text:
Documents filtered by: Author="Adams, John Quincy" AND Author="Adams, John Quincy" AND Recipient="Adams, Abigail (daughter of JA and AA)" AND Period="Confederation Period"
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John Quincy Adams to Abigail Adams 2d, 1 – 8 August 1785
John Quincy Adams to Abigail Adams 2d
N:5.
Monday New York August 1st. 1785
In my last1 I just mentioned having been over upon Long Island, and paid a visit to Mrs. Smith, the Colls.s Mother: she was very polite to me, and appeared to miss her Son, much. All the family are in mourning for the old gentleman who died about 9 months ago. There is one Son here now, and if I mistake not, 6 daughters. Sally strikes most at first sight: she is tall; has a very fine shape, and a vast deal of vivacity in her eyes, which are of a light blue; she has the ease and elegance of a French Lady, without their loquacity. Her conversation I am told is as pleasing as her figure: but of that I only speak, from hearsay.—There is also on this island a celebrated beauty by the name of Miss Ogden: she looks I think, something like Mrs. Bingham: she is not so tall, nor so red, although I believe she has more colour.
I have been writing a letter to your Pappa;2 but it is full of politics. I don't know whether he will not think I meddle too much with them: but there are some things he may wish to be inform'd of, and at many places where I go into company I hear nothing else: so that I am obliged bongré, malgré, as the french say, still to dip a little in that subject: but I don't care how soon, I leave it off entirely. Mr. Church goes on Thursday.
I dined to day with Doctor Crosby, who came the other day, as soon as he knew I was in town, to see me. I imagine he thinks me a very cerimonious being: for, the day that he first saw me, he ask'd me to drink tea with him that afternoon. I promised I would: but I happened to dine in a Company where I was kept till it was too late, to wait upon the Doctor. The next day I went to his house to make an apology, but he was not at home: and yesterday I received a card containing a most formal invitation to dine to day. I find it a very nice matter here, to take a just medium between Ceremony and ease. If a person is formal he is laugh'd at, and if otherwise he often offends. It is exactly the fable of the miller and his Son.
I have been spending the evening with Mr. Gerry and Mr. King. Mr. Gerry writes to your Pappa, by Mr. Church who is to sail to morrow morning, and to whom I have given 2 letters for you; and one for your Pappa.3 I have not been able to find time for writing to Mamma. You will present my duty to her, and make an apology for me.
I was shown this evening a poem in manuscript, called a receipt for a wife: it is a catalogue of the celebrated beauties in this town, abusing some, and commending others. I would send you a Copy of it, but it is really such a pitiful performance, that it would not probably furnish you any entertainment. I am told of another piece in the same way; if I find it better I will give you some extracts from it, in case I can get a copy of it.
Mr. Church sail'd in the Packet this morning with my letters: they will show you that I have not been forgetful of my promises. I dined4 with a large Company at Mr. Osgood's. I was introduced this morning to a Miss Riché5 lately arrived from Philadelphia; and was this evening in Company with her at Mr. Sears's. She is a great beauty, but if I mistake not has a good deal of Affectation. She sings, plays upon the harpsichord, and writes songs herself: consequently she must be witty; but she is affected.—The Miss Sears's, you know I believe. Polly was married last spring to Mr. Bordieu. Sally, some say, is soon to be married to a Mr. Gamble; but fame has not yet disposed of Becca, the prettiest of them all.
I have got a Copy of the poem I yesterday talk'd of. It speaks of Miss Becca as follows.
If Becca would but learn to walk
And not be so afraid to talk
With greater lustre she would shine
In other eyes as well as mine.
Praise her for elegance of form
Which would the coldest marble warm
Praise her for sprightliness of wit,
Her Character you'll justly hit.
She's tender, virtuous and mild
But walks, as if she was a child.
You know, that part of our agreement is to give each other our opinion upon Characters; but I trust you will allow me to quote from other People, especially, when it is in verse. I am told the author of this piece is partial, in favour of Miss Sears when he says she is witty: as she is not much celebrated as a wit. Of this I cannot decide, for although I have been several times in Company with her, I don't know that four words have ever pass'd between us.
The President6 has a large Company of 20, or 25 persons to dine with him, three times a week: but as he has no Lady himself, he entertains none but gentlemen. Once a week, he has a musical Entertainment, as it is here called, that is, he invites a number of persons among his Company, that sing songs after dinner, and, there was one to day. Among the singers the most curious was Genl. Howe, of whom you have often heard. He is you know not less famous for cracking the bottle, than for singing a song. Being requested to day to sing, he endeavoured once or twice to begin but found something wanting. At last he cried out, "give me that Madeira to revive me, for I have been flattening my voice by drinking Burgundy." And after drinking his glass he sung, "Once the gods of the greeks," very well.
I went this Evening, with the President to a Mr. Eccles's. Miss Eccles, is the most perfect at the harpsichord, of any Lady in the City, or perhaps on the Continent. I must again quote from the same poem, which speaks of this Lady thus.
Miss Eccles now my lay commands,
Her mind harmonious as her hands.
Six hours in every twenty four
For nine revolving years or more
(Some rigid moralist may say)
Is too much time to spend at play.
I own the observation true,
But still admire the music too
For he that hears her must forget
The time she lost in learning it.
I am sure my Sister would never agree to purchase perfection in the art of music upon such conditions, and I should be very sorry if she would.
Young Chaumont, who has been at Philadelphia, almost all the time since he arrived, return'd here a few days since, and is going shortly to Boston. Perhaps we shall go both at the same time. When he first arrived here he presented a memorial to Congress, requesting that, they would order all the paper money, which french merchants had received in the course of the war, or which now lies in their hands, to be paid in hard money, dollar for dollar.7 This will surprise you probably as much as it did every body on this side the water. Yet Chaumont really presented his memorial with hopes of succeeding. Congress have not given any answer, and he begins to think that the plan will not take. He tells me he will show me his memorial, and says, I shall then own that his pretensions, are absolutely just, and equitable.
I attended Church this morning at St. Paul's, for we have a St. Paul's here, as well as you in London, but it is something like Alexander the great, and Alexander the Copper smith.8 This is however the largest and most frequented Church in [New] York, and is more consistent with the smallness of the City than it would be if it vied in grandeur and magnificence with its namesake in London. After Church I left a card at Miss van Berkel's; she arrived here two days ago, from Philadelphia. She had a passage of 13 weeks (in a Dutch vessel) and yet her brother, who had been informed of the time of her sailing, by the arrival of other vessels; told me, that she arrived before he expected her.—I paid a visit too this forenoon to Miss Alsop. Her father is acquainted with our's.9 She is called a Coquet.
Why is not Alsop often told
That coquetry is grown quite old?
That nothing is more out of date
Than affectation, and conceit?
The eye half shut, the dimpled cheek
And languid look, are arts too weak,
To win the heart of any youth,
Who loves simplicity and truth.
These lines have not however cured her of her fault: for the 5th. and 6th. are an exact description of her appearance, as it was to day, and I am told she is always so. She is fair, and pretty, but injures her appearance much by those simpering airs.
I was at a party at tea this afternoon, and Miss van Berkel was present. There were only two or three persons in Company that could speak to her, so, I was obliged to converse with her, near two hours together. And here I must tell you, that I believe more and more firmly, that what a certain Friend of mine said of her, is a most infamous falsehood. She behaves as well, as any young lady I know of, and I believe if her brother knew what that coxcomb said of her, he would make him repent it heartily. She complains of not understanding the language, as bitterly, as you did when you first arrived in France. She says she had no idea, how awkward one appears in a large company, where one can neither hear what is said nor speak one's self. You have had sufficient proofs of the truth of this observation: tho' you was not often subjected to the inconvenience.
I went out this morning with some Company to Content, a seat, about 3 miles out of town, where Lady Wheate lives. She is one of the most celebrated belles in the City. As for Sense, her conduct has shewn her not overstock'd with that. About two years ago she married Sir Jacob Wheate, a british officer between 60 and 70 years old; she herself was not 16. Sir Jacob before he had been married a week, went to the West Indies and there died. He left her an handsome fortune; and it is said she is now soon to marry a Captain Cochran, son to Lord Dundonald, a scotch Nobleman. The author of the aforesaid Satirical poem appears quite enraged in speaking of her.
If Wheate should live till she be old
She will not marry then for gold
When Nature took such special care
To form her so divinely fair
She gave her not those matchless charms
To bless a dotard's gouty arms.
"A title, and a vast Estate
May purchase love, and conquer hate."
The person may be bought I own
But barter'd love was never known.
The girl that weds for money's sake
A titled fool a batter'd rake
Deserves as much a bad renown
As any woman of the town.
This is carrying the matter too far: though I cant say I admire any person who makes fortune the only object in marriage. Miss S. Smith was with Lady Wheate, and has spent about a week at Content. I am vastly pleased with this Lady. The contrast between her manners and those of Lady Wheate is highly in her favour, and very striking.
I dined to day in Company with Genl. Greene, at the president's. He arrived in town only a few days since, and he will make but a short stay, here. He is going to settle I am told, in Georgia, where he has a very large landed Estate.
My Paper bids me close, but I take my leave of you only till tomorrow. Mean time I am as ever, your's.
J. Q. Adams
RC (Adams Papers). The text is written on eight small pages, numbered from "33" to "40"; see the descriptive note to JQA to AA2, [12] May, above.
1. Of 17 July, above.
2. Of 3 Aug., below.
3. Gerry's letter of 3 Aug. is in the Adams Papers. JQA's two letters to AA2 were of 25 May, and 17 July, both above; his letter to JA is identified in note 2.
4. The word is written over and illegible; JQA wrote "Dined" in his Diary (Diary description begins Diary of John Quincy Adams, ed. David Grayson Allen, Robert J. Taylor, and others, Cambridge, 1981-. description ends , 1:297).
5. On Miss Riché, and on Miss Eccles (under 5 Aug., below), see same, 1:297–298, 299, 300.
6. Of Congress, Richard Henry Lee.
7. On 30 June, Congress appointed a committee to consider "the letter of June 30 from the Secretary for Foreign Affairs on the letter of June 14 from [the French chargé] Barbé Marbois and a memorial from James Le Ray de Chaumont acting for French creditors" (JCC description begins Worthington C. Ford and others, eds., Journals of the Continental Congress, 1774–1789, Washington, 1904–1937; 34 vols. description ends , 28:489). This committee was discharged on 7 July, and the matter was referred to the Treasury Board. On 30 July, the Board completed a report on the general issue of financial obligations to French creditors, in response to the memorials of Barbé Marbois. Concerning Chaumont's memorial, the Board simply referred it to Congress' general decision on the issue of obligations. John Jay presented the Board's report to Congress on 2 August; Congress took no action on Chaumont's memorial. JCC description begins Worthington C. Ford and others, eds., Journals of the Continental Congress, 1774–1789, Washington, 1904–1937; 34 vols. description ends , 29:517, 598–606.
8. St. Paul's Church, on the west side of Broadway between Partition and Vesey streets, a few blocks south of the present City Hall, was built in 1764–1765 (I. N. Phelps Stokes, The Iconography of Manhattan Island, 1498–1909, 6 vols., N.Y., 1915–1928, repr. 1967, 1:331, 415–416, and plate 54b). Alexander the Coppersmith was an opponent of the Apostle Paul at Ephesis. He is mentioned in only two verses of Scripture, and nowhere else (2 Timothy 4:14–15, although 1 Timothy 1:19–20, and Acts 19:33, may refer to him).
9. Mary Alsop was the daughter of the N.Y. merchant John Alsop, a member of the First Continental Congress whom JA had met in New York in Aug. 1774. Mary Alsop married Rufus King in 1786. JA, Diary and Autobiography description begins Diary and Autobiography of John Adams, ed. L. H. Butterfield and others, Cambridge, 1961; 4 vols. description ends , 2:98, 106; JQA, Diary description begins Diary of John Quincy Adams, ed. David Grayson Allen, Robert J. Taylor, and others, Cambridge, 1981-. description ends , 1:297, note 2.
Note: The annotations to this document, and any other modern editorial content, are copyright © The Massachusetts Historical Society. All rights reserved.
Adams, John Quincy
Adams, Abigail (daughter of JA and AA)
"John Quincy Adams to Abigail Adams 2d, 1 – 8 August 1785," Founders Online, National Archives, accessed April 11, 2019, https://founders.archives.gov/documents/Adams/04-06-02-0079. [Original source: The Adams Papers, Adams Family Correspondence, vol. 6, December 1784 – December 1785, ed. Richard Alan Ryerson. Cambridge, MA: Harvard University Press, 1993, pp. 242–248.]
From John Quincy Adams to Abigail (daughter of JA and AA) Adams [17–31 July 1785]
From John Quincy Adams to Abigail (daughter of JA and AA) Adams [9–19 August 1785]
All correspondence between John Quincy Adams and Abigail (daughter of JA and AA) Adams


