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This course is an interdisciplinary approach to understanding human food consumption and nutrition, incorporating biological, evolutionary, ecological and social perspectives. Topics include a broad survey of primate diets and their physiological and behavioral correlates; fossil and archaeological evidence for early human diets; adaptations to dietary shifts since the Neolithic; infant and early child feeding practices and their role in shaping human social arrangements, metabolic syndrome, food security, food taboos; the origins of spices; cultural diversity in the social uses and meanings of food and the sharing of food; gathering, hunting and locavorism as high hipster cuisine. Emphasis is on understanding the diversity of human foodways through time and space: how biology, culture, and ecology interact to shape the food we eat, and how the food we eat shapes us.
Last offered: Autumn 2014 | UG Reqs: WAY-SI, WAY-SMA
This cross-disciplinary course surveys the history and prehistory of human ecological dynamics in Australia, drawing on geology, climatology, archaeology, geography, ecology and anthropology to understand the mutual dynamic relationships between the continent and its inhabitants. Topics include anthropogenic fire and fire ecology, animal extinctions, aridity and climate variability, colonization and spread of Homo sapiens, invasive species interactions, changes in human subsistence and mobility throughout the Pleistocene and Holocene as read through the archaeological record, the totemic geography and social organization of Aboriginal people at the time of European contact, the ecological and geographical aspects of the "Dreamtime", and contemporary issues of policy relative to Aboriginal land tenure and management.
This course explores the construction of gender in the Middle East. Drawing on the historical, sociological and anthropological research in the region, the course aims to question the stereotypes about the subordination of Muslim women and to offer students a systematic reading and analytical discussion of the political, economic and cultural structures that inform gender relations and practices in the region. The course starts with an examination of early Islam and religious sources with regard to women¿s status, then moves on to nationalist and modernization movements in the 19th and 20th centuries, and finally explores women¿s and men¿s lives in contemporary Egypt, Turkey and Iran. In this framework, we will pay special attention to Islamist mobilizations, family and sexual relations, as well as women's changing livelihoods and labor.
Last offered: Autumn 2014 | UG Reqs: GER:DB-SocSci, WAY-SI
The cigarette as the world's greatest weapon of mass destruction: 100 million dead worldwide from cigarettes during the 20th century, one billion expected to die in the 21st century. How to understand this toll, its production, management, politicization, and depoliticization? What can anthropological and allied perspectives disclose? How does the catastrophe challenge key precepts within anthropology and other branches of the academy?
Last offered: Winter 2011 | UG Reqs: GER:EC-GlobalCom, WAY-SI
A few years ago, health experts began calling out tobacco as engendering a global health crisis, categorizing the cigarette as the world's greatest weapon of mass destruction. A "global health crisis"? What merits that title if not tobacco use? A hundred million people were killed by tobacco in the 20th century, and ten times that number ¿ a billion people ¿ are predicted to die prematurely from exposure to cigarette smoke over the next hundred years. How has tobacconcome to be labeled a global health crisis over the last decade and what has been the political response? From whence does activism and ongoing complacency regarding tobacco arise? How are they created in different cultural contexts?nnThis course aims to provide students conceptual tools to tackle two specific thought projects: (1) to understand how institutional actors compete to define a situation in the world today as a problem of global health, and (2) to understand the sociocultural means by which something highly dangerous to health such as the cigarette is made both politically contentious and inert. On both fronts, special attention will be given to the ways global health activism and complacency unfold in the U.S. and China.
Instructors: Engel, C. (PI) ; Kohrman, M. (PI)
ANTHRO 182N | 3 units | UG Reqs: WAY-SI | Class # 20638 | Section 01 | Grading: Letter or Credit/No Credit | ISF | Students enrolled: 7
04/02/2018 - 06/06/2018 Mon, Wed 1:30 PM - 2:50 PM at Lathrop 190 with Engel, C. (PI); Kohrman, M. (PI)
Instructors: Engel, C. (PI); Kohrman, M. (PI)
Notes: Introductory Seminar. Preference to first-year students; sophomores admitted if space available. Advance sign-up process and deadlines at http://introsems.stanford.edu.
Unusual mental phenomena have existed throughout history and across cultures. Taught by an anthropologist and psychiatrist, this course explores how different societies construct the notions of "madness": What are the boundaries between "normal" and "abnormal", reason and unreason, mind and body, diversity and disease? nnOptional: The course will be taught in conjunction with an optional two-unit discussion section or engaged learning component.
Instructors: Luhrmann, T. (PI) ; Mason, D. (PI) ; Ipek, Y. (TA)
ANTHRO 186 | 3-5 units | UG Reqs: WAY-ED, WAY-SI | Class # 18921 | Section 01 | Grading: Letter (ABCD/NP) | SEM | Students enrolled: 54 / 48
01/08/2018 - 03/16/2018 Mon, Wed 1:30 PM - 2:50 PM at Turingaud with Luhrmann, T. (PI); Mason, D. (PI)
ANTHRO 186 | UG Reqs: WAY-ED, WAY-SI | Class # 34864 | Section 02 | Grading: Letter (ABCD/NP) | DIS | Students enrolled: 3
01/08/2018 - 03/16/2018 Mon 9:30 AM - 10:20 AM at 160-323 with Can, S. (TA)
Instructors: Can, S. (TA)
01/08/2018 - 03/16/2018 Mon 10:30 AM - 11:20 AM at 160-323 with Can, S. (TA)
01/08/2018 - 03/16/2018 Wed 9:30 AM - 10:20 AM at 300-303 with Ipek, Y. (TA)
Instructors: Ipek, Y. (TA)
01/08/2018 - 03/16/2018 Wed 4:30 PM - 5:20 PM at 100-101K with Ipek, Y. (TA)
01/08/2018 - 03/16/2018 Mon 5:30 PM - 6:20 PM at 50-52T with Luhrmann, T. (PI); Mason, D. (PI)
Aims, methods, and data in the study of human society's development from early hunters through late prehistoric civilizations. Archaeological sites and remains characteristic of the stages of cultural development for selected geographic areas, emphasizing methods of data collection and analysis appropriate to each.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-A-II, WAY-SI
Instructors: Bauer, A. (PI) ; Fanthome, E. (TA) ; Papazian, S. (TA)
ARCHLGY 1 | 3-5 units | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-A-II, WAY-SI | Class # 19995 | Section 01 | Grading: Letter (ABCD/NP) | LEC | Students enrolled: 16
01/08/2018 - 03/16/2018 Fri 10:30 AM - 12:20 PM at 40-41J with Bauer, A. (PI); Fanthome, E. (TA); Papazian, S. (TA)
01/08/2018 - 03/16/2018 Fri 10:30 AM - 12:20 PM at 50-51A with Bauer, A. (PI); Fanthome, E. (TA); Papazian, S. (TA)
01/08/2018 - 03/16/2018 Fri 10:30 AM - 12:20 PM at 50-51B with Bauer, A. (PI); Fanthome, E. (TA); Papazian, S. (TA)
01/08/2018 - 03/16/2018 Wed, Fri 10:30 AM - 12:20 PM at Turingaud with Bauer, A. (PI); Fanthome, E. (TA); Papazian, S. (TA)
Instructors: Bauer, A. (PI); Fanthome, E. (TA); Papazian, S. (TA)
ARCHLGY 16: Native Americans in the 21st Century: Encounters, Identity, and Sovereignty in Contemporary America (ANTHRO 16, ANTHRO 116C, NATIVEAM 16)
What does it mean to be a Native American in the 21st century? Beyond traditional portrayals of military conquests, cultural collapse, and assimilation, the relationships between Native Americans and American society. Focus is on three themes leading to in-class moot court trials: colonial encounters and colonizing discourses; frontiers and boundaries; and sovereignty of self and nation. Topics include gender in native communities, American Indian law, readings by native authors, and Indians in film and popular culture.
The course is an introduction to the social organization of material production and to the theoretical, ethnographic, and historical frameworks used by archaeologists to link the technologies of the past to salient sociocultural information about the people who employed them. Comparison of metallurgical, ceramic, lithic, and textile industries in different cultural and historical settings will inform critical discussions of how and to what extent analyses of artifacts, workshops, and industrial installations can provide insight into past societies.
The development of high civilizations in Andean S. America from hunter-gatherer origins to the powerful, expansive Inca empire. The contrasting ecologies of coast, sierra, and jungle areas of early Peruvian societies from 12,000 to 2,000 B.C.E. The domestication of indigenous plants which provided the economic foundation for monumental cities, ceramics, and textiles. Cultural evolution, and why and how major transformations occurred.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-ED, WAY-SI
Instructors: Rick, J. (PI)
ARCHLGY 102B | 3-5 units | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-ED, WAY-SI | Class # 19296 | Section 01 | Grading: Letter (ABCD/NP) | LEC | Students enrolled: 3
09/25/2017 - 12/08/2017 Wed, Fri 9:30 AM - 11:20 AM at 500-106 with Rick, J. (PI)


