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They Might Be Giants Is Back to Captivate the Gifted Middle-Schooler in You
The brilliant—and sure, quirky—alt-rock icons are touring to celebrate the 30th anniversary of their seminal album 'Flood'
By Rob Harvilla Feb 6, 2020, 9:54am EST
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To celebrate the 30th anniversary of their baffling and beloved 1990 album Flood, They Might Be Giants, the Brooklyn-via-Massachusetts alt-rock duo of John Flansburgh (glasses; droll; guitar, primarily) and John Linnell (no glasses; even droller; accordion, frequently) are learning to play the deep cut "Sapphire Bullets of Pure Love" backward. Meaning physically, message-from-Satan backward. Linnell describes this undertaking, drolly, as a "heroic effort," and regards the result thus far as "surprisingly musical."
He's joking. He's half-joking. Because with this band, with this lifestyle, the goofier the idea, the purer the intent and the harder the work. "John and I have spent hours and hours at this point trying to memorize the backwards lyrics of 'Sapphire Bullets of Pure Love,'" Linnell explains, chatting on the phone in mid-January as the duo, long augmented live by a full band, prepared to embark on a monthslong Flood-centric national tour. "What we've been able to do at rehearsal is sing it holding up lyric sheets in front of our faces, but we still haven't mastered the off-book version."
The original, linear-time "Sapphire Bullets of Pure Love" is a 96-second oddity amid the 18 other confounding and delightful oddities that grace Flood, with a pleasantly disorienting keyboard loop and some modest pots-and-pans percussion and (indeed!) a little gentle accordion. The plaintive lyrics, sung jointly by both Johns, balance whimsy and menace in time-honored They Might Be Giants fashion: "John, I've been bad, and they're comin' after me / Done someone wrong and I fear that it was me." It's a bright little jingle; it's a resigned death knell. Just because you have no idea what it means (you never do, not exactly) doesn't mean it ain't profound.
I told my fellow TMBG-obsessive brother-in-law about this playing-it-backward business and he immediately sent me a time-flipped MP3 of the song with the file name "Evol Erup Fo Stellub Erihppas"; the keyboard loop sounds pretty much the same, and the rest sounds like a drunk Tame Impala singing in German. Godspeed, then, to whichever lucky crowd in whatever random city first gets to hear this splendid monstrosity live. Will that crowd get any advance warning? "Good question," Linnell says. "I don't know. Which would be better? Would it be better to tell people in advance, so they're ready for that? Maybe we could get people to video it, and then we'll leave it to them to reverse the video and watch it backwards. See what kind of job we did. You know?"
God bless They Might Be Giants, then, for bringing a startling sense of innovation to even their nostalgia plays. If you're going to make these fellas look backward, then by jove, they're going to sing backward, too.
Flansburgh and Linnell first met at Brooks Middle School in Lincoln, Massachusetts, and first rose to prominence in NYC via a mid-'80s East Village performance-art scene Flansburgh describes, in a separate phone call, as "a very heady mix of just stuff that was so beyond fucked up." They often shared bills with Steve Buscemi's experimental comedy duo; "I saw a trailer for a movie," Linnell recalls of an incident many years later, "And I was like, 'Oh, hey, there's that guy.'"
TMBG's self-titled 1986 debut, all minimal drum-machine grandeur and avant-garde juvenilia, has a jaunty polka called "I Hope That I Get Old Before I Die"; the crunchier Lincoln, from 1988, has a quite melancholy jangle-pop breakup song called "They'll Need a Crane." College rock was a thing back then, scruffy and erudite and sometimes even anthemic in a self-deprecating sort of way; the Johns' more specific kindred spirits, from my perspective at least, ranged from "Weird Al" Yankovic (legitimate humor + accordion) to Pee-wee Herman (delightful whimsy so profound it scans as menace) to the Monty Python diaspora (every new bite-sized art-pop opus, and each of the band's albums packs in 20 or so, was a bracing fish-slap to the face).
But no artist before or since comes close to capturing this band's ferociously sincere irreverence. (Or staying power: They Might Be Giants still tour relentlessly and have released several dozen albums, including three in 2018 alone.) Released in January 1990, Flood was the band's major-label debut for Elektra, back when those words meant something; "The major label," Linnell marvels, "had this amazing power to inflict it on the whole world."
Which meant modest radio play and even some dead-of-night MTV action. The end result is that when I was 12 or 13, adrift spiritually in pre-alternative-rock Midwestern dolor, my Cool Uncle Nick played Flood's "Particle Man" for me—the catchy handclaps, the oompah bounce, the righteous accordion riff, the abstrusely childlike science-vs.-theology narrative pitting Particle Man against Triangle Man against Universe Man against Person Man—and without hyperbole changed my life.
"It's nice that you have a Cool Uncle," Linnell says. "Not everybody gets one of those." He likely hears this kind of thing a lot. The Flood entry in the pocket-sized-book-on-one-album 33⅓ series, written by two PhD's named Elizabeth Sandifer and S. Alexander Reed, is built around the thesis that They Might Be Giants make "ideal music for the middle school 'gifted' set, a group of variously outcast kids who, nevertheless, don't actually want to piss off their parents." Flood's three most enduring songs (all live staples to this day) are "Particle Man"; a geographically precise klezmer cover of the '50s novelty song "Istanbul (Not Constantinople)"; and the not-at-all-self-deprecatingly anthemic "Birdhouse in Your Soul," a rapturous synth-pop jam sung from the perspective of a friendly nightlight.
"Particle Man" and "Istanbul (Not Constantinople)," in fact, showed up in a bizarre 1991 episode of the after-school animated staple Tiny Toon Adventures; the slapstick violence (Universe Man pounds the bejesus out of Particle Man) was not exactly on brand, though the literally-too-young-to-grow-up chaos of it all was on brand in the extreme.
Overall, Flood was bizarre and playful enough to scan as hopelessly uncool at the time but plenty soulful enough to qualify, in retrospect, as the coolest thing imaginable. "It is at once a childish look at adulthood," Sandifer and Reed write, "and a mature look at childhood experience." Critics didn't always get it; the band's email newsletter recently reprinted, under the extra-droll headline ROLLING STONE RAVES!, the magazine's two-star review of Flood, which begins with the line "Now that the freshness of their Dorks on Parade shtick has worn off …" But the kids were hooked, and stayed hooked long after they'd ceased to be kids.
Flansburgh, too, gets the whole you-changed-my-life-in-junior-high routine a lot. "This is a really strange thing, but Flood was wildly popular with the Columbia House music club," he tells me, referring to the old eight-CDs-for-a-penny mail-order racket abused by many a '90s teenager. "Which is a mistake that only people in the eighth grade make, right?"
"We want to do stuff that's surprising, but we also want to make songs that are persuasive and catchy and interesting and pull people in. I mean, you can surprise people just by pulling out a gun." — John Flansburgh
As it happens, I have retained for 30-odd years the Columbia House catalog description of Flood, which consisted of two words: "quirky brilliance." Which is another thing these guys get a lot. "I mean, I would settle for just 'brilliance,'" Flansburgh jokes, but part of this record's legacy is the way it both relentlessly attracted and valiantly redeemed words like nerdy or dorky or geeky. "I think people want to create drama, and the idea that we're, like, shaking our fists to the heavens every time somebody calls us quirky might be sort of humorous," he says. "The truth is, we've always approached this as, we want to do something that's extreme, and we want to do something that is a very authentic representation of our sensibility. We are perfectly aware that we're mixing humor and music together, and that's a balancing act."
More specifically (and dangerously), it's "cultural nitroglycerin," as he puts it. "If you're trying to write a song that's going to hold up to repeated listening and not just be super fucking annoying, you've got a much more complicated thing that you've got to do, and that's, I think, where we're at," Flansburgh continues. "We want to do stuff that's surprising, but we also want to make songs that are persuasive and catchy and interesting and pull people in. I mean, you can surprise people just by pulling out a gun."
Flood's persuasive triumphs include the piano ballad "Dead" (in which the narrator is reincarnated as a bag of groceries), or the way less melancholy surf-rock breakup song "Twisting," or the outré dub fantasia "Hearing Aid" (featuring a scabrous guitar solo from No Wave deity Arto Lindsay). Or the ecstatic trumpet solo in the midst of an uncharacteristically straightforward bop called "Your Racist Friend." Or the genial barnyard lope "We Want a Rock," which revolves around the chorus, "Everybody wants a rock / To wind their piece of string around." (It's a parable about conformism, maybe: "Its core non-judgmentality," the Flood book argues, "helps defang the concept of exclusivity from which coolness draws its power, producing an ode to the joys of the uncool that makes no actual effort to redeem or defend the uncool.") If that's too wordy, try the surrealist lounge-rock blip "Minimum Wage," which consists of three words, if heeeya! even counts as a word.
Back in 2010, when the band played some 20th-anniversary shows that made me feel plenty old enough, the Flood track that most resonated with me was the marching-band epic "Whistling in the Dark," one of the album's longest tunes (at 3:25) and most direct appeals to the outcast 12-year-old still lurking in us all:
There's only one thing that I know how to do well
And I've often been told that you only can do what you know how to do well
And that's be you
Be what your like
Be like yourself
Et cetera. Pretty straightforward; awfully inspirational. Except Linnell sings the song in a morosely silly swing-low-sweet-chariot voice, and the narrator happens to mention that he's in jail. Do not look to They Might Be Giants for uncomplicated advice or autobiography. "I hope that it's obvious that we're being sort of arch," Linnell says. "Or, we're speaking in the voice of a fictitious character. Maybe there's an unreliable narrator. When somebody says in a song, 'People should get beat up for stating their beliefs'"—that's from a Lincoln song called "Shoehorn With Teeth"—"I hope people get that we, the songwriters, don't feel that way."
How the songwriters really feel is a mystery the Johns have preserved for 30-plus years. "I don't think we're preoccupied with communicating to an audience the way a lot of more successful songwriters are," Flansburgh says. "Have you noticed that there's this phrase 'public-facing' that's come into use? I feel like there are bands and songwriters that are very public-facing, and there are bands that are kind of private-facing. I feel like we are a profoundly private-facing band."
Profoundly forward-looking, too: They Might Be Giants thrived in the alt-rock '90s but also, crucially, survived them, pivoting to children's albums for a brief stretch of the 2000s and hardly slowing down since. (I Like Fun, the band's most prominent of three 2018 records, has the casual vivacity of goody-goody troublemakers one-fifth the band's age.) On the Flood tour that will rumble on into May, the sets will last more than two hours, which means Flood itself will take up far less than half the show. Flansburgh is still scarred by an old Inside Amy Schumer sketch about a screaming romantic breakup wherein Schumer screams, "I hope that the next time you go to a concert, the band doesn't play the song you want to hear, and instead, they just play songs off their new album." But this enterprise feels like the exact right amount of nostalgia to have, a stridently present-tense celebration of the past.
That's it's own sort of cultural nitroglycerin, of course. "I mean, we are just going to keep getting older," Flansburgh jokes, or half-jokes. "It's so strange. Because we spend so little time dwelling on this stuff and how it affects people, we have people come to shows who were completely raised on our music, and they're adults. They're full-grown adults. For them to come to our show, it's not like seeing a contemporary band. It's just them checking in with who they are. Which is wild." Even the life of a riotously successful rock band can only be lived forward. That band's songs, though, with a little practice, are another matter.
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2012 Song Draft


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New episodes of Doctor Who are to be moved to a later timeslot.
Doctor Who is to move to a later timeslot for its ninth and tenth episodes.
'Cold Blood' will be screened at 7pm on May 26, while the Doctor and Amy's encounter with famed artist Vincent van Gogh in 'Vincent and the Doctor' will air at 6.40pm on June 5.
The scheduling move comes after the eighth instalment of the new series 'The Hungry Earth' received the show's lowest ever overnight ratings of 4.5 million viewers with a 6.15pm showing.
The final episode of the current fifth series is due to air on June 26.


Whether they have an affidavit of support.
The new rule lowers the standard and makes it much easier to determine that someone will be a public charge because it includes anyone who could become a public charge at any time, and adds to the number of public benefit programs that, if they may need access to, they could therefore be considered a public charge, including food stamps and housing assistance, being considered to be"too old" (62 years or older), or even "too young" (17 or younger), not speaking English well enough, and/or having "health conditions." In order to qualify for a "positive factor" in this new process, your "household income" has to be at or above 250 percent of the federal poverty limit; you must be in perfect health; and/or you must be between the ages of 18 and 60.
The new proposed rules will have significantly disproportionate effects on children, those with disabilities, and senior citizens. According to news sources, families are already reportedly turning away much-needed benefits because they are concerned that this could significantly affect the immigration status of their family members. This will also likely have a "chilling" effect for those who are already legally here because of the confusing nature of the rules and the impression that anyone who immigrated to the U.S. could be penalized for participating in public benefit programs.
At this time, immigration laws and regulations are more difficult and complex than they have ever been because of the purposeful attempts to make legal immigration to the U.S. as difficult as possible. If you are facing concerns in this area, you need an experienced immigration lawyer to help you address your immigration legal needs and achieve a positive outcome. Contact our North Carolina immigration lawyers at Dysart Willis today to find out how we can help.


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Q: How to resize png files to fit itunes connect requirement? I'm having a little trouble submitting an screen shot in .png format to iTunes Connect. I took a screenshot of the app from the iPhone, and it's 640 x 960 pixels. This works for the 3.5 inch section in iTunes Connect, but not for other sections such as the 4-inch, which requires 640 x 1096, and the iPad, 768 x 1024.
My question - can I just leave the other sections blank - i.e., just provide the screenshot for the 3.5 inch?   Does iTunes Connect handle the missing sections when displaying in the app store? It seems like it may have been doing that for previous iterations of this app (which I wasn't originally involved with)

A: Im pretty sure when your app gets approved you are going to get alerts form itunes connect telling you that you need to submit all the screenshots (Especially the iphone ones), even the page dont let you save changes until you upload everything.
I strongly recommend you to upload screenshots for all devices, I insist, especially iphone, so you dont have any problems and you can have a clean publish.
Theres an online tool LaunchKit where you can generate screens for all devices at once.
Hope it helps.

redpajama_set_name: RedPajamaStackExchange


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The London Book Fair (LBF), the UK's biggest gathering of international publishers and agents, has announced bookings are now open for its Agent One-to-One programme, which will take place in LBF's Author HQ – the area of the Fair dedicated to writers and aspiring writers.
Our Agent One-to-One meetings take place across the three days of The London Book Fair, with authors having an invaluable opportunity to talk directly to an agent from a leading literary agency about their books, seek advice about any stage of the writing process, and receive direct feedback on pitches and ideas.
Participating agents this year include representatives from Curtis Brown, AM Heath, HHB, Eve White, LBA, The BKS Agency, United Agents, The Blair Partnership, Gold Leaf Literary, Peters Fraser & Dunlop, Kate Barker, Andlyn, C&W. Between them, the agents' areas of interest cover everything from children's publishing, middle grade and YA, to SF and fantasy, as well as literary fiction, commercial fiction, historical fiction and crime thrillers. Narrative non-fiction and memoir are also covered.
Meetings are by appointment only and need to be booked in advance of the Fair and to ensure you are matched with an agent that specialises in your genre of writing, it is important to view our schedule before placing a booking.
Tickets cost £25 and appointments can be booked here.
Author HQ, one of the most popular features of the Fair, will have plenty on offer for both established and aspiring writers, including a three-day seminar programme with industry experts and authors taking to the stage to share their expertise and experience. All Author HQ events are free-to-attend with the purchase of a three-day pass, required to access The London Book Fair.


CORTINA D'AMPEZZO, Italy -- Lindsey Vonn made an uncharacteristic mistake midway down and finished tied for 15th in a World Cup downhill on her return from injury on Friday.
Austrian skier Ramona Siebenhofer claimed her first World Cup victory with a near-perfect run, finishing 0.40 seconds ahead of world champion Ilka Stuhec of Slovenia.
Stephanie Venier of Austria, the silver medallist at the 2017 worlds and Siebenhofer's roommate, was third, 0.46 behind, on a course that was shortened due to overnight snowfall.
Valerie Grenier of St-Isidore, Ont., was 34th, while Marie-Michele Gagnon of Lac-Etchemin, Que., was 40th.
Vonn, who was 1.19 behind, got bounced off her line on the upper portion of the sun-drenched Olympia delle Tofane course. The American, who needs five more wins to break the all-time record of 86 held by Swedish standout Ingemar Stenmark, shrugged her shoulders at the finish.
"I just struggled at that one icy gate," Vonn said. "I was really happy with the way I skied. I just made a really big mistake in the middle. I kind of lost grip and slid out. But otherwise I was positive and I was attacking, I was charging, and I was looking for my tuck."
Vonn was planning on opening her season in November at Lake Louise, Alberta, until she injured her left knee in training a week before her scheduled first race.
"I always have the highest hope that it's easy to come back and get on the podium," Vonn said. "Things have to go my way and I didn't execute as I had hoped so therefore I didn't have the best result. But tomorrow and Sunday are two more chances and I know how to execute -- I just need to actually do it."
Siebenhofer's previous best results were two third-place finishes in downhills. She was first and second in downhill training at the Pyeongchang Olympics a year ago but finished 10th in the medal race.
Siebenhofer also led training twice in Val Gardena last month before finishing third.
"Maybe the key was I was not too fast in the second training run," said Siebenhofer, who was fourth and 11th in the two Cortina training sessions. "I had to push."
Friday's race was originally scheduled for St. Anton last weekend but was moved due to excessive snowfall -- nine feet (three meters) -- in the Austrian resort.
Overall World Cup leader Mikaela Shifrin is sitting out the downhill races to rest but will return for the super-G.