The trailer to the third installation of the Dhamaal franchise was released earlier today and is everything we hoped for and more.
Directed by none other than Indra Kumar himself, it features a mixed lineup of the original cast – Arshad Warsi, Riteish Deshmukh, Sanjay Mishra (who had skipped the second installment – Double Dhamaal) and Jaaved Jaafri, along with the notable additions of Anil Kapoor, Ajay Devgn, Madhuri Dixit and Esha Gupta. That's right, Madhuri Dixit and Anil Kapoor's ever-eternal 'Dhak Dhak' jodi makes a glamorous return to the silver screen after several years, and their chemistry looks as good as ever.
Kabir Nayak AKA Sanjay Dutt, who played a major role in the previous installment, will unfortunately, not be joining the cast due to the filming dates being an issue.
Total Dhamaal is due to release on February 22nd after being postponed from it's original planned release on December 2018. This was due to time constraints caused by the film's special effects.
Here's a look at just how Crazy Punit Malhotra's birthday bash really was.


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text:
Watch The First HBO "Going Clear" Scientology Doc Official Trailer
by Bruce Chamberlain on February 18, 2015
J.J. Abrams' Bad Robot is working on a movie dramatizing the life of legendary inventor Thomas Edison, according to several sources who know about the film, reports TheWrap.
Bad Robot is J.J. Abrams' and Bryan Burk's production company. Its part of Paramount Pictures, and its headquartered on Paramount's lot. Neither Paramount or Mr. Burk opted to comment after multiple requests.
Thomas Edison (who was dubbed "The Wizard of Menlo Park") will be portrayed as the ruthless and bizarre inventor of the motion picture camera, which makes him one of the most widely acclaimed "fathers of cinema." Mr. Edison also invented the first commercial incandescent light bulb, the phonograph, a stock ticker, a battery for a electric car, and many other devices that have shaped how we live today.
A competing film on Mr. Edison's life, called The Current War, is being filmed by the Weinstein Company. The movie will recount Mr. Edison's campaign against George Westinghouse to make direct current (DC) the most widely used form of electrical power distribution. Mr. Westinghouse heavily publicized alternating current (AC), which was Nikola Tesla's electric supply system.
Bad Robot is also producing Star Wars: Episode VII The Force Awakens, which is set to release in December 2015. Films, Mission: Impossible V and The Cellar are also lined up to be released soon by Bad Robot. It's also about to start producing Justin Lin's Star Trek 3.
Movies, News
Raspberry Pi 2 Released
Pebble Has Sold 1 Million Smartwatches

redpajama_set_name: RedPajamaCommonCrawl


These organisations provide information and support to people nearing the end of their life, and their families. Some can also offer support to people who have been bereaved. You can find other organisations that can support people affected by pancreatic cancer on our other sources of information and support page.
Offers support, advice and information to people who have been bereaved.
Provide links to information and resources in Scotland to support people at the end of life, and their families.
Offer a safe place for you to talk any time you like, in your own way, about whatever's worrying you. You don't have to be suicidal to contact them.
Provides hospice and medical care as well as practical and emotional support and information.


The islands of Hawaii are a snorkeler's paradise thanks to the warm waters and coral reefs that are home to a diverse and wonderful display of some of the best marine life the ocean has to offer. From schools of brilliantly colored reef fish to mammals like dolphins, seals and whales, the waters off all the Hawaiian islands, including Maui, never disappoint.
One of the main attractions for snorkelers are the abundant sea turtles that lazily feed in the waters off Maui. These majestic and peaceful creatures are happy to oblige snorkelers, making frequent appearances, but as with all sea life, you should familiarize yourself with sea turtles, their habits and the rules governing interacting with them before you don your flippers and mask.
Sea turtles have long fascinated snorkelers because of their size and grace as they float through the waters foraging for food. They're also terribly shy creatures, which makes an encounter very special. One of the biggest draws of Maui is the sheer abundance of sea turtles, making a turtle sighting far more likely.
By far the most common sea turtle in Hawaii, the green sea turtle, also known as honu, can weigh up to 400 pounds and measure four feet in length. The native green turtle is an herbivore that feeds on sea grasses close to the shore and, contrary to its name, they're not green, but rather brown.
Named for a snout that looks like a giant bird's beak, the hawksbill turtle is a native to Hawaiian waters. These 200-pound animals use their beaks to feed on shellfish and sponges.
These are rare finds in Maui, but they are out there. Weighing in at only 100 pounds and measuring two feet, these elusive turtles may be harder to spot.
An encounter with one of these behemoths can be the Holy Grail for many snorkelers. Leatherback turtles can grow up to eight feet long and weigh a whopping 2,000 pounds. Their name comes from the fact that their shells aren't hard. Spotting one of these gentle giants is rare since they rarely come close to shore, preferring to feed in deeper waters.
The likelihood of spotting a loggerhead turtle in Maui is slim since very few make Hawaii home, despite the fact that loggerheads are the most common sea turtles in U.S. waters.
If you have the good fortune to come across any of the five turtles listed above during your snorkeling adventures off Maui, the first thing to keep in mind is that all sea turtles are protected by state and federal law.
The Division of Aquatic Resources in Hawaii recommends that you give sea turtles wide berth, at least six to 10 feet. If a turtle swims toward you, simply stay still and enjoy your close encounter without moving and potentially hitting the turtle with your flippers.
As well, it's helpful to remember that sea turtles need oxygen so don't crowd the surface of the water over feeding turtles, preventing them from coming up for air.
If you see a turtle that looks injured or caught in fishing line or other debris, please alert the National Oceanic and Atmospheric Administration on their website or tell a local snorkeling guide.
Lastly, when you're out snorkeling, the Hawaiian government has taken steps to curb sunscreen use, which is harming the sea life. When you hit the water, use a lycra body skin to cover up rather than sunscreen, which provides better protection in any case. You can still work on your tan once you get back to shore.
Spotting sea turtles in Maui is fairly easy, if you know where to look. The front desk of your hotel as the staff can usually point you in the right direction. It's also a great idea to book a snorkeling tour for your first time out, even if you're a seasoned snorkeler. Guided trips provide a useful introduction to Maui's sea life and the guides are able to bring you to the best areas for turtle sightings.
Snorkeling with sea turtles is an unparalleled experience and one that is easily available on the island of Maui. If you're as quietly patient as the turtles themselves, you'll find yourself with a front-row seat to one of the ocean's greatest gifts.
Rowan, Jennifer. "Snorkeling With Turtles in Maui." Travel Tips - USA Today, https://traveltips.usatoday.com/snorkeling-turtles-maui-60568.html. 23 May 2018.


text:
Opisthacanthus lamorali est une espèce de scorpions de la famille des Hormuridae.

Distribution
Cette espèce est endémique du Zimbabwe. Elle se rencontre dans les monts Chimanimani et Inyanga.

Description
Le mâle holotype mesure  et la femelle paratype .

Étymologie
Cette espèce est nommée en l'honneur de Bruno H. Lamoral.

Publication originale
 Lourenço, 1981 : Opisthacanthus lamorali, nouvelle espèce de Scorpionidae pour la région afrotropicale (Arachnida: Scorpionida). Annals of the Natal Museum, , ,  (texte intégral).

Liens externes
 The Scorpion Files : Jan Ove Rein, Trondheim, Norwegian University of Science and Technology

Notes et références

Hormuridae
Espèce de scorpions (nom scientifique)
Faune endémique du Zimbabwe

redpajama_set_name: RedPajamaWikipedia


Read the prospectus carefully before admission.
The application form should be filled by the student him/herself.
Passport size photographs must be attached with the application form.
While submitting the form in the office (by hand or post) the first term fee must be paid in cash or D.D. (This fee is non-refundable in any circumstances).
Due to limited number of seats availble in each class. The admission shall be completed immediately after the declaration of the result of the qualifying examination.
When admission is granted the prescribe fees for the first term(See the table of fees) should be remitted to the college office immediately in cash or D.D. (Cheque will not be accepted).
The code of conduct shall be applicable to all students of SRC Bhopal. The students are expected to maintain a high standard of discipline. Students must confirm the college rules and follow them.
Education is the main objective of this college and this is the primary purpose for which students are admitted.
The observance of rules of discipline and good behaviour shall be an essential condition to all the students for continuance in the college.
Attendance in all the lectures is compulsory. As per Board Of Secondary Education rules, each student should at least have 75% attendance in each subject to be able to appear in the annual Board Of Secondary Education exam.
The college conducts internal periodically in different subjects. Every student is require to appear in these tests.
The students shall be responsible for all books and apparatus etc. issued to them .
Sports and cultural activities are as important as studies. The students are expected to participate in them.
Any political activity is not permitted in the college campus. Students having any problem in the college campus should consult the Principal only.
Damages to any property of the college shall make one as defaulting student.
Ignorance of any rule of regulation will not be accepted as an excuse for it particularly irresponsible behaviour of any student.
Consumption of any intoxicating agent and smoking is totally prohibited in the college campus.
Student ought to develop a sense of responsibility, self discipline, punctuality and a sense of belongingness to the college.
A student behaviour ought to be so correct that parents and public might approve the system.
Students must bear such sober cloths which are seems to be good in high moral society.