STAMFORD — The brand-new indoor turf field at Bobby Valentine's Sports Academy has been a busy place the last few weeks as local high school players prepare for the season.
With many fields still covered in snow or too wet to play on, places like BVSA and SONO Fieldhouse in Norwalk have become hubs of local baseball.
Sunday night, it was a different kind of baseball hub as coaches and players gathered at the newly opened Bobby Valentine's Sports Academy in Stamford for the FCIAC baseball media night.
Players and coaches spoke to the media, mingled with each other and ate pizza for a few hours inside the new complex.
While all the teams are optimistic about the upcoming season, some are just waiting to get on their home fields before the regular season begins Saturday.
Trinity Catholic in Stamford is one team that has not been able to get on the field as half of it is in the shade and thus covered with significant amount of snow.
The Crusaders have already moved what was supposed to be their home opener Saturday to Stratford High School.
Trinity has had several practices in the new BVSA facility but until the snow melts and field dries, they are without a diamond.
Across town, Stamford and Westhill have been able to clear their fields and get some time outside.
Schools in the northern part of the county like Ridgefield and Danbury have also not gotten outside and are waiting for the snow to melt.
Staples, one of the league favorites this season, has not been on its baseball field but has been outside on various artificial-turf fields around Westport.
McMahon is still waiting for its new artificial-turf field to get installed but has been making due in the gym or wherever it can find space.
McMahon has not been using BVSA or other indoor facilities because of the cost involved with renting space.
With the season less than a week away, some of these teams may not be on an actual baseball field until opening day.


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This New West business is offering pet (or kid) photos with Santa
Bosley's by Pet Valu in Columbia Square is hosting a pet photos with Santa fundraiser on Nov. 27
Theresa McManus
TIger had his photo taken at a previous Bosley's Columbia Square fundraiser. Pet photos with Santa returns on Sunday, Nov. 27.Contributed
Bosley's New Westminster is raising money for local animals – one Santa photo at a time.
Bosley's by Pet Valu in Columbia Square is getting set to host its annual pet photos with Santa fundraiser for New Westminster Animal Services. It's on Sunday, Nov. 27 from 11 a.m. to 4 p.m.
"We have a lot of fun with it," said store owner Karima Jivraj. "It's just a fun thing we do. People use them as their Christmas cards."
Jivraj said she's hoping to raise $2,000 at this year's event. Pets of all kinds can have their photos taken with Santa at the event.
"We don't just do pets; we have kids come in too. Santa is kid-friendly," she said. "The Santa we have is really good."
Dogs, cats, ferrets and rabbits are among the animals who have had their photos taken at past events. It's just one of the ways that Bosley's supports New Westminster Animal Services, which in turn supports animals in the community.
"It's important. They are part of the community. They support our community," Jivraj said. "We don't just give them money. We give them food, we give them supplies. They take donation from us and distribute it out into the community, into the homeless shelters."
Parents can schedule an appointment to have their children or pet's photo taken by emailing Jivraj at bof7034@bosleys.com. It costs $30 for two digital photos.
"They have to just email me and I will give them an appointment. They should start booking because the times are filling up pretty quick," Jivraj said. "The sooner they book, the better off they are."
Photos will be taken at #101-1015 Columbia St., in Columbia Square Plaza. All proceeds go to the New Westminster Animal Services.
Steel & Oak Brewing picks up trio of awards at BC Beer Awards
Finalists of Platinum Awards announced in New Westminster

