(ParserNotice)
	 */
	public void addParserNotice(Token t, String msg) {
		addParserNotice(new ParserNotice(t, msg));
	}

	/**
	 * Adds a parser notice to this compilation unit.
	 *
	 * @param notice The notice to add.
	 * @see #addParserNotice(Token, String)
	 */
	public void addParserNotice(ParserNotice notice) {
		if (notices==null) {
			notices = new ArrayList<>();
			notices.add(notice);
		}
	}

	@Override
	public void addTypeDeclaration(TypeDeclaration typeDec) {
		typeDeclarations.add(typeDec);
	}

	public int getAnnotationCount() {
		return annotations.size();
	}

	public Iterator<Annotation> getAnnotationIterator() {
		return annotations.iterator();
	}

	/**
	 * Returns the deepest-nested type declaration that contains a given
	 * offset.
	 *
	 * @param offs The offset.
	 * @return The deepest-nested type declaration containing the offset, or
	 *         null if the offset is outside any type
	 *         declaration (such as in the import statements, etc.).
	 * @see #getTypeDeclarationAtOffset(int)
	 */
	public TypeDeclaration getDeepestTypeDeclarationAtOffset(int offs) {

		TypeDeclaration td = getTypeDeclarationAtOffset(offs);

		if (td!=null) {
			TypeDeclaration next = td.getChildTypeAtOffset(offs);
			while (next!=null) {
				td = next;
				next = td.getChildTypeAtOffset(offs);
			}
		}

		return td;

	}

	/**
	 * TODO: Return range for more instances than just class methods.
	 * Also handle child TypeDeclarations.
	 *
	 * @param offs The offset to check.
	 * @return The starting and ending offset of the enclosing method range.
	 */
	public Point getEnclosingMethodRange(int offs) {

		Point range = null;

		for (Iterator<TypeDeclaration> i=getTypeDeclarationIterator(); i.hasNext();) {

			TypeDeclaration td = i.next();
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			if (offs>=start && offs<=end) {

				if (td instanceof NormalClassDeclaration) {
					NormalClassDeclaration ncd = (NormalClassDeclaration)td;
					for (Iterator<Member> j=ncd.getMemberIterator(); j.hasNext();) {
						Member m = j.next();
						if (m instanceof Method) {
							Method method = (Method)m;
							CodeBlock body = method.getBody();
							if (body!=null) {
								int start2 = method.getNameStartOffset();
								//int start2 = body.getStartOffset();
								int end2 = body.getNameEndOffset();
								if (offs>=start2 && offs<=end2) {
									range = new Point(start2, end2);
									break;
								}
							}
						}
					}
				}

				if (range==null) { // Default to the entire class' body.
					range = new Point(start, end);
				}

			}

		}

		return range;

	}

	public int getImportCount() {
		return imports.size();
	}

	/**
	 * Returns the import declarations of this compilation unit.  This is a
	 * copy of the list of imports, but the actual individual
	 * {@link ImportDeclaration}s are not copies, so modifying them will modify
	 * this compilation unit!
	 *
	 * @return A list or imports, or an empty list if there are none.
	 */
	public List<ImportDeclaration> getImports() {
		return new ArrayList<>(imports);
	}

	public Iterator<ImportDeclaration> getImportIterator() {
		return imports.iterator();
	}

	/**
	 * Returns the package of this compilation unit.
	 *
	 * @return The package of this compilation unit, or null if
	 *         this compilation unit is not in a package.
	 * @see #getPackageName()
	 */
	public Package getPackage() {
		return pkg;
	}

	/**
	 * Returns the fully-qualified package name of this compilation unit.
	 *
	 * @return The package name, or null if this compilation unit
	 *         is not in a package (in the default package).
	 * @see #getPackage()
	 */
	public String getPackageName() {
		return pkg==null ? null : pkg.getName();
	}

	/**
	 * Returns the specified parser notice.
	 *
	 * @param index The index of the parser notice.
	 * @return The parser notice.
	 * @see #getParserNoticeCount()
	 */
	public ParserNotice getParserNotice(int index) {
		if (notices==null) {
			throw new IndexOutOfBoundsException("No parser notices available");
		}
		return notices.get(index);
	}

	public int getParserNoticeCount() {
		return notices==null ? 0 : notices.size();
	}

	/**
	 * Returns the specified type declaration.
	 *
	 * @param index The index of the type declaration.
	 * @return The type declaration.
	 * @see #getTypeDeclarationCount()
	 */
	public TypeDeclaration getTypeDeclaration(int index) {
		return typeDeclarations.get(index);
	}

	/**
	 * Returns the type declaration in this file that contains the specified
	 * offset.
	 *
	 * @param offs The offset.
	 * @return The type declaration, or null if the offset is
	 *         outside any type declaration.
	 * @see #getDeepestTypeDeclarationAtOffset(int)
	 */
	public TypeDeclaration getTypeDeclarationAtOffset(int offs) {

		TypeDeclaration typeDec = null;

		for (TypeDeclaration td : typeDeclarations) {
			if (td.getBodyContainsOffset(offs)) {
				typeDec = td;
				break;
			}
		}

		return typeDec;

	}

	public int getTypeDeclarationCount() {
		return typeDeclarations.size();
	}

	public Iterator<TypeDeclaration> getTypeDeclarationIterator() {
		return typeDeclarations.iterator();
	}

	public void setPackage(Package pkg) {
		this.pkg = pkg;
	}

	/**
	 * An offset that always returns 0.
	 */
	private static class ZeroOffset implements Offset {

		@Override
		public int getOffset() {
			return 0;
		}

	}

}

redpajama_set_name: RedPajamaGithub


text:
Armenian GenocideArts & CultureCommunityArmenian Diasporabook reviewBooksUS diaspora
Review: Bedros Keljik's Armenian-American Sketches
Harry Kezelian
The publication of this English translation of Armenian-American Sketches by Bedros Keljik is a landmark in the literary life of our community. When the Armenian-American community transitioned to being predominantly English-speaking in the 1950s and thereafter, our literary life also went through a transition. We have been fortunate in developing an English-language Armenian-American literature, starting with the works of William Saroyan — such as The Daring Young Man on the Flying Trapeze (1934) and My Name Is Aram (1940) — as well as Leon Surmelian's brilliant memoir (recently back in print), I Ask You, Ladies and Gentlemen (1945). These were followed by the establishment of the sadly now-defunct literary quarterly Ararat, published by the AGBU for some 50 years, and the appearance of well-known names like Diana Der-Hovanessian and Peter Balakian.
Unfortunately, the Armenian-language literary scene which existed in the US in the 1920s, '30s, and '40s, in periodicals such as Baikar's special annual issues, Hayrenik Monthly, and Nor Kir (an independent quarterly), did not survive the transition. And while many people have worked hard for many years so that we would have at our disposal English translations of famous Armenian authors like Naregatsi, Raffi, Siamanto, and Krikor Zohrab, very few translations have been made of the early Armenian-American immigrant authors who wrote in Armenian. This has created a rather strange situation. The second and third generation Armenian-Americans, most of whom only speak English, have access to the Armenian poets of old Constantinople but not to the thoughts, feelings, and aspirations of the immigrant writers who were the contemporaries of their own grandparents. On the other hand, some of these writers did gain enough renown in the Armenian community to be taught in Diaspora Armenian schools. The outcome is that someone who grew up attending Armenian schools in 1960s Beirut is more likely to be familiar with the works of Hamasdegh, who immigrated to Boston in 1913 and published stories about his childhood in Kharpert, than are the very grandchildren of the Kharpertsis who immigrated to America at the time that Hamasdegh did — regardless of how involved they are in the community and how many translations of authors like Toumanian, Isahakian, or Tekeyan they have on their shelves.
Keljik the Man
The present volume is a wonderful first step in remedying this lack. Author Bedros Keljik led a remarkable life. Born in Kharpert in 1874, he attended the famous Getronagan School of Kharpert, founded by its principal and teacher of Armenian language and literature, Hovhannes Haroutunian, who, under the pen-name Tlgadintsi, became the founder of the Western Armenian school of provincial literature.
A part of the first graduating class of the school in 1890 along with legendary writer Roupen Zartarian, Keljik promptly left for America after completing his studies. After living in Worcester, Boston, New York and Chicago, Keljik settled in St. Paul, Minnesota in 1899 where he started an oriental rug business still run by his grandson, Mark Keljik.
Bedros Keljik was part of the large Kharpertsi clan originally named Geoljukian which originated in the Kharpert district's village of Dzovk on the shores of the lake of the same name, which was called in Turkish "Geoljuk." Many members of this family came to America, including successful businessmen and professionals, writers and musicians, and active leaders in the Armenian church and community. To just mention immediate relatives of Bedros Keljik, his brother Krikor was a writer who used the pen-name Devrish and worked with Bedros in the rug business, and his nephew, Vahan Totovents, who had already been published as a teenager in Turkey, came to America and worked in the rug store when he wasn't attending classes at the University of Wisconsin. Totovents left the Midwest for the Caucasus to fight as a volunteer when the Genocide began, and became the personal secretary of General Antranig. Settling in Soviet Armenia after the Genocide, his stories of his Kharpert childhood, written in Eastern Armenian, made him one of the foremost prose writers of the Soviet period until he was killed in the Stalinist purges.
All of this is to say that Bedros Keljik, though he settled in Minnesota, was deeply immersed in Armenian life in Anatolia as a young man and in America as an adult, on the educational, literary, political and other fronts. The volume Amerigahye Badgerner (Armenian-American Sketches) was published in New York in 1944 by Charles Garabed Aramian's "Yeprad" Press. It was the first in a series of volumes by different authors whose topic was the experience of the Armenian immigrants in America.
Although the interest in publishing entire books about the Armenian-American experience in Armenian seems to have been spurred by the success of William Saroyan's My Name is Aram in 1940 (which was, of course, in English) and a subsequent meeting and resulting manifesto by the Nor Kir literary group, of whom author Vahe Haig of Fresno published Hayreni Dzkhan, Volume 2 in 1941 largely devoted to short stories set in America, Keljik stated that his stories had been written over the previous twenty years. In addition to the translation of the original contents of Amerigahye Badgerner (21 stories), the current translation includes eight stories by Bedros Keljik originally published in Baikar's special annual literary magazine throughout the 1940s, as well as an English translation made by Keljik of a Roupen Zartarian story and thorough documentation of Bedros Keljik's life, put together by his grandsons, Tom and Mark Keljik. The fact that the Keljik brothers didn't know that their grandfather wrote this book until they found out from a computer search at the Library of Congress (as they willingly admit) is not a mark against them, but only further testament to the almost total lack of awareness on the part of the community, and the lack of translations, up until now, of this early literature.
The Translation
The worthy translators of the stories are Aris Sevag, who translated all but one of the stories from the original Armenian-American Sketches before his untimely passing, Lou Ann Matossian, who translated the remaining story, and Vartan Matiossian, who translated the eight "Baikar Stories." All of them are known scholars and are to applauded for translating a very difficult piece of literature, though their names, perplexingly, do not appear on the front cover, aside from Matossian's in her capacity as co-editor of the volume. Matossian, a resident of Minnesota and the original expert on and promoter of Keljik's work, along with Christopher Atamian (formerly of Ararat magazine and currently of the Armenian Mirror-Spectator), and Barlow Der Mugrdechian of Fresno State University are the editors of the volume and are to be highly commended for bringing this book to press.
Keljik's original writing, already verging on classicism due to the fact that he left Anatolia as early as 1890, is purposely spiced up with dialect words, Turkish, English, and comical combinations of all of the above, such as when Magar Agha in the original explains that he is an "elevator-jee" because he is the elevator operator in the wire mill. While the elevator example would be funny and understandable to many Armenian-Americans today, many of the expressions are difficult and in fact Keljik included a small dictionary in the back of his original book, mostly to explain Turkish and English words that perhaps some Armenian readers were not familiar with. With the difficulty of translating such a text there were inevitably mistakes, at least in this writer's opinion; the name rendered "Keo" seems like it should have been "Kevo"; the blind musician Gabriel's "harmonica" was probably an accordion, which many Anatolian Armenians called harmonika. But this is nitpicking when we consider how difficult it must have been to translate these stories. For that, all three translators must be applauded.
I do want to make one substantive criticism: the difference between bantoukht and kaghtagan. Sevag translates the first as "émigré" and the second as "refugee." It is true that bantoukhd is used in Armenian to mean émigré and that kaghtagan is used colloquially in the Armenian-American community to mean a refugee or a "DP," and of course Keljik does use a lot of colloquial Armenian-American slang. But in the story "Worcester and Magar Agha" he is, I believe, using these two words to mean something like "migrant worker" and "immigrant." The bantoukhd is one who comes just to work, and not really to settle down; it is equivalent to the Turkish-Arabic gharib. The kaghtagan is an immigrant who comes as part of a kaghout (colony), a community formed from mass immigration. In a later story, our astute translator Sevag seems to capture the gist of this difference more clearly, and had he lived and been able to edit his own work, maybe he would have made this more clear. I only bring this up to help those who might read the beginning of the Worcester story with confusion as to the line, "the Armenians weren't refugees but émigrés."
Topics: Armenian Diaspora, book review, Books, US diaspora
People: Bedros Keljik
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Keljik's stories offer us a sharp, incisive wit; satire worthy of Hagop Baronian (as noted by Matossian's introduction and in a thinly veiled self-portrait of Keljik himself); plenty of good humor; and a true-to-life picture of Armenian immigrant life in the very early years (more than half of the stories take place in the 1890s). The stories show us the joys, sorrows, vices, and virtues of the early Armenian immigrants. They also show us their patriotism to an Armenia that they could still hope would be liberated from Turkish oppression, even after the Genocide, as they dream of returning to their native Kharpert until these dreams are dashed by the international treaties that followed the end of the First World War. We sometimes forget that the earliest group of immigrants came to America in a time when returning to Western Armenia was still an option and an aspiration for many.
Keljik lived in Worcester, Boston, Manhattan, Chicago, Waukegan (briefly), and St. Paul, and all of these cities are depicted in his stories — mostly in the 1890s. While Keljik is in Minnesota, he even encounters a small group of Armenians working on a remote railroad line, undoubtedly the same group of Armenians who were depicted in the Genocide film, The Cut, as, somewhat unbelievably to most viewers, working on the railroad and living in Ruso, North Dakota. But the men that Keljik depicts in most of his stories (and as we know, the earliest immigrants were almost all men) live in the well-known early Armenian settlements, like Worcester. They work in factories and live in boarding houses in a manner known as khoumana or communal living. One person rents the house and collects money from the others to pay rent and buy groceries to provide a daily meal. The men eat from a common table. Many of these men work for years saving their money to return to the old country — like Magar Agha, who sadly dies two days after setting foot back in his home in Kharpert.
Keljik stays away (mostly) from criticizing particular political factions, religious denominations, or social classes as such, but his biting satire (admittedly much funnier and more biting in the original Armenian) is unleashed on unscrupulous political agitators, preachers, moneylenders, rug merchants (of which Keljik was himself one) and other businessmen who make it their job to fleece the Armenian people in the name of God, homeland, or just through plain trickery. Though most of these charlatans are Armenians, the figure of the phony American preacher does not escape Keljik's pen either.
Perhaps the harshest criticism is reserved for the native born Anglo-Americans, and even more so, the Irish immigrants, depicted as xenophobes who "persecuted the weak and cringed before the powerful" and who think themselves to be more American than the rest of the immigrants since they already speak English. One normally gentle-natured Armenian immigrant lobs an iron bar at the head of an Irish factory foreman upon being called a "damned Armenian" because he could take insults if directed at himself, but not at his people. As for Anglo-American culture, in the same story Keljik states with deadpan sarcasm that "Helping one's family was a sacred and somewhat religious obligation for the Armenians, who were still ignorant of Western Civilization." But the Irish are victims too, not only of an "unjust ruler" in their homeland (the British, of course) but of the slick Armenian pickpocket Danny (Dono) of New York's Bowery, who boasts of not having to work as long as the Irish ("long live the Bowery residents, the Irish!") have money in their pockets.
Some Armenian characters aren't particularly unscrupulous, but merely eccentric — like Chicago's Garo the Mule, who is fond of telling tall tales about his life in the old country, like his ability to lift a horse or the "fact" that he was with the famous Archbishop Narbey of Constantinople at his death and is the only one who knows where the Bishop's invaluable unpublished manuscripts are buried. "Know-it-all-Keo" (it should probably be "Kevo") is another eccentric character, who was born and raised in Kharpert with Keljik but had the stubborn personality of a Guruntsi, which comprises the primary punch line of the story. Little details like this shed light on an Anatolian Armenian world that is long gone, and almost forgotten.
While individual Armenians are criticized for their behavior, the Armenian community in general is depicted as good-hearted. Keljik describes the founding of the Worcester church, the first in America, in 1890-91: "There was so much enthusiasm and religious fervor in those days…It took them less than a year for the church to completed, with its primate's office, auditorium, and library. This was a project accomplished by Armenian immigrants with monies earned through their hard work…I used to observe the zealous religious devotion of those hard-working laborers with amazement and great joy."
In the political arena, too, the people are selfless, as they support the Hunchag Party, the only Armenian political organization in existence in the US in that time. We read in regard to the Armenians of Boston in the 1890s: "The patriotism of the Diasporan Armenians was pure and unmitigated. Having newly left their fatherland in turmoil, the youths made unparalleled sacrifices for its liberation. At every meeting, six to seven hundred dollars – all in cold cash – were collected from these poor working-class Armenians, who were few in number." Keljik notes that the money was converted into checks that were made payable to Hunchag leader Avetis Nazarbekian in Europe, and makes an oblique reference to the famous meeting in London where the Reformed Hunchags (who eventually merged/transformed into the ADL) split from the Old Hunchags, stating that "later on, when the delegates went to London to receive an accounting, we found out why those checks were sent, made payable to an individual." Finally, the Party loses the respect of the Armenians of Boston and even its most ardent American-Armenian activist, the main character of the story, when a party leader from abroad (the same one who sent the money directly to Nazarbekian) refuses to attend a meeting in honor of the election of Khrimian Hayrig to the Catholicate, because he is only "an ignorant clergyman." The people turn on their political leader and Keljik has to help him escape from an angry mob after a meeting in Providence. The loyalty of the immigrants to their nation, homeland, and church, with all the nuances and possible conflicts involved, is realistically depicted in this story.
In addition to their political and religious donations, the Armenian workers are also helpful to their fellow compatriots, not just by forming the khoumana boarding-houses, but by paying off the moneylenders in the old country from whom the newly arrived had gotten the money for the steamship fare (this was before the days when there were enough Armenians in America that one would be "sponsored" by a relative already in the country). Considering the setting of these stories among the single, all-male, boarding-house-dwelling immigrant factory workers of the early days, this writer was surprised by the almost complete lack of references to the surjarans or Armenian coffeehouses that were so prevalent in that generation. One would surmise that the setting is too early for that, as if there aren't enough Armenians around yet to have opened surjarans. More than one story involves frequenting American bars, but more particularly, a certain Italian restaurant on Hanover Street in Boston, where the local Armenians hang out due to the "similarity of their menu."
Memories of Kharpert
Though the Armenian-American Sketches properly speaking are all set in the US, the eight "Baikar Stories" are more varied. Among these, Keljik's memoirs of Kharpert and the Getronagan School stands out as an invaluable historical record of life in Kharpert and the personality of famed writer Tlgadintsi, who was Keljik's teacher. His somewhat unconventional and unkept appearance (Keljik says he dressed and lived "like a dervish"), his flexible and innate ability as a teacher, and his personality that was tied to the native soil and atmosphere stands out. Keljik's story "Our Garden and My Grandmother" is a poignant portrait of simple village life in the "city" of Kharpert and a window to the past for many Armenians with roots in Anatolia. Keljik's grandmother spends her life tending her garden and doesn't even go to church, yet faces the sun every morning (just as an Armenian church must face East), saying her prayers. Reading this story in the current atmosphere of war in Artsakh, in 2020, one cannot help but reflect on what the loss of Kharpert meant to Keljik and his generation, and what the loss of Artsakh would mean to the native Armenians living there now.
In fact, Keljik does touch on this loss in his story "The Blind Musician" (from the original "Sketches") where a travelling blind musician, a fellow Kharpertsi, visits St. Paul with his "harmonica" [probably meaning accordion] upon which he plays everything from patriotic songs to Harput Havasi [Turkish: Melody of Kharpert]. Just after the Armistice of World War I, the men are "drunk over the imminent prospects of a free fatherland. There wasn't anyone who didn't believe in our liberation in those heady days, since the great, civilized and Christian states of Europe had promised and signed declarations to that effect….Clemenceau had grabbed the Turkish delegates by the neck and tossed them out….after those bloodthirsty acts of barbarism committed by them." When the men discuss how they will return to a free Kharpert and rebuild, they question the blind musician, Gabriel, how he will know that he has returned, considering his inability to see. Gabriel exclaims "Hey [in the original, "dzo"], you just take me to Kharpert. I'll know from the sweet fragrance of its almond and licorice trees that I've reached my homeland; I'll enjoy my city's air, the vivifying winds blowing from Masdar; I'd give anything for its air….I shall play for the last time by the waters of Yotnag and sing, before dying." [Masdar is the large mountain that separates Kharpert from Palu; Yotnag, the famous spring of water that served the population of Kharpert's village of Hussenig.] But Gabriel dies before he can return to Kharpert, and "all our hopes of those heady days became transformed into one night's evaporating dream."
This writer heartily encourages all Armenian-Americans to secure a copy of this book. For those whose roots are in the early generations of immigration, it is a window onto the lives of one's grandparents or great-grandparents. It is an honest depiction of the origins of this community and shines a light onto why things developed as they did as well as a reflection of life in Western Armenia. I cannot more heartily recommend this hilarious, witty, insightful, sometimes sad, and culturally invaluable book, and I commend those who translated it and those who brought it to press.
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News Studio
Karin Pagnanelli Named One of the "Top 100 Women Lawyers" and "Top 75 Women Litigators in California" by Daily Journal
Karin Pagnanelli was recently named one of the 2011 "Top 100 Women Lawyers" and "Top 75 Women Litigators" in California by the Daily Journal. In particular, Karin was recognized for her aggressive and successful representation of leaders in the video game, software, internet and new media areas in anti-piracy, anti-circumvention, and copyright and trademark infringement matters.
Karin Pagnanelli
entertainment & ip litigation
Mitchell Silberberg & Knupp LLP
© 2021 Mitchell Silberberg & Knupp LLP


We live in a fast-paced society that relies on our ability to be clear and concise with our words. This is especially true in environments where walking too slow on the sidewalk could cost someone an extra 15 seconds to their commute, or taking too long to order while a crowd of people hurriedly tap their feet in an attempt to speed up the process can induce anxiety. Time wasted is time that could have been spent doing something else, and that philosophy can be applied to the way we communicate online or through technology; the Internet is available 24/7, with new information and conversation points available at all times. Tweets are limited to 140 characters for a reason. It forces us to carefully consider what it is we'd like to convey in the shortest way possible.
The film Your Name features teenaged high school students Mitsuha and Taki, who live far apart from one another and wake to find that without warning or reason, they switch bodies a few times a week and have zero recollection of how their time is spent during the separation. Thus, the two must resort to using pen and paper, diary entries written in their phones, and the accounts of their friends in order to piece together what happens when they swap places. With limited time to convey the details of their day-t- day, Mitsuha and Taki struggle at first to figure out how to talk with each other. If we remove the fantastical element of the film for just a moment, we see two young people who have met under difficult circumstances and are now forced to interact in a new way. Without having met in person, they lack the advantage that comes with physical communication–this makes their written words carry much more weight when it comes to forming a relationship.
When the two teens do switch bodies for the first time, it's an incredible shock. Just like the start of a new relationship, the two are confused but excited. They both lead different lives, and this new experience is interpreted as a dream. We follow Mitsuha while she inhabits Taki's body, watching as she finds a diary kept within his phone. She decides to leave an extensive entry, detailing everything she did that day along with photos and emoticons to add more context. Since this takes place toward the beginning of the film, the two have not yet realized what's going on. The next day, Mitsuha wakes up in her own body and goes to school, only to find a cryptic message written into her notebook. "Who are you?" it reads. Nothing more, nothing less. In contrast to Mitsuha's diary entry, Taki offered very little in return. Over time, as the two come to terms with what's happening, they relay information back and forth through these diary entries. They learn more about each other and in the process, become better at communicating with their limited time and resources.
Online friendships and romances are no longer considered a strange concept, especially with the millennial generation having grown up on the Internet and used smartphones to facilitate conversations. More common are long-distance relationships, which can be easier to maintain with the introduction of new technologies. Depending on where your friend or partner lives in the world, there's a certain window of opportunity where the two of you meet the criteria to talk face to face as opposed to through text: you're both awake at the same time, and neither of you are busy. In Your Name there's a similar concept: a very short period in which Mitsuha and Taki are able to interact without the assistance of a screen. It's called "kawatare-doki," which can be loosely translated to "twilight". In old Japan it was thought that supernatural occurrences were possible at twilight, which is fitting if your communication during this time isn't good. Kataware-doki can mirror how it often feels as though you're talking to the ghost of a person, especially if the two of you are separated for a long time and haven't interacted much.
At one point in the film, they try calling each other–but fall into playing a game of phone tag, not able to talk within the same timeline. However, the importance of good communication is heightened with the kind of long distance relationship Mitsuha and Taki posses. They switch bodies for an entire day, which leaves a 24-hour gap in their memories. Because the teenagers interact mostly through reading diary entries on their phones that recap their day, this makes it crucial to be clear and direct, so that they can retain a sense of normalcy after returning to their "usual" routine.
Technology is a fantastic vessel to facilitate creating bonds and carrying conversation, and it's often looked down upon when young adults have their nose stuck in their phones. But Your Name shows us the importance of forming relationships outside normal conventions by giving us Mitsuha and Taki, taking their bizarre situation, and using it as an example of how connecting with another person on an emotional level (especially when long distance) requires effort and transparency, and is definitely possible.
What did you think of Mitsuha and Taki's relationship? Would you consider it long distance? Let me know in the comments below!


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I ate the sandbox (ProductionsByKJ) 2017 Toronto Fringe Review
July 8, 2017 Allison Gerson
I ate the sandbox produced by ProductionsbyKJ and playing at the Toronto Fringe Festival is a great example of what the Fringe is all about. It's a one woman show written and performed by Khadijah Jamal, and it is her acting debut. Jamal attended the festival last year for the first time in ten years. It inspired her to write a script. When she saw an ad for the Fringe lottery on her Facebook feed, she took a chance, entered, and was accepted. This show is the result.
In I ate the sandbox, Jamal tells her life story starting in childhood, with a focus on the difficult times. And she has had her share of difficult times. She has a bad marriage to a man who can't keep a job. Her father dies as she is giving birth to twins. She sinks into a depression and, after the breakup of her marriage, develops some very unhealthy behaviours.
Her stories are interspersed with bursts of song which reflect the mood of the episode she is describing. She's a pretty good singer too. Jamal's tone switches between confessional and motivational. She has recently figured things out and has gotten her life together. She says she wants to inspire others with her story. There's a fair bit of typical self-help language in the script, which isn't really my thing. But her sincerity came through nonetheless.
While she's clearly not a trained actress, Jamal had surprisingly good stage presence and was quite compelling. I admire her guts. She wasn't afraid to share some very painful and unflattering stuff about herself. I also admire her willingness to take the risk of creating something and putting herself out there. That's really what Fringe is for.
I ate the sandbox plays at the Tarragon Solo Room. (30 Bridgman Ave.)
Tickets are $12. The festival also offers a range of money-saving passes for serious Fringers.
Tickets can be purchased online, by telephone (416-966-1062), from the Fringe Club at Scadding Court, and — if any remain — from the venue's box office starting one hour before curtain.
Be aware that Fringe performances always start exactly on time, and that latecomers are never admitted.
Content Warning: Mature Language.
This venue is wheelchair-accessible through a secondary route. Check in at the venue box office at least 15 minutes before showtime, and a staff member will escort you to the venue. Accessible seating is in the front row.
Wednesday July 5th, 06:30 pm
Friday July 7th, 08:15 pm
Saturday July 8th, 03:15 pm
Sunday July 9th, 06:15 pm
Tuesday July 11th, 10:15 pm
Thursday July 13th, 02:45 pm
Friday July 14th, 08:45 pm
Saturday July 15th, 02:45 pm
Photo of Khadijah Jamal provided by the company
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NASDAQ:ADP
Automatic Data Processing Stock Forecast, Price & News
Adding Automatic Data Processing, Inc.
Now: $161.12▼
MA: $173.90▼
Beta0.7
Automatic Data Processing, Inc. provides cloud-based human capital management solutions worldwide. It operates through two segments, Employer Services and Professional Employer Organization (PEO). The Employer Services segment offers strategic, cloud-based platforms, and human resources (HR) outsourcing solutions. Its offerings include payroll, benefits administration, talent management, HR management, workforce management, insurance, retirement, and compliance services. The PEO Services segment provides HR outsourcing solutions to small and mid-sized businesses through a co-employment model. This segment offers benefits package, protection and compliance, talent engagement, comprehensive outsourcing, and recruitment process outsourcing services. The company was founded in 1949 and is headquartered in Roseland, New Jersey.
6th out of 324 stocks
Data Processing & Preparation Industry
2nd out of 74 stocks
Automatic Data Processing has received a consensus rating of Hold. The company's average rating score is 1.94, and is based on 3 buy ratings, 10 hold ratings, and 4 sell ratings.
According to analysts' consensus price target of $158.86, Automatic Data Processing has a forecasted downside of 1.4% from its current price of $161.06.
Automatic Data Processing has been the subject of 7 research reports in the past 90 days, demonstrating strong analyst interest in this stock.
Automatic Data Processing has received 595 "outperform" votes. (Add your "outperform" vote.)
Automatic Data Processing has received 707 "underperform" votes. (Add your "underperform" vote.)
Automatic Data Processing has received 54.30% "underperform" votes from our community.
MarketBeat's community ratings are surveys of what our community members think about Automatic Data Processing and other stocks. Vote "Outperform" if you believe ADP will outperform the S&P 500 over the long term. Vote "Underperform" if you believe ADP will underperform the S&P 500 over the long term. You may vote once every thirty days.
Automatic Data Processing pays a meaningful dividend of 2.26%, higher than the bottom 25% of all stocks that pay dividends.
Automatic Data Processing has been increasing its dividend for 47 years.
The dividend payout ratio of Automatic Data Processing is 62.84%. This payout ratio is at a healthy, sustainable level, below 75%.
Based on earnings estimates, Automatic Data Processing will have a dividend payout ratio of 58.49% next year. This indicates that Automatic Data Processing will be able to sustain or increase its dividend.
In the past three months, Automatic Data Processing insiders have sold more of their company's stock than they have bought. Specifically, they have bought $0.00 in company stock and sold $12,957,058.00 in company stock.
Only 0.34% of the stock of Automatic Data Processing is held by insiders.
79.65% of the stock of Automatic Data Processing is held by institutions. High institutional ownership can be a signal of strong market trust in this company.
Earnings for Automatic Data Processing are expected to grow by 12.77% in the coming year, from $5.64 to $6.36 per share.
The P/E ratio of Automatic Data Processing is 27.96, which means that it is trading at a more expensive P/E ratio than the market average P/E ratio of about 25.38.
The P/E ratio of Automatic Data Processing is 27.96, which means that it is trading at a less expensive P/E ratio than the Business Services sector average P/E ratio of about 38.18.
Automatic Data Processing has a PEG Ratio of 2.53. PEG Ratios above 1 indicate that a company could be overvalued.
Automatic Data Processing has a P/B Ratio of 12.04. P/B Ratios above 3 indicate that a company could be overvalued with respect to its assets and liabilities.
Industry Data processing & preparation
Sub-IndustryData Processing & Outsourced Services
SectorBusiness Services
Current SymbolNASDAQ:ADP
CUSIP05301510
CIK8670
Webwww.adp.com
Employees58,000
Trailing P/E Ratio27.97
Annual Sales$14.59 billion
Price / Cash Flow18.34
Book Value$13.38 per share
Net Income$2.47 billion
Net Margins17.07%
Return on Equity46.13%
Return on Assets5.94%
Market Cap$69.09 billion
Next Earnings Date1/27/2021 (Confirmed)
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Automatic Data Processing (NASDAQ:ADP) Frequently Asked Questions
How has Automatic Data Processing's stock been impacted by Coronavirus?
Automatic Data Processing's stock was trading at $148.01 on March 11th, 2020 when Coronavirus reached pandemic status according to the World Health Organization. Since then, ADP stock has increased by 8.9% and is now trading at $161.12.
Is Automatic Data Processing a buy right now?
17 Wall Street analysts have issued "buy," "hold," and "sell" ratings for Automatic Data Processing in the last year. There are currently 4 sell ratings, 10 hold ratings and 3 buy ratings for the stock. The consensus among Wall Street analysts is that investors should "hold" Automatic Data Processing stock. A hold rating indicates that analysts believe investors should maintain any existing positions they have in ADP, but not buy additional shares or sell existing shares.
View analyst ratings for Automatic Data Processing or view MarketBeat's top 5 stock picks.
What stocks does MarketBeat like better than Automatic Data Processing?
Wall Street analysts have given Automatic Data Processing a "Hold" rating, but there may be better short-term opportunities in the market. Some of MarketBeat's past winning trading ideas have resulted in 5-15% weekly gains. MarketBeat just released five new trading ideas, but Automatic Data Processing wasn't one of them. MarketBeat thinks these five stocks may be even better buys.
When is Automatic Data Processing's next earnings date?
Automatic Data Processing is scheduled to release its next quarterly earnings announcement on Wednesday, January 27th 2021.
View our earnings forecast for Automatic Data Processing.
How can I listen to Automatic Data Processing's earnings call?
Automatic Data Processing will be holding an earnings conference call on Wednesday, January 27th at 12:00 AM Eastern. Interested parties can register for or listen to the call using this link or dial in at Not Available.
How were Automatic Data Processing's earnings last quarter?
Automatic Data Processing, Inc. (NASDAQ:ADP) released its quarterly earnings results on Wednesday, October, 28th. The business services provider reported $1.41 earnings per share for the quarter, beating the consensus estimate of $0.97 by $0.44. The business services provider had revenue of $3.47 billion for the quarter, compared to analysts' expectations of $3.29 billion. Automatic Data Processing had a net margin of 17.07% and a return on equity of 46.13%. During the same period last year, the firm earned $1.34 EPS.
View Automatic Data Processing's earnings history.
How often does Automatic Data Processing pay dividends? What is the dividend yield for Automatic Data Processing?
Automatic Data Processing declared a quarterly dividend on Wednesday, January 13th. Stockholders of record on Friday, March 12th will be paid a dividend of $0.93 per share on Thursday, April 1st. This represents a $3.72 annualized dividend and a yield of 2.31%. The ex-dividend date is Thursday, March 11th.
View Automatic Data Processing's dividend history.
Is Automatic Data Processing a good dividend stock?
Automatic Data Processing pays an annual dividend of $3.72 per share and currently has a dividend yield of 2.30%. Automatic Data Processing has been increasing its dividend for 47 consecutive years, indicating the company has a strong committment to maintain and grow its dividend. The dividend payout ratio of Automatic Data Processing is 62.84%. This payout ratio is at a healthy, sustainable level, below 75%. Based on earnings estimates, Automatic Data Processing will have a dividend payout ratio of 58.49% next year. This indicates that Automatic Data Processing will be able to sustain or increase its dividend.
How will Automatic Data Processing's stock buyback program work?
Automatic Data Processing announced that its Board of Directors has authorized a share buyback program on Tuesday, November 12th 2019, which authorizes the company to buyback $5,000,000,000.00 in outstanding shares, according to EventVestor. This buyback authorization authorizes the company to reacquire up to 6.8% of its stock through open market purchases. Stock buyback programs are typically an indication that the company's leadership believes its shares are undervalued.
What guidance has Automatic Data Processing issued on next quarter's earnings?
Automatic Data Processing issued an update on its FY21 earnings guidance on Wednesday, October, 28th. The company provided earnings per share guidance of $5.51-5.74 for the period, compared to the Thomson Reuters consensus EPS estimate of $5.00. The company issued revenue guidance of $14.44-14.74 billion, compared to the consensus revenue estimate of $14.16 billion.
What price target have analysts set for ADP?
17 brokerages have issued 12 month target prices for Automatic Data Processing's shares. Their forecasts range from $132.00 to $200.00. On average, they expect Automatic Data Processing's share price to reach $158.86 in the next year. This suggests that the stock has a possible downside of 1.4%.
View analysts' price targets for Automatic Data Processing or view Wall Street analyst' top-rated stocks.
Who are some of Automatic Data Processing's key competitors?
Some companies that are related to Automatic Data Processing include Visa (V), Mastercard (MA), Fidelity National Information Services (FIS), Fiserv (FISV), Global Payments (GPN), Paychex (PAYX), FLEETCOR Technologies (FLT), Broadridge Financial Solutions (BR), Jack Henry & Associates (JKHY), WEX (WEX), The Western Union (WU), Genpact (G), Euronet Worldwide (EEFT), CoreLogic (CLGX) and Maximus (MMS).
View all of ADP's competitors.
What other stocks do shareholders of Automatic Data Processing own?
Based on aggregate information from My MarketBeat watchlists, some companies that other Automatic Data Processing investors own include Johnson & Johnson (JNJ), Cisco Systems (CSCO), Intel (INTC), Verizon Communications (VZ), The Procter & Gamble (PG), AT&T (T), AbbVie (ABBV), McDonald's (MCD), Walmart (WMT) and The Home Depot (HD).
Who are Automatic Data Processing's key executives?
Automatic Data Processing's management team includes the following people:
Mr. Carlos A. Rodriguez, CEO, Pres & Director (Age 56, Pay $2.34M)
Ms. Kathleen A. Winters, Corp. VP & CFO (Age 52, Pay $2.53M)
Mr. Donald Weinstein, Corp. VP of Global Product & Technology (Age 51, Pay $912.51k)
Ms. Maria Black, Pres of Worldwide Sales & Marketing (Age 46, Pay $906.85k)
Mr. John C. Ayala, Pres of Employer Services North America (Age 53, Pay $929.24k)
Mr. Brock Albinson, Corp. Controller & Principal Accounting Officer (Age 45)
Mr. Vipul Nagrath, Global Chief Information Officer
Mr. Christian Greyenbuhl, VP of Investor Relation
Mr. Michael Anthony Bonarti, Corp. VP, Gen. Counsel & Corp. Sec. (Age 55)
Mr. Douglas W. Politi, Pres of Compliance Solutions (Age 58)
What is Automatic Data Processing's stock symbol?
Automatic Data Processing trades on the NASDAQ under the ticker symbol "ADP."
Who are Automatic Data Processing's major shareholders?
Automatic Data Processing's stock is owned by a number of institutional and retail investors. Top institutional shareholders include Loring Wolcott & Coolidge Fiduciary Advisors LLP MA (0.24%), Boston Trust Walden Corp (0.16%), Huntington National Bank (0.07%), Gateway Investment Advisers LLC (0.05%), Tandem Investment Advisors Inc. (0.03%) and Raub Brock Capital Management LP (0.03%). Company insiders that own Automatic Data Processing stock include Brian L Michaud, Brock Albinson, Carlos A Rodriguez, Deborah L Dyson, Dermot J O'brien, Don Mcguire, Donald Weinstein, Douglas W Politi, Jan Siegmund, John Ayala, Joseph Desilva, Maria Black and Stuart Sackman.
View institutional ownership trends for Automatic Data Processing.
Which institutional investors are selling Automatic Data Processing stock?
ADP stock was sold by a variety of institutional investors in the last quarter, including Loring Wolcott & Coolidge Fiduciary Advisors LLP MA, Gateway Investment Advisers LLC, American National Bank, Huntington National Bank, Abner Herrman & Brock LLC, State of Alaska Department of Revenue, Cullinan Associates Inc., and Crossmark Global Holdings Inc.. Company insiders that have sold Automatic Data Processing company stock in the last year include Brian L Michaud, Brock Albinson, Carlos A Rodriguez, Deborah L Dyson, Don Mcguire, Donald Weinstein, John Ayala, and Joseph Desilva.
View insider buying and selling activity for Automatic Data Processing or view top insider-selling stocks.
Which institutional investors are buying Automatic Data Processing stock?
ADP stock was bought by a variety of institutional investors in the last quarter, including Louisiana State Employees Retirement System, Bath Savings Trust Co, IFM Investors Pty Ltd, Tandem Investment Advisors Inc., Raub Brock Capital Management LP, Aurora Private Wealth Inc., Rockland Trust Co., and Bellecapital International Ltd..
View insider buying and selling activity for Automatic Data Processing or or view top insider-buying stocks.
How do I buy shares of Automatic Data Processing?
Shares of ADP can be purchased through any online brokerage account. Popular online brokerages with access to the U.S. stock market include WeBull, Vanguard Brokerage Services, TD Ameritrade, E*TRADE, Robinhood, Fidelity, and Charles Schwab.
What is Automatic Data Processing's stock price today?
One share of ADP stock can currently be purchased for approximately $161.12.
How big of a company is Automatic Data Processing?
Automatic Data Processing has a market capitalization of $69.09 billion and generates $14.59 billion in revenue each year. The business services provider earns $2.47 billion in net income (profit) each year or $5.92 on an earnings per share basis. Automatic Data Processing employs 58,000 workers across the globe.
What is Automatic Data Processing's official website?
The official website for Automatic Data Processing is www.adp.com.
How can I contact Automatic Data Processing?
Automatic Data Processing's mailing address is ONE ADP BOULVARD, ROSELAND NJ, 07068. The business services provider can be reached via phone at 973-974-5000 or via email at [email protected]


text:
Bute Force
Going incognito, he became a Formula One driver, but now the Marquess of Bute is back home, running Mount Stuart, his astonishing ancestral estate in Scotland.
by W Magazine
Photographer: Alexia S
Johnny and Serena, the Marquess and Marchioness of Bute, with daughter Lola, in the dining room, surrounded by family portraits by Joshua Reynolds, Thomas Gainsborough and others.
The drawing room. Home to his family for 700 years, the property became Bute's in 1993, upon the death of his father, the 6th Marquess. Bute's great-great-grandfather, the 3rd Marquess, who was widely considered the richest man in Britain during his lifetime, started work on the red sandstone palace in 1880.
The centerpiece of the house is a three-story marble hall with an 80-foot ceiling. Its colonnades, stained-glass windows and vaulted ceiling are decorated with stars and planets, reflecting the 3rd Marquess's interest in astrology.
A private library.
Before returning to the family seat when his father became ill in the early Nineties, Bute enjoyed a winning career as a Formula One race-car driver, using the name Johnny Dumfries to hide his origins. (He became the British Formula Three champion in 1984, driving Formula One in 1986, and winning the Le Mans 24 Hours in 1988.)
The Billiard Room.
The Family Bedroom, as it is known, was the bedroom of the wife of the 3rd Marquess. A frieze running around the room depicts scenes from the life of St. Margaret, the 11th-century Scottish queen.
The Blue Bedroom was recently restored, a project spearheaded by Johnny's wife, Serena, a former model who's now a fashion designer. Fabrics were supplied by London antiques dealer Rose Uniacke, and the historically accurate painting of the walls was done by Charlotte Ingle, an alumna of the Royal College of Art in London.
Art_Design	house tours	Marquess of Bute	Scotland
October 1, 2006 12:00 am| by W Magazine


Chair Pads at The Weed Patch. A large variety of country and primitive style cushion-style chair pads from Nancy's Nook, plus braided jute chair pads from India Home Fashions, Nancy's Nook, and Earth Rugs. Choose from our country, cottage, primitive, lodge, floral, americana, plaid styles, and more!
The defining feature of the comfortable Arlington Chair Pad Patchwork Star is the large centered 5-point star in barn red and tan plaid over a navy and tan base for a primitive appeal.
Barrington Braided Chair Pads, by Nancy's Nook. Features braided jute in brown, tan, and green. Sold in a set of 6.
The Black Check Collection features a classic primitive checked pattern of black and TAN.
Blue and Mustard Braided Jute Chair Pad, by Capitol Earth Rugs. Color palette is mainly light blue, dark blue, creme, and mustard (marked CH-79 in photo). Measures 15.5 inches in diameter. Has two sets of double-ribbon ties.
Blue Hydrangea Braided Jute Chair Pad, by Capitol Earth Rugs. Jute is a natural fiber, considered to be a sustainable, environmentally friendly material. Water repellent, safe to put near a fireplace, spot clean with soap and water (or dry clean). This is for the Blue Hydrangea Braided Jute Chair Pad, which features stenciled artwork of a pretty hydrangea designed by Phyllis Stevens, with braiding in breezy blue, taupe, and ivory. Measures 15.5 inches.
Brown, Black, and Charcoal Braided Jute Chair Pad, by Capitol Earth Rugs. Color palette is mainly brown, black, tan, and charcoal (marked CH-99 in photo). Measures 15.5 inches in diameter. Has two sets of double-ribbon ties.
Brown, Black, and Charcoal Cotton Braid Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the standard round shape. Measures approx 15 x 15 inches, and has 2 sets of doubled ribbon ties.
Burgundy & Mustard Cotton Tweed Chair Pad, by Capitol Earth Rugs. Made of braided cotton blend in mainly burgundy, mustard, and touches of black. Measures approx 15 inches in diameter, and has two sets of double ribbon ties. 69% cotton, 22% polyester, 4% Acrylic, 3% Rayon, 1% Nylon, 1% Others; brush or shake clean, spot with a damp cloth, or dry clean.
Burgundy and Gray Cotton Braid Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the standard round shape. Measures approx 15 x 15 inches, and has 2 sets of doubled ribbon ties.
Burgundy and Grey Braided Jute Chair Pad, by Capitol Earth Rugs. Color palette is mainly burgundy, grey, and blue (marked CH-40 in photo). Measures 15.5 inches in diameter. Has two sets of double-ribbon ties.
Burgundy and Mustard Braided Jute Chair Pad, by Capitol Earth Rugs. Color palette is mainly burgundy, mustard, black, and creme (marked CH-19 in photo). Measures 15.5 inches in diameter. Has two sets of double-ribbon ties.
Burgundy and Mustard Cotton Tweed Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the SQUARE shape. Measures approx 14 x 14 inches, and has 2 sets of doubled ribbon ties.
Burgundy and Tan Jute Chair Pads, by VHC Brands. In quintessential country burgundy and tan, this set of 6 chair pads add a classic country touch to your decor. Set of 6.
Burgundy Star Chair Pad, by Nancy's Nook. The Burgundy Star Collection features a classic primitive checked pattern of Burgundy Red and TAN, with appliqued star(s) in solid burgundy. This is for the Chair Pad. Body measures 15 x 15 inches, and tapers toward the back, ending up at 13 inches. Two sets of doubled ties are 15 inches long and tapered at ends, with 1.5 inches at tapered end and .75 inch where attached to chair pad. 100% Cotton fabric and filling. Spot clean only. Matching table linens, accessories, valances, and more also available!
Burgundy Star Printed Chair Pad, by Capitol Earth Rugs. Jute is a natural fiber, considered to be a sustainable, environmentally friendly material. Water repellent, safe to put near a fireplace, spot clean with soap and water (or dry clean). This is for the Burgundy Star Braided Chair Pad, which features a burgundy, grey, and creme color palette, and a stenciled burgundy star. Measures 15.5 inches. Has double ribbon ties.
Burgundy, Black, & Tan Braided Chair Pad, by Capitol Earth Rugs. Made of braided cotton tweed. Measures 15 inches in diameter, with double ties.
Burgundy, Black, and Sage Cotton Tweed Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the SQUARE shape. Measures approx 14 x 14 inches, and has 2 sets of doubled ribbon ties.
Burgundy, Gray, and Creme Braided Jute Chair Pad, by Capitol Earth Rugs. Features a color palette of warm barn red, tan, creme, and grey. This is for the Chair Pad.
Burgundy, Gray, and Creme Cotton Braid Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the standard round shape. Measures approx 15 x 15 inches, and has 2 sets of doubled ribbon ties.
Burgundy, Gray, and Creme Cotton Tweed Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the SQUARE shape. Measures approx 14 x 14 inches, and has 2 sets of doubled ribbon ties.
Burgundy, Gray, and Mustard Cotton Braid Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the standard round shape. Measures approx 15 x 15 inches, and has 2 sets of doubled ribbon ties.
Burgundy, Grey and Creme Braided Jute Chair Pad, by Capitol Earth Rugs. Color palette is mainly burgundy, grey, tan, and creme. Measures 15.5 inches in diameter. Has two sets of double-ribbon ties.
Burgundy, Mustard, and Ivory Braided Jute Chair Pad, by Capitol Earth Rugs. Features a color palette of mainly barn red, gold, tan, and creme. This is for the Chair Pad.
Burgundy, Olive, and Charcoal Braided Jute Chair Pad, by Capitol Earth Rugs. Features a color palette of barn red, olive green, and charcoal grey. This is for the Chair Pad.
Burgundy, Olive, and Charcoal Braided Jute Chair Pad, by Capitol Earth Rugs. Features a color palette of red, charcoal grey, and soft greyish olive green. This is for the Chair Pad.
Burgundy, Olive, and Charcoal Cotton Braid Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the standard round shape. Measures approx 15 x 15 inches, and has 2 sets of doubled ribbon ties.
Burgundy, Olive, and Charcoal Cotton Tweed Chair Pad, by Capitol Earth Rugs. Made of cotton blend fabric braided into a tweed. This is for the Chair Pad, in the SQUARE shape. Measures approx 14 x 14 inches, and has 2 sets of doubled ribbon ties.
Add a farmhouse touch to any country kitchen with this chair cushion, featuring soft cotton natural burlap and hand tucks to secure filling and to provide comfort.


text:
Russia claims the application for expansion of Danish borders in the Arctic shelf
Russia has a number of substantive comments on the justification for the request of Denmark to expand the boundaries of the shelf in the Arctic, including the use of Russian geological information, according to the Natural Resources Minister Sergey Donskoy. Russia comments relate mostly to the application of the Danish research, which used in large part the Russian geological materials. Their documents were prepared to support country's bid to expand the boundaries of the Arctic shelf and opened for analysis for reasonableness. The application for expansion of the Arctic shelf
"We are talking not only to the UN Committee, but also with the countries that border on us, with Denmark, Canada", said the Natural Resources Minister of Russia, Sergey Donskoy. "While we have questions to Denmark. The specialists of the Ministry of Environment were in Copenhagen in December and they presented the preliminary concept. In addition, comments were submitted with regard to their application. We showed where we disagree quite seriously", added he.
The other countries making claims to various sections of seabed in Arctic Ocean are Norway, Canada, Denmark, and USA. The interests of Canada and Denmark in the Arctic Ocean overlap with Russia's interests and the three countries have not eliminated their contradictions to date. For instance, the sections of shelf to the north of Greenland, which Denmark listed in its claim in December 2014, overlap considerably with the areas claimed by Russia, including the North Pole and a part of the Lomonosov Ridge.
It is not ruled out that Canada's claim for expansion of its shelf may also list a number of overlapping sections. The Canadian authorities announced on July 22 the country was launching research for a further expansion of its shelf and experts say the country may file the final bid already in 2018.
Russia in August 2015 sent to the UN Commission for an extension of the continental shelf in the Arctic for 1.2 million sq km. Consideration of the application to the UN Commission may take 3-5 years. But Russia wants to speed up consideration of the application, since the summer of 2017 can upgrade the UN Commission. The update occurs every 10 years.
Posted by Stefani Igaz
Stefani Igaz is 26 years old writer and editor from Brussels, Belgium. She is writing about maritime business, shipbuilding and offshore for Europe and Asia regions.
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text:
Celebrities, OU
Will Ferrell Wants To Get Rid of Fraternities, Especially OU's
By Chief Longhorn , March 23, 2015 12:23 pm March 23, 2015 Off 2420
Even though he's a Trojan (and forever our enemy), Actor Will Ferrell answered a question last week on a New York Times Q&A here in Austin during SXSW about whether fraternities should exist at all, given all of the attention from OU's SAE incident a few weeks ago:
Q. Will, we are fraternity brothers of Delta Tau Delta, albeit different chapters and years. The recent awful situation with SAE has brought out the "frat haters" in droves. Could you comment on your own fraternity experience and why (or why not) fraternity membership is still a worthy consideration for a college student? —Stephen Browning, Seattle
A.The incident in Oklahoma, that is a real argument for getting rid of the system altogether, in my opinion, even having been through a fraternity. Because when you break it down, it really is about creating cliques and clubs and being exclusionary. Fraternities were started as academic societies that were supposed to have a philanthropic arm to them. And when it's governed by those kind of rules, then they're still beneficial. But you gotta be careful. I was lucky in that the one I was in, we were really kind of the anti-fraternity fraternity. We were considered good enough to get the exchanges with the good sororities. We couldn't get anyone to vote on anything, but if you needed 40 guys to show up and build a 20-foot-tall papier-mâché version of the Matterhorn, we were there and ready. But we didn't take it too seriously. It was just about having fun. But I think it's an interesting dilemma for universities these days
News, OU
OU Frat Yells Racist Chant, Doesn't Know The Internet Exists
By Chief Longhorn , March 9, 2015 12:41 am March 9, 2015 Off 1998
Just about a month ago, it was at a Texas FIJI party where guests wore "ponchos, sombreros, and construction gear" to a Mexican-themed event.
Well, it looks like the SAE chapter at OU took its racism above and beyond in one of the most despicable, vile videos one can watch. See below.
The one common thread among the two events? They apparently don't know that the Internet exists.
Total Frat Move has reported that the chapter and all of its members have been suspended.
Our deed follows our word… Zero tolerance for bad behavior http://t.co/05GGfRjYoX
— Brad Cohen (@SAE_ESA_brad) March 9, 2015


The class is taught by Mrs Brokenbrow. The children also have Madame Taylor for French and Mr Palmer for PE on a Thursday afternoon. Support staff include Mrs Van Bergen, Mrs Colclough and Mrs Jorgensson.
Spellings and a piece of homework (either English and maths) are given out on a Friday. The homework is due back in the following Wednesday and the spellings will be used in a piece of dictation the following week.
Please click the link below to view the PowerPoint Presentation shown at the Meet the Teacher evening on September 20th.


text:
Heat wave boosts burns in Phoenix as pavement, cars scald
Originally published June 22, 2017 at 5:00 pm
ANGIE WANG
PHOENIX (AP) — The main burn center in Phoenix has seen its emergency department visits double during the heat wave that is scorching the Southwest U.S., including people burning their bare feet on the scalding pavement.
Dr. Kevin Foster, director of the Arizona Burn Center, said this June is the worst the center has seen in 18 years. Most patients arrive with contact burns from touching hot car interiors or walking outside without shoes.
Foster said one child received contact burns after crawling through a doggy door onto the hot pavement.
"Getting up to 120 really makes a difference," Foster said.
The burns are among several hazards resulting from a heat wave that has plagued Arizona, Nevada and California, including deaths, increased wildfire risks and a water shortage in one community.
The heat wave brought a high of 119 degrees (48 degrees Celsius) in Phoenix on Tuesday. Las Vegas topped out at 117, and California has been broiling in triple-digit temps.
The county that is home to Las Vegas has had at least four confirmed heat deaths since Saturday. California has seen at least two heat deaths, and officials throughout the state are investigating four others.
Two California firefighters were treated for heat-related injuries they received while battling a blaze in the San Bernardino Mountains near Los Angeles.
Arizona has yet to report any heat-related deaths, although Maricopa County, the most populated, had 130 heat deaths last year — a 15-year high.
Authorities declared a state of emergency in the Arizona community of Cordes Lake after its water supply dwindled amid increased consumption during the hot weather. Officials are asking people to reduce their use, trucking in supplies from nearby Prescott Valley and cutting off water from 11 p.m. to 3 a.m.
Fire officials in Arizona said the extreme heat could cause more fires to pick up. Firefighters are battling at least 15 wildfires, including one that forced an evacuation and damaged at least six buildings in a town south of Tucson known for its wineries.
In Phoenix, about 10 to 15 patients are treated at the burn center's emergency department on an average day, but about 25 to 30 people have come in daily since the heat wave rolled in this week, Foster said.
The doctor said he sees patients of all ages and backgrounds, but children and the elderly are more susceptible because they may not be able to avoid or get out of trouble.
He added it is common for truck drivers passing through Phoenix to park their vehicles in the sun before running barefoot to the restroom.
"All it takes is one moment of carelessness," he said.


text:
PARTNER CONTENT FOR PARMIGIANO REGGIANO
The artisanal secrets behind Italy's most precious cheese, Parmigiano Reggiano
Parmigiano Reggiano is Italy's most celebrated cheese. To merit the name it must come from one of 300 recognised dairies and be made using age-old techniques. This is a true labour of love — and the proof is in the product.
By Jessica Vincent
Published 12 Nov 2020, 11:00 GMT
Each wheel of Parmigiano Reggiano is stamped with a unique code; an identity card to ensure every one can be traced back to its origin.
Photograph by Parmigiano Reggiano Consortium
I pinch a slice of straw-yellow cheese between my thumb and index finger, sending flurries of crumbs to my balsamic-splattered plate below.
Like a rough diamond plucked straight from Northern Italy's green pastures, my 36-month Parmigiano Reggiano sparkles with tyrosine crystals and oozes with scents of nutmeg, dried fruit and thick, meaty stock. It's flavoursome punch is salty but sweet, sharp but smooth, earthy but light.
A PDO (Protected Designation of Origin) product since 1996, Parmigiano Reggiano is made within a geographical area so specific that a dairy on the wrong side of Bologna wouldn't make the cut. In fact, a hard cheese can only legally be called Parmigiano Reggiano (or Parmesan, as it's known outside Italy) if it was produced in the provinces of Parma, Reggio Emilia, Modena, Bologna (to the left of the river Reno) and Mantua (to the right of the river Po). There's even a Parmigiano Reggiano Consortium to ensure the cheese is made exclusively by 300 artisinal dairies in a 6,200-mile radius, according to very specific production methods.
Extending from the Apennine Mountains to the Po River in the north, the region of Emilia-Romagna is known for its rich gastronomic heritage.
Photograph by AWL Images
"It all begins with the soil," says the consortium's Giovanna Rosati as we leave the tasting room and step outside into Parma's dairy farmlands, the distinctive taste of Parmigiano Reggiano still lingering on my tongue. I'm surrounded by bucolic bliss; miles of rolling green hills dotted with head-height bales, herds of black-and-white Friesian cows, and crumbling 19th-century stone farmhouses.
"The grass that grows here contains very special bacteria, which is essential to producing the high-quality milk needed to make Parmigiano Reggiano," she continues. Unlike most of Europe's dairy industry, these cows are fed almost entirely on locally grown forage. The absence of fermented feed such as silage means the milk doesn't require any artificial additives in order to be processed into cheese; this also allows the regions' unique bacteria to thrive. "Despite modern times, Parmigiano Reggiano remains 100% natural — just as it was when the monks first discovered it."
Although the first written record of the cheese didn't appear until 1254, Emilia Romagna monks from the early Middle Ages — who at the time were experimenting with food preservation methods — were likely Parmigiano Reggiano's first producers. The monks are also given credit for many more of Emilia Romagna's star products: "Parma Ham, culatello di Zibello, Aceto Balsamico tradizionale, Parmigiano Reggiano — all of them were born out of a need to make nutritious food last longer and travel further," food historian and Parma city guide, Alice Rossi, explains later over a glass of red lambrusco. "Today, these products are deeply rooted in our culture," she says, gazing out across the city's historic Piazza Garibaldi. "If I were to cut open my veins, I'm sure traces of Parmigiano and Parma ham would flow out."
Parmigiano Reggiano is cooked at 55C before being hauled out of metal vats using muslin cloths.
Back in the countryside, we make our way from the fields into a room gleaming with machinery and hissing with steam escaping from copper-coloured vats. It's barely 8am, yet the cheesemakers at family-run Ciaolatte — one of the 300 dairies producing Parmigiano Reggiano — are already preparing their fourth wheel of the day.
Enormous bell-shaped vats ripple with hundreds of litres of hot cow's milk collected that morning, sending great puffs of mist into the air, while the cheesemaker breaks curd into small granules using a giant balloon whisk. "Of course, we use modern machines to keep up with demand now," says master cheesemaker Dario Peveri, who started working at his father's farm when he was just 19. "But the ingredients and methods are the same as they were nine centuries ago."
Dubious that a 900-year-old method could remain intact despite the use of machinery, I ask Dario why the production of Parmigiano Reggiano is still considered to be artisanal. "The proof is in the cheese," he replies as he hauls what looks like a giant mozzarella ball out of a milky broth using a muslin cloth. "No two wheels are the same because so much relies on the instinct of the cheesemaker. If the machines did it all, every wheel would be identical."
Once the cheese has been encased in a round mould, engraved with its unique tracking number and dotted with the Parmigiano Reggiano inscription, it's left to soak in salt-saturated water for up to three weeks. After the absorption period, the cheese will begin its maturation process, and will only be fire-branded with Parmigiano Reggiano's prestigious oval mark once it passes its 12-month quality check.
That evening, I enjoy an eight-course menu at Ca' Matilde, a Michelin-starred restaurant nestled among the Lambrusco vineyards. I tuck into into a ragu made not with beef, but a 40-month Parmigiano Reggiano rind; the long maturation gives the edible casing enough beef stock undertones to act as a meat replacement. It comes alongside a pumpkin croquette perched prettily atop a Parmigiano Reggiano foam, dusted with a crunchy truffle crumb.
"This cheese is to Italians what soy sauce is to the Chinese," says head chef Andrea Incerti Vezzani. "It's a product with an amazing ability to enhance flavours and turn an average dish into a wonderful one." Parmigiano Reggiano is rich in calcium and a source of phosphorus. Indeed, 25g provides the calcium needed for the maintenance of normal bones, and it's consumed by Italy's young, elderly and athletes alike. When I ask the chef what the future holds for the use of Parmigiano Reggiano around the world, he can barely contain his excitement, "We haven't even realised its full potential in Italy yet — but we're working on it."
I end my journey in Emilia Romagna as I began it: holding a rough-cut diamond of Parmigiano Reggiano, in awe of the fact that this simple product — made with just milk, natural rennet and salt — captures the flavour, identity and culture of an entire land. For the people of Emilia Romagna, Parmigiano Reggiano is far more than just cheese; it flows through their blood and, after just three days here, I think it flows through mine, too.
You'll find Parmigiano Reggiano on the menu at most local restaurants in Parma.
Four must-try local specialities
Anolini in brodo
Every region in Italy boasts its own pasta creation. In Parma, its anolini, small and saucer-like in shape, stuffed with anything from parma ham to braised beef, but always with a generous grating of medium-aged Parmigiano Reggiano. Head to family-style Ai Due Platani to try the famous pasta parcels.
Tortelli di erbette
Tortelli — pasta parcels with delicate crinkled edges — is another of Parma's favourite pasta varieties. They can come filled with pumpkin or coated in a creamy mushroom sauce, but the most traditional is di erbette, tortelli filled with swiss chard, ricotta, Parmigiano Reggiano and, to finish, topped with melted butter.
Bomba di riso
The bomba di riso ('rice bomb') is a stuffed risotto rice cake popular in Emilia Romagna's mountainous region. The bomb filling can vary, but it's usually stuffed with a rich, slow-cooked meat sauce and seasoned with buckets of Parmigiano Reggiano before oven-baking.
Between 6-8pm, most Italians flock to vinotecas for pre-dinner drinks and snacks known as aperitivo. In Emilia Romagna, this should ideally involve a 12-month Parmigiano Reggiano served with apricot jam or drizzled with balsamic vinegar. A glass of Lambrusco and Emilia Romagna's cured meat, culatello di Zibello, are the perfect accompaniments.
Getting there and around
Several airlines fly from London to Bologna and Milan. From there, it's a 1h and 1h30 train ride to Parma respectively, or consider hiring a car, which is the the best way to get out of the city and explore the region.
Emilia Romagna is perhaps best experienced in the spring and early autumn, when temperatures hover around 20C and skies are clear.
Find out more about Italy's most beloved cheese.
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