text:
From hallowed halls to a higher calling
[Cambridge Seven—Buswell]
IN FEBRUARY 1885 seven young men associated with the University of Cambridge sensationally left fame and fortune as sports heroes to go to China as missionaries. Sixty years earlier, six of Thomas Chalmers's students from the University of St. Andrews had made a commitment to become missionaries. Those at St. Andrews had modest social backgrounds and needed to prove themselves academically. Those at Cambridge were independently wealthy, aristocratic, and had either fame in sports or secure military or church careers. All were young people discovering, in company with others, that there was more to believing that "God was in Christ reconciling the world to himself" than they realized.
These famous "sevens" echo many people's university experiences—excited by ideas, challenged by expanding horizons and passionate debates, exploring faith and doubt, and forming friendships. This enthusiasm often comes with intense self-reflection, an impatience to feel settled in relationship with God, and in some cases a struggle with depression. When Stuart Piggin and I wrote about the St. Andrews Seven some years ago, learning of their struggles helped affirm that we had not been alone in our own adventures of faith.
Going into all the world
The Great Commission (Mark 16:15) had been explicitly embodied in missionary societies since the founding of the Particular Baptist Society for the Propagation of the Gospel Amongst the Heathen in 1792. However it still faced indifference and even opposition in 1824 when six students formed the "St Andrews University Juvenile Missionary Society" to review and support missions and hear from famous missionaries like Joshua Marshman from India and Robert Morrison, pioneer translator of the Bible into Chinese.
Like the students, Marshman and Morrison were attracted to St. Andrews by professor Thomas Chalmers (1780–1847). As the group researched missions, questions arose about what God wanted them to do practically; as their friendships grew, so did their concern for China and India. Six eventually set their hearts on missionary service: John Adam, Alexander Duff, David Ewart, William Sinclair Mackay, Robert Nesbit, and John Urquhart.
Of these, the oldest was John Adam, just 20. He had been converted during a stay in Geneva and had been studying Latin, Hebrew, and Greek. Duff shared lodgings with his old school friend, Urquhart. Nesbit was studying theology. Less is known of Mackay and Ewart, but Chalmers inspired them all to connect faith to moral philosophy and political economy as well as to Christian mission.
When Adam met Urquhart, he immediately drew him into the group which began meeting for prayer and reading on Sunday mornings; Duff, Urquhart, and Adam frequently joined Chalmers's family for evening meals. The founders of the Student Missionary Society were hard-working students, successful in winning prizes and scholarships, but had already turned their minds and efforts to purposes beyond. Even the attractions of golf at St. Andrews, where the sport originated, held little appeal.
Chalmers continued to influence the young missionaries-to-be over shared meals. Deciding to support missionaries and Bible societies had been important in his own conversion, and he often spoke at mission meetings and served as an active member in the St. Andrews town missionary society founded in 1822. Other student societies had already been founded in Scotland: at the University of Aberdeen in 1820 and the University of Glasgow in 1821. The University of Edinburgh would follow in 1825.
At St. Andrews the student society grew rapidly, though most professors regarded mission societies as "puritanical and unacademic," making it difficult to find somewhere to meet. Study routines were important, including Bible study. As opinion became polarized, the group published a magazine to support their cause; others published in opposition, and for a year rival student magazines went head to head. After two years membership reached 70. But studying missions only went so far. It was time to act.
Urquhart became the first to declare his decision to become a missionary. When he died unexpectedly in 1827, his devastated friends wondered if they were meant to take up the challenge. Duff (1806–1878) resolved to go to Calcutta as the pioneer missionary of the Church of Scotland. Over the next few years, Nesbit, Adam, Mackay, and Ewart also served in India. Another 10 society members became ministers; one member was chair, another secretary, of the foreign missions committees of their denominations.
Duff's decision that his school would use English, not a vernacular Indian language, ran counter to missionary wisdom then and since; but in the 1830s, it met a felt need and laid foundations for higher education in India. His philosophy of mission allowed factions in the Scottish church to cooperate through the shared belief that education lay at the heart of Christian mission. Those who went to India were gifted teachers, remarkable for their engagement with the intellectual life of India and their sense of the importance of science, philosophy, ethics, and economics.
Significantly the St. Andrews society was among the pioneers of student-led Christian witness in British universities—indeed, the intellectual world of the university was itself a mission field.
Seven more
Sixty years later in 1880s Britain, pressing Christian issues included not only the call to conversion but also the much-talked-about possibility of a "higher life" of Christian commitment. Mission meetings led by American evangelist D. L. Moody (1837–1899) encouraged conversion and further consecration, as did Hudson Taylor (1832–1905) of the China Inland Mission (CIM) in his call for missionaries to China's nine inland provinces.
Taylor had simply been praying for 70 missionaries, but as one by one students with university or military connections applied, he realized that a prayer for "university men" to go to China was also being answered. Out of this came the "Cambridge Seven"—a group of students whose stories of interwoven lives, friendships, and deep experiences of Christian commitment and soul-searching would inspire missionaries for years to come. They toured Britain in a wave of publicity and excitement, leading to a climactic farewell from Exeter Hall in London on
the eve of their departure on February 5, 1885.
Only six were actually from Cambridge: Stanley P. Smith, captain of the rowing team; C. T. Studd, captain of the cricket squad; William Cassels, a Church of England curate; Cecil Polhill-Turner, a lieutenant in the Royal Dragoons; his brother Arthur, in training for the priesthood; and Montague Beauchamp, also in training for ministry. The non-Cambridge member was Dixon Hoste, a lieutenant in the Royal Artillery.
Studd was one of England's most famous cricket players; he had helped beat Australia only for the Australians to then defeat England and have the event labeled as the death of English cricket: "The body will be cremated and the ashes taken to Australia." Studd and the English team then went to Australia and won back the trophy, now named the "Ashes." With the potential of a brilliant sports career, he headed for the mission field instead.
They arrived in Shanghai on March 18, 1886. At first some tried to bypass the challenge of learning Chinese by praying for the gift of tongues. But once in Shanxi province, they proved willing to place themselves under the leadership of Chinese pastor Hsi whose ministry of prayer, exorcism, and use of morphine to cure opium addicts went beyond anything they'd experienced in England.
Later Cassels, Arthur Polhill, and Beauchamp relocated to Szechwan, where a Church of England diocese was established as part of the CIM with Cassels consecrated bishop. In 1903 Hoste succeeded Taylor as general director of the CIM. Beauchamp functioned as an independent missionary, using family wealth to support the CIM and build its headquarters in Shanghai.
None of the men lost their sense of God's call on their lives, but not all stayed with the CIM. Studd (1860–1931) resigned in 1890, ministering in India and then the Congo and forming the Heart of Africa Mission—now the Worldwide Evangelization Crusade. In 1904 Smith resigned after adopting a "wider hope" theology, which held that salvation in Christ was possible for those who had never been evangelized. He remained in China and in good relationship with the CIM. Cecil Polhill left in 1900 after the Boxer uprising; he and Studd were early visitors to Azusa Street in February 1908 as the Pentecostal movement began to blossom in the United States. Polhill later became the first president of the Pentecostal Missionary Union in Britain.
Fourteen for Christ
At St. Andrews the students had gained as good an understanding of overseas mission as it was possible to get at that time without leaving England. At Cambridge the popular adulation of sporting heroes was pressed into the service of the gospel—but as they responded to the immediacy of the need, the fervor of revival, and holiness piety, they found a channel in the CIM. The two groups represented different eras but were similarly young, intense, capable, and earnest—sometimes embarrassingly so. Friendships during their spiritual, social, and academic formation gave them strength and wisdom they carried into their years of service and sacrifice ahead, united in ongoing growth in Christ even as their paths diverged. CH
By John Roxborogh
John Roxborogh is honorary fellow in the department of theology and religion at the University of Otago, Dunedin, New Zealand, and coauthor of The St. Andrews Seven: The Finest Flowering of Missionary Zeal in Scottish History. He has taught church history and mission studies in Malaysia and New Zealand.
Saints against slavery
A world-changing set of friendships
Holy clubs and Tuesday meetings
Circles of spiritual friends were at the heart of the Methodist movement—twice
Kelly Diehl Yates
Together traveling on
Christian friendship between spouses
Jennifer Woodruff Tait
"As the heart of one man"
The friendship of Andrew Fuller and John Ryland
Michael A. G. Haykin
Christian History Magazine #132 - Spiritual Friendship


text:
Q: apns and asp.net I'm building and iPhone application the use push notification, all is ok. but now i'm going to build the server side with ASP.net. can any one help mee... coz i tired to get a solution using Google but unfortunately i didn't find any thing.
....
note: i tried this link http://arashnorouzi.wordpress.com/2011/03/31/sending-apple-push-notifications-in-asp-net-part-1/
but the post not completed yet

A: After days of work. I chose to work with Urbanairship which provides a full push server:
Dim request As WebRequest = WebRequest.Create("https://go.urbanairship.com/api/push/broadcast/")
Dim postData As String = "{""aps"": {""badge"": ""+1"", ""alert"": ""Estez Mohamad lamaa!"",""sound"": ""default""}}"
request.Credentials = New NetworkCredential("uorecode", "uorkey")
request.Method = "POST"
Dim byteArray As Byte() = Encoding.UTF8.GetBytes(postData)
request.ContentType = "application/json"
request.ContentLength = byteArray.Length
Dim dataStream As Stream = request.GetRequestStream()
dataStream.Write(byteArray, 0, byteArray.Length)
dataStream.Close()
Dim response As WebResponse = request.GetResponse()
dataStream = response.GetResponseStream()
Dim reader As New StreamReader(dataStream)
Dim responseFromServer As String = reader.ReadToEnd()
Console.WriteLine(responseFromServer)
reader.Close()
dataStream.Close()
response.Close()

A: I saw part 4 is out with a useful sample code.
http://arashnorouzi.wordpress.com/2011/06/19/sending-apple-push-notifications-in-asp-net-and-c-%e2%80%93-part-4-apns-sharp-c-wrapper-class/

A: I use Prowl for notifications from ASP.NET:
public static void PushNotification(string header, string message)
{
    new Thread(() =>
        {
            var prowlURL = string.Format("https://api.prowlapp.com/publicapi/add?apikey={YOURKEY}&application={0}&description={1}", header, message);

            WebClient wc = null;
            try
            {
                wc = new WebClient();
                wc.UploadString(new Uri(prowlURL), "");
            }
            catch
            {
            }
            finally
            {
                if (wc != null)
                {
                    wc.Dispose();
                    wc = null;
                }
            }
        }) { Name = "PushNotification", IsBackground = true }.Start();
}

A: It is definitely finished.
I used it, and it works great.
However i'm not sure what's its licensing.