Review Student Work from "Three Polygons Meet at Point B…"
Students will be able to use angle relationships in polygons to solve problems and justify their reasoning.
Students will improve written justifications by revising their work.
I plan to begin this lesson with a Check for Understanding (CFU). I want to assess my students' current knowledge of the how to reason about the interior angle sum of polygons. This CFU is an individual activity. After about 8 minutes, I will collect my students' work and then go into the next activity. The goal for today is to help my students to get better at justifying their own reasoning.
The Common Core calls students to construct viable arguments (MP3), which is why I think it is important to explicitly teach my students how to improve their skill at writing mathematical justifications.
Why did I choose the strategy I did?
Where do I see key parts of the problem in my work?
How can I convince the reader that my conclusion makes sense?
In general, my students appreciate having a second chance to look at their math work. The idea of "improving my expression of ideas" takes some time to grow accustomed to, but once they see progress they appreciate it. From my perspective, giving students time to revise their justifications is an opportunity for them to see that they can improve how they write about their problem solving. I find that they demonstrate a deeper understanding as they come to recognize why the conclusions they have drawn make sense to them.
While students make revisions to yesterday's work, I will quickly scan the Checks for Understanding. I am looking to identify students with whom I might need to check in with about their understanding of the content in order to hep them make the revision process a successful learning opportunity.
To close this lesson I will give a Group Quiz. We worked in yesterday's lesson on group process, so it is important to follow this up with a relevant assessment. I also want to increase students' accountability to each for understanding the interior angle sum of polygons.
On group quizzes, my students work with each other to come to an agreement about the answers to every problem. They also work together to write up their solutions. While I neither require nor encourage students to make all of their work identical, I have found that students evaluate each other's work, checking to make sure that the work accurately represents the math ideas they must use and contains all necessary details for a reader to make sense of the work (MP6).


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SEO is not dead. Knowledge Management is just an another name or whatever you say. All website owners and webmasters want to excel on that Google search rank (SERP).
In early 2018, Google released an important and must-use SEO tool called Lighthouse that offers insight on how to improve the quality of your pages.
Lighthouse, in fact, is an open-source, automated tool for improving the performance, quality, and correctness of your web apps or websites.
When auditing a page, Lighthouse runs a barrage of tests against the page, and then generates a report on how well the page did. From there, you can use the failing tests as indicators on what you can do to improve your app or the website.
Throw any public URL to the Google's ultimate SEO tool Lighthouse, it will audit from mobile-friendliness to accessibilities to progressiveness to performance and whatever a webmaster need to know to have a fast loading app or site.
Performance of the website or web app: How long does this app take to show content and become usable.
How to install Google Lighthouse Audit tool?
Choose any of the following three option suited as per your requirement. We have opted for DevTools in this video and is the easiest way.
In Chrome DevTools. Easily audit pages that require authentication, and read your reports in a user-friendly format.


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Q: How to make a hyperlink in telegram without using bots? How to make a Hyperlink in telegram?
how to make a hyperlink in telegram without the help of bots?

A: Step 1:Select the text you want to give to the hyperlink.

Step 1:Select the three dots at the above right corner.
Step 1: click create link from the options

Step 1:   insert the url

Select ok then the link will be created

A: In the new desktop versions, you can add hyperlink by pressing ctrl + k and typing links.

A: On Telegram Desktop for macOS, the shortcuts differ. You can right-click a highlighted text, then hover over Transformations to see the available options:

A: My phone is xiaomi Redmi note 8 with MIUI 11.0.9 . There is no option for create hyperlink :
So I use Telegram desktop or Telegram X for create hyperlink because Telegram X supports markdown. Type url and send message (in Telegram X) or there is an alternate way which is the easiest!
Update
This way works for all phones!
Select the text using Word Editor and click in the three dots on the top right corner of the chat. It is usually used for accessing settings but if you select a text and click there, you can see Telegram's own Formatter!

A: Try this link format:
https://t.me/[YourUserName]
I was looking for such a thing, BUT with text in (like the one that WhatsApp got)

A: In telegram desktop, use this hotkey:
ctrl+K
In android:

*

*type your text

*select it

*and click on Create Link from its options

You can see these steps in this image:

A: You can make a hyperlink in Telegram by writing an URL and send the message.
Using Telegram Bot APIs you can send a clickable URL in two ways:
Markdown:
[This is an example](https://example.com)

HTML:
This is an example

In both cases you will have:

This is an example

EDIT: In new version of Telegram clients you can do that, see above answers.

A: As of Telegram Desktop Version 3.1.1, You can format the your message like:
Create link:
Ctrl + K = this pops Create link field and auto fills selected text on Text

Other useful hotkeys:
Ctrl + B = Bold
Ctrl + I = Italic
Ctrl + U = Underline
Ctrl + Shift + S = Strikethrough
Ctrl + Shift + M = Monospace
Ctrl + Shift + N = Plain Text
Ctrl + Shift + X = Strikethrough

A: If you're using iOS and (still, after all these years) don't have the button to create a link you can use this shortcut to create a link with custom text.
URL is taken via "share" action, clipboard if the shortcut wasn't called via "share" menu or requested from user.
The result is put in the clipboard, you just have to paste it into telegram.

A: First make link with @bold bot . Then Copy text and paste it to remove "via @bold"


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Home / India News / Kashmiri student who went missing from Dehradun joins Hizbul Mujahideen, say police
Kashmiri student who went missing from Dehradun joins Hizbul Mujahideen, say police
The family of 21-year-old Shoaib Ahmed Lone came to know about his joining the militant outfit from photographs on social media.
india Updated: Oct 07, 2018 23:52 IST
HT Correspondents
Hindustan Times, Drinagar/Dehradun
Shoaib Ahmed Lone was a BTech (IT) student at Dehradun's Alpine Institute of Management and Technology (AIMT).(HT Photo)
A Kashmiri student who was studying engineering at a college in Dehradun has joined a militant outfit two weeks after he went missing, police said on Sunday. "He has joined the Hizbul Mujahideen outfit," said Kulgam superintendent of police Harmeet Singh.
Shoaib Ahmed Lone , 21, was a BTech (IT) student at Dehradun's Alpine Institute of Management and Technology (AIMT). He left Dehradun on September 20 saying he had a flight for Srinagar from Chandigarh, but never reached home.
His family members came to know about his joining the militant outfit from photographs on social media. Locals said that Lone was raised by his mother after his father, a militant, was killed in the early nineties. The SP also confirmed the fact.
AIMT director SK Chauhan said, "We came to know about his joining militancy after officials from security agencies inquired about him". Chauhan said after sitting for his fourth semester examination in June, Lone left for home and was supposed to return to college in August. "When we enquired about him at his house, they said his mother was ill due to which he couldn't return".
"However, on September 19, he returned to the institute but left within a day saying his mother is seriously ill and he has a flight from Chandigarh for Srinagar..."
Lone's mother, who lives in Bumrath village in Kulgam, has made a passionate video appealing him to return. "I am Shoaib's mother. Besides God nobody is there for me. I plead that if he is with any Tanzeem (organisation) please send him home... He is innocent, he made a mistake. He should come back... I will take poison. Then he is free to do anything," she said in the video.
Hizbul Mujahideen
Militancy in Kashmir
Bigg Boss 13: Salman slams Vishal-Madhurima for violence, asks them to exit
At 8.4 degrees, Delhi wakes up to a foggy morning; rains in store for next week
https://www.hindustantimes.com/india-news/kashmiri-student-who-went-missing-from-dehradun-joins-hizbul-mujahideen-say-police/story-Rbzl8ucAsfARs3OqADj3iI.html
Kashmiri student who went missing from Dehradun joins Hizbul, say police
https://www.hindustantimes.com/cricket/india-vs-australia-rohit-sharma-four-runs-away-from-surpassing-sourav-ganguly-in-impressive-list/story-02MaZHJOHCDC5G9wYoYaUO.html
Rohit Sharma four runs away from surpassing Sourav Ganguly in elite list

redpajama_set_name: RedPajamaCommonCrawl


Hughey P. Newsome is a member of the national advisory council of the Project 21 black leadership network. He is a member of the MoveOnUp.org black political network and has his own blog called The Objective Citizen (theobjectivecitizen.com).
Hughey received an MS degree from Stanford and an MBA from Harvard Business School (where he also interned at the Pentagon in the U.S. Air Force's Finance and Cost Accounting Office). A specialist in financial issues, he has previously worked for AT Kearney, Chrysler Financial Services and CGN and Associates (where he worked on assignments for multinational Fortune 500 clients in Belgium and China).
Newsome currently serves as a consultant for MorganFranklin in McLean, Virginia and has his own consulting firm, EGE-squared.


text:
FIFA 21 gets a game-changing feature on next-gen consoles
By:Anel Imsirovic
Published: 20:01, 03 December 2020
Updated: 20:29, 03 December 2020
FIFA 21 Next-Gen
If you're one of those people who were silently (or very loudly) wishing to not have to select a language every time you start FIFA, then you are very much in luck, as the next-gen edition of the game has kissed that chore, yes - chore, goodbye.
Sports gaming fans were in for quite an awesome surprise today as EA decided to release the next-gen version of FIFA 21 a day early for "most players" . As the newly upgraded game found its place in the PS Store of our PlayStation 5 as well, we instantly grabbed it and started downloading.
Right after booting the new, polished iteration of the mammoth footie title up, we noticed how snappy everything felt. It is absolutely impossible to deny the blazing speed of PlayStation 5's SSD and its near-instant loading times, so we found ourselves on the luscious, virtual pitch faster than you can say Ben Yedder.
As you would expect from next-generation systems, the game very much looks the part. Forget the idiom, the grass is literally greener, and Mo Salah's glorious hair and beard are only matched by the amazing attention to detail of his iconic homeground that is Anfield.
Don't believe us? Watch our new graphics comparison video and be the judge yourself. Or the referee, if possible. In fact - please be the referee, because maybe then we wouldn't be giving senseless penalties left and right every single game.
Anyway, while all the new bells and whistles of next-gen FIFA 21 are well and fine, there is one feature that's gone under the radar for most people, and to us it is, quite literally, game-changing.
Namely, the new game will not ask you to select a language every time you boot it up. Can you believe it? We couldn't! We still don't! Well, we do, but you get the point. We're happy is what we're saying.
EA EA Sports FIFA 21
No more booting up the game and jumping to grab a bag of Lays while it loads everything in so we can get right into action only to be met with a "Language Select" screen. Believe it or not, the game now has a brain that tells it: "Hey, this good fellow has already selected his preferred language the last 74 times. Maybe we cut him some slack now, aye?"
It is verily a welcome addition to the game. EA, on behalf of our nerves, our patience, and our general well being - we thank you for this colossal upgrade. From now on, our controllers shall only be broken when we concede a 92 minute goal and get dabbed on by a striker whose only quality is the almighty pace. Wunderbar!
The best-selling games on the UK boxed charts remain unchallenged
Three months after their launches, God of War: Ragnarök, Call of Duty: Modern Warfare 2, and FIFA 23 continue to rotate at the top of the UK's best-selling games list.
God of War Ragnarök ended 2022 as number one on UK Boxed Charts
As 2022 came to a conclusion, the last week of the year's results for the UK Boxed Charts are in, and God of War: Ragnarök is at the top of the list.
WWE 2K23 PC version will be based on last gen consoles
You can't see John Cena but you also can't see a PC version of WWE games that are based on the current-gen version.
Biggest racing games releasing in 2023
After doing some research, we bring you the list of the most anticipated racing games in 2023, whether you prefer simulation, arcade, kart racing, or something entirely else.
Star Wars Jedi Survivor Actor inspires new darker look of Cal Kestis
After the announcement of the official release date for Star Wars Jedi: Survivor, Cameron Monaghan, the actor who plays Cal Kestis, gave an interview for Entertainment Weekly revealing some details about Cal's new look.
Star Wars Jedi: Survivor release date and PC requirements revealed
Key information about Star Wars Jedi: Survivor has leaked, mere days before it was supposed to be shown, presumably at The Game Awards.
Need for Speed Unbound opens to abysmal sales in UK
Need for Speed's latest entry is not doing very well when it comes to physical copies, which is an issue that could reflect the sentiment on the digital market as well.


DENVER, March 26 – More than a million Coloradans face a mental health or substance use disorder. Only half get the care they need. House Bill 19-1269 will hold insurers accountable to current state and federal parity laws that require treating mental health and addiction equal to physical health care.
Colorado has one of the highest suicide rates in the nation. The bill sponsors, Reps. Tom Sullivan and Lisa Cutter and Sen. Joann Ginal, are working with Mental Health Colorado to modernize behavioral health coverage laws and eliminate loopholes that allow many Coloradans to fall through the cracks.
Mental Health Colorado's interim President and CEO Nancy VanDeMark said Coloradans shouldn't have to declare bankruptcy to get treatment for their mental health or substance use disorder.
HB19-1269 creates transparency and accountability to ensure compliance with parity laws. Colorado's parity law was enacted in 1997. Evidence suggests it is not being enforced. Colorado's insurers pay mental health professionals 30 percent less than they pay other health care providers, and Coloradans go out of network seven times more often for mental health and addiction treatment than they do for physical care.


text:
E-Prime 3.0 Experiment Library
Iowa Gambling Task (IGT) [34519]
Sentence Symbol Comparison Task [34525]
Trail Making Task [34477]
Working Memory Task [30123]
Auditory Oddball [30130]
Updated February 04, 2021 18:30
Experiment Author: Psychology Software Tools, Inc.
The Trail Making Task tests visual attention and task switching.
This experiment is a version of the Trail Making Task. The goal of the task is to assess a participant's ability to quickly and accurately connect a sequence of 25 consecutive targets.
The first part of the test presents all numbers (e.g. 1, 2, 3, etc.) where all of the number SlideButtons need to be clicked in sequential order. The second part of the test alternates between numbers and letters (e.g. 1, A, 2, B, etc.) where the number SlideButton needs to be clicked followed by the letter. If an error is made, the participant must correct the error before continuing.
The participant should finish both parts as quickly as possible. The RTTime can be used as the primary performance metric as this time reflects total completion time. The error rate is not recorded but can optionally be added. The first part of the test is used primarily to examine cognitive processing speed. The second part of the test is used primarily to examine executive functioning.
TrailMakingTask.es3
Digit Symbol Substitution Test (DSST) [30114]
STEP: Digit Span [34570]


Abu Dhabi: It was a delightful moment for the then seven-year-old boy, when the class teacher announced "both you and this nation celebrate your birthdays today", and all the children clapped in unison.
"I was the only one in class who stood up when the teacher asked if anyone's birthday fell that day. Until then, I didn't know that my birthday was on National Day, because birthday celebrations were not really common among Emiratis in the 1970s," Mohammad Al Tunaiji, who turns 50 on December 2 this year, told Gulf News in an interview.
He remembers that in 1975, National Day was not a school holiday, but there was a colourful celebration in the school premises after the day's first class. "All my classmates congratulated me when we went out of the class. I felt like a hero," Al Tunaiji said, recollecting his first National Day celebration at Al Muaaireed School in Ras Al Khaimah, which closed down later to make way for a new school in its place.
"I was so happy. That year onwards, the week preceding the National Day has been a celebration in my life," said Al Tunaiji, a media professional in Abu Dhabi.
The next year's celebrations at school were more memorable. "The teacher gave me a gift: a pack of pens. I kept it like a treasure for a few years, without using it. Unfortunately, I was very sad when I lost it when we moved to a new home," Tunaiji said.
When he moved to Saeed Bin Jubair School in Ras Al Khaimah in Grade 7 and studied there until Grade 12, nobody knew his birthday, as National Day had become a school holiday by that time.
This special celebration continued every National Day, until his grandparents passed away a few years ago.
After completing his studies, Al Tunaiji joined the UAE Air Force's magazine as an editor and moved to Abu Dhabi.
In his 50 years, Al Tunaiji has not come across other Emiratis among his relatives, friends or acquaintances who have birthdays December 2.
"Now, my children make it a special celebration," said the father of six.
But that first celebration in 1975 was the most important one for him. "The Egyptian teacher who made my day went back to his country. His son is working here and I am in touch with him and get news about his father frequently. I always remember him on National Day ... and my birthday!" Al Tunaiji said.


If you're not using our Plan Center, you're missing out! Enroll to get regular updates on projects and permits issued throughout Oregon.
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The Premier Builders Exchange Construction Directory is a concise listing of members, firms and individuals involved in the construction industry who are associated with PBX.
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text:
Q: Unexpected T-STRING in code? I have the following PHP code. When I run it I get the error '*Parse error: syntax error, unexpected T_STRING in /home/ashb/public_html/databaseconnect.php on line 20'.*
When I had the code working, line 20 was: $xml_output .= "<?xml-stylesheet href=\"$xslt_file\" type=\"text/xsl\" ?>";
I need to change my code to $xml_output .= "<?xml-stylesheet href=\"$xslt_file\" type=\"text/css\" ?>";. Its after changing this that the error occurs.
What is wrong with it? The full code has been included below.
NOTE: The $xslt_file variable has been changed appropriately for the different lines of code above.
<?php

header("Content-type: text/xml");

$host = "###";
$user = "###";
$pass = "###";
$database = "###";
$xslt_file = "/xmlstyle.css";
$linkID = mysql_connect($host, $user, $pass) or die("Could not connect to host.");
mysql_select_db($database, $linkID) or die("Could not find database.");

$query = "SELECT * FROM users WHERE Username = 'Username4';";

$resultID = mysql_query($query, $linkID) or die("Data not found.");

$xml_output = "<?xml version=\"1.0\"?>\n";
//$xml_output .= "<?xml-stylesheet href=\"$xslt_file\" type=\"text/xsl\" ?>";
$xml_output .= "<?xml-stylesheet href=\"$xslt_file\" type=\"text/css\" ?>";

$xml_output .= "<Users>\n";

for($x = 0 ; $x < mysql_num_rows($resultID) ; $x++){
    $row = mysql_fetch_assoc($resultID);
    $xml_output .= "\t<Person>\n";
    $xml_output .= "\t\t<Username>" . $row['username'] . "</Username>\n";
    $xml_output .= "\t\t<Firstname>" . $row['firstname'] . "</Firstname>\n";
    $xml_output .= "\t\t<Lastname>" . $row['lastname'] . "</Lastname>\n";
    $xml_output .= "\t\t<Title>" . $row['Title'] . "</Title>\n";
    $xml_output .= "\t\t<Description>" . $row['Description'] . "</Description>\n";
    $xml_output .= "\t\t<Location>" . $row['Location'] . "</Location>\n";
    $xml_output .= "\t\t<Feeling>" . $row['Feeling'] . "</Feeling>\n";
        // Escaping illegal characters
        $row['text'] = str_replace("&", "&", $row['text']);
        $row['text'] = str_replace("<", "<", $row['text']);
        $row['text'] = str_replace(">", ">", $row['text']);
        $row['text'] = str_replace("\"", """, $row['text']);

    $xml_output .= "\t</Person>\n";
}

$xml_output .= "</Users>";

echo $xml_output;

?>

A: The parsing of the line above the line throwing the error goes bananas.
//$xml_output .= "<?xml-stylesheet href=\"$xslt_file\" type=\"text/xsl\" ?>";

The comment isn't commenting out the final ?>";
Using an IDE like phpstorm/netbeans/zend/etc shows this right away.


text:
James Bullard, President and CEO
James Bullard - Video Interviews and Appearances
2019 Homer Jones Memorial Lecture
St. Louis Fed President James Bullard welcomed attendees to the annual lecture and introduced this year's speaker, Dr. Carmen Reinhart.
Text version of President Bullard's welcoming remarks »
Harvard Kennedy School Professor Carmen Reinhart presented the 2019 Homer Jones Memorial Lecture on June 25. She provided a brief tour of near-term risks and long-run concerns for the global economy.
Following the presentation, Reinhart conducted a Q&A session with the audience.
Reinhart's professional experience spans Wall Street, academia and public policy. An expert in international economics, Reinhart co-authored one of the most definitive books on financial crises, called "This Time is Different: Eight Centuries of Financial Folly." She is a prominent voice in policy debates in the U.S. and around the world, and twice was named one of the 50 Most Influential people by Bloomberg Markets magazine.
Reinhart is the Minos A. Zombanakis Professor of the International Financial System at Harvard Kennedy School. Previously, she was deputy director at the International Monetary Fund, a senior fellow at the Peterson Institute for International Economics and chief economist at Bear Stearns.
Reinhart serves on the economic advisory panel of the Federal Reserve Bank of New York and was previously a member of the Congressional Budget Office's Panel of Economic Advisers. Based on publications and scholarly citations, she ranks No. 1 among the female economists in the Research Papers in Economics (RePEc) database.
The St. Louis Fed's annual Homer Jones Memorial Lecture honors those who exemplify the highest qualities of leadership in economics and public policy. Jones (1906-1986), longtime research director at the St. Louis Fed, played a major role in developing the Bank as a leader in monetary research and statistics.
IDEAS/RePEc Profile
"Rationally, let it be said in a whisper, experience is certainly worth more than theory."


I love Lost. I have all four seasons on DVD, am waiting patiently for the fifth season's disc release, and will probably cry when the show ends in May. I'm pretty sure ABC will do the same, as the show has been a consistent ratings hit (i.e. golden calf) for them for the past five years. That's why they're desperately scrambling to find their next Lost-caliber show, and I think they may have done so with FlashForward.
I watched the pilot episode of FlashForward last week and can say I'm hooked. It's got a kooky high concept, a huge cast with lots of storytelling potential, and most importantly, the network's backing in things like promotion. It starts strong, establishes its characters well, and ends on a very gripping cliffhanger that should guarantee a large percentage of its premiere viewers—it got a 4.1 rating (pretty damn good)—returning to watch episode two this Thursday.
For those of you who haven't seen the thousands of commercials for it, the concept is pretty easy to understand. The entire world blacks out for two minutes and change and, while passed out, they experience visions of their future, specifically on April 29, 2010 at 10:00 p.m. The crux of the storyline involves the FBI trying to solve the case of who put this global phenomenon into effect, and the mysteries surrounding such a massive undertaking.
The coolest thing about the show, to me, is the serialized style they're implementing, much like that other favorite show of mine. I love getting immersed in something and making sure I catch it every week. I want to obsess over stuff, and this series (I hope) will provide something for me to obsess over. The producers of the show clearly have a plan for what they want to do, offering key glimpses of what's to come in FBI agent Mark Benford's (Joseph Fiennes) vision of the future, of him going over a massive board of conspiracies involving the blackouts. Numerous faces, numbers, and words tacked to the board indicate this is going to be a very complex, thinking person's show.
The executive producers mentioned above also offer a lot of faith. David Goyer worked on the stories and scripts for Christopher Nolan's Batman movies, both of which were universally considered great. Brannon Braga works on the show that kick started the whole serialized TV show genre, 24, bringing with him a vast amount of knowledge of how to run a series like this. Marc Guggenheim has worked on several shows and also wrote some very entertaining comic books, most notably Spider-Man. These guys should keep the narrative on track and not get too bogged down in mundane soap operatic stories.
Of course, there's some bad to it. While the pilot was very, very good, it wasn't the best ever. It kind of glazed over the fact that hundreds of thousands, possibly millions, of people would have died in car accidents, plane crashes, etc., leaving devastation nobody could even dream of. We got a glimpse of it in the opening scenes but it seemed pretty tame compared to what it could have been. I understand that this is TV, and budget constraints played a role in all of this, but a few more scenes of people bewildered by the destruction around them would have sufficed. Beside that, the only major problem I had was with the dialogue in certain scenes. It just seemed tacky to constantly refer to the visions by the title of the show ("In my flashforward," was used several times) instead of simply calling them something less clunky like "flashes" or anything similar to that.
Beyond those minor glitches in the script, there really wasn't much to complain about. The acting was great, and seems to indicate this will be another character-centric sci-fi tale as opposed to the wooden acting and terrible production values of all those syndicated science fiction shows. I particularly enjoyed Benford's partner Demetri (played by Harold himself, John Cho), as he is terrified he's going to be dead by the flash date, as he didn't have one. The realization that Benford, a former alcoholic, is drinking again in his flash, is also a nice dramatic touch.
If the ratings keep up, I can see this show lasting for several years, developing mysteries, deepening character relationships, and offering up all kinds of crazy action before having a huge, satisfying finale. The producers say they know where every twist and turn leads, so stalling should not be a big problem, story-wise. So, if you want to be entertained, give FlashForward a shot.


text:
Light The Cauldron
Talking about Olympic events while ramping up for the next major competition in Tokyo!
Don't Be Too Quick to Dismiss HarBowl
I've already heard it. "Any more talk about the Harbaugh brothers coaching in the Super Bowl and I'm going to puke."
Usually I am one of those people. Any overhyped, media-crazed story has me rolling my eyes and flipping the channel. I've written about the hype, and how horrible it is, many times. I've verbally complained to people about the hype.
But this time? This time, folks, I'm taking the side of hype.
So sue me.
Let's go over the other facts of the past fourteen days: the baseball writers decided no one was worthy of making the Hall of Fame, Lance Armstrong confessed to Oprah that he took PEDs, and Mante Te'o was the victim of a horrid prank (or so we think at the moment). Those types of stories are pretty depressing. The media trounces on those stories to get us to react. They want us to talk about the validity of the BBWAA (Baseball Writers Association of America) and whether or not baseball players accused of taking steroids are should be in the HOF. They want us to ream out Armstrong for his jerkiness. They want us to feel pity for the Notre Dame defenseman.
Now think about the Harbaugh story. Jim and John – born a little over a year apart from each other – are head coaches of the two teams headed to the Super Bowl: the San Francisco 49ers and the Baltimore Ravens. John has established himself as a solid head coach, even while having no NFL playing experience. Jim played 15 years in the NFL after being a stellar college quarterback for the University of Michigan. The boys' parents, a happily married couple named – get this – Jack and Jackie live in Mequon, Wisconsin, a little burb north of Milwaukee. Jack has gotten coaching film from the boys throughout the season and has given each support every step of the way. And now these two men are going to have to try and best the other on one of the biggest stages in sports.
Does that make us irritated at an organization? Does that make us think that a player is a giant jerk? Does that make us feel pity?
No! It makes us feel good! It makes us feel happy! Stories like this one are meant to be overhyped! Why complain about this? Do you really want to hear more about the Los Angeles Lakers' nosedive into the basement of the NBA? Really? Because I'd much rather hear about two men from a solid Midwestern family who have reached the pinnacle of their sport.
Last year I was already salivating at the idea, but then both the 49ers and the Ravens lost in their respective championship games, making the Super Bowl last year – even with Tom Brady – a little less important in my book.
This year, though, I'm very excited for this game. I am looking forward to seeing the pregame and postgame talk about the Harbaughs. I look forward to seeing any screen shots of their parents – or maybe their sister and her husband, Indiana basketball head coach Tom Crean. I eagerly anticipate the CBS crew messing up "Jim" and "John" about twenty-one times. (Is there a prop bet for that one yet?)
Why? Well, I take pride in family. It's probably similar to me enjoying a good Peyton-Eli matchup. Okay, I also enjoy a good Peyton-Eli commercial. But they're brothers, too. Like the Harbaughs, they grew up together, played with and against each other, had arguments, fought, laughed, joked, and lived together. To see a family story extend beyond college is a treat, especially because many times we hear about sports figures' broken homes or tragic backstories.
Wouldn't you like to play a giant game like this against your brother or sister? Pick your favorite sport. Now have your sibling be on the opposing side. For me, it would be swimming. If my sister was in the lane next to me in the finals of the 400m individual medley, I would sooooooo want to beat her. But at the same time, if she beat me, I would be very proud of her. Put yourselves in Jim or John's shoes. Think of how much fun it would be!
So enjoy the only kind of family drama there should be – played on a football field, where the outcome doesn't really matter and they'll shake hands at the end. Stories like this one are the ones that I will gladly overhype, whether you like it or not.
It has now been ten years since I first received my call as elementary school teacher. Back then, it
seemed like I had my whole career ahead of me. I knew exactly how it would go:
Teach in a school while doing a little bit of music stuff,
Teach in a school and do a bunch of music in the church and school, Be the music person in a church and school full-time, Compose a bunch of stuff while being the music person in a church or school, Be published in a hymnal that will be sung by thousands of people for years to come, and Conduct a really, really good choir at the WELS Worship Conference before retiring. Spend the rest of my years RV-ing around the country.
But God has other plans. I mean, God knows everything, so he knew my plans were futile. As a matter
of fact, he probably laughed at my plans when I would think about them!
And after ten years of thinking I was on the right track, I realized I wasn't.
So how can that be? Didn't I get a divine call?
Well, if you're unfamiliar wit…
A Guide to Naruto for the Curious
I have had a connection with the Japanese anime Naruto since I started watching torrents of it back in 2003. It turned into an obsession two years ago when I rediscovered it on Netflix and Hulu. Last week, the anime finally ended its run after 15 years on the air.
Now I have time on my hands - I can turn my Google Chromecast to Naruto without fear of someone else coming into the room to watch something else. Unfortunately, many of my friends probably don't have that luxury.
But never fear! I've got your back with this little primer. Want to know about what I'm obsessing? Want to know specific episodes to watch so you're not inundated with filler and flashbacks and only get the good stuff? Read on.
Naruto isn't divided into seasons, so instead I'm going to divide everything by story arcs.
Introduction (Naruto episodes 1-5) Overview: We are introduced to Uzumaki Naruto, a very annoying 12-year-old orphan who lives in the Village Hidden in the Leaves (which is in th…
This is Just the Beginning!
A few weeks ago I wrote an article about my final days of teaching, and what I hoped for the future. It was a hard article to write, and really made me put down on paper the things that I have been dreaming about and meditating on all year.
Right before I left for my month-long graduate school session, I got a call from my current congregational chairman. He said the congregation had voted and extended me a one-year call to serve as their staff minister!
It was a lot to take in, especially because I was also mentally preparing for a wealth of knowledge to get poured in my brain. But it also took a big weight off my shoulders. For five months I had been completely in the dark about my future after June. But now the future was simple: I was staying where I was and working with people with whom I was familiar!
Starting tomorrow, I begin my work. When I listed off some of my primary responsibilities to friends and family, they went, "Wow, that's a lot!" But to me, it is all …
Blurb Muser
With Great Ranking Comes Great Responsibility
My First Hockey Post
The Problem with Youth


text:
Epochs of Fashion and Style
Kostümgeschichte (DE)
THE EPOCHS
FASHION ICONS in History
ART TRAVEL GUIDES
DIYs + Sew Along's
NÄHPROJEKTE (DE)
Byzantinische Mode der Spätantike
Mode im Mittelalter
Mode der Renaissance
Mode im 16. Jahrhundert
Mode des Rokoko
Mode im frühen 19. Jahrhundert
Herrenmode des frühen 19. Jahrhunderts
Viktorianische Mode
Tudor/Elizabethan Era
Empire/Regency
- Regency Gentlemen's fashion
Madame de Pompadour
Marie Antoinette and her tailor Rose Bertin
Georgiana Duchess of Devonshire
Seymour Fleming, Lady Worsley, and military fashion
Manors in the Midlands
Tudor/Henrician Partlet
1770s Hat
Regency Chemisette
Rococo (ca. 1715 - 1780)
Madame de Pompadour, Francois Boucher, 1756, currently/Dez 2014 Neue Pinakothek München. picture taken by Nina Möller
Characteristic for the 'Rococo'is the refined, detailed and powdery style of this era. Ideals like elegance and sophistication, but also the enjoyment of privacy and home lift and the enlightenment shaped this epoch.
The more austere and rigourous style of the Baroque was softened and adorned. Fabrics in use were linen (for underwear), silk, taffeta, atlas, damask, brocade, cotton and wool. Fur was used to line for instance cloaks of wealthy persons and to protect the hands from the winter cold in form of muffs. Colours were given such delightful names as "Caca Dauphin" (the heir to the throne's p**, unsurprisingly a brownish shade), Feu d'Opéra (a red colour named after the blaze at the Opera house in Paris in 1781) and, one more because the names are so hilariously absurd, "Cardinal sur la paille (Cardinal in the straw). It requires no inconsiderable share of domination of the fashionable world to set up such colours, and a zeitgeist that does not mind the explosive statement of a Queen naming a colour after a recent tragedy.
Rococo dress, Robe volante or Robe à la Francaise, Museo di Palazzo Mocenigo, Venice. picture taken by Nina Möller
The Robe volante is a flowing one-piece that falls down in lose pleats from the shoulders on front and back (sack back construction, ). The sack back pleats are also named Watteau pleats after the Rococo painter Jean-Antoine Watteau who often depicted such dresses.
The skirt was at first cone shaped but broadened with the time to form the square silhouette of the Robe à la Francaise.
1790, Journal des Luxus und der Moden, picture taken by Nina Möller
In England, the Robe à la Francaise received a makeover to form a new style: the Robe à l'Anglaise. Without paniers, just pillows and padding, . It was not a Manteau and a stomacher pinned together with needles but a tight bodice (without the tuckings in the back) fastened with hooks and eyes or lacing in the front. The end of the bodice was pointed at the front and the back. There was normally no stomacher anymore. This gown was also worn on the continent since 1770 and pushed aside the Robe à la Francaise as the most popular dress: the Robe à l'Anglaise.
Meanwhile, other fashionable developments took place. Dresses with ruffled up skirts in the back are often immediately referred to as Robes à la Polonaise. However, in a Polonaise there is a waist seam separating the bodice part from the skirt. A deceptively similar garment is the Robe à l´Anglaise retrousee but there the front bodice goes seamlessly into the skirt. The name refers to the alleged inspiration from the clothes of Polish peasant women who tucked up their skirts to protect the hems while working on the fields. The ruffled up skirt was held up either through drawsting channels so that you could pull up the skirts and tie a knot in the strings to keep it up, or through loops of ribbons that lift the skirt or small loops that go around buttons at the waist seam. Therefore, sometimes fashion prints and paintings show the visible ribbons that fasten the skirt.
Engageants to a Robe à l'Anglaise, Bayrisches Landesmuseum, Germany. picture taken by Nina Möller
The tight sleeves, which were not sewn into the armhole but placed and fixed on top of it, were elbow-length. There, a folded up cuff sat, or great flounces of fine lace or delicate embroidered fabric called Engageants.
Embroidered Rococo STOMACHER, 1700-25, V&A Museum (flickr, picture by moorina)
Once the Robe volante had become popular in the ladies court wardrobe, the gown underwent several changes over the course of time. The Robe à la Francaise evolved. The waist was more and more defined and the cut changed (the sack back construction remained).
It consisted of three pieces:
the Manteau or Mantua (the mantle), the Jube (the skirt) and a triangle-shaped stomacher, often richly decorated. The Manteau and the Jube were usually of the same fabric and lavishly decorated with quillings, lace, bows, silk and fabric flowers, scalloped and pleated stripes, etc.. The neckline, usually very low, was decorated with lace or embroidery. At first, bows were only used to decorate the neckline but with time passing it became fashionable to adorn the whole stomacher with bows. Madame de Pompadour was obviously very fond of this fashion as she wears it in several paintings from the 1750s.
The Robe à l'Anglaise and the Robe à la Polonaise were usually made
*of monochromatic/uni fabric or
*the skirt and the gown had different colours (sometimes one was patterned and the other not) or
*the whole gown was made of the same flowered, dotted or striped fabric.
"Marie Antoinette" by Louise Elisabeth Vigée-Lebrun, 1783 (flickr, picture by Oh Paris)
Over the chemise (the under-dress), a relatively close-fitting and calf-long underskirt can be tied around the waist. Its job is to protect the wearer's decency if a gust of wind lifts up the wide upper skirts. Over the chemise goes the pair of stays. Costume historically speaking, corsets do not appear before the 19th century. In the earlier eras it was stays. They are laced either in the front (for the less wealthy women as they have to lace it themselves) or in the back (for women who had a maidservant). The lacing is done in a spiral with just one cord which is tied with a knot at the upper and lower end of the corset, not the zig-zagging used nowadays. This is an easy way to achieve a period accurate look when making historical dresses.
While tighly laced and ill-fitted stays do cause discomfort and shortness of breath, a good pair worn in a good way does not. Stays were specifically made for that person and thus could provide a good fit. They were not worn necessarily to create a very small waist, but mainly to get that smooth silhouette the styles required and also to improve posture. Not every woman tight-laced, in fact very few did. It was probably mainly among the top of fashionable society that people did tight-lace. For the majority of the population, stays were only hugging the body and not constricting it. Therefore any tales of deformed organs cannot be true for any woman who did not tight-lace on a daily basis. Many such reports came from medical professionals or members of the cleric who censured the 'frivolous' fashions or assumed negative effects on women's fertility or 'hysteria'. As late as the later 19th century, such medical practitioners wrote for example that the womb could wander off and fall out by wearing heels (yes, they really wrote such things!). Well-fitted stays made sure the dresses sat well, helped achieve the silhouette and improve posture. Like nowadays where some celebrities wear extreme shapewear or have plastic surgery, it is a few people and not all of us. 18th century stays, made from buckram and whalebone, warmed up to body temperature during wear and are flexible enough not to restrict movement too much. You can bend down in stays, or run. Clearly modern clothes give more freedom to slouch in front of the computer or on the couch for example, but stays were no torture devices.
Two versions of paniers, Rococo hoop-skirts (© Nina Möller)
The stays are followed by what shapes the skirt: pocket hoops (paniers) or different kinds of padded pillows. which are indeed used as pockets). Paniers come either as two seperate baskets or joined into a long hoopskirt. The paniers are hollow and used as pockets to store and carry items around.
Padding options include the cul de Paris, a padded pillow also tied around the waist and sitting at the central back, or the Split Rump, two large pillows/sacks filled with padding material or bits cork that are mainly used with the Polonaise.
One or several underskirt(s) follow. They conceal and even out the contours of the pocket hoops and the cul de Paris so that the Jube falls nicely. Over that, the visible skirt, the floor-long Jube, finds its place. The skirts have about 20cm long slashes on both sides of the hip which allows one to put the hands into the pockets. The Manteau is the actual "dress" - a floor-long or shorter kind of mantle which is in the Francaise open in the front to show the stomacher underneath is put on. It is pinned to the bodice down the front and the gap it leaves is then concealed with the stomacher.
The style changed over the course of the 18th century. The Francaise is cut to reveal the stomacher and its silhouette is wide at the hips but narrow in profile. Towards the later 18th century the shape changed to a more all-round full skirt (hence the Split Rump for example) and the bodice was now cut to shut in the front or back and no longer reveal or require a stomacher. These later styles, like the Anglaise, cut the bodice front pieces on the bias of the fabric so that they stretch nicely and lie flat over the torso and stays.
Journal des Luxus und der Moden, c. 1788. picture taken by Nina Möller
For daily live beyond the courtly occasions, a light kerchief called Fichu was worn around the neck (usually white) and inserted into the neckline. This Fichu emphasised the bust while providing warmth and a degree of more propriety during daytime. Like nowadays, everyday clothes and evening wear differ.
For travel and for horseback riding, a riding habit was worn: a jacket with short tails and an overlong skirt to drape down and veil the legs when sitting on horseback. Sometimes, riding habits were quilted. Often, they are modelled on male (military) dress. The Brunswick was another type of dress for travel, or just informal everyday wear. Again it is made up of a skirt and (hooded) jacket. Both styles are long-sleeved for practicality, sometimes Engageants are hinted at by the means of ribbons or flounces attached to the long sleeve above the elbow.
Diana, Viscountess Crosbie, 1777, wearing a wrapping gown. Painted by Joshua Reynolds (flickr, picture by Amy Fry)
A popular kind of informal dress (worn inside the house, among the family) is a wrapping gown. The wrapping gown is worn with corset and chemise underneath. Like modern wrapping dresses it is open in the front and wrapped around the waist. The fabric is softly coloured, light and flowing, the skirt is long and full. Although for private environment, many women had themselves painted in a wrapping gown.
Exotic cultures, especially the Orient, were very popular in France. This fascination for the way of life of Sultans and Sultanas was heated-up by Madame de Pompadour who had herself painted à la turque. The colourful and flowing clothes (so different from the stiff French court fashion), ornated belts, wide sleeves, pearl jewellery, coffee, turbans, baggy silk trousers - everything was all the rage. Records of ambassadors and travellers in the Orient delighted and enchanted the people.
Pet-en-l'air jacket illustration, Rococo fashion (© Nina Möller)
Another informal garment is a pet-en-l'air jacket. This jacket has a sack back construction and was worn over a petticoat or the Jube. It looks just like a Robe à la Francaise with shortened skirt. It could be fastened with hooks and eyes (the stomacher is divided lengthwise), tied with ribbon or pinned to a corset with decorative lacing. The materials are the same as for the gowns. There is a painting in Upton House, 1740s, unknown artist, which depicts an unknown (but undoubtedly rich) Lady is clad in a blue pet-en-l'air probably made of silk and trimmed (or perhaps fully lined) with ermine fur.The Caraco was another type of jacket, fashionable in the 1760s. It is similar to the pet-en-l'air (which can be seen in my painting on the right hand side) but has no sack back. The back is tight-fitting like the one of a Robe à l'Anglaise.
'Comtesse de la Chartre', Louise Elisabeth Vigee-LeBrun, 1789, The Metropolitan Museum of Art. The Comptesse wears a Chemise à la Reine and a fichu. picture by Nina Möller
When the Gaulle or Chemise à la Reine (the Queen's chemise)was first introduced to the public by Marie Antoinette in her portrait by Elisabeth Vigée-Lebrun, it resulted in a scandal. People both condemned her for apparently wearing a shift and for introducing a style that might put France's silk weavers out of work.
The Chemise à la Reine consisted of several layers of light muslin, belted with a colourful sash around the waist. Commonly, the colour was white or a pastel shade. Sleeves can reach just over the elbows or to the wrists and can have small flounces where they end. Likewise the round neckline is usually trimmed with one or two layers of flounces.
Double-portrait presumed to represent François de Jullienne and his Wife Élisabeth de Séré de Rieux, Charles Antoine Coypel, 1743, Metropolitan Museum of Art, picture taken by Nina Möller
In the 17th century the folding fan came up. In the following time, fans reached a high degree of artistry. The parchment or silk was decorated with floral patterns, garden scenes or sceneries from the ancient Greek and Roman mythology.
The lapdog:
In the Rococo era, wealthy women liked to own small dogs. These lapdogs were not (like in Renaissance) there to provide some warmth but to be a cute little companion who could be cuddled and spoilt. Madame de Pompadour had several dogs, her two favourites named Mimi and Inés, which also appear in her portraits. She quite doted on them and one year, she spent over 500 Louis-d'Or (an immense fortune for average people) on golden collars for her pets.
Detail from Madame de Pompadour, Francois Boucher, 1756, Neue Pinakothek München. picture taken by Nina Möller
In the Rococo era, shoes with heels and (very) pointed toes were worn. There was yet no difference in the making of a right and left shoe, the heel and soles were carved of wood and overall the feet must have hurt like hell at the end of a long day...
For fashionable ladies (and gentlemen) it was significant that the fabric of the garment and of the shoes matched, so that they had usually an exclusive pair for each garment. The Louis-heel, a heel that is wider at the top and base that in the middle, was the height of chic in the rococo era and is famous ever since. The footwear had straps that needed to be crossed over the instep and fastened with a buckle.
Rococo 18th century era shoe, Museo Correr, Venice. picture taken by Nina Möller
Madame de Pompadour, Francois Boucher, 1750 (flickr, picture by Steven Zucker)
Contrary to common belief, people bathed regularly when they could be sure the water was clean. In Versailles and in several other residences, bathing rooms can be found with large tubs. The body was also rubbed with perfumed towels and people did endeavour to keep their teeth clean and healthy. Unfortunately, toothpaste was for a short time made with sugar as the main ingredient which did not produce the wanted results. Linen underwear and bedsheets were changed very frequently and although common 18th century ideas of hygiene were not quite equal to ours today, they were not as rank and heavily perfumed as is the general stereotype.
A pale complexion with rosy cheeks and dark eyebrows was the ideal. There were face paints that included lead and other harmful chemicals but they were not the norm. Rouge was a normal feature of make-up, but for instance Georgiana Spencer-Cavendish, Duchess of Devonshire, and her daughter are said to have worn none. By making them appear natural and artless, this met good critics.
For sleeping, the frames, cushions and finery were removed, the hair pinned up and covered with a coif.
Queen Marie Antoinette with her high "pouf" hairstyle (flickr, picture by Raphael Labbé)
At the beginning of the Rococo epoch the hair was worn relatively close to the head in updo hairstyles, outside the house covered and not yet powdered or accreted by hair pieces as one was proud of the own (healthy and shiny) hair. In the late 1760s and 70s the coiffures became increasingly high. The hair was pomaded, powdered and draped over wire frames, with the augmentation of false hair. Adding to that came everything from false flowers to bows and miniature paintings to pearls and feathers among the court and upper class.
In 1774, Marie Antoinette stunned the French court with her "pouf" (='cushion/pillow') hairstyle which is somewhat of an ancestor of the beehive hairstyle of the 20th century.
In the 1770s Georgiana Spencer-Cavendish, Duchess of Devonshire, astonished the fashion world with a 90cm (1yd) high hair tower adorned with jewels and e.g artificial fruit and birds. Consequently, riding in a carriage was only possible by sitting on the floor – very comfortable indeed. Another trend-set of hers was adding a huge ostrich-feather to her (high) coiffure that luffed at every motion of the head. One of her feathers was about 1,20m (1,3yd) in lentgh – a very extravagant fashion and very much to the poor ostriches regret.
Mrs Thomas Hibbert, Thomas Gainsborough, 1786, Neue Pinakothek München. picture taken by Nina Möller
Already in the end of the 1770s, however, the mounted-up coiffures became lower and were displaced by what looked like a mob of curly hair (what it actually was) with curls hanging on shoulders and back. This new height of chic was worn with wide-brimmed hats. Paintings of Georgiana Cavendish, Duchess of Devonshire show her with that hairstyle and the film adaption of her life ("The Duchess") flatters with quite accurate hairstyles and dresses. To the Chemise a la Reine (introduced in the 1780s) Marie Antoinette wore her hair curly with a big straw hat adorned with a light-blue ribbon and bow and ostrich-feathers. The high hairdos and the mob lasting until the 1790s disappeared and only left low coiffures, small curls and and braids behind.
Robe à la francaise with "La Belle Poule" hairstyle in the Kyoto Costume Institute (flickr, picture by Ruas, Passagens e Passarelas)
As high-quality lace was as valuable as gemstones, it was also used as jewellery, worn as a choker around the neck. Pearl-necklaces and pearls earrings were in vogue, just as well as diamond jewellery in form of collars, earrings and bracelets (a set of two identical ones for each wrist).
All in all, only a minimum of gemstone/diamond jewellery was worn around the neck – generally, the lace quill is adornment enough (with perhaps a small pearl-necklace). It was very popular to wear miniatures (portraits or the profile as relief) on necklaces and ribbons around the neck, on a pearl or ribbon bracelet (looks like a watch) and as a brooch attached to the bodice. Likewise, cameos were fashionable.
Sense and Sensibility Patterns
Burda 2447 (dress A: passes for à la Polonaise, B: à la Francaise)
Simplicity 3635 (French Rococo underwear including corset and hoop-skirt)
Simplicity 3637 (Robe à la Francaise)
Simplicity 4092 (dresses; looks like the one might be inspired by Pirates of the Caribbean :-)) [I have sewn the dress. Making it was sometimes quite difficult so it is nothing for inexperienced sewers and you need a very lot of fabric too, but it is worth everything. It became amazing and I love it. MY DRESSES]
Nehelenia Patterns np20 1790s Jacket Pattern
Nehelenia Patterns np21 1790s Redingote Pattern
- Please note that this list claims no completeness and does not operate as advertisement. It was merely composed for informative purposes. Furthermore, no valuation of the patterns is implied or intended -
Marquise de Pompadour ->I guess she liked PASTEL FLOWERY FABRICS and STOMACHERS DECORATED WITH BOWS (flickr, picture by HarshLight)
'Portrait of a Young Woman as a Vestal Virgin', Francois Hubert Drourais, 1767, The Metropolitan Museum of Art. Vestal Virgins were priestesses to the Roman goddess of the sacred fire, Vesta. picture taken by Nina Möller
Le Petit Dejeuner, Etienne Liotard, c. 1753, currently/Dez 2014 Neue Pinakothek München, Nina Möller
'Portrait of the dancer Barbara Campanini', Antoine Pesne, ca. 1745, Charlottenburg Palace, Berlin. She is wearing a fantasy costume, like the costumes for a masquerade. picture by Nina Möller
Keywords: epoch, Madame de Pompadour, Jeanne Poisson, Marie, Antoinette, dress, robe, gown, engageants, robe à la polonaise, robe à l'anglaise, robe à la francaise, pet-en-l'air-jacket, floral, hoop-skirt, paniers, Manteau, Jube, stomacher, wig, powder, mouche, fabric, Lamballe, volante, cul de Paris, à l'Anglaise,a l´Anglaise,riding,caraco, Francois Boucher, orient, Sultana, France, gaulle,chemise à la reine, Trianon, Louis-heel, coiffures, accessories, shoes, belle poule, Duchess of Devonshire, Gorgiana, pouf, mob, miniatures, pattern, fabric, silk, taffeta, cotton, fashion, Epochs of fashion, Rococo
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Art is my passion. It always has been. When I was little, I took almost every art class I could. Later I discovered that, while fine art was not my craft, graphic design was. Over the years of my schooling, I found several mentors who pushed me to the limits without compromising who I was as an artist. Graphic design is who I am and what I love doing. In my everyday life, I see different things that inspire my inner-artist. These inspirations stayed stored until I find the perfect opportunity for them.
Graphic Design is my passion. It always will be.