Biography of Neoclassical Architect to Empress Catherine the Great.
One of the great architects of the Romanov court in St Petersburg, during the 18th century, the Scottish designer Charles Cameron is famous for the Neoclassical architecture he designed for Empress Catherine the Great (ruled 1762-96). Influenced by Roman architecture, as well as Greek architecture, and by the work of Robert Adam (1728-92), he focused mostly on the design of country palaces and landscaped gardens. In addition to designing and decorating for Catherine, he also designed buildings for Paul I (1796-1801) and Alexander I (1801-25). He was succeeded as chief architect by the former interior decorator Vincenzo Brenna (1747-1820). Famous examples of Cameron's Russian classicism include: the Pavlovsk Palace (1781-86) and the Alexander Palace (1812) near St Petersburg, as well as the Razumovsky Palace (1802) at Baturyn in the Ukraine. Important contemporaries of Cameron included: Giacomo Quarenghi (1744-1817), the foremost exponent of Palladian architecture; and Matvey Kazakov (1738-1812), a neoclassicist and one of the top Muscovite designers. Much less is known about Cameron's career before and after his service for Catherine, and his reputation as one of the eminent neoclassical artists is based on his designs for the German-born Empress.
Born in London, the son of a carpenter and builder, Cameron trained under the architect Isaac Ware (1704-66), who was an acknowledged expert on Italian Renaissance architecture and the style of Andrea Palladio (1508-80), and who produced the key English translation of Palladio's Four Books of Architecture (I Quattro Libri dell'Architettura), complete with his own illustrative engravings. After Ware's death, Cameron continued his work for a new edition of Lord Burlington's Fabbriche Antiche, a treatise of ancient Roman art. He visited Rome in 1768, where he surveyed the Baths of Titus, as well as the remains of other public baths in the city. Returning from Italy in 1769, he published the results of his research in 1772 in a book entitled: "The Baths of the Romans", complete with detailed documentation in English and French.
Few details are known of his career between 1769 and his departure for St Petersburg in 1779, except that - through no fault of his own - he became embroiled in a financial scandal involving his father, who was jailed in Fleet Prison for debt.
In Russia, meanwhile, the classically-educated Empress Catherine II was becoming dissatisfied with being surrounded by Baroque architecture, and quickly perceived the "imperial" image potential of neoclassical art. Through her European agent Baron Melchior Grimm, she recruited several neoclassical designers and decorators including Cameron, who arrived in St Petersburg in 1779. Catherine took an instant liking to the Scot, being much impressed with his drawing skills as well as his knowledge of both Greek art and the monuments of ancient Rome.
Cameron began by working on the expansion of the Chinese Village at Tsarskoye Selo, the settlement which grew up around the Catherine Palace - one of the main summer palaces of the Romanov royal family. Cameron added more living quarters to the Village as well as the Chinese Bridges over the canal. These buildings were the subject of a major renovation by Vasily Stasov in 1817.
Next, Cameron was given the task of redecorating the Rococo-style halls of the main section of the Catherine Palace (1780-84), originally designed by the famous Italian Baroque architect Bartolomeo Rastrelli (1700-71) during the 1750s. This, at first relatively modest, project eventually ended up as a major piece of work which produced the most lavish but exquisite interiors of the whole palace, borrowing features from a variety of sources including Robert Adam, Palladio, and Raphael.
At the same time, in 1782, he was commissioned to design a two-story bathhouse in mixed classical/Renaissance style with luxurious interiors exemplified by that of the Agate Pavilion. In 1784 the bathhouse was expanded with the addition of Cameron's Gallery - a two-story gallery, with a natural stone ground floor and an upper floor marked with columns. The gallery, decorated with statues of artists and philosophers, was, for years, a favourite walkway of the Empress Catherine.
During this time Cameron was also involved in the design of the Sophia Ascension Cathedral near Tsarskoye Selo. On the instructions of Catherine, it was designed by Cameron (and built by the Russian architect Ivan Starov 1745-1808) as an imitation of Hagia Sofia, the Basilica-turned-mosque, in Constantinople - a city Catherine was anxious to liberate from the Turks. In fact, Cameron was less than familiar with the church of Hagia Sophia - an icon of Christian art from the Byzantine period, famous for its icon painting and mosaic art. His design therefore was more classical, with Doric-style porticos on each side, while its five domes were more reminiscent of the Hagia Eirene.
See also: Russian Art (c.30,000 BCE - 1920) and Petrine Art (c.1686-1725).
The Pavlovsk Palace was Cameron's most important (and controversial) architectural project. Designed for Catherine's son and heir Paul, it led to a major rift between Cameron and the Tsarevich. The project originated in 1777, when Empress Catherine gave one thousand hectares of forest land along the Slavyanka River, near Tsarskoye Selo, to Paul and his wife Maria Feodorovna, to commemorate the birth of their first son. In 1780, after various preparatory works had taken place there, Catherine instructed Cameron to design a palace on the land. This, he did, in the style of Andrea Palladio, the Italian classical architect with whom Cameron was most familiar.
Cameron began by designing two Greek-style pavilions: the Temple of Friendship, a circular Doric temple with sixteen columns under a low dome, containing a statue of the Empress Catherine; and the Apollo Colonnade, another circular Greek-style structure with a double row of columns supporting an entablature, forming an open-air platform for a replica of the Belvedere Apollo (c.330 BCE) created originally by Leochares.
For the palace itself, Cameron again employed a design of Palladio, originally used by the latter for the Villa Trissino. Interestingly, the same design was used in America, in the 1820s by Thomas Jefferson (1743-1826) for the University of Virginia. The palace had a three-story cube-shaped central section, with a low dome supported by sixty-four columns, while on either side of the block were two single-story colonnades connected to service buildings. Cameron also designed the aviary, the Lime Avenue and the private gardens, and planned the original landscape.
For 12 months during construction, Paul and Maria travelled the Continent, meeting royalty and acquiring many precious objects, like: Gobelins tapestries, Sevres porcelain, antique marble statues, oil paintings, fine furniture, clocks, chandeliers, ancient pottery and ceramics, all for Pavlovsk. While they were away, they maintained constant contact with developments at Pavlovsk through their on-site supervisor of construction, Kuchelbecker, to whom they issued a stream of instructions on the smallest details. Such interference, plus the need to accomodate an ever-increasing number of decorative items, greatly irritated Cameron, who was also accustomed to working with an unlimited budget for materials. Paul and Maria, however, had only a small budget to offer, and were becoming increasingly worried about Cameron's costs. Moreover, they were not happy with the garish polychrome decoration used by Cameron, and wanted a more muted colour scheme. Above all, Paul did not want anything at Pavlovsk that reminded him of the Catherine Palace at Tsarskoye Selo. As a result, in 1786, Paul placed the Florentine designer Vincenzo Brenna (1747-1820) in charge and sacked Cameron, who continued working on Catherine's building projects, in the Crimea, the Ukraine and elsewhere, until her death in 1796.
See also: Russian Painting: Eighteenth Century.
When he became Czar in 1796, Paul dismissed Cameron from all his posts and retook possession of the latter's house in Tsarskoye. We know that to make ends meet Cameron was forced to sell his collection of books, but little is known of his architectural activities during Paul's 5-year reign, except for a short period (1800-1) when he built the Ionic Pavilion of Three Graces at Pavlovsk, for Maria Fyodorovna. Cameron's fortunes improved after the death of Paul, when his successor Alexander I appointed him chief architect at the Russian Admiralty. During his tenure in this post (1802–1805) Cameron designed the Naval Hospital in Oranienbaum and produced several blueprints for the Naval Cathedral in Kronstadt. In 1805 he retired. He spent his last few years living in St. Michael's Castle (Paul I's favourite residence, also called the Mikhailovsky Castle or the Engineers' Castle) in the centre of St Petersburg. He died in 1812. A strange but talented individual, he spoke no Russian, had few Russian friends, and was cordially disliked for his arrogance. Yet he remained in Russia until he died. At his peak, he was the architectural confidant of the Empress of Russia; but ended up designing naval barracks.
One of the designers of the US Capitol Building.
Designer of the Baltimore Basilica.
Designed the Massachusetts State House.
Designed numerous blocks in London.
Designer of the Royal Saltworks, Arc-et-Senans.
Designer of Arc de Triomphe, Paris.
• For more about neoclassical architecture in Russia, see: Homepage.


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https://www.opm.gov/policy-data-oversight/senior-executive-service/
https://www.fas.org/sgp/crs/misc/R41801.pdf
https://www.federalpay.org/ses/2015

redpajama_set_name: RedPajamaCommonCrawl


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Q: Laravel process in background I need to run a specific script/application once a certain button was pressed in my view. Now that this process may take up some time (30 seconds and more) I'd like to inform the user of the progress and whether it is successful or not.
What I have in mind is a simple text/label and a progress bar which are
'somehow' fed with the progression data provided by my Laravel application (the controller, to be more precise).
However, I have no clue where to start or what is best practise for a case as such.

A: I suggest you take a look at the queue in laravel: https://laravel.com/docs/5.5/queues
For the progress part. On different parts in a job you could dispatch an event. If you want to display them in your frontend, you should use something with push notifications. Laravel also has something for that:https://laravel.com/docs/5.5/broadcasting

redpajama_set_name: RedPajamaStackExchange


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Home/News/National/Trump urges public to avoid crowds of 10 or more people
Trump urges public to avoid crowds of 10 or more people
Members of the Coronavirus Task Force hold a press briefing
FOX News operates the FOX News Channel (FNC), FOX Business Network (FBN), FOX News Radio, FOX News Headlines 24/7, FOXNews.com and the direct-to-consumer streaming service, FOX Nation. FOX News also produces FOX News Sunday on FOX Broadcasting Company and FOX News Edge. A top five-cable network, FNC has been the most watched news channel in the country for 17 consecutive years. According to a 2018 Research Intelligencer study by Brand Keys, FOX News ranks as the second most trusted television brand in the country. Additionally, a Suffolk University/USA Today survey states Fox News is the most trusted source for television news or commentary in the country, while a 2017 Gallup/Knight Foundation survey found that among Americans who could name an objective news source, FOX News is the top-cited outlet. FNC is available in nearly 90 million homes and dominates the cable news landscape while routinely notching the top ten programs in the genre.
The creator of 'Full House' owns the Beverly Hills estate where the Manson murders took place
Ralph Davis, Jr., UC Bearcats All-American guard, dies at 82
What's up with Cincinnati arts this week
Report details decades of sexual harassment at Hebrew Union College
Expert predicts airports and train stations will close in days
Supreme Court postpones oral arguments
Bally new branding for former Fox regional sports networks
Loughlin accused of withholding evidence
Mammogram guidelines updated for women recently vaccinated for COVID-19
Google is phasing out 3rd-party cookies – here's what that means for your privacy
Pet Pals: Meet Abe!
Tow truck drivers put on show of solidarity for driver hit by car while working in West Price Hill


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New EPA coal rules could lead to 1,400 more deaths per year
Officials at the EPA say that rules governing pollution can help to reduce those numbers
By Kristen Dalli
08/22/2018 | ConsumerAffairs | Sustainability
The Environmental Protection Agency (EPA) released a 289-page report yesterday detailing the impact of President Trump's Affordable Clean Energy (ACE) rule.
The new rule effectively reverses President Obama's efforts to cut power plant carbon pollution under the proposed Clean Power Plan. The Obama administration was working to instate federal regulations to cut carbon dioxide emissions and use less coal in favor of clean energy sources. The Clean Power Plan was blocked by court battles in 2016, as many Republican attorneys general thought the federal government was overstepping its power.
While the Trump administration touts ACE as a way to create new jobs and eliminate government regulations, the EPA has found that it could lead to 1,400 premature deaths every year by 2030, in addition to up to 15,000 new cases of upper respiratory problems, a rise in bronchitis, and tens of thousands of missed school days.
The agency also noted that the new regulations would "increase emissions of carbon dioxide" and "increase the level of emissions of certain pollutants in the atmosphere that adversely affect human health."
By contrast, the EPA previously reported that the Clean Power Plan would have helped avoid up to 300,000 missed school and work days, 3,600 premature deaths, and 90,000 child asthma attacks by the year 2030.
The Affordable Clean Energy rule
Acting EPA Administrator Andrew Wheeler signed ACE into effect earlier this week and reported that the rule allows each state to make its own regulations regarding their emission standards for coal-fired plants. One of the main goals is to have less involvement from the federal government. According to Wheeler, ACE would allow "the states and regulated community the certainty they need to continue environmental progress while fulfilling President Trump's goal of energy dominance."
Critics were quick to comment on the rule, as many see it as a step backwards in the fight to tame global warming.
"The Trump administration sees political value in this rollback, but our health and the economic promise of clean energy is at stake," said former Vice President Al Gore.
In the report, the EPA did not address the numbers previously reported regarding the Clean Power Plan. Instead, it focused on comparisons to today's levels -- which are in a downward trend.
"Compared to the world as it stands now, the ACE rule will result in dramatic reductions in emissions, including CO2, mercury, and fine particulate matter precursors, as well as any resulting mortality and morbidity effects (like asthma hospitalizations)," the statement said.
In the ACE proposal, the Trump administration has detailed several different ways states can go about regulating coal-fired power plants, as well as what the health-related consequences would look like in each scenario.
It is in the situation the agency considers most likely to occur where the premature death toll would increase, as would heart and lung disease and chronic problems like asthma and bronchitis. The Trump administration's analysis found that 48,000 new cases of what it describes as "exacerbated asthma" would occur each year by 2030.
According to Mr. Wehrum, a former coal industry attorney, there would be "collateral effects" on pollutants compared to the Obama administration's proposed plan.
"We have abundant legal authority to deal with those other pollutants directly, and we have aggressive programs in place that directly target emissions of those pollutants," Wehrum said.
Kristen Dalli is a New York native and recent graduate of Marist College. She has worked as a writer and editor for several different companies and publications, including Thought Catalog, The Oddysey, Thomas Greco Publishing, and several travel blogs. Read Full Bio→
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Before Ed Sheeran became one of the biggest names in the music world, he was a 17-year-old trying to make his big break on TV.
Almost a decade ago, the British singer was a young student at the National Youth Theatre being put through his paces on British reality show 'Britannia High' - a musical drama television series.
And while Ed Sheeran always had the singing skills, his dance moves were... not successful enough to give him a role on the show.
Quite frankly, it was a good thing he was rejected from the show as we wouldn't have the Ed Sheeran we have today!
Watch a snippet of Ed Sheeran's audition from the 2.50 minute in the video above.


FindACase™ | Chappell v. Wexford Medical Serv.
Chappell v. Wexford Medical Serv.
WEXFORD MEDICAL SERV. in official capacity, SAMUEL BYRD MD, in official capacity, REGINA ROBINSON RN, in official capacity, BARBARA RIGGS in her official and individual capacity, Defendants.
Plaintiff Shamir Chappell, an Indiana inmate incarcerated at the Wabash Valley Correctional Facility (WVCF), filed this 42 U.S.C. § 1983 action on December 6, 2017. In forma pauperis was granted and an initial partial filing fee has been paid.
Because Mr. Chappell is a prisoner, the complaint is subject to the screening requirements of 28 U.S.C. § 1915A. This statute directs that the Court shall dismiss a complaint or any claim within a complaint which "(1) is frivolous, malicious, or fails to state a claim upon which relief may be granted; or (2) seeks monetary relief from a defendant who is immune from such relief." Id. To satisfy the notice-pleading standard of Rule 8 of the Federal Rules of Civil Procedure, a complaint must provide a "short and plain statement of the claim showing that the pleader is entitled to relief, " which is sufficient to provide the defendant with "fair notice" of the claim and its basis. Erickson v. Pardus, 551 U.S. 89, 93 (2007) (per curiam) (citing Bell Atl. Corp. v. Twombly, 550 U.S. 544, 555 (2007) and quoting Fed.R.Civ.P. 8(a)(2)); see also Wade v. Hopper, 993 F.2d 1246, 1249 (7th Cir. 1993) (noting that the main purpose of Rule 8 is rooted in fair notice: a complaint "must be presented with intelligibility sufficient for a court or opposing party to understand whether a valid claim is alleged and if so what it is.") (quotation omitted)). The complaint "must actually suggest that the plaintiff has a right to relief, by providing allegations that raise a right to relief above the speculative level." Windy City Metal Fabricators & Supply, Inc. v. CIT Tech. Fin. Servs., 536 F.3d 663, 668 (7th Cir. 2008) (quoting Tamayo v. Blagojevich, 526 F.3d 1074, 1084 (7th Cir. 2008)). The Court construes pro se pleadings liberally, and holds pro se pleadings to less stringent standards than formal pleadings drafted by lawyers. Obriecht v. Raemisch, 517 F.3d 489, 491 n.2 (7th Cir. 2008).
Mr. Chappell sets out three grounds for relief. First, he asserts that his Eighth Amendment rights are being violated by Wexford Medical Services, a contract provider of medical services for the Indiana Department of Correction (IDOC), by its failure to provide enough physicians to handle the medical needs of over 2, 000 inmates. He also contends that Wexford employs a nurse, Barbara Riggs, who interferes with the inmates' access to medical care.
In his second ground for relief, Mr. Chappell asserts that Dr. Samuel Byrd failed to properly treat his serious pain, choosing a less efficacious treatment rather than diagnosing the cause of the pain.
The third ground for relief asserts that Nurse Barbara Riggs continually denied and delayed Mr. Chappell's access to physicians and proper medical treatment.
Mr. Chappell's claim that Wexford fails to sufficiently staff the medical providers at WVCF and hired and supervised Nurse Riggs knowing she fails to provide adequate care shall proceed as a claim that Wexford maintained a policy that resulted in deliberate indifference to his serious medical needs in violation of the Eighth Amendment. His deliberate indifference to serious medical needs claims against Dr. Byrd and Nurse Riggs shall also proceed. Although named in the caption and identified in the complaint, Regina Robinson is otherwise not mentioned. Because no claim is asserted against Ms. Robinson, she is dismissed from this action. "Where a complaint alleges no specific act or conduct on the part of the defendant and the complaint is silent as to the defendant except for his name appearing in the caption, the complaint is properly dismissed." Potter v. Clark, 497 F.2d 1206, 1207 (7th Cir. 1974). The clerk is directed to update the docket to reflect Regina Robinson's dismissal.
The Court has identified the only viable claims and defendants appearing in the complaint. Should Mr. Chappell believe the Court has overlooked claims or defendants that appeared in the complaint, he shall have through February 15, 2018, in which to identify those claims and defendants and notify the Court.


Memorials - Equine Rescue Resource, Inc.
Helen M. Evers, of Goshen, passed away in her sleep July 27, 2011 at the Orange Regional Medical Center at Horton in Middletown. She was 77. Helen was much loved by her family and we miss her terribly. The family was all at her side and we were holding her hand when she passed away. Surviving her are Bill Evers, her husband of 51 years, her daughter June and her husband Jim of Goshen and her son Charles and his wife Melanie of Hoboken. She was born in South Dakota and was a very talented painter especially in portraiture. She graduated from Sarah Lawrence and SUNY Purchase with a BA in Philosophy. She was also well known in Goshen as an activist for a number of important causes and was as well a remarkable and creative cook.
We will always miss her and know she is now in a better place.
Our dad grew up on a farm in Woodbourne and our grandparents used draft horses for everything. Our grandfather didn't own a tractor. Instead he had two sets of drafts – one white, one black. Blacks for the morning work, whites for the afternoon. Our grandfather passed in 1964 but our grandmother continued to work the farm. Our dad used to let Isley walk under the belly of the remaining Percheron, Chubb. She could do it without touching her head on the horse's belly.
We chose your group because of all the good you can do and the kindness you show toward horses. Your group is just like our dad – good and kind.
Thank you for accepting any donations which may be received in his name and for creating the link on your site.


My wife and I are the parents of an adopted First Nations Child whose adoption took place within the time-frame of the legal action against the Canadian Government titled The Sixties Scoop. Details of the class action suit can be viewed here: https://en.wikipedia.org/wiki/Sixties_Scoop. This action, on behalf of indigenous children adopted by non-indigenous families, has been eight years in the process with the Canadian Government taking all legal actions available to avoid having this case heard. The absolute shame was the federal Government wanting to avoid the judgement to enable them to settle out of court-to set aside 8 years of process. I shake my head at our arrogance in attempting to avoid justice in this case.
This is a case more directly aligned with the concept of cultural genocide than about any other explanation, in my opinion. It is about the assimilation of indigenous children into the society of the day and is an off-shoot of the Residential Schools program in Canada that had it's roots in "1860[,] Indian Affairs is transferred from the Imperial Government to the Province of Canada. This is after the Imperial Government shifts its policy from fostering the autonomy of native populations through industry to assimilating them through education. (see A timeline of Residential Schools)" In reality it began in the 1600s and the process of assimilation continued well into the late 1900s.
It saddens me that we, my wife and I, were complicit in the continuation of this abominable program out of our ignorance as non-indigenous adoptive parents and the failure of the Canadian government and its agencies to inform us of their and our responsibilities to our child to maintain her cultural identity. The good news is we live on the doorstep of two First Nations communities, Biigtigong Nishnaabeg and Pic Mobert and many of our children's classmates and friends were indigenous children. By osmosis, for want of a better term, our child spent considerable time in Biigtigong Nishnaabeg community with her best friends family. She was one of the lucky ones regularly exposed to her indigenous culture more by luck-of-the draw than by intent on our part or that of the Canadian Government.
I am overjoyed that the courts brought this case to fruition and yesterday, Valentine's Day 2017 the "Federal government [was] found to have breached its "duty of care" by failing to protect cultural identity of indigenous children removed from their homes". That we decided to add our voices to this cause, for justice for our adoptive child and all of the children of the Sixties Scoop, as witnesses for the plaintiff might have some small influence on this decision, helps to begin the healing process of right relations between us and our indigenous neighbours and to apologize to our child for our ignorance.
Today, our chosen child is a strong beautiful First Nations woman who has chosen a career path to help other First Nations women of Northwestern Ontario reach their potential as healthy, proud indigenous women. As an aside, I was listening to a piece of music yesterday when a text arrived from a contact at the hearing to say the Judge ruled in favour of the Sixties scoop. The song happened to be Shed a Little Light performed by James Taylor. A prophetic moment indeed.
Recently, I posted a rant about the problem associated with living in a community that does not have home delivery of mail. I fairness I need to share with you a success story.
I found I was a bit low on necessary spices while preparing stock for Vietnamese Rare Beef Pho. This recipe requires spices that a re difficult to find in the rural community in which I live nor was I successful in finding them is the nearest city to me (some 3.5 hours drive away). The obvious solution was to see what was available on the web.
I found a Canadian company named The Silk Road – Spice Merchant in Alberta, Canada (http://www.silkroadspices.ca/). To my delight, they have all of the spices I required immediately and more. I placed an order. My order arrived today, in less than a week and unpacking it convinced me that this was a company who wanted my business and worked at meeting my needs. They also took the time to ensure that I would return and that I would likely tell my friends about the experience. I have many friends who share my passion for good food and the joy of spicing beyond salt, pepper and garlic. AND! They shipped to my Canadian Post Box Address! Hurrah! I immediately wrote a note of thanks.
Thank you very much for this order. It is my first-time purchase from your company but certainly not my last. Let me tell you why.
Your web presence is delightful, well laid out and easy to manoeuvre around. I particularly appreciate the explanation and the suggestions that you have for each of the spices/blends.
Your service is prompt. Living in a rural/remote northern community, this is especially important.
Your pricing is fair. By that I simply mean that I truly feel I received value for my dollar.
The gift of Panch Poran you added to my package is a welcome treat. Thank you. I'll be certain to try this with hash browns the next time I make them.
The crowning touch is the personal note written on my receipt thanking me for my order.
How Would You Like That Delivered?
Canada Post, in its wisdom, has chosen to phase out home delivery of snail-mail and replace that system with curb-side Post Office boxes. While I believe it is an ill-advised change it will have little effect on me. I live in a community in Canada that has never had home delivery of mail. It is a comfortable walk (wasteful to drive) to the Post Office to check the mail each day. That's what I've done each day for the fifty plus years I have lived here. Other than the obvious, what's the problem?
As with many people these days, I have become an on-line shopper. This came about because at the best of times I dislike wasting the time to go in and out of stores. I recognize in today's 'consume more' society I might be seen as some form of throwback; a consumer Neanderthal. Yesterday, I placed an order for coffee through a Canadian on-line company that I have purchased from frequently in the past. I processed everything in the same manner as before. The difference this time was that an error message came up indicating that they could not deliver to a Post Office box. Yet, they use Canada Post to deliver their products and my "correct" mail address is a Post Office box. As has happened in the past when companies do not include my correct mailing address I receive notification from the post office to update my personal details with the company from whom I make purchases. At issue is the Post Office could refuse delivery without the proper address on the package.
I called the company to let them know that there was a problem with their software not accepting postal box numbers as legitimate addresses. The response was that they knew about this and that they just could not ship to a post office box.
Does this make any sense in a country that is moving away from home mail delivery and forcing everyone to use a post office box for mail? Canadian business get with the program. Especially if you expect to do mail order business or Internet business and ship by postal service.
My second call yesterday was to an on-line company based in New York from which I recently did business and they shipped to my mailing address. As before, I placed my order only and again was told that they were shipping by US Postal service and couldn't deliver to a post office box. I called the store's help line to explain that my mailing address was a box number; they accepted it on my previous order; where is the problem?
For some strange reason their on-line software no longer will allow delivery to Postal Boxes. What a dilemma! In Canada, many of us have two legal addresses–our street address and a mailing address. They are not necessarily the same. Perhaps the solution is to go back to wandering in and out of stores as I used to do when I wanted to buy an item. If that's the case, I'll save a lot of money by not shopping unless necessary. Problem solved!
I checked my Facebook page this morning as is my habit every week or so and spent more time attempting to let its creators know that they are way off the mark meeting my interests. I live in Canada. I estimate that 90% to 95% of the stuff down the right side of my Facebook page has to do with items/issues/sports/news from the United States. Please don't label me as anti-American because of my thoughts on this, but, most, if not all of the items I see as trending are of little or no interest to me because they are from the US. Were those same stories directly related to me as a Canadian, perhaps I might find them marginally interesting. Mostly, the stuff down the right side of my Facebook page is visual trash that I am unable to lose.
Last night I watched a YouTube video clip titled "The most honest three and a half minutes of television, EVER" posted by James Bouder. ( http://www.youtube.com:80/watch?v=16K6m3Ua2nw&feature=youtu.be ) It is an excerpt from the beginning of HBO's The Newsroom Season 1: Episode 1 and, in my opinion, is a wonderful rant on why the USA is no longer the greatest country in the world but can be–once again. I'm not certain that it really matters which country is the best in the world. Persons who are happy where they are living will likely choose their country as the best in the world. Regardless, I encourage all to watch the whole of the first episode. It speaks to me of what the news media once was but has lost somewhere along the way–reporting the facts.
It strikes me that we have become societies of thrill seekers in north America. We look to the news media to report on current happenings and to develop opinions about the story because we are unable to do so ourselves.


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Édouard Manet (, ; ; 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.

Born into an upper-class household with strong political connections, Manet rejected the naval career originally envisioned for him; he became engrossed in the world of painting. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the start of modern art. The last 20 years of Manet's life saw him form bonds with other great artists of the time; he developed his own simple and direct style that would be heralded as innovative and serve as a major influence for future painters.

Early life

Édouard Manet was born in Paris on 23 January 1832, in the ancestral hôtel particulier (mansion) on the Rue des Petits Augustins (now Rue Bonaparte) to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, from whom the Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue painting and took young Manet to the Louvre. In 1841 he enrolled at secondary school, the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend.

At his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After he twice failed the examination to join the Navy, his father relented to his wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters in the Louvre.

From 1853 to 1856, Manet visited Germany, Italy, and the Netherlands, during which time he was influenced by the Dutch painter Frans Hals and the Spanish artists Diego Velázquez and Francisco José de Goya.

Career
In 1856, Manet opened a studio. His style in this period was characterized by loose brush strokes, simplification of details, and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858–59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early career, he rarely painted religious, mythological, or historical subjects; religious paintings from 1864 include his Jesus Mocked by the Soldiers, in the Art Institute of Chicago, and The Dead Christ with Angels, in the Metropolitan Museum of Art, New York. Manet had two canvases accepted at the Salon in 1861. A portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill-received by critics. The other, The Spanish Singer, was admired by Théophile Gautier, and placed in a more conspicuous location as a result of its popularity with Salon-goers. Manet's work, which appeared "slightly slapdash" when compared with the meticulous style of so many other Salon paintings, intrigued some young artists. The Spanish Singer, painted in a "strange new fashion[,] caused many painters' eyes to open and their jaws to drop."

Music in the Tuileries

Music in the Tuileries is an early example of Manet's painterly style. Inspired by Hals and Velázquez, it is a harbinger of his lifelong interest in the subject of leisure.

While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

Here, Manet has depicted his friends, artists, authors, and musicians who take part, and he has included a self-portrait among the subjects.

Luncheon on the Grass (Le déjeuner sur l'herbe)

A major early work is The Luncheon on the Grass (Le Déjeuner sur l'herbe), originally Le Bain. The Paris Salon rejected it for exhibition in 1863, but Manet agreed to exhibit it at the Salon des Refusés (Salon of the Rejected) which was a parallel exhibition to the official Salon, as an alternative exhibition in the Palais des Champs-Elysée. The Salon des Refusés was initiated by Emperor Napoleon III as a solution to a problematic situation which came about as the Selection Committee of the Salon that year rejected 2,783 paintings of the c. 5000. Each painter could decide whether to take the opportunity to exhibit at the Salon des Refusés, although fewer than 500 of the rejected painters chose to do so.

Manet employed model Victorine Meurent, his wife Suzanne, future brother-in-law Ferdinand Leenhoff, and one of his brothers to pose. Meurent also posed for several more of Manet's important paintings including Olympia; and by the mid-1870s she became an accomplished painter in her own right.

The painting's juxtaposition of fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris (c. 1515) based on a drawing by Raphael.

Two additional works cited by scholars as important precedents for Le déjeuner sur l'herbe are Pastoral Concert (c. 1510, The Louvre) and The Tempest (Gallerie dell'Accademia, Venice), both of which are attributed variously to Italian Renaissance masters Giorgione or Titian. The Tempest is an enigmatic painting featuring a fully dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is seated and breastfeeding a baby; the relationship between the two figures is unclear. In Pastoral Concert, two clothed men and a nude woman are seated on the grass, engaged in music making, while a second nude woman stands beside them.

Olympia

As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian's Venus of Urbino (1538). The painting is also reminiscent of Francisco Goya's painting The Nude Maja (1800).

Manet embarked on the canvas after being challenged to give the Salon a nude painting to display. His uniquely frank depiction of a self-assured prostitute was accepted by the Paris Salon in 1865, where it created a scandal. According to Antonin Proust, "only the precautions taken by the administration prevented the painting being punctured and torn" by offended viewers. The painting was controversial partly because the nude is wearing some small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, sexuality, and comfortable courtesan lifestyle. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' body is thin, counter to prevailing standards; the painting's lack of idealism rankled viewers. The painting's flatness, inspired by Japanese wood block art, serves to make the nude more human and less voluptuous. A fully dressed black servant is featured, exploiting the then-current theory that black people were hyper-sexed. That she is wearing the clothing of a servant to a courtesan here furthers the sexual tension of the piece.

Olympia's body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. A contemporary critic denounced Olympia's "shamelessly flexed" left hand, which seemed to him a mockery of the relaxed, shielding hand of Titian's Venus. Likewise, the alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian's portrayal of the goddess in his Venus of Urbino.

Olympia was the subject of caricatures in the popular press, but was championed by the French avant-garde community, and the painting's significance was appreciated by artists such as Gustave Courbet, Paul Cézanne, Claude Monet, and later Paul Gauguin.

As with Luncheon on the Grass, the painting raised the issue of prostitution within contemporary France and the roles of women within society.

Life and times

After the death of his father in 1862, Manet married Suzanne Leenhoff in 1863 at a Protestant church. Leenhoff was a Dutch-born piano teacher two years Manet's senior with whom he had been romantically involved for approximately ten years. Leenhoff initially had been employed by Manet's father, Auguste, to teach Manet and his younger brother piano. She also may have been Auguste's mistress. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff.

Manet painted his wife in The Reading, among other paintings. Her son, Leon Leenhoff, whose father may have been either of the Manets, posed often for Manet. Most famously, he is the subject of the Boy Carrying a Sword of 1861 (Metropolitan Museum of Art, New York). He also appears as the boy carrying a tray in the background of The Balcony (1868–69).

Manet became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne, and Camille Pissarro through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. They later became widely known as the Batignolles group (Le groupe des Batignolles).

The supposed grand-niece of the painter Jean-Honoré Fragonard, Morisot had her first painting accepted in the Salon de Paris in 1864, and she continued to show in the salon for the next ten years.

Manet became the friend and colleague of Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she was introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugène.

Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International Exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.

Although his own work influenced and anticipated the Impressionist style, Manet resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzalès, a daughter of the novelist Emmanuel Gonzalès, was his only formal student.

He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors: after the early 1870s he made less use of dark backgrounds but retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.

Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.

One of Manet's frequent models at the beginning of the 1880s was the "semimondaine" Méry Laurent, who posed for seven portraits in pastel. Laurent's salons hosted many French (and even American) writers and painters of her time; Manet had connections and influence through such events.

Throughout his life, although resisted by art critics, Manet could number as his champions Émile Zola, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.

Café scenes

Manet's paintings of café scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. Manet often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie.

In Corner of a Café-Concert, a man smokes while behind him a waitress serves drinks. In The Beer Drinkers a woman enjoys her beer in the company of a friend. In The Café-Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress, a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background.

Manet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition to the dining area. One of the paintings he produced here was Chez le père Lathuille (At Pere Lathuille's), in which a man displays an unrequited interest in a woman dining near him.

In Le Bon Bock (1873), a large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.

Paintings of social activities

Manet painted the upper class enjoying more formal social activities. In Masked Ball at the Opera, Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture.

His 1868 painting The Luncheon was posed in the dining room of the Manet house.

Manet depicted other popular activities in his work. In The Races at Longchamp, an unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In Skating, Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas.

In View of the International Exhibition, soldiers relax, seated and standing, prosperous couples are talking. There is a gardener, a boy with a dog, a woman on horseback—in short, a sample of the classes and ages of the people of Paris.

War

Manet's response to modern life included works devoted to war, in subjects that may be seen as updated interpretations of the genre of "history painting". The first such work was The Battle of the Kearsarge and the Alabama (1864), a sea skirmish known as the Battle of Cherbourg from the American Civil War which took place off the French coast, and may have been witnessed by the artist.

Of interest next was the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the Execution of Emperor Maximilian, an event which raised concerns regarding French foreign and domestic policy. The several versions of the Execution are among Manet's largest paintings, which suggests that the theme was one which the painter regarded as most important. Its subject is the execution by Mexican firing squad of a Habsburg emperor who had been installed by Napoleon III. Neither the paintings nor a lithograph of the subject were permitted to be shown in France. As an indictment of formalized slaughter, the paintings look back to Goya, and anticipate Picasso's Guernica.

In January 1871, Manet traveled to Oloron-Sainte-Marie in the Pyrenees. In his absence his friends added his name to the "Fédération des artistes" (see: Courbet) of the Paris Commune. Manet stayed away from Paris, perhaps, until after the semaine sanglante: in a letter to Berthe Morisot at Cherbourg (10 June 1871) he writes, "We came back to Paris a few days ago..." (the semaine sanglante ended on 28 May).

The prints and drawings collection of the Museum of Fine Arts (Budapest) has a watercolour/gouache by Manet, The Barricade, depicting a summary execution of Communards by Versailles troops based on a lithograph of the execution of Maximilian. A similar piece, The Barricade (oil on plywood), is held by a private collector.

On 18 March 1871, he wrote to his (confederate) friend Félix Bracquemond in Paris about his visit to Bordeaux, the provisional seat of the French National Assembly of the Third French Republic where Émile Zola introduced him to the sites: "I never imagined that France could be represented by such doddering old fools, not excepting that little twit Thiers..." If this could be interpreted as support of the Commune, a following letter to Bracquemond (21 March 1871) expressed his idea more clearly: "Only party hacks and the ambitious, the Henrys of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793". He knew the communard Lucien Henry to have been a former painter's model and Millière, an insurance agent. "What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies".

The public figure Manet admired most was the republican Léon Gambetta. In the heat of the seize mai coup in 1877, Manet opened up his atelier to a republican electoral meeting chaired by Gambetta's friend Eugène Spuller.

Paris
Manet depicted many scenes of the streets of Paris in his works. The Rue Mosnier Decked with Flags depicts red, white, and blue pennants covering buildings on either side of the street; another painting of the same title features a one-legged man walking with crutches. Again depicting the same street, but this time in a different context, is Rue Mosnier with Pavers, in which men repair the roadway while people and horses move past.

The Railway, widely known as The Gare Saint-Lazare, was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, also the model for Olympia and the Luncheon on the Grass, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, watching a train pass beneath them.

Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas" The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.

Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today". The painting is currently in the National Gallery of Art in Washington, D.C.

Manet painted several boating subjects in 1874. Boating, now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned from Japanese prints, and the abrupt cropping by the frame of the boat and sail adds to the immediacy of the image.

In 1875, a book-length French edition of Edgar Allan Poe's The Raven included lithographs by Manet and translation by Mallarmé.

In 1881, with pressure from his friend Antonin Proust, the French government awarded Manet the Légion d'honneur.

Late works

In his mid-forties Manet's health deteriorated, and he developed severe pain and partial paralysis in his legs. In 1879 he began receiving hydrotherapy treatments at a spa near Meudon intended to improve what he believed was a circulatory problem, but in reality he was suffering from locomotor ataxia, a known side-effect of syphilis. In 1880, he painted a portrait there of the opera singer Émilie Ambre as Carmen. Ambre and her lover Gaston de Beauplan had an estate in Meudon and had organized the first exhibition of Manet's The Execution of Emperor Maximilian in New York in December 1879.

In his last years Manet painted many small-scale still lifes of fruits and vegetables, such as A Bunch of Asparagus and The Lemon (both 1880). He completed his last major work, A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), in 1882, and it hung in the Salon that year. Afterwards, he limited himself to small formats. His last paintings were of flowers in glass vases.

Death
In April 1883, his left foot was amputated because of gangrene caused by complications from syphilis and rheumatism. He died eleven days later on 30 April in Paris. He is buried in the Passy Cemetery in the city.

Legacy
Manet's public career lasted from 1861, the year of his first participation in the Salon, until his death in 1883. His known extant works, as catalogued in 1975 by Denis Rouart and Daniel Wildenstein, comprise 430 oil paintings, 89 pastels, and more than 400 works on paper.

Although harshly condemned by critics who decried its lack of conventional finish, Manet's work had admirers from the beginning. One was Émile Zola, who wrote in 1867: "We are not accustomed to seeing such simple and direct translations of reality. Then, as I said, there is such a surprisingly elegant awkwardness ... it is a truly charming experience to contemplate this luminous and serious painting which interprets nature with a gentle brutality."

The roughly painted style and photographic lighting in Manet's paintings was seen as specifically modern, and as a challenge to the Renaissance works he copied or used as source material. He rejected the technique he had learned in the studio of Thomas Couture – in which a painting was constructed using successive layers of paint on a dark-toned ground – in favor of a direct, alla prima method using opaque paint on a light ground. Novel at the time, this method made possible the completion of a painting in a single sitting. It was adopted by the Impressionists, and became the prevalent method of painting in oils for generations that followed. Manet's work is considered "early modern", partially because of the opaque flatness of his surfaces, the frequent sketch-like passages, and the black outlining of figures, all of which draw attention to the surface of the picture plane and the material quality of paint.

The art historian Beatrice Farwell says Manet "has been universally regarded as the Father of Modernism. With Courbet he was among the first to take serious risks with the public whose favour he sought, the first to make alla prima painting the standard technique for oil painting and one of the first to take liberties with Renaissance perspective and to offer "pure painting" as a source of aesthetic pleasure. He was a pioneer, again with Courbet, in the rejection of humanistic and historical subject-matter, and shared with Degas the establishment of modern urban life as acceptable material for high art."

Art market
The late Manet painting, Le Printemps (1881), sold to the J. Paul Getty Museum for $65.1 million, setting a new auction record for Manet, exceeding its pre-sale estimate of $25–35 million at Christie's on 5 November 2014. The previous auction record was held by Self-Portrait With Palette which sold for $33.2 million at Sotheby's on 22 June 2010.

Gallery

See also
 List of paintings by Édouard Manet
 Realism
 Hispagnolisme
 Portraiture
 History of painting
 Western painting

Notes

References

Further reading

Short introductory works

Longer works
  and

External links

 Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Édouard Manet, Getty Research Institute
 Impressionism: a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art (pp. 110–130)
 Manet, a video documentary about his work
 Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century
 The Private Collection of Edgar Degas, material on Manet's relationship with Degas, Metropolitan Museum of Art
 Jennifer A. Thompson, "The Battle of the USS 'Kearsarge' and the CSS 'Alabama''' by Edouard Manet (cat. 1027)"] in T [https://publications.philamuseum.org/jgj/vol1 he John G. Johnson Collection: A History and Selected Works'', a Philadelphia Museum of Art free digital publication.

1832 births
1883 deaths
19th-century French painters
French male painters
Artists from Paris
Burials at Passy Cemetery
Chevaliers of the Légion d'honneur
Second French intervention in Mexico
French Impressionist painters
French Realist painters
French amputees
Deaths from gangrene
French duellists

redpajama_set_name: RedPajamaWikipedia


text: Q: How to Save MATLAB GUI state When constructing a GUI, sometimes it would be appropriate for the GUI to start in the last state it was in when it was closed. I mean the same values selected in list boxes, radio buttons, and so on. How could we do that?


text:
President Donald Trump Slams Amazon Over Taxes It Pays and Impact on Other Businesses
President criticizes online retailer over taxes, use of postal service, impact on traditional retailers
Amazon wants to deliver everything you want to your doorstep, anywhere in the world. WSJ's Karan Deep Singh breaks down the basics with the help of an Amazon delivery box.
@laurastevens
laurastevens
Laura.Stevens@wsj.com
Richard Rubin
@RichardRubinDC
richard.rubin@wsj.com
Updated March 29, 2018 7:48 pm ET
President Donald Trump lashed out at Amazon.com Inc. over its business practices and economic impact, escalating his long-running feud with the e-commerce giant at a time of intensifying political and public agitation over the power of big technology companies.
In a Thursday morning tweet, Mr. Trump took aim at Amazon's role in people's everyday lives, from where they shop to the taxes the company collects from sales to how it delivers packages to them.
It was the latest attack the president has levied against the online retailer since before his election, a series that also has targeted Amazon's chief executive, Jeff Bezos, who owns the Washington Post.
Mr. Trump, who has carried on a fight with the Post and other media companies, has tweeted more than a dozen times mentioning Amazon, frequently suggesting that the company should pay more in taxes. He pressed that case again Thursday, adding that the company is taking advantage of the U.S. Postal Service.
"They pay little or no taxes to state & local governments, use our Postal System as their Delivery Boy (causing tremendous loss to the U.S.), and are putting many thousands of retailers out of business!" Mr. Trump tweeted.


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Cyberinsurance: What Is It and Do You Need It For Your Business?


text:
PAPER + PLASTICK ARE PROUD TO ANNOUNCE THE UPCOMING RELEASE OF MEDICTATION'S DEBUT ALBUM!
Dickie's untimely and recent passing shook not only those closest to him but also the punk world as whole, such was his influence and the positive impact that he had on the community. Whilst most of us are familiar with the majority of Dickie's works, his final pieces have not been announced/released, until now.
Following the demise of Leatherface in 2013, Dickie Hammond and Graeme Philliskirk (also of Leatherface) joined Hugo Mudie, Fred Jaques and Julien Blais (all of Montreal, Canada's The Sainte Catherine's) to form Medictation.
Medictation went on to record their debut LP "Warm Places", which was due to be announced early this year before the aforementioned events overtook. Now (following the blessings received from Dickie's mother and son) Medictation are able to announce their impending release and share Dickie's final works.
We have teamed up with New Noise Magazine to being you the first listen of Medictation's track Memories of Youth (being the first track from the LP Warm Places). Go listen to it here.
The album shall be released on 29 January 2016.
In 2008 Leatherface, landed on the shores of Canada to begin their Stormy Petrel World Tour. In support of this leg of the journey was Yesterday's Ring, a rag tag of Montreal mongrel punks headed by the charismatic lead singer Hugo Mudie who, also happened to be front the man for The Sainte Catherines.
The tour was both planned and executed by Leatherface's bass beast Graeme Philliskirk, and Yesterday's Rings' lead vocalist Hugo Mudie, whose extensive knowledge of the Canadian punk rock circuit helped both bands step up a gear for memorable tour for all involved.
The mutual affection and appreciation for each other's music and DIY approach led to both parties, continuing together for the final leg of the American tour! This in turn led to the pair becoming firm friends and in one well oiled, inebriated night led to each other promising, that both should one day work together again.
Following the fallout from the demise of both Leatherface and The Sainte Catherines in 2012 it wasn't until the summer of 2013 that the pair re-established contact.
Meanwhile Graeme also crossed path's with ex-Leatherface guitarist Dickie Hammond and within minutes of catch up banter, both expressed an interest in playing music again. Somehow, some way, no matter what.
Hugo, also included his old friend Fred Jaques, Guitarist and Drummer Julien Blais of The Sainte Catherines to complete the line up.
Two generations of punk rockers from both sides of the atlantic come together for a monster and unique collaboration in the name of MEDICTATION, to offer their first recording, WARM PLACES…. Their crazy idea, becomes a reality!
Hugo Mudie (The Sainte Catherines, Miracles, Yesterdays Ring) - Vocals
Dickie Hammond (HDQ, Leatherface) - Guitar
Fred Jaques (The Sainte Catherines, Miracles, Yesterdays Ring) - Guitar
Graeme Philliskirk (Leatherafce, Bultaco/Rugrat) - Bass
Julien Blais (The Sainte Catherines, Miracles, The Stills, XLarge, Cœur de Pirate ) - Drums
For more information or to book an interview please contact Melanie at info@melaniekayepr.com
Strung Out announce Canadian tour dates with Death By Stereo!
The Cryptics New Release/Tour
Melanie Kaye PR is happy to announce new client Atomic Music Group Canada.
Teenage Bottlerocket vs. Human Robots! West Coast Dates!
© 2014 Melanie Kaye P.R.


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China moves to reduce smoking scenes in films, TV dramas
China's film and broadcast watchdog has issued a circular ordering to reduce smoking scenes in films and TV dramas following complaints last month about the nation's failure to honor the tobacco-control commitment of the World Health Organization(WHO).
"Frequent smoking scenes in films and TV dramas do not accord with China's stance on tobacco control and will mislead the public, especially the young," read the circular posted on the website of the State Administration of Radio, Film and Television (SARFT).
Tobacco brands or signs and smoking scenes with juveniles present should not be allowed to appear in films or TV dramas, it said.
Scenes which have to show smoking should "last as short as possible," said the circular.
Read the full story here >>
via English.xinhuanet.com


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Q: Create calculated field in a table with DDL SQL I'm trying to add a calculated field on a Access table in a SQL sentence
CREATE TABLE or ALTER TABLE

I've managed to make it through a TableDef but failed to find any information on how to do it using SQL
Is that possible?


Roughly 6" inside opening diameter and 32" outside diameter. Looks to be 1950s or 1960s.
The item "Vintage MERRY CHRISTMAS Tree Skirt Reindeer Santa Sleigh 1950s Felt 32" is in sale since Thursday, August 2, 2018. This item is in the category "Collectibles\Holiday & Seasonal\Christmas\ Modern (1946-90)\Tree Stands & Skirts". The seller is "midwestfinder" and is located in Franklin, Indiana. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Chile, Colombia, Costa rica, Dominican republic, Panama, Trinidad and tobago, Guatemala, El salvador, Honduras, Jamaica.


Friends of Libraries U.S.A. Literary Landmarks Register McAlester, Oklahoma The Birthplace on October 25, 1914 of John Berryman, Poet and Biographer, Honored with the Pulitzer Prize, National Book Award, and Bollingen Prize. This Community at the center of His childhood in small town Oklahoma.


Brian Mohr said the road he took to co-founding Y Scouts is exactly why the company exists — to help people find their purpose.
What do you want to be A PART OF when you grow up?
"We're looking for people who have clarity about what they want to do," he said.
He calls it "purpose-based recruiting." He also calls it an important approach in a world filled with all sorts of opening doors, including trap doors.
His purpose in speaking to several cohorts of Colangelo College of Business students at Grand Canyon University, as part of CCOB's Dean's Speaker Series, was to help them understand the process that led him to where he is today and how they can better explore their options.
Mohr and Dr. Randy Gibb, the CCOB dean, serve together on the board of Conscious Capitalism Arizona, and Mohr also is part of the Conscious Capitalism national board. In addition, he will be the emcee for the first AZ Conscious Capitalism Collegiate Challenge, scheduled for April 11 at GCU.
Hobbies, such as learning how to play the guitar 2½ years ago ("I have not missed a practice") and playing Texas hold 'em poker.
So he took a sabbatical in search of his true purpose, then just happened to see an ad for a new recruiting firm, Jobing.com, while he was sitting in Talking Stick Resort Arena. He quickly sent in his resumé and, when he got an automated reply, kept making his interest clear until he became the company's fourth employee and ascended to Senior Vice President and General Manager.
"One of the most important turning points of my life," he said.
He was snapped up by P.F. Chang's as Director of Talent Strategy and Acquisition and did that for about a year before starting Y Scouts in 2012 – even though he had never done an executive search.
But there he was, telling the GCU students about how his dream came true … and how they can do the same thing if they can find their purpose.
Not just what you want to be when you grow up. That question has lost its purpose.
Your prospective spoke volumes to me as I am seeking my purpose. I have worked in higher education all of my career and sought to help students seeking financial aid. Recently, I have had a change in departments and have not felt that fulfillment. I think your perspective or shift in thought will help me redirect my career direction and help me find fulfillment.


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Washington County Historical Society
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District No. 11 – Pfiffner School / Victoria Station School
Pfiffner School students in 1898.
If you have any photos or memories of the school to share, please contact us.
Pfiffner District No. 11, Grant Township
DISTRICT FORMED The borders of the school district were carved from the Soule District and established in 1859.
YEARS SCHOOLS BUILT 1860; 1881 (about 24X36 feet in size, pictured above)
GENERAL LOCATION Halfway between White Bear Lake and Stillwater in Grant Township
MODERN ADDRESS Hwy. 96 and Jamaica Avenue
DISTRICT BOUNDARIES A few changes by 1898 were made where a half-section on the north and a half-section on the west were lost, and a half-section on the east and a quarter-section on the south were gained.
DISPOSITION Destroyed by fire in 1979
The school was named for the clerk of the district, Robert J. Pfiffner. It was used by eighth graders until the 1940s. Known by many as "The Little Red School House," it was used as an activity center in the 1970s and was the site of a successful art fair. About that time it became part of "Victoria Station."
"Transients" burned it down August 4, 1979.
Consolidated with Mahtomedi School District around 1952.
© 2020 Washington County Historical Society


This Formula Nourishes Blood & Qi. A blend of Nine Powerful herbs This Tonic nourishes and circulated the blood. It also increases Qi and Strengthens the Immune system. The herbs Enter, Harmonize and Strengthen the Stomach, Spleen, Kidneys and Lungs.
Whether taken as a Soup or Wine this formula can be taken for extended periods to Revitalize and Over come exhaustion from Over Training.