redpajama_set_name: RedPajamaStackExchange


Jane Capital Partner Neal Dikeman to speak at the 11th Wall Street Green Summit in New York City on March 19-20, 2012. Located at the Center of Architecture, the WSGS is the longest running and most comprehensive environmental market event in the industry launched in 2002 by Peter Fusaro.
"2012 will be my 3rd invitation to speak at WSGS. It's one of the anchor conferences in the cleantech sector, " says Neal Dikeman.
The Wall Street Green Summit XI is the "one-stop shop" to come up to speed on the latest developments in Green Trading and Finance.


text:
New Mazda cars will stop if driver suffers health problem
Nov. 3, 2021 at 8:49 pm Updated Nov. 5, 2021 at 8:13 am
YURI KAGEYAMA
TOKYO (AP) — Cars already know how to park themselves, warn drowsy drivers, steer back into the right lanes and propose map routes to destinations. The cars Mazda has in the works for next year in Japan know when drivers have a stroke or heart attack.
By 2025, the cars will even know when drivers are about to have a sudden health problem and warn them, according to the Japanese automaker.
What's involved are data from cameras inside the car, without resorting to laser sensors or other more obtrusive technology. And it's going to be offered in affordable models, not just luxury vehicles. The technology holds promise for one of the most advanced aging societies in the world.
Mazda told reporters recently it has been working with medical experts, including Tsukuba University Hospital, researching the collected image data to figure out what a healthy driver looks like, as opposed to an incapacitated driver, suddenly slumped forward over the steering wheel.
Once recognizing a problem, Co-Pilot Concept, which has yet to have an official name, will bring that car to a stop in a safe spot, such as the curb of the road, as quickly as possible.
The car will be honking, with blinker and hazard lights flashing, according to Mazda, although the exact warning signals are still undecided. An emergency call to the ambulance and police will also get relayed.
Other major automakers, including Volkswagen of Germany and Japanese rival Toyota Motor Corp., are working on similar technology.
Mazda plans to offer the technology in Europe after Japan. Mazda wants to wait and see before offering it in the U.S., because it believes questions remain about their social acceptance, although similar systems that stop vehicles are already being offered by rivals.
As for privacy concerns, the personal data does not leave the car, according to Mazda.
Takahiro Tochioka, the engineer in charge, said Mazda is working on ways to predict a health problem that may be coming even if the driver may not be conscious of it.
What the car will be looking for are the ways people focus their vision, the swaying of their heads, slight aberrations in driving habits and other subtle changes, he said.
"And it will warn drivers even before actual symptoms appear," he told reporters proudly.
"But understanding and cooperation from the drivers around that car is crucial for this technology to work."
Mazda is hoping the Japanese public will see a driver in distress and help them, since an assumption of widespread public goodwill is characteristic of Japan.
The technology will empower people to keep driving through their lifetime, and will help reassure families and friends not to be worried, Tochioka said. Offering Co-Pilot will also allow Mazda to get feedback from real-life users, he said.
5 takeaways from Seattle's red-hot 2021 housing market, and the year's priciest sales
'Our city's not dead yet': PCC opening highlights promise of, and challenges to, downtown Seattle's recovery VIEW
London-bound jet returns to Miami over maskless passenger
Restaurant workers go 'missing' again from Washington's job recovery
Fred Meyer, QFC workers struggle in Washington to make ends meet, new report shows


To filter salaries for Retention Representative, Sign In or Register.
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The national average salary for a Retention Representative is $30,288 in United States. Filter by location to see Retention Representative salaries in your area. Salary estimates are based on 260 salaries submitted anonymously to Glassdoor by Retention Representative employees.
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text:
Q: How are surrogate pairs calculated? If a unicode uses 17 bits codepoints, how the surrogate pairs is calculated from code points?

A: Unicode code points are scalar values which range from 0x000000 to 0x10FFFF. Thus they are are 21 bit integers, not 17 bit.
Surrogate pairs are a mechanism of the UTF-16 form.  This represents the 21-bit scalar values as one or two 16-bit code units.

*

*Scalar values from 0x000000 to 0x00FFFF are represented as a single 16-bit code unit, from 0x0000 to 0xFFFF.

*Scalar values from 0x00D800 to 0x00DFFF are not characters in Unicode, and so they will never occur in a Unicode character string.

*Scalar values from 0x010000 to 0x10FFFF are represented as two 16-bit code units. The first code unit encodes the upper 11 bits of the scalar value, as a code unit ranging from 0xD800-0xDBFF. There's a bit of trickiness to encode values from 0x01-0x10 in four bits. The second code unit encodes the lower 10 bits of the scalar value, as a code unit ranging from 0xDC00-0xDFFF.

This is explained in detail, with sample code, in the Unicode consortium's FAQ, UTF-8, UTF-16, UTF-32 & BOM.  That FAQ refers to the section of the Unicode Standard which has even more detail.

A: If it is code you are after, here is how a single codepoint is encoded in UTF-16 and UTF-8 respectively.
A single codepoint to UTF-16 codeunits:
if (cp < 0x10000u)
{
   *out++ = static_cast<uint16_t>(cp);
}
else
{
   *out++ = static_cast<uint16_t>(0xd800u + (((cp - 0x10000u) >> 10) & 0x3ffu));
   *out++ = static_cast<uint16_t>(0xdc00u + ((cp - 0x10000u) & 0x3ffu));
}

A single codepoint to UTF-8 codeunits:
if (cp < 0x80u)
{
   *out++ = static_cast<uint8_t>(cp);
}
else if (cp < 0x800u)
{
   *out++ = static_cast<uint8_t>((cp >> 6) & 0x1fu | 0xc0u);
   *out++ = static_cast<uint8_t>((cp & 0x3fu) | 0x80u);
}
else if (cp < 0x10000u)
{
   *out++ = static_cast<uint8_t>((cp >> 12) & 0x0fu | 0xe0u);
   *out++ = static_cast<uint8_t>(((cp >> 6) & 0x3fu) | 0x80u);
   *out++ = static_cast<uint8_t>((cp & 0x3fu) | 0x80u);
}
else
{
   *out++ = static_cast<uint8_t>((cp >> 18) & 0x07u | 0xf0u);
   *out++ = static_cast<uint8_t>(((cp >> 12) & 0x3fu) | 0x80u);
   *out++ = static_cast<uint8_t>(((cp >> 6) & 0x3fu) | 0x80u);
   *out++ = static_cast<uint8_t>((cp & 0x3fu) | 0x80u);
}


leuraensis: 'from Leura'.2 - Wells & Wellington (1984). A synopsis of the Class Reptilia in Australia. Australian Journal of Herpetology, 1(3-4):73-129.
This species was described by Wells & Wellington in 1984.2 - Wells & Wellington (1984). A synopsis of the Class Reptilia in Australia. Australian Journal of Herpetology, 1(3-4):73-129.
Redescribed in 19853 - Shea & Peterson (1985). The Blue Mountains Water Skink, Sphenomorphus leuraensis: a redescription, with notes on its natural history. Proceedings of the Linnean Society of New South Wales, 108(2):141-148..
Known only from the Newnes Plateau, and Leura and Wentworth Falls, Blue Mountains.
Shea, G.M. & Peterson, M. (1985). The Blue Mountains Water Skink, Sphenomorphus leuraensis: a redescription, with notes on its natural history. Proceedings of the Linnean Society of New South Wales, 108(2):141-148.
Eulamprus leuraensis at the Australian Reptile Online Database. Last updated 2014-12-16 19:48:08.
Retrieved from http://arod.com.au/arod/?species=Eulamprus+leuraensis on the 23rd of April, 2019.


East Central Community College sophomore guard Roti Ware has signed a National Letter of Intent to continue his basketball career at Stephen F. Austin State University in Nacogdoches, Texas.
The SFA Lumberjacks are members of the NCAA Division I Southland Conference.
For the second time in three days, East Central Community College swept a nationally ranked opponent in MACJC softball doubleheader action. The Lady Warriors took down the No. 16 ranked Northeast Lady Tigers 13-0 and 7-4 in 10 innings in action Wednesday, April 17, in Booneville.
The East Central Community College Lady Warriors started a week of six softball games in five days by sweeping the No. 10 team in the nation on the road.
No. 4 ranked Itawamba scored all its runs in two innings to win the opener 12-4 by run-rule in seven innings. The Indians scored eight runs in the first inning and then runs in every inning after that to win the nightcap 26-7. Itawamba hit six home runs in the two games.
The East Central Community College men's and women's tennis teams completed their seasons in the 2019 Mississippi Association of Community and Junior Colleges State/National Junior College Athletic Association Region 23 Tournament held April 10-12 in Tupelo.
The East Central men finished in sixth in the nine-team field, while the No. 25 ranked ECCC women finished in fourth place and one spot short of qualifying for the national tournament.
East Central Community College sophomore Joshua Warnsley of Decatur was recently awarded one of two STEM scholarships from Tennessee Valley Authority (TVA) and Phi Theta Kappa, a $2,250 award.


FTMDaily News Update – Is the Next Big Market Crash Just Around the Corner?
Two years ago this week, America was tightly held in the grip of the worst financial crisis in recent memory. On March 9, 2009 the S&P 500 stood at 676.53, while the Dow Jones Industrial Average had dropped to 6547.05. The CBOE Volatility Index, usually referred to as the "fear index," had reached 49, indicating that investor panic was at its heights.
Many individual investors rode the markets down in sheer terror and made for a quick exit at the bottom, thus missing the biggest comeback in the equities markets since the days of the Eisenhower administration. Last week, the S&P 500 Index closed at 1321, nearly doubling its levels from two years ago. The Dow is up 86% over the last two years, recently closing at 12,169.
In addition, U.S. companies have been reporting record profits and are sitting on mountains of cash… $1.4 trillion as of last September.
Now, over the last several weeks, individual investors have come pouring back into stocks and mutual funds. But this time, it is different. Investors lack conviction about this historic market rally. Many are highly skeptical as surging oil prices, global unrest, and inflation fears mount. Adding to their concerns, the Federal Reserve's plan to officially end their second round of quantitative easing at the end of June.
Our forecast: The Federal Reserve will move into QE3 before the end of 2011. Political resistance to a new round of quantitative easing could be overcome by allowing a market correction to spook investors. Expect theatrics from the Fed in the name of "asset price stabilization" as the year unfolds. Individual investors will remain skiddish into the summer. Any announcement of QE3 will propel the markets higher and improve confidence. Any correction in between the two programs could present a buying opportunity.
This weekend, China announced new plans to increase incomes for the nations' poor and to reign in growing inflation. The ambitious economic plans are set to begin this year and will extend through 2015. Over the last five years, wages in China have failed to keep up with gains in productivity and economic growth. In addition, China has announced a goal of eradicating poverty by 2020.
These new and sudden lofty goals all make sense given the turmoil currently rocking the Middle East. The Chinese know that unrest begins at the bottom, and are therefore seeking to appease the poorest of its citizens with economic hope. And while new plans for the poor are being publicized, China is also beefing up its internal security forces and clamping down on foreign media outlets.
An Egypt-style mass revolt currently appears unlikely to break out in China. However, this has been a year full of the "impossible" happening. Investors, keep your eyes open.
1) OIL SPIKE: Oil jumps to near $107 in Europe to fresh 2-year highs as Libya conflict intensifies.
2) RECORD U.S. DEFICIT : The federal government posted its largest monthly deficit in history in February at $223 billion.
4) SHORTING THE DOLLAR: More FX traders are shorting the dollar as the currency continues to fall out of favor.
5) METAL MANIA: Gold and silver will just not stop… as gold is now nearing an all-time record of $1,445, while silver hits 31 year high, crossing well past the $36 mark.
Finally… Gasoline prices have staged their second biggest two week price increase in history, jumping 33 cents in the last two weeks… The current national average price of $3.51 is 61 cents below the all-time high price recorded in July 2008.


A cup of coffee after a shopping tour at a large department store.
… or maybe not …..
This is two candid photos I took in a coffeeshop.
Just recognizable, huh?….. From our every day life…….
Tired? Comfortable in their silence? Hopefully not contemplating some bad news.
Well, I surely hope they are just tired, and it is easy to be real tired after a shopping tour here, it is a huge store!
Thanks a lot Carol, have a great weekend!
These are cameras I am more familiar with! I'm lucky enough to have several M's. I do like the tones of the Neopan 400, a film I have only recently given a try having been caught up in Ilford HP5 plus for quite a while.
I've sent off the first roll Ektar 100 from the new (old) 500c so fingers crossed its all working fine…..is this a film you've used?
Hi Jason, and thanks a lot for your comment!
And the same with Neopan 400. I have not tried it for more than a couple of rolls. Usually I use Tri-X400, and now lately I have swiched over to Ilford HP5+. Just have to try all of them, huh?
Excellent!!! You really captured the spirit of the theme! cheers!
Thank you for your kind words, most appreciated!
Thank you! Yes, it is a kind of great feeling even though I'm still not quite comfortable with doing it, but this time I had decided in advance to sit there and "wait" for pictures, as a training, and I think because of being prepaired, it was a lot easier. And I'm pleased with the results.
It's possible about an hour passed between the two photos and nothing had changed.
You captured two kinds of Togetherness here which seem to develop over the years.
Yes it is quite interesting when looking at this couple, at first they looks kind of bored, but it can also be a safe and comforting togetherness. Everything is in the eye of the beholder.
With the movement rendered by adding the second picture we also get a feel for the serenity of the moment.
Yes, and for me, being there, is the serenity in these two photos kind of strange, a picture taken out from the reality, because there was almost a crowd of people there, so these two sat in there own kind of bubble…..
I love this sequence! Paul Graham made a book with that feel. Not to mention Elliot Erwitt and Duane Michals. Lots of potentials in this aesthetic!
Thank you very much Borut! Very inspiring comment, most appreciated!
I like that it is possible to interpret the secuence in many different ways.
This reminds me so much of a promise my husband and I made to each other when we were first dating. We'd gone to breakfast at a pancake house one morning and saw a couple at another table. The husband was reading the newspaper. The wife was sitting silently, staring into space. Their food came and they ate without saying a word. We promised each other right then that we would never become them; we would never sit in a restaurant without something to say to each other. And so far (12 years), we haven't.
Thank you very much. Yes, silence can be so different to different people, some like it and some don't. If these two liked it or not, we'll never know…..
I thought your Weekly Challenge post on Everyday life was pretty cool. Thanks for stopping by and liking my Weekly Challenge post Solitary.
Lovely moments captured with smooth tones. Just the way I like b&w work…Very nice. Sorry to get technical but do you scan your images? If so what scanner do you use. Reason I ask is because I am really struggling with getting satisfactory images with my Canon 9000f and I really love the tones you have managed here.
Yes, I scan myself, and I use Epson V750 PRO.


text:
Q: Python Tkinter Slider In this game the player starts with 100 coins to gamble in the slots. I've been trying to figure out a way to have a slider instead for people to slide up to a max of say 100 or slide down to a minimum of say 10. With the user being about to pick an amount in there. Either that or I'd need to change it to a text input with a min and max at still 10-100.
However I've been struggling to get something along the lines to work in this code. In a previous program I had a working slider so I know it was do able however my attempts to get it working here have been unsuccessful. Any ideas?
import tkinter as tk
import random

intro = """Panther's Den Slot Machine.

Welcome to my den!

You can win by rolling Ocelots, Jaguars, Boas, Caimans, Macaws or Tapirs.
You can also with big with three Ibis.

You'll lose a coin for anything else, and if you roll three Scorpions say good bye to 500 coins

Good luck kit!"""

root = tk.Tk()
root.geometry("700x500")
root.title("Slot Machine")
root.configure(background='seagreen')

INIT_STAKE = 100
ITEMS = ["OCELOT", "MACAW", "JAGUAR", "IBIS", "CAIMAN", "BOA", "SCORPION", "TAPIR", "CONDOR", "BAMBOO", "FROG"]

first = None
second = None
third = None
stake = INIT_STAKE

nameLabel = tk.Label(root, text="PANTHER DEN", font=('Cambria', 60))
nameLabel.pack()
lbl = tk.Label(root, text=intro, background='seagreen', font=('Cambria', 12))
lbl.pack()
lbl2 = tk.Label(root, text=stake)
lbl2.pack()

def play():
    global first, second, third
    first = spin()
    second = spin()
    third = spin()
    score()

def quit_play():
    lbl.config(text="Game has ended. You won a total of " + str(stake) + " coins")

def spin():
    randomnumber = random.randint(0, 10)
    return ITEMS[randomnumber]

def score():
    global stake, first, second, third
    if((first == "OCELOT") and (second != "MACAW")):
        win = 5
    elif((first == "JAGUAR") and (second == "JAGUAR") and (third != "JAGUAR")):
        win = 8
    elif((first == "BOA") and (second == "BOA") and (third == "BOA")):
        win = 10
    elif((first == "CAIMAN") and (second == "CAIMAN") and ((third == "CAIMAN") or (third == "BOA"))):
        win = 8
    elif((first == "MACAW") and (second == "IBIS") and ((third == "MACAW"))):
        win = 15
    elif((first == "TAPIR") and (second == "TAPIR") and ((third == "TAPIR"))):
        win = 20
    elif((first == "IBIS") and (second == "IBIS") and (third == "IBIS")):
        win = 300
    elif((first == "SCORPION") and (second == "SCORPION") and (third == "SCORPION")):
        win = -500
    else:
        win = -1

    stake += win

    if(win > 0):
        lbl.config(text="{}\t{}\t{} -- You win {} Coins".format(first, second, third, win))
        lbl2.config(text=stake)
    else:
        lbl.config(text="{}\t{}\t{} -- You lose".format(first, second, third))
        lbl2.config(text=stake)

tk.Button(root, text="Play", command=play).pack()
tk.Button(root, text="Quit", command=quit_play).pack()
tk.Button(root, text="Exit", command=quit).pack()

root.mainloop()

A: You first have to add a slider that sets a bet value, via a command - here I used a global because your entire program is based on this, but you could encapsulate this in a class.
Then use this bet value to adjust the win/lose amounts.
The code here under reflects that. (you could easily add some controls that avoid bets that would set the player's funds negative, or limit the value of the bets to a % of the available funds).
import tkinter as tk
import random

intro = """Panther's Den Slot Machine.

Welcome to my den!

You can win by rolling Ocelots, Jaguars, Boas, Caimans, Macaws or Tapirs.
You can also with big with three Ibis.

You'll lose a coin for anything else, and if you roll three Scorpions say good bye to 500 coins

Good luck kit!"""

def play():
    global first, second, third
    first = spin()
    second = spin()
    third = spin()
    score()

def quit_play():
    lbl.config(text="Game has ended. You won a total of " + str(stake) + " coins")

def spin():
    randomnumber = random.randint(0, 10)
    return ITEMS[randomnumber]

def score():
    global stake, first, second, third
    if((first == "OCELOT") and (second != "MACAW")):
        win = 5 * bet
    elif((first == "JAGUAR") and (second == "JAGUAR") and (third != "JAGUAR")):
        win = 8 * bet
    elif((first == "BOA") and (second == "BOA") and (third == "BOA")):
        win = 10 * bet
    elif((first == "CAIMAN") and (second == "CAIMAN") and ((third == "CAIMAN") or (third == "BOA"))):
        win = 8 * bet
    elif((first == "MACAW") and (second == "IBIS") and ((third == "MACAW"))):
        win = 15 * bet
    elif((first == "TAPIR") and (second == "TAPIR") and ((third == "TAPIR"))):
        win = 20 * bet
    elif((first == "IBIS") and (second == "IBIS") and (third == "IBIS")):
        win = 300 * bet
    elif((first == "SCORPION") and (second == "SCORPION") and (third == "SCORPION")):
        win = -500 * bet
    else:
        win = -1 * bet

    stake += win

    if(win > 0):
        lbl.config(text="{}\t{}\t{} -- You win {} Coins".format(first, second, third, win))
        lbl2.config(text=stake)
    else:
        lbl.config(text="{}\t{}\t{} -- You lose".format(first, second, third))
        lbl2.config(text=stake)

def set_bet(value):
    global bet
    bet = int(value)
    lbl2.config(text=str(bet))

root = tk.Tk()
root.geometry("700x500")
root.title("Slot Machine")
root.configure(background='seagreen')

INIT_STAKE = 100
ITEMS = ["OCELOT", "MACAW", "JAGUAR", "IBIS", "CAIMAN", "BOA", "SCORPION", "TAPIR", "CONDOR", "BAMBOO", "FROG"]

first = None
second = None
third = None
stake = INIT_STAKE

nameLabel = tk.Label(root, text="PANTHER DEN", font=('Cambria', 60))
nameLabel.pack()
lbl = tk.Label(root, text=intro, background='seagreen', font=('Cambria', 12))
lbl.pack()
lbl2 = tk.Label(root, text=stake)
lbl2.pack()

tk.Button(root, text="Play", command=play).pack()
tk.Button(root, text="Quit", command=quit_play).pack()
tk.Button(root, text="Exit", command=quit).pack()

bet = 0

bet_scale = tk.Scale(root, from_=0, to=stake, orient=tk.HORIZONTAL, length=200, bg='violet', command=set_bet)
bet_scale.pack()

root.mainloop()


text:
() is a Korean genre of musical storytelling performed by a singer and a drummer.

The term  is derived from the Korean words   and  , the latter of which means "sound." However, pan has multiple meanings, and scholars disagree on which was the intended meaning when the term was coined. One meaning is "a situation where many people are gathered." Another meaning is "a song composed of varying tones." In music, Gugwangdae describes a long story that takes as little as three hours and as much as eight hours or more. It is one of the traditional forms of Korean music that mixes body movements and songs to the accompaniment of a buk drum played by a gosu. The dramatic content of the drama is changed according to various rhythms based on the melody of Korea's local music. Pansori was originally called the "sori", and it was called Taryeong, Japga (), Clown Song, and Geukga (). It was also commonly used in terms such as Changgeukjo ().

In the late 20th century, the sorrowful "Western style" of pansori overtook the vigorous "Eastern style" of pansori, and pansori began being called the "sound of han". All surviving pansori epics end happily, but contemporary pansori focuses on the trials and tribulations of the characters, commonly without reaching the happy ending because of the contemporary popularity of excerpt performances. The history of pansori in the late 20th century, including the recent canonization of han, has led to great concern in the pansori community.

Pansori has been designated as Korea's National Intangible Cultural Heritage No. 5 since 1964. On November 7, 2003, pansori was registered as the UNESCO's Masterpiece of the Oral and Intangible Heritage of Humanity of Korea. In 2011, the pansori practiced by the ethnic Koreans in China was also nominated as the UNESCO's intangible cultural heritage by the governments of Yanbian Korean Autonomous Prefecture and Tieling.

Originally a form of folk entertainment for the lower classes, pansori was embraced by the Korean elite during the 19th century. While public interest in the genre temporarily declined in the mid-20th century, today's South Korean publics and government are passionate in registering and recognizing many pansori singers as "living national treasures of Korea." North Korea, on comparison, is yet to implement the systematic support of pansori at the government level, as Kim Jong-il believed that pansoris performance voice was too hoarse and did not distinguish between male and female to suit the taste of today's people.

 Origin
Pansori is a form of musical entertainment that has persisted in Korea from the 17th century to the present day. A related term, "pannoreum," refers to plays such as Sandae-do Gamgeuk () and geundu (), as well as tightrope walking. The pansori of the Joseon Dynasty included sijo poetry () accompanied by music. Therefore, it is not appropriate to refer to pansori as Changgeuk () or Changgeukjo (). Changgeuk is based on the name of Pansori dramatized after Wongaksa Temple (), but it is not suitable for pure Pansori. Therefore, Changgeukjo is appropriate for the musical term of the song sung in Changgeuk, but it is not appropriate for the form of pansori.

"Pansori" as a musical term originated independently from the term "pannol" (pannoreum). Likewise, the literary form of this form of pansori is also called pansori. It is therefore necessary to distinguish between pansori as a musical term and pansori as a literary term, but it is still appropriate to use the term "pansori" to refer to sijo.

 The relationship between Shaman Song and Pansori

If Pansori comes from a shaman's husband, a clown, the musical wish should be saved in their connection. The rhythm of the unearned value shared by "Lee Bo-hyung" is as follows:

1. Sinawi-Gwon: This is called the "Yukja-baegi-jo" and belongs to the southern part of the Han River in Gyeonggi-do and Chungcheong-do and Jeolla-do provinces.

2. Menarizo : This is called an "Sanyuhwa-garak", and "Gyeongsang-do" and "Gangwon-do" provinces belong to it.

3. Susimga·Sanyeombuljo: "Pyeongan-do" and "Hwanghae-do" provinces

4. Changbu Taryeong ·Noraegarakjo: belong to Muga in northern Gyeonggi Province, Kaesong, Seoul, Cheorwon, and Yangju.

In addition, there is a theory that "Gyeong-dereum" is similar to the rhythm of the northern Gyeonggi Muga's Changbu Taryeong.

Again, the rhythm of Pansori has a tempo from the slow beat of Jinyangjo, Jungmori, Jungjungmori, Jajinmori, Hwimori, Ujungmori, etc. It is necessary to value the term "Mori" that appears here. In other words, if you compare Salpuri Gut in Jeolla-do Province, which is called Sinai Gijo, and Do Salmori, Balae in Gyeonggi-do and Chungcheong-do provinces, the sound of goso sung by clowns is Jungmori, especially in old Hongpagosa and Antaek.

Therefore, it is the Muga of Hongpae Gosa, Seongjo, and Antaek, which are called by this southern clown, that is, the theory that pansori was produced in the clowns of Chungcheong-do. This is a problem that needs to be further clarified in the future, but even from this, it can be seen that the reasoning that pansori came from the reading voice that some argue is vain. Since clowns are folk singers, it would be right to say that they assimilated various folk songs based on the rhythm of these mugas and completed them. However, even if the song was originally adopted at the time of its establishment, it would have refined it in the process of transmission and developed a new style as a pansori, which seems to be the result of this effort.

 The type of pansori
It is generally believed that Pansori reached the stage of completion with its contents and forms as a folk music from King Sukjong of the Joseon Dynasty to King Yeongjo. It is also a common view that Pansori's heyday is usually the annual period of King Cheoljong from King Jeongjo. In other words, from the late 18th century to the early 19th century, the golden age is evidenced by the fact that Shin Jae-hyo, a famous pansori writer and theorist, and eight master singers were produced during this period.

There are twelve sounds in Pansori, also called twelve yards. The headquarters of Song Man-jae's <Kwanwoohee> published around 1810 records the twelve yards of Pansori as <춘향가(春香歌)> <화용도타령(華容道打令)> <박타령> <강릉매화타령(江陵梅花打令)> <변강쇠타령> <왈자타령(曰字打令)> <심청가(沈淸歌)> <배비장타령(裵裨將打令)> <옹고집타령(甕固執打令)> <가짜신선타령> <토끼타령> <장끼타령>.

In addition, <Gwanghanluakbu> of Yundalseon (1852) produced during the reign of King Cheoljong (1852) recorded that there were 12 Gangs in Pansori, and "Joseon Changgeuksa" by Jeong No-sik also described 12 Pan in Pansori. Among them, the ten yards are the same as those of Guan Yu-hee, but there is only one difference in that Guan Yu-hee's <Waljataryeong? is called <Moosooki Taryeong> and <Fake Singseon Taryeong> is called <Sukyeongnangjajeon.>

Based on this evidence, it can be seen that there were at least 12 pansori plates before 1810. However, most of them were not called during the reign of Shin Jae-hyo, and since then, they have been gradually reduced, and only five yards are being called. Currently, among the 12 Pansori yards, <Chunhyangga>, <Shimcheonga>, <Hwayong (Jeokbyeokga)>, <Park Taryeong (Heungbu)> and others are actually called, while only the editorials, such as <Byun Gangsoe Taryeong>, <Baebi Taryeong>, <Janggi Taryeong>, and <Onggojip Taryeong>, have been called. <Gangneung Maehwa Taryeong> and <Waljataryeong> are things that are not known and are not called. Among them, <Sukyeongnangjajeon> is called Jeong Jeong-ryul, a modern master singer, and it is said to be composed by Jeong Jeong-ryul, so the relationship between this song and Jeon Hae-jong's <Sukyeongnangjajeon> by King Cheoljong and Gojong is ambiguous.

Rather than the fact that Pansori had only 12 yards by the previous list of records, it is right to say that Pansori's repertoire may be twelve, or more, or less, from the folk preference of Pansori to the twelve yards.

 Five Courts of Pansori
Among the twelve Pansori yards, Chunhyangga, Heungbo, Simcheongga, Jeokbyeokga, and Sugungga are called Pansori Five Madang, and they are called independent in twelve yards, where the "duneum" of famous singers of all time is said. "Sukyeongnangjajeon" was sung by Jeong Jeong-ryul, "Jangkijeon" by Kim Yeon-soo, and "Byeon Gangsoejeon" was restored by Park Dong-jin, but it was not a transmission of the twelve-yard period, but a new arrangement.

 Pansori repertoire
During the 18th century, 12 song cycles, or madang (Hangul: 마당), were established as the repertoire of pansori stories. Those stories were compiled in Song Man-jae's Gwanuhi (Hangul: 관우희) and Jeong No-sik's Joseon Changgeuksa (Hangul: 조선창극사).

Of the 12 original madang, only five are currently performed. They are as follows.
 Chunhyangga
 Simcheongga
 Heungbuga
 Sugungga
 Jeokbyeokga

Contemporary performances of the madang differ greatly from the original works. Rather than performing an entire madang, which can take up to 10 hours, musicians may only perform certain sections, highlighting the most popular parts of a madang.

 History
 Origins: 17th century
Pansori is thought to have originated in the late 17th century during the Joseon Dynasty. The earliest performers of pansori were most likely shamans and street performers, and their audiences were lower-class people. It is unclear where in the Korean peninsula pansori originated, but the Honam region eventually became the site of its development.

 Expansion: 18th century
It is believed that pansori was embraced by the upper classes around the mid-18th century. One piece of evidence that supports this belief is that Yu Jin-han, a member of the yangban upper class, recorded the text of Chunhyangga, a famous pansori he saw performed in Honam in 1754, indicating that the elite attended pansori performances by this time.

 Golden age: 19th century
The golden age of pansori is considered to be the 19th century when the genre's popularity increased and its musical techniques became more advanced. During the first half of the 19th century, pansori singers incorporated folk songs into the genre, while using vocal techniques and melodies intended to appeal to the upper class. Purely humorous pansori also became less popular than pansori that combined humorous and tragic elements.

Major developments in this period were made by pansori researcher and patron Shin Jae-hyo. He reinterpreted and compiled songs to fit the tastes of the upper class and also trained the first notable female singers, including Jin Chae-seon, who is considered to be the first female master of pansori.

 Decline: early 20th century
In the early 20th century, pansori experienced several notable changes. It was more frequently performed indoors and staged similarly to Western operas. It was recorded and sold on vinyl records for the first time. The number of female singers grew rapidly, supported by organizations of kisaeng. And the tragic tone of pansori was intensified, due to the influence of the Japanese occupation of Korea on the Korean public and performers. In an attempt to suppress Korean culture, the Japanese government often censored pansori that referred to the monarchy or to Korean nationalism.

 Preservation: late 20th century
In addition to Japanese censorship, the rise of cinema and changgeuk, and the turmoil of the Korean War all contributed to pansori's decreasing popularity by the mid-20th century. To help preserve the tradition of pansori, the South Korean government declared it an Intangible Cultural Property in 1964. Additionally, performers of pansori began to be officially recognized as "living national treasures." This contributed to a resurgence of interest in the genre beginning in the late 1960s.

 Resurgence: 21st century
UNESCO proclaimed the pansori tradition a Masterpiece of the Oral and Intangible Heritage of Humanity on November 7, 2003.

The number of pansori performers has increased substantially in the 21st century, though the genre has struggled to find wide public appeal, and pansori audiences are composed mostly of older people, scholars or students of traditional music, and the elite. However, pansori fusion music, a trend that began in the 1990s, has continued in the 21st century, with musicians creating combinations including pansori-reggae, pansori-classical music, and pansori-rap.

 School of Pansori
Pansori's school originated from the division of relations and regions of origin, with the establishment of the flow, singing and theory of each song over a long period of time, leading to the formation of several small branches that diverged from the great stem. Pansori's school was largely classified as the two major mountains of East and West Pyeonje, and expressing School in Pansori was in line with the classification of Yupa in Sijo, Yeongje, Wanje, and Naepoje.

Pansori can be divided into Junggoje, in addition to Dongpyeonje and Seopyeonje, depending on the region.

 Dongpyeonje
Dongpyeonje was based on Unbong, Gurye, Sunchang, and Heungdeok areas, which are east of the Seomjingang River, and it is magnificent and vigorous, and features a simple display of natural volume without any finesse. Aniri has not developed for a long time, has little application, and is a sound material that is carried out by relying on the voice of the neck. Instead of "the Great Leader," they stick together to the rhythm.

 Seopyeonje
Seopyeonje refers to the sound of Confucian scholars in Naju, Haenam, and Boseong, west of the Seomjingang River, and is the standard of Park Yu-jeon's legislation. The musical characteristics are mainly used to portray sad and resentful feelings, and to portray sophisticated, colorful, and tantalizing sounds.

 Junggoje
The sound style is medium and starts flat at a relatively low voice when the window is opened, increases the middle, and lowers the voice when the limit is reached. It is clear that the sound is high and low, so you can hear it clearly, and the tune is monotonous and simple.

 Musical style
There are five elements for the musical style of pansori: jo (); jangdan (); buchimsae (); je (); and vocal production.

 Jo
Jo (, also spelled cho) refers mostly to the melodic framework of a performance. In terms of music in Western culture, it comparable to the mode and key, though jo also includes the vocal timbre and emotions expressed through singing. Types of jos include: chucheonmok (); Gyemyeonjo (; also called seoreumjo , aewonseong ); seokhwaje (); and seolleongje ().

 Jangdan
Jangdan () is the rhythmic structure used. Jangdan is used to show emotional states corresponding to the narration of the singer. Jangdan is also used with the appearances of certain characters. Some types include: jinyang (); jungjungmori (); jajinmori (); and hwimori ()

 Buchimsae
Buchimsae () refers to the method in which words in pansori are combined with the melodies. The meaning refers more specifically to combinations of words with irregular rhythms. The word is a combination of two Korean words, buchida () and sae (). The two types of buchimsae are: daemadi daejangdan () and eotbuchim ().

 Je
Je () refers to a school of pansori.

 Configuration
Pansori performances are performed by "Clown", "Gosu", and "Audience".

 Clown
A clown (sounder) sings with a fan in his right hand, and the singing part and the speaking part intersect. The singing part is called "aniri" or "broader" in terms of sound and speech, which is called "applied" or "spacious."

 Gosu
"Gosu" is another important offender who plays drums to the clown's sound. As the expression "one Gosu two master singers" is often used, in the soundboard, a singer and a clown lead the game together. The drummer beats the emotional circuit of the song and adds more charm to the performance.

 Audience
Rather than listening quietly, the audience adds a "Chu-imsae".

 Application and Music
Pansori is directed by a long editorial, with one person's voice standing up and mixing "sound" and "applying," and one person's northern accompanist sits down, plays the drum rhythm, accompanied by the sound, and stimulates the excitement with "Chu-imsae." Pansori singers used to be called singers and clowns, but there are no widely used words today.

The singer wore a "gat", leather shoes, and held a fan and a handkerchief in his hand. "Gosu" wears a "durumagi", and a "gat".

Pansori is produced by one person's sounder and one person's drumming, so the music of Pansori is formed from the sound of the speaker and drumming of the drummers. The pansori rhythm is composed of a certain rhythm according to the passage, and the coriander plays the rhythm according to this pansori rhythm. The pansori rhythm is called a certain rhythm depending on the part, but it is also called a so-called "Big word big rhythm," which is called a basic rhythm, or a so-called "angle," which is called a modified rhythm. Pansori tunes are also used in various tunes depending on the musical composition, melody, and musical expression.

 Sound
It means calling out editorials to a certain rhythm, such as Jinyangjo, Jungmori, and Jajinmori. Sometimes the sound is 'tone', but most of them sing tunes with a certain pitch. The speed of the rhythm indicates urgency and relaxation, and the change of tone indicates feelings of joy and sorrow. According to the dramatic situation shown in the Pansori editorial, the vocalists sing the rhythm and the rhythm accordingly.

 Playing Gat
This is a kind of 'Balim' performed by Pansori's singer with 'gat'. The head nods cleverly, giving an accent according to the soundtrack. Today, the tradition of 'Playing Gat' has been cut off because of the lack of wearing a gat.

 Kosanbangsuk (Putting stones on a high mountain)
When a pansori singer changes the rhythm and makes a sound, he rolls up a fan and beats the rhythm at the end to instruct the Gosu. A singer doesn't do this every time.

 Rhythm
Rhythm refers to the rhythm type of the drum's repeated speed, and depending on the speed and beat of pansori, Jinyang, Jungmori, Jungjungmori, Jajinmori, Hwimori, Ummori, Eojungmori, Semachi, etc. are used. In addition, there are Hwijungmori, Danjungmori, Pyeongjungmori, and Dotmori, but they are not treated separately because they are variations of the above rhythm. Pansori is characterized by the fact that rhythm such as Gutgeori, Taryeong, Dungdeokgung, and Salpuri, which are used in dance, japga, or shamanism, is not used. The characteristic of pansori rhythm is that it is clear how to push, hang, make, and solve according to the soundtrack, and to express this clearly, the 'janggu' rhythm is not used in folk music or instrumental music.

 Music
Pansori tunes are appropriately combined according to the contents of the Pansori editorial to give musical changes according to dramatic situations. These are characterized by the musical composition, rhythm, vocalization, and musical expression used in pansori tunes.

 Pansori's Mok and Sung
In Pansori, a person's voice quality, singing style, and the type of tune is called by a certain 'Mok' and 'Sung'. Usually, the 'Mok' is deeply related to the type of tune and singing, and the 'Sung' is deeply related to the quality of sound.

 Norang Mok
It means to lightly vocalize and dye the tune, which means to use the decoration or singing method. But master singers are reluctant to do so.

 Waega-jip Mok
It means to the use of a tone or temporary listening rather than the general composition of that tone.

 Soori sung
It refers to the sound quality of a master singer who is a bit rough and hoarse. Examples include Song Man-gap and Jeong Jeong-ryul.

 Soi-ok sung
It means a clear sound like rolling gold or jade.

 Term
 Changja: Also known as a singer, it means a person who sings in pansori.
 Gosu: It means a person who beats the drum near the intestines and adds Chuimse.
 Gui-myeongchang: Pansori means a person who enjoys a spear properly.
 Balim: It means to take action according to the rhythm or editorial content. Some people use a fan.
 Chuimse: It means that the audience or master speaks "Ulssu" or "good" to create an atmosphere and entertain the audience.
 Aniri: The Changja talk as usual, not to the beat.
 Noereum sae: Pansori refers to the acting ability to make the audience laugh and cry.* Duneum: It refers to a characteristic part or musical style that is inherited according to Pansori's Confucianism.
 Doseop: Pansori to the middle form of a sing and an aniri.
 Duek-eum :Set the voice: The musical competence of the pansori intestines refers to the completed state.

 Pansori masterpiece Singer
Pansori masterpiece refers to a person who sings exceptionally well in the intestines of Pansori.

The best literature of Pansori is "Chunhyangga," which was published in "The Cartoon House" by Yu Jin (1711-1791).

The best singers of Pansori were Uchundae, Kwon Sam-deuk, and Moheung-gap, which appeared in "Guanwoohee" of Song Man-jae, and Hahandam, which appeared in "Gapsin Wanmun", and were from the reign of King Yeongjo and King Jeongjo of modern Joseon. There must have been a masterpiece of pansori even before Uchundae and Haundam, but it remains only in the literature or is not oralized.

During the reign of King Sunjo, outstanding masters came out to form various groups in pansori, including Kwon Sam-deuk, Hwanghaecheon, Songheungrok, Bangmanchun, Yeom Gye-dal, Moheunggap, Kim Gye-cheol, Gosogwan, Sin Man-yeop, Song Gwang-rok, and Judeokgi. Eight of these are called eight people. The names of these master singers are also seen in Shin Jae-hyo's "The Clown." From this time on, a "sori clown" focusing on sound appeared, distinguishing it from a traditional "aniri clown" focusing on "aniri."

The early days of King Cheoljong and King Gojong corresponded to the heyday of pansori. Famous singers such as Park Yu-jeon, Park Man-soon, Lee Il-chi, Kim Se-jong, Song Woo-ryong, Jeong Start-up, Jung Chun-pung, Kim Chang-rok, Jang Ja-baek, Kim Chan-up, and Lee Chang-yoon came out to lead Pansori to a highly artistic level. They formed various factions based on the relationship between private affairs and regional delay, and eight of them were selected as the late eight singers.

At the end of King Gojong's reign and at the beginning of his schedule, Pansori was the fruit of Pansori. On the other hand, after Wonggeuk became popular after Wongaksa Temple, Pansori began to sprout. As the master singers of each region moved in and out of each other, pansori's yupa gradually lost its distinctiveness. The famous singers who were active during this period include Park Ki-hong, Kim Chang-hwan, Kim Chae-man, Song Man-gap, Lee Dong-baek, Yu Gong-ryul, Jeon Do-seong, Kim Chang-ryong, Yoo Seong-jun, and Jeong-ryul. Five of these master singers are called five master singers.

Right behind the five singers were Jang Pan-gae, Yi Sun-yu, Kim Jeong-moon, Park Jung-geun, Gong Chang-sik, Yi Hwa Jung-sun, Im Bo-le, and Gang Jang-won. They played a major role in the Joseon Vocal Research Society, but were swept away by Changgeuk and pushed by Western music, and Pansori began to retreat.

Later master singers include Park Nok-ju, Kim Yeon-soo, Jeong Gwang-soo, Kim Yeo-ran, Park Cho-wol, Kim So-hee, Park Bong-sul, Park Dong-jin, Jung Kwon-jin, Han Seung-ho, Han Ae-soon, and Jang Young-chan. They are trying to revive the disappearing pansori, but they are in danger of disappearing without proper measures from the government and society. Among them, Kim So-hee, Park Cho-wol, Park Bong-sul, Park Nok-ju, Kim Yeon-soo, Jeong Gwang-soo, Kim Yeo-ran, Jeong Gwon-jin, and Han Seung-ho were designated as intangible cultural assets.

After the death of the first generation of national intangible cultural assets, Jo Sang-hyeon, Park Song-hee, Song Soon-seop, Seongwuhyang, Sung Chang-soon, Oh Jeong-sook, Han Nong-seon, Namhae-seong, Shin Yeong-hee, and Kim Il-gu were designated as second generation intangible cultural assets. Following them, Jeong Soon-im, Kim Soo-yeon, Kim Young-ja, Inancho, Jeong Hoe-seok, and Yoon Jin-cheol were designated as third-generation national intangible cultural assets. In addition, there are numerous master singers such as Yoo Soo-jeong, Wang Ki-chul, Chae Soo-jeong, Yoo Mi-ri, Lee Ju-eun, Yeom Kyung-ae, and Jang Moon-hee.

 The meaning of Pansori in Korean life
Pansori delivers the feelings of the artists to the audience most accurately. From anger, joy, sadness, pain are all portrayed via stories and plays. The stories described in Pansori all link to a distinct moral issue of people: Chunhyangga, Simcheongga, and Heungboga. Each tale teaches a valuable lesson and illustrates the ancient Koreans' believe in karma in their own unique way.

Chunhyang relates the tale of a girl who was born into a humble household but transformed herself after marrying the governor's son. She subsequently rejected and resisted another governor's pressure. The narrative concludes with her husband rescuing her when she demonstrates the purity, love, and unity of individuals from many social classes.

Simcheongga emphasizes filial piety, chastity, and fortitude. Simcheong was freed by the King of the Sea as a compassion act, and she met and married the king of her realm, whom she had sacrificed herself to restore his sight. When she organizes a blind party, she stumbles across his father. Her father's sight is restored as a result of her tremendous love and devotion. The song underlines the significance of parents and children developing a solid bond.

Heungboga's lessons underscore the pitfalls of human avarice. Heungbo's aid to a swallow with a broken leg pays off. His wicked brother, too, breaks a swallow's leg and does lovely things, but he pays for his actions. In this song, morality and goodness are praised, while wickedness is punished. This song teaches people this.

 Preservation of Pansori
Compared to the 19th century, the number of Pansori performances and singers has drastically decreased. The fall is reflected in the quantity of audiences and the number of student performers interested in studying Pansori.

Orthodox Pansori performances in well-known places and on traditional theater stages are commonplace. Tradition-based theater and full-length performances in one of the many recognized specialty sectors of Orthodox Pansori are all included within the government of Korea's cultural conservation program, which includes Orthodox Pansori. The performances take place on well-known theater stages, recalling the excitement of older times of court and market entertainment. On the other side, dramatic platforms raise the performers above the audience. In the past, Pansori gave equal importance to the performers and the audience.

Touristic Pansori is a term that refers to renowned Pansori singers doing short acts of the traditional Pansori performance with other kinds of music, such as religious music. Often, the many short performances have nothing in common, like when court music or religious dances are combined with Pansori. International visitors and visitors from other regions of Korea make up the bulk of the audience. The objective is to make Pansori accessible to a broad audience that is unfamiliar with its norms or with the significance of the tradition to the Korean people.

 Pansori Changbon
"Pansori" is one of Korea's unique art forms that convey theatrical effects to those who see it as a sound in line with Gosu's drumming while clowns holding Hapjukseon in one hand beautifully and mixing all kinds of broadness. Just as there must be a script for the play to be staged, there must be a Pansori editorial before that to make Pansori sound by clowns, and the document that records the Pansori editorial is called the Pansori Changbon. In other words, in pansori, Changbon has the characteristics of a play in a play.

However, there is a great feature in the Pansori version that plays do not have, which is that plays can be performed by anyone, while there is a specific version of the Pansori version for clowns. These windows are called "famous" and are distinguished from "unknown" versions without specific clowns. For example, "Song Man-gap Changbon" refers to the Pansori document sung by Song Man-gap. However, Song Man-gap is not his own creative work. Of course, it may be the work of a clown himself, but it is usually built by an outstanding scholar or supporter. Because most clowns had no writing skills. Thus, the established versions are usually oral transcriptions, which have been inherited from later generations, or were built by civil servants for certain clowns.

The original version of Pansori is sometimes produced in various ways during the transmission process. In other words, there is a slight (sometimes significant) variation in the content of the book, which has been handed down for hundreds of years to this day. For example, the early "Chunhyangga" could have been sung in three hours, but today, the content was greatly added enough to sing eight and a half hours.

Even if the original version of Pansori is the original copy of Dongil genealogy, many versions are gradually derived. As the first literature on the twelve yards of pansori, Song Man-jae's "Gwanwoohee" is currently cited, and there is no way to know which clown it belonged to before the 1810s because there is no technology on the original version. This does not mean that there is a clear record in the post-1810 literature. However, there are several copies or copies of the transcripts held by individuals because they are based on the oral tradition.

 Similar cultures
Musical storytelling of literatures like pansori was a concept that was prevalent in both the East and the West during the ancient times.

In Vietnam, the ca tru singing (, , "tally card songs"), also known as hát cô đầu or hát nói''', is a Vietnamese genre of musical storytelling performed by a featuring female vocalist, with origins in northern Vietnam. For much of its history, it was associated with a pansori-like form of entertainment, which combined entertaining wealthy people as well as performing religious songs for the royal court.

In Europe, there was also a group of minstrel poets after the Middle Ages. In France, the matrimonial poem "changson de geste" was sung by monks in non-Latin slang (lingua romana) for pilgrims, and romance was also developed in the form of singing for several people in squares and salons. This form of epic poetry created by the collaboration of literature and music was of any people. This is a common medieval literary form from the 10th century to the 14th and 5th centuries, and Korean pansori is characterized by novels formed by letters first, and this pansori form was characterized by the 18th century.

 Pansori and influences by western culture
Western performing arts first made their way to Korea in the late nineteenth century. Jeong Du-won brought Western music concept to Korea for the first time in 1632. He became familiar with Western music via the teachings of Chinese Catholic priests. Lee Eun-Dol, the first Korean to study western music at the Japanese Army's staff sergeant school, began coaching bugle bands in Seoul in 1882. Seo Sang's 1884 presentation of Yun's religious music, notably protestant songs, also had a considerable effect.

 Popular culture
There are Pansori-themed films such as "Seopyeonje (1993), "Hwimori (1994)" and "The Millennium Studies (2007)".

Kim Hyun-jung, who was famous as the best singer of her time, showed off her singing skills by combining her experience of learning pansori with her singing style.

 Gallery

 Notable pansori singers
 Jin Chae-seon
 Kim So-hee
 Oh Jeong-suk
 Pak Tongjin
 Ahn Sook-sun

 See also
 Korean music
 Changgeuk
 Seopyeonje Notes

 References

 External links

 "The Pansori Epic Chant" on YouTube''

 https://docs.google.com/document/d/1XoOc-96N-RMIZI38wHHUH5jDYZDXin0MuVMR3tk8eY4/edit

Korean music
Korean styles of music
Korean traditional music
Masterpieces of the Oral and Intangible Heritage of Humanity
South Korean styles of music
Intangible Cultural Heritage of Humanity
Important Intangible Cultural Properties of South Korea
Performing arts in Korea


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2020/21 Winner – Oak Circus by Christine Bush Roman
The City of North Charleston Cultural Arts Department is pleased to announce Christine Bush Roman of Johns Island, SC, as the winner of the 2020 North Charleston Arts Fest Poster Design Competition. Due to the cancellation of the 2020 event as a result of the COVID-19 pandemic, Christine will remain as the design winner for 2021. As the winner of the statewide contest, Bush Roman's mixed media painting, titled Oak Circus, will be used to promote the 2021 North Charleston Arts Fest, taking place April 28-May 2. In addition, the artist was awarded a $500 cash prize and the piece has become part of the City of North Charleston's Public Art Collection.
Oak Circus was one of 75 entries by artists from 17 cities across South Carolina that were submitted for consideration for the 2020 North Charleston Arts Fest Poster Design Competition. Christine created the painting specifically for the Arts Fest using acrylic, ink, pastel, and fabric. "When beginning this piece, I knew I wanted to illustrate the vibrancy and emotion of all kinds of creators coming together to share their work," she says. "I began the painting with the simplified image of an oak tree spreading its branches because the oak is such a well-known visual for the Lowcountry. The tree is also an iconic symbol across many cultures of growth, transformation, unity, and enlightenment. I wanted all the other elements of the painting to react to the tree. Setting the tone of celebration, the colors and rhythm hint at all of the different art forms highlighted during the North Charleston Arts Fest."
Christine Bush Roman received a Bachelor of Fine Arts in Drawing and Painting from the University of Georgia in 2006 and returned to earn a Master of Fine Arts in the same concentration in 2013. She actively exhibits her paintings in solo and group shows both regionally and nationally. Rooted in drawing and painting, and oftentimes some elements of collage, her vibrant and dynamic works are executed in a variety of media with an emphasis on bright color, texture, pattern, and symbolism. Christine's sincere affection for process and working with materials is revealed in the chunky, scraped, bumpy, gritty, and messy surfaces of her paintings. "Each piece endures hours of layering, destroying, and recreating," she explains. The improvisation and intuitive nature of Christine's work is guided both by the materials and the concept. When utilizing collage techniques, she chooses to only use personal or recycled materials because of her belief that the previous life of the fabric or paper used informs the direction of the work. Most often inspired by ideas of our perception of self, her colorful and busy paintings reflect a compressed narrative of an ever-changing personality; acting as illustrations of an inner story full of ups and downs, constant change, and growth. Her works are about how we are constantly being shaped by where we live, people we know, and major life events. Christine currently creates in her home studio in Johns Island, SC, and instructs art classes for One HEART Connection and Art in the Park Art Lab, both in Charleston, SC. To learn more about the artist, visit ChristineBushRoman.com.
An exhibition of Christine Bush Roman's new mixed media paintings will be on display at Park Circle Gallery throughout May 2021. The exhibit will also feature the winning piece, Oak Circus. The gallery is located at 4820 Jenkins Avenune in North Charleston. Admission is free. The public is invited to meet the artist at the Arts Fest Opening Celebration on Wednesday, April 28, 2021, from 6:00-8:00pm, or at the gallery during the Arts Fest Arty Block Party on Friday, April 30, 2020. T-shirts and posters featuring the winning design will be available for purchase during the festival.


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Теодор (Тодор) Бранковић био је син Ђурђа Бранковића и Јерине, његове друге жене, рођен је 1414. године убрзо после склапања брака. Будући српски деспот и његова супруга добили су сина и првог наследника у породици Бранковић, које је рођено после низа година. Ђурађ је у првом браку са сестром Јована IV Комнина имао ћерку Јелену. Првом мушком Ђурђевом потомку у част Јерининог оца дали су име Теодор (грчки "Божји дар"), док су га Срби прозвали Тодор. Био је то је љупки дечак, продуховљене физиономије, изразитих очију, тамносмеђих обрва, кестењасте косе, малих, напућених уста и повијеног носа.

На фресци у манастиру Грачаница откривен је, 1962. године, лик петнаестогодишњака у стојећем, мало повијеном ставу за који се претпоставља да је Теодор Бранковић. Пошто је на фресци живописан као наследник престола, постоји вероватноћа да је умро после смрти деспота Стефана Лазаревића, али сигурно пре септембра 1429. године, јер се не појављује у Есфигменској повељи.

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