redpajama_set_name: RedPajamaCommonCrawl


Catherine Rug is rated 4.1 out of 5 by 208.
Rated 5 out of 5 by ReecieT from Amazing rug...it's green shades - not blues! My husband and I rarely write reviews online but wanted to be sure to weigh-in to help future buyers. We have attached photos because the sofas in our sitting room are a sage/light green. (I think actually labeled 'cottage green' but, yes, a softer green.) And this rug is PERFECT in matching our sofas. So for those looking for some shade of blue, at least the rug we received certainly doesn't have it. This rug is ivory, gold and a soft green. We debated for a few weeks on taking the chance of ordering it based on reviews we read here. We finally took the chance and it's great for our home, but it won't be for those looking for a blue or teal highlighted rug. Also, it's a high-quality rug. Sheds for a bit, but the thickness and quality are great.
Rated 5 out of 5 by WHJones from Solid rug - good quality I bought this a month ago. The colors are beautiful and is high quality! Another great purchase!
Rated 5 out of 5 by MollieC from Exactly what I was looking for I'd been looking at this rug online for over a year before I was able to buy it, and I could not be more happy with it! It's great quality and works perfectly in our living room.
Rated 5 out of 5 by Jean24 from Beautiful rug We bought this rug a few months ago for our great room. Our furniture is teal, beige and cream with blue accents. This rug blends all those colors. It is farely plush so it feels wonderful underfoot.
Rated 5 out of 5 by KellyLu from Wow! Gorgeous! I bought this rug as a runner for my upstairs hallway. It brightens the space and pulls together all the colors of my adjoining rooms. The rug is not as muted as shown on the website which was okay because I like it even more. It is very well made. Beautiful!
Rated 5 out of 5 by Glona from Beautiful rug I purchased the carpet in the 9x12 size. The colors seem different in person than they did on the computer screen, but I am loving my choice more and more as I live with it. I also purchased a 1/4" rug pad for under it and it seems very plush underfoot.
Rated 5 out of 5 by Really13 from Love! I love this rug so much, I bought two. The colors are soft and calming. Very plush. Bought the first one for my office, and loved the colors so much, got it for the living room.
Rated 5 out of 5 by CKH1 from gorgeous rug I bought this rug last month and I agree with other reviews that the picture does not do it justice. This rug is beautiful and it has a bit of green/blue that does not show it the photos. I am reordering for another room.


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BigTalk Education vision and values
BigTalk Education's vision is to ensure as many children and young people as possible receive high quality Relationship & Sex Education, to help keep them safe, healthy & happy.
This page explains how we do that through our work as a social enterprise.
Our mission is:
Grow sustainable revenue sources to aid us in expanding our expert team to reach more children/young people.
Create and distribute more quality age appropriate resources to educate children and young people.
Train and support as many school staff as possible to allow them to feel confident in RSE.
Publicise the importance of RSE, highlighting emerging trends and issues, to ensure key influencers in the media, political arena and education professionals.
BigTalk Education is proud to be a recognised social enterprise. The definition from Social Enterprise UK states that "social enterprises are businesses that are changing the world for the better. Like traditional businesses they aim to make a profit but it's what they do with their profits that sets them apart – reinvesting or donating them to create positive social change… This allows them to tackle social problems, improve people's life chances, provide training and employment opportunities for those furthest from the market, support communities and help the environment… It's business for good and when they profit, society profits."
How do BigTalk Education align with the six criteria that define a Social Enterprise?
Have a clear social and/or environmental mission set out in their governing documents.
The vision and mission goals listed above are the founding principles of our organisation.
Generate the majority of their income through trade.
BigTalk Education generates income through providing relationship and sex education (RSE) services and resources to universities, schools, educational professionals and parents.
Reinvest the majority of their profits.
As a mission driven organisation, we strive to ensure that as many children as possible receive good quality age appropriate RSE. We reinvest profits in areas where we feel this mission can best be achieved.
Since 2005 our team has grown substantially, and we currently deliver in over 135 schools nationwide.
Our founder Lynnette Smith is very active in the National Children's Bureau's Sex Education Forum, for which she holds a voluntary position as Chair of the Advisory Group. Lynnette and other team members also speak regularly at conferences, workshops and seminars sharing insights from the RSE work we undertake with education professionals, politicians, academics, the Media and other stakeholders in RSE provision. An example being Lynnette's involvement in Parliaments' Women and Equalities Committee in its public evidence session on Sexual Harassment and Sexual Violence in Schools. This was a key milestone that led to the March 2017 Department for Education's announcement of statutory RSE for all pupils in UK schools.
We also provide additional support for parents and professionals, our most recent project in this area is to establish of a new website which will contain enhanced (free) information and support for parents, teachers and other education professionals. We expect this to be launched by the start of the 2018/19 academic year to coincide with the launch of statutory RSE.
We are currently working on three additional books for parents, carers and teachers of children aged 4+. Beyond this we are constantly working with partners such as the gypsy traveller voice project, transgender young people, schools for special education needs & disabled pupils and other groups to create new resources that are 100% inclusive.
Going beyond our direct contribution to RSE policy and provision, we are also committed to support Barnardo's as our chosen charity, whose purpose is "to transform the lives of the UK's most vulnerable children."
Are autonomous of the state.
As an independent organisation we are not controlled by a local authority, however many of our staff have local authority backgrounds in youth work, SRE and safeguarding. In fact, BigTalk Education was originally founded when Lynnette Smith's role as a Sex Educator for North Lincs council was made redundant due to government funding cuts.
Are majority controlled in the interests of the social mission.
BigTalk Education has never received outside investment and does not answer to any shareholders who have dividend requirements or expectations.
Are accountable and transparent.
BigTalk Education annually publishes the number of children, professionals and parents we educate, which is how we benchmark our performance against our mission.
Equality is not always about treating everyone the same – it is about treating people in such a way that the outcome for each pupil can be the same.
Tolerance is to understand that not everybody is the same and have the willingness to accept this.
Honesty is being truthful and open at an age appropriate level, that allows pupils to learn and understand.
Support is to work together with schools and family to provide guidance and care for children and young people.
Respect is valuing each person as an individual of importance, as well as the beliefs of their family and community,
Empower is to equip people with knowledge to keep them safe, healthy and happy.
Sensitivity is having an awareness of the feelings of others and responding accordingly.
Trust is ensuring children and young people have a safe space to learn and discus.
Empathy is the ability to identify and understand the feelings of others and offer them support.
Request information on BigTalk Education's services for your school
Our guide to high quality, age appropriate Relationship & Sex Education for your child, helping you know what to expect from us.
BigTalk Education's Growing Up Safe Programme
Children want their parents to be the first people to talk to them about growing up, sex and relationships. Yet many parents say they lack confidence to answer their children's questions frankly, Schools are there to help, and BigTalk Education are here to support Schools and Teachers. Members of the BigTalk Team can come into School for a part or whole day, ensuring your children (and you as parents) are well educated to keep them safe, healthy and happy! Find out more >
BigTalk Education's RSE Lessons for Life
Our Programme in Secondary Schools uses a Youth Work approach to RSE delivery, participation, empowerment and inclusion are fundamental to its success. Our Team fosters a non-judgmental, relaxed, receptive atmosphere, which doesn't shy away from sensitive issues.
Bodies, Babies & Bellybuttons
This book is a gentle introduction for children about their bodies and where they come from. A must have for all parents to help answer your children's questions in a simple, understandable and age appropriate way.
Stay up to date on the RSE guidance, best practice and news
Opt in to receive updates directly into your inbox from our founder Lynnette. We do not share any data with third parties and you can unsubscribe at any time.


Love 'em or leave 'em...and you know I love to talk about 'em...if these 2 minutes from NRBQ fail to make you smile, please see a physician. Hell, it even put yours truly, Ebenezer Von Moancreep in a good mood.
Great song. Nice way to start the week. Thanks for sharing that with everybody.
The difference between NRBQ and The Smithereens is the same as The Grateful Dead and Grand Funk.
I have "Kick Me Hard" on cd, and I'm very fond of their attempt at "Spinning Wheel" (live bonus track).
Ok...that was fun. The cheesey organ outro? 'twas better than cheddar.
I wish I`d seen this yesterday, but the smile was welcome today. Thanks, Sal!


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Jack Katz (born September 27, 1927) is an American comic book artist and writer, painter and art teacher known for his graphic novel The First Kingdom, a 24-issue epic he began during the era of underground comix.

Influenced by such illustrative comic-strip artists as Hal Foster and Alex Raymond, Katz attended the School of Industrial Art in New York City. He began working for comic-book publishers in the 1940s, during the period fans and historians call the Golden Age of Comic Books. Though continuing to work in comics through the 1950s, his slow pace and highly detailed, idiosyncratic art style prompted him to leave that field for 14 years. Circa 1969, he returned to mainstream color comics as well as to black-and-white horror-comics magazines, and after a move to California embarked upon The First Kingdom, a serialized work that later became considered a precursor to, or an early form of, the graphic novel. He completed it in 1986, and went on to write and draw further works in that vein, and to teach art.

Early life and career
Katz was born in Brooklyn, New York, and moved to Canada days after he was born. He returned to the United States when he was around eight years old. While attending the School of Industrial Art in New York City, he established bonds of friendship with future comic artists Alex Toth, Alfonso Greene and Pete Morisi.

Katz's work in mainstream comics spans both the Golden and Silver Ages, and was done under a variety of pseudonyms such as Jay Hawk, Vaughn Beering, Alac Justice, Alec Justice, and David Hadley. He got his start in the industry in 1943, working in the C. C. Beck and Pete Costanza studio on that duo's feature Bulletman. In 1944 or 1945, working as a letterer in the comics studio of Jerry Iger, he became acquainted with artist Matt Baker, whom he considered "one of the top illustrators, and a good storyteller".

From 1946 to 1951, he worked as an art assistant on various King Features Syndicate comic strips. Katz worked on Thimble Theatre as an assistant artist, working with Bela Zaboly and Louis Trakis. Katz worked briefly on Terry and the Pirates as an assistant to George Wunder. As a "detail man", he came into contact with Hal Foster and Alex Raymond, two of the artists who inspired him most in his early years. Katz has considered Foster his "guiding light" since the age of six and believes Foster laid the foundations for the graphic novel. Raymond praised Katz's illustrative style and said that working in comics was a waste of his time. Stanley Kaye, on the other hand, told Katz to persevere.

Katz went to work for Standard Comics and its imprints in 1951, doing horror comics, war comics and some romance comics until the company went out of business. From this period comes some of the earliest work that can be identified as his, such as Adventures into Darkness #10 (June 1953). From 1952 to 1956, Katz worked as a penciler and inker at the studio of Jack Kirby and Joe Simon, working alongside Mort Meskin and Marvin Stein. Kirby taught Katz how to ink and use lighting to emphasize dramatic scenes.  A slow worker due to heavy detailing (influenced by the style of illustrator Dean Cornwell), Katz was let go and moved on to Timely Comics under Stan Lee around 1954.  Katz worked on war and horror comics, as well as Westerns, but his pacing continued to cause friction. Without Lee's knowledge, Katz worked on the side for Fiction House, which slowed him down even more.  In 1955 he left mainstream comics to paint and teach art, both privately and for the YMCA in New York City.  His hiatus from the industry lasted 14 years.

Impressed by Jim Steranko's Captain America, Katz entered mainstream comics for a second time in 1969 and bounced around from job to job.  He first found work with Stan Lee at Marvel Comics and worked on books such as Sub-Mariner, Monsters on the Prowl and Adventure into Fear. Katz then worked on House of Secrets and romance comics for DC before moving on to write and illustrate stories for Jim Warren.

In the early 1970s, Katz drew numerous romance comics for DC and Marvel Comics.

Katz got a job with Skywald Publications around 1970, where he believed that he would be able to write his own stories. While there he worked on "Zangar" (from the Jungle Adventures comic book) and is credited with the full art and script for "The Plastic Plague" in the horror-comics magazine Nightmare #14 (Aug. 1973). While remaining with Skywald as an associate editor, Katz moved to California in the early 1970s. It was there he began writing The First Kingdom, integrating into the story ideas that he'd had since his time with Warren Publications.

In 1978, Katz teamed up with his friend Thomas Scortia to create a short-lived comic strip, Galactic Prime. The strip was launched on July 5, 1978, and ran for only seven weeks in his local newspaper, the North East Bay Independent and Gazette.

The First Kingdom
Moving to California led to Katz's introduction to underground comics. Through independent publishing he saw the potential to create his own story without editorial interference.  The First Kingdom is a 24-issue, 768-page graphic novel that took Katz 12 years to complete, outside of writing the story. He finished two books per year, intentionally totaling 24 in order to mirror the number of books in Homer's Iliad and Odyssey. Each issue is dedicated to his then-wife, Carolyn.

The epic was published by Comics & Comix Co. from 1974 to 1977, at which point publication was taken over by Bud Plant (a Comics & Comix co-founder) and completed in 1986.  Early praise for Kingdom came from Playboy magazine and the Rocket's Blast Comicollector fanzine, but it was never a commercial success due in part to the frequency with which it came out and its adult content.  Another contributing factor may have been that Kingdom was sold strictly through mail-order, specialty comic stores and head shops.

Its genre is science fiction-fantasy with a heavier emphasis on science fiction after issue #6. The story opens on a new, post-nuclear era with tribes fighting for survival on a primitive, fantastic Earth filled with gods and monsters. Gods meddle in human affairs, their appearance, temperament and vices resembling the gods of Ancient Greece. The story spans generations and has a huge cast of characters. It abounds with theories to account for religion, evolution, migration and why humans allow themselves to be distracted from the, "plaguing questions of our existence".  The story's protagonist, Tundran, is introduced in Book Four.  He overcomes obstacles in order to return to his father's usurped kingdom of Moorengan as a liberator. Along the way he falls in love with Fara, a "transgoddess" incarnate, and their adventures together represent the most linear plot line in the story.

The First Kingdom is the first part of a trilogy, which Katz said will include Space Explorers Club and Destiny. He said the first 20 issues are the introduction to the real Kingdom story in issues #21–24. The first 20 issues are filled with histories that are interwoven and repeat the same doomed cycle: a hard-won ascent from primitivity blossoms into a golden age of scientific advancement which inevitably devolves into war and a preoccupation with survival and superstition. Katz's fears concerning the human condition are revealed here. His characters are unable to transcend their "early programming" born out of environmental stresses and cannot escape such base motivations as greed, envy, and jealousy. The chance for humanity to break this cycle comes with the arrival of Queltar in #20, who encourages a select few to join him and embrace their true potential among the stars.

A number of stylistic touches set Katz's illustrative style in Kingdom apart from that of other comic artists. It is highly detailed' all of his human (and humanoid) forms have ideal, heroic bodies rendered with anatomical accuracy; and there are no gutters, with murals filling single-panel pages throughout the work. The quality of Katz's art matures as he progresses further into the story: the panels get larger and he shifts from pen to brush in the fifth book, a suggestion from Jim Steranko.

Will Eisner and Jerry Siegel among many others considered Kingdom to be innovative in many respects. In the foreword to issue #23, Eisner claims the work helped carve a niche for the graphic-novel medium. Comics historian R. C. Harvey believes Katz was the "...first person in comics to pursue a personal vision at such length'". Katz's stated intention in the first issue was to trailblaze: "The work I am undertaking...is the first in a series of books in which I hope to extend the dimension of comics to the potential art form that one of its earliest and greatest artists, Hal Foster, laid down the foundations for."

Attempts have been made to reissue Kingdom as collected volumes.  Wallaby Pocket Books published a large-format version of the first six books in 1978.  In 2005, Century Comics (under its former name, Mecca Comics Group) released the first volume of an anticipated four-volume set, collecting issues #1–6. The second volume collected issues #7–12 and followed months later, but Century Comics went out of business before it could publish the final two volumes. In May 2013, Titan Comics announced plans to reprint the series in six volumes, remastered from the original art and relettered.

Painting
In 1956, Katz left the comic book industry and began painting and teaching art in Brooklyn. In September 1962, his work was featured in a one-man show at the Panoras Gallery in Manhattan at 62 West 56th Street. Katz continued to paint through the early 1960s, though there are no records of many of these works.

Katz's painting style, like his comic art style, focuses on human subjects and anatomy. "The figures in the paintings...embrace, entwine, writhe, contort, and suckle. The work blends the realistic with the exaggerated. It is a 1930s, 1940s world, its view unimpeded by fifty years of art trends and theory. The Ashcan School comes to mind."

In 1988,  Katz returned to oil painting and completed many works from 1988 – 2003. During this time, Katz also was teaching art in Northern California. After 2003, Katz stopped painting and returned to drawing and developing comic book stories.

Later life and career
Since the Kingdom years, Katz has focused on teaching art at a community college in Albany, California, painting and working on graphic novels. Students of his have helped publish a number of books of his works. These include an anatomy book for students (Anatomy by Jack Katz, Volume One) and two books of his sketches (Jack Katz Sketches, Vol. 1 and Jack Katz Sketches, Vol. 2). In 2009, Graphic Novel Literature published Katz's second graphic novel, Legacy. Charlie Novinskie, former president of Century Comics, helped script Legacy.

In 2014, Katz began work on Beyond the Beyond, a 500-page graphic novel, which was a continuation of his themes developed in The First Kingdom series. The book was finished in 2019, but remains unpublished.

In 2019, Katz began a new graphic novel, which he says will be 330 pages long. This new novel is a sequel to Beyond the Beyond.

In October 2020, Katz had a solo exhibition in Berkeley, California titled "The Golden Age and Beyond". The exhibit featured art from his entire career including comic art and paintings.

In September 2021, Liam Sharp's Sharpy Publishing released The Unseen Jack Katz, a collection of unpublished works from the 1970s and 1980s. Funded as a Kickstarter project, the book contained various unfinished stories & comic strips by Katz.

Media Appearances
September 1962 -  Exhibit - Panoras Gallery, New York, NY

August 29, 1976 - Creature Features - Channel 2  KTVU   - Oakland CA

May 18, 1978 -  KEST AM Radio - San Francisco CA

October 15, 1979 - Channel 7 KGO-TV

November 3, 1979 - Creature Features - Channel 2 KTVU  - Oakland CA

November 6, 1979 - KGO-TV San Francisco, CA

July 4, 1982 - Creature Features -  Channel 2 KTVU  - Oakland CA

September 30, 1983 - WXRT Chicago - FM RADIO with Charlie Myerson

July 11, 1986 - KGO TV Friday Focus profile - San Francisco, CA interviewed by Steve Davis

October 24–25, 2020 - Exhibit - "Jack Katz: The Golden and Beyond"   Berkeley, CA

Awards
Katz was one of the recipients of the Inkpot Award in 1976 at the San Diego Comic-Con.

Selected bibliography

Comics
Source for Katz's work in mainstream comics:

Archie Comic Publications, Inc.
 Archie (pencils, inks, 1943)

Fawcett Comics
 Bulletman (full art, 1943)

Hillman Periodicals
 Western Fighters (full art, 1949)

Quality Comics
 Doll Man (inks, c. 1950)

Better/Standard/Pines/Nedor Publications
Adventure into Darkness (pencils, 1952–53)
Exciting War (pencils, 1952)
Lost Worlds (pencils, 1952)
New Romances (pencils, 1952)
Out of the Shadows (pencils, 1952)
The Unseen (pencils, inks, 1952–53)

Feature Comics
 Black Magic (full art, 1952)

Marvel Comics (and related imprints)
 Annie Oakley (full art, c. 1955)
 Arrowhead (full art, 1954)
 Astonishing (full art, mid-1950s)
 Battle Action (full art, mid-1950s)
 Battle (full art, 1955)
 Battlefront (full art, 1954–55)
 Battleground (full art, 1954–55)
 Fear (pencils, 1972)
 Journey into Mystery (full art, 1955)
 Journey into Unknown Worlds (full art, 1955)
 Jungle Tales (full art, mid-1950s)
 Marines in Battle (full art, 1954)
 Marvel Tales (full art, 1954)
 Menace (full art, 1954)
 Monsters on the Prowl (pencils, 1971)
 My Love (full art, c. 1971)
 Mystery Tales (full art, 1955)
 Mystic (full art, 1954)
 Strange Tales (full art, 1954–55)
 Sub-Mariner (pencils, 1969)
 Uncanny Tales (full art, 1954–55)
 Unknown Jungle (full art, 1954)
 War Comics (full art, 1955)
 Western Kid (full art, mid-1950s)
 Wild Western (full art, mid-1950s)

Skywald Publishing Company
 Nightmare (pencils, 1970–1973)
 Psycho (pencils, 1971–1974)
 Tender Love Stories (pencils, 1971)
 Zangar (pencils, 1971)

DC Comics (and related companies)
 Falling in Love (pencils, 1972)
 Heart Throbs (full art, c. 1972)
 House of Secrets (pencils, 1972)
 Love Stories (pencils, 1972–73)
 Young Love (pencils, 1971)
 Young Romance (writer, full art, 1972)

Warren Publications
 Creepy (writer, full art, 1972)

Comics & Comix Co./Bud Plant, Inc.
 The First Kingdom (writer, artist, 1974–1986)

Wallaby Pocket Books
 The First Kingdom (includes #1–6, 191 pages, 1978, )

Mecca Comics Group/Century Comics
 The First Kingdom, Book 1 (includes #1–6, 198 pages, 2005, )
 The First Kingdom, Book 2 (includes #7–12, 2006, ASIN 097666514X)

Graphic Novel Literature
 Legacy (2009, )

Titan Comics
 The First Kingdom, Book 1 (includes #1–6, 208 pages, 2013, )
 The First Kingdom, Book 2 (includes #7–12, 208 pages, 2013, )
 The First Kingdom, Book 3 (includes #13–18, 208 pages, 2014, )
 The First Kingdom, Book 4 (includes #19–24, 208 pages, 2014, )
 The First Kingdom, Book 5 (160 pages, 2014, )
 The First Kingdom, Book 6 (112 pages, 2014, )

Other works
 Jack Katz Sketches, Volume 1
 Jack Katz Sketches, Volume 2 (2004)

Windcast Publications
 Anatomy by Jack Katz, Volume One (2nd ed., 152 pages, 2008, )

Notes

References
 Pages 3–5 online.
 Pages 37–38 online.

External links
 Jack Katz Art - Website of the Jack Katz Foundation

 Official website Archived

1927 births
American comics artists
American comics writers
People from Brooklyn
Alternative cartoonists
Living people
20th-century American painters
American male painters
21st-century American painters
21st-century male artists
Golden Age comics creators
Painters from New York City
High School of Art and Design alumni
Educators from New York City

redpajama_set_name: RedPajamaWikipedia


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text:
Mason bees make useful garden pets
RANDY SHORE, Vancouver Sun 04.23.2011
Randy Shore with his new mason bee habitat, where he bored special holes for the honeybees.
Mark van Manen / PNG
Mason bees don't make honey or even live in hives, but they are effective pollinators and are remarkably easy to attract to your garden.
This non-social cousin of the honeybee will help you grow more fruit, berries and vegetables and seems less vulnerable to some of the health problems that plague bee populations, both domesticated and wild.
Commercial honeybees have suffered greatly over the past six years, with colony losses of 30 to 90 per cent in some regions. That's bad news for commercial fruit and vegetable growers, who depend on the services of honeybee colonies in mobile hives to ensure a good crop. Thousands of hives are transported to fields and orchards each year synced to the growing season of each crop.
Without pollination, the bounty from B.C. orchards and farms would drop by hundreds of millions of dollars, according to the Ministry of Agriculture.
"The plight of the honeybee has been in the headlines all over the world," said Hartley Rosen of Mason Bee Vancouver, a project of the Environmental Youth Alliance. "Thirty or 40 years ago we didn't need all these honeybees for crops; most of the pollination was done by native bees."
"The mason bee is a flagship species for us, because as backyard gardeners they are easy to manage and maintain and in terms of their ability to pollinate they are incredibly efficient," Rosen explained.
With no colony to protect, mason bees have little motivation to sting.
Mason bees are solitary, nesting in hollow stems, woodpecker drillings and insect holes, mainly in wooded areas. But a simple habitat made of wood drilled out with attractively-sized holes will coax mason bees into taking up residence in your yard, according to UBC Botanical Garden horticulture manager Ingrid Hoff.
The botanical garden vegetable patch maintains habitats for mason bees to improve productivity.
"They help quite a bit with food gardening, actually," said Hoff. Hosting mason bees in your yard is a way to compensate for the lack of natural pollinators in dense urban environments.
Garden centres sell a variety of equipment for housing mason bees and sell starter packs of the insects still in their cocoons.
"Once they hatch out of the cocoons they are good to go," said Rosen. "But [rather than purchasing cocoons] a lot of people just put the structures out and the mason bees find them."
Mason bees are effective at searching for nesting holes in plants and trees, so they quickly find their way to suitable spaces in habitat kits, untreated blocks of lumber or logs, in the spring.
Commercial kits include a set of blocks of drawers that fit together to create spaces that are roughly to 3/8 of an inch in diameter. Of the 130 species of mason bee, there are several that will be happy with either size hole.
The gregarious Blue Orchard bee thrives on the coast, so feel free to put several dozen — or even several hundred holes — in your nest.
Garden centres recommend using hollow straws as liners that can be removed to determine the over-wintering condition of the cocoons or for disposal in case of infestation by mites or other pests.
"If you use wood blocks you won't be able to clean out the nests, so if you want a little more control and ensure that you have cocoons for the following year you should go to a tray system so you can take the cocoons out," Rosen explained.
Mason bees are attracted by spring flowering plants, according to Brian Campbell at Blessed Bee Farm.
They also benefit from a source of clay and water, which they use for building mud walls, he advised. The less time the bees spend looking for clay, the more time they will have for pollinating.
You can buy "mud muffins" through West Coast Seeds.
rshore@vancouversun.com


The property comprises a former Victorian warehouse building arranged over seven floors offering office accommodation within.
The property is located at the junction of Union Street and Great Suffolk Street. Southwark, Waterloo and London Bridge mainline stations are all within each reach of the property offering Jubilee, Northern, Waterloo and City, Bakerloo lines and National Rail services.
Guiding rent: £45.00 per sq. ft.


Seattle is a city of buroughs to which residents can be passionately loyal. Thus, we're taking a new approach to our annual "Best Of" readers' choice poll this year: spotlighting your favorite restaurants, entertainment and other services in each neighborhood—and, at the risk of jamming our inbox with irate emails, naming the best neighborhood overall. Support the local businesses you love and vote for your neighborhood now.
Autumn Martin of Hot Cakes in Ballard has gone too far: her delicious, rich milkshakes (we love the salted caramel too much) made with Bluebird ice cream now come in "spiked" flavors. Yep, dessert and booze now travel together in such fabulous forms as Mezcal with Lime and Salted Caramel, and Smoked Chocolate Ganache, Laphroiag and Malt. Cheers to that.
You may want to wake up early if you plan to hit the big sale at Nordstrom this weekend. The annual event, which debuts forthcoming fall trends at temporarily marked-down prices, has many shoppers lining up outside stores for a chance at first picks from this year's top clothing trends. Lifestyle editor Kate Calamusa has more details on what to look for.
Founder of the popular Pinter Fortnightly series, Frank Corrado ups the ante this month with The Pinter Festival, featuring full productions of two full-length plays and two one-acts, plus several sketches—all by notable American playwright Harold Pinter. We're especially looking forward to The Dumb Waiter, starring Darragh Kennan and Charles Leggett, in which two hit men awaiting their next assignment are flummoxed when food orders begin to arrive via mysterious notes. Want to know more about why Pinter is such a big deal? Read arts & culture editor Brangien Davis' article from our July issue.
If you've been considering a jaunt to Vashon Island, this month brings the perfect reason: The annual Strawberry Festival, with arts and crafts, live music, parades and carnival rides down the quaint streets that play host to the homegrown art collectives, niche shops and new restaurants that beckon the weekend adventurer in us all.
This popular indie music fest is working toward becoming a more inclusive neighborhood celebration of music, arts and culture. The program still boasts excellent music headliners (Neko Case, Allen Stone, Lemolo), but this year, in between your favorite mainstage acts, you can hit the Capitol Hill Indoor Flea Market at Century Ballroom; explore the extensive outdoor art exhibit curated by Ghost Gallery and featuring artist Stacey Rozich and our own staff photographer Hayley Young; or bring the kids (Neumos, 9:30 am Sunday) to a free Caspar Babypants concert and ice cream party sponsored by Cupcake Royale. Visit the Capitol Hill Blog for a clear breakdown of everything you need to know about this event.


text:
Six Degrees Of Kosher Bacon
Two guys and a Torah walk into a Bar Mitzvah
Posts By Ben
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Posts by Guests
Why the Glass has to Die — By Ben
April 8, 2021 · by eltram	· in Marriage & Relationships, Posts by Ben.	·
Photo by julesrose5
Is there any Jewish custom that is as recognized as the breaking of the glass? The obligatory wedding ritual seems to be the punchline to any film or TV wedding montage. But what is it? And why does the Jewish tradition end the occasion with an act of destruction?
So first off, what happens exactly? At the end of the ceremony the choson (groom) steps on a glass shattering it. It can be an old glass, a new glass, even a light bulb. It is usually wrapped, because who wants to get a glass shard in their foot on their wedding day, often in velvet or satin pouch. Prior to the ending of the ceremony, a ritual of seven blessings are recited over a cup of wine. Traditionally couples have used that wine glass for the breaking. But some rabbis argue that that violates the mitzvah of bal tashchit, the prohibition of needlessly wasting. Others however, argue that the ritual itself is of great importance and so bal tashchit doesn't apply.
Jerusalem If I Forget You…
The most often cited reason of why we break the glass is a reference to the destruction of the Temple. Colloquially, a Jewish house of worship is often referred to as temple. But in observant communities that location is never referred as temple. As far observant Judaism is concerned, there was only one Temple (which was destroyed and then rebuilt… then destroyed again.) The loss of the Temple (or the Beit Hamikdash) is the biggest tragedy to happen to the Jewish people. Things like pogroms, the Holocaust, and the 2,000 years of exile wouldn't have happened if the Temple still stood. It is a loss that we are never supposed to forget, so even in an occasion of such joy as a wedding, we remind ourselves that we are still lacking something crucial.
Talmud Tempering
The Talmud lists another reason for the custom. It notes two separate stories of big rabbis who were celebrating the weddings of their sons. The hosts observed that other rabbis attending the service were becoming far too "boisterous in their joy." So Mar ben Ravina smashed a cup worth an exorbitant amount grabbing everyone's attention. The other story noted Rabbi Ashi did something similar. The lesson being that even though we should enjoy ourselves, Jews must always be an example, a light unto the nations. God forbid a holy wedding celebration devolve into a Mardi Gras ruckus. So as an act of caution, we continue the tradition.
Breaking to Build
The ideas mentioned above are somber and sobering, but that doesn't mean there aren't joyous and uplifting sides to the custom. After the chuppah, these two lives will change. For years they have lived one way, whether that was in the parents' house, with roommates, or in a one bedroom apartment in Westwood. The stomping of the glass is a recognition that those lifestyles are over. Expectations, behaviors, routines, and more will be shattered much like the glass. But now the couple has the task of building a new home together. So it makes sense that the breaking of the glass functions to end the wedding.
The Spiritual Dimension
There is a story found in the Zohar which tells that when God created the world, he created a special light. The vessels (in Hebrew kelim) couldn't hold this holy light and they shattered, so God hid the light away for the righteous to be held at the end of days. It is a bizarre story which leads to many questions, what was this special light? Was this before the creation of the world as we know it? What are these vessels and if God made them why couldn't they hold this light?
I'm sure there are volumes of books dedicated to answering these questions. Over the years, I've thought of it as a metaphor for our character building. As we strive to develop better character traits, we often fail. But if we pick ourselves up and try again, we do a little better and a little better each time. If the soul is light, then our bodies would be a vessel to hold the soul. By trying, failing, but then trying again, we are improving the vessel that is our body to eventually hold the soul we know we have the potential to become. That's why when we come back to something (piano, working out, a language) even if there has been a long lapse, it doesn't take long to get back to the level at which we stopped.
The Talmud says the righteous man falls seven times. Now we have a connection to the story that says the special light was for the righteous. When a person builds their vessel so much that they are considered righteous, now they can hold the light of their full potential. With the knowledge of this story, it is hard not to make the connection between the broken glass at the end of the chuppah and the broken vessel from the Zohar. But what is the meaning of that connection? I can only speculate. But here are a few of those ideas.
When dating starts there is intense love (if not infatuation). That intense emotion can't last forever. Much like this intense light Hashem brought into the world which had to be hidden away, so too, the love of a marriage is a different form from the original craziness that started it. The love can only grow if the relationship is properly nurtured. A new vessel must be built between the couple to create a proper home so they can appreciate a sincere, full, and mature love that is far more robust than the initial attraction.
Another idea is that marriage will have many levels or stages in the union. The honeymoon phase, hopefully a child or two or three, new jobs, new homes, the list goes on. Each step of the way is a new opportunity for responsibility and growth… a new light. If the couple takes on those responsibilities together, this new light will be shared and a new vessel can be built. If one of them falls, they both will. But to have someone to help rebuild the vessel is a categorically different experience than trying to shoulder recovery on one's own.
A more esoteric idea (so follow me if you can) is that this hiding away of the light can be understood as God restricting His full brilliance. This restriction is a Kabbalistic concept known as tzimtzum. I'm really not going to delve into it other than to say that God, as it were, created space for us. When we get married, we have to learn to put someone else first, to restrict our will to some degree. In doing so, we allow the other to thrive and grow. That way both partners have a share in building the new vessel of their home, family, love, and life.
The last idea is to recognize how fragile everything can be. Especially if the guy isn't watching where he's going. Not to say that in a marriage the spouses need to walk on eggshells (God forbid). But mindfulness and sensitivity will be crucial and that our actions can have far more destructive power than we realize. So be sure to take great care moving forward or you may be left picking up the pieces.
Tags: Breaking the glass, chuppah, glass shatter, Hidden light, stomp glass, wedding
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One response to "Why the Glass has to Die — By Ben"
Moti Rakia May 15, 2021 at 9:56 pm · · Reply →
Nicely written! I've heard one more explanation that Rabbi Telushkin brings in one of his books about how the loud noise is meant to scare away the evil eye.
Bitachon
Pirkei Avos
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A self-confessed Disney fan, I have pretty high expectations for anything that the mighty company brings to the fore. Luckily for me, and for all you Disney fans out there, director Tim Burton's interpretation and expansion on the original Dumbo film has definitely met those expectations.
Dumbo follows a young elephant born into the circus whose ears are so big that they enable him to fly. The two children who discover his ability, Milly (Nico Parker) and Joe Farrier (Finley Hobbins), adopt the baby elephant into their family and promise to reunite him with his mother whom the circus owner, Max Medici (Danny DeVito), had since returned to the seller. Along with their father, Holt Farrier (Colin Farrell) and the rest of their Medici circus family, the troupe strike a deal with slippery entrepreneur V. A. Vandevere (Michael Keaton) in which Dumbo himself is the bargaining chip, and a simultaneously heart-warming and heart-wrenching adventure ensues.
The original Dumbo has a run time of just over 60 minutes and so screenplay writer Ehren Kruger had a lot of time to make up for. Working alongside Tim Burton, the pair constructed a film that, as with the original, centred around Dumbo whilst also bringing in new elements and characters that could create a more robust, relatable and lengthened tale.
Set during the time of the first world war, the costuming for the film reflected the era perfectly. The evolution of the set from struggling circus to new-age adventure park was also represented with ease and efficiency, smoothly transitioning from the latter to the former, and on from there. Dumbo himself was the cutest little thing and the CGI that created him was executed flawlessly. The scenes with his mother were easiest to relate to, and sob to.
The casting for Dumbo ensures that each character clearly encapsulated his or her role. The villains looked villainous, the heroes looked heroic, the strong man looked strong and the children's' innocence was captured in their innocence. The performances given by the cast were digestible and easy to follow, clearly depicting a functioning familial relationship, both within the circus troupe itself and also with those who came to the forefront a little later on. Nico Parker, playing Milly Farrier, carried the film in her small, sad and serious hands, what with her utmost faith in Dumbo coupled with the unrelenting faith that she had in herself. May many a young girl be inspired by her strength!
Entrenched within the root of the film is the underlying theme of sadness, one that rears its head regularly throughout. It is there in every reference that the children make to their mother, who died of influenza. It is there in Holt's missing arm, the one that he lost to the war. It is there in Dumbo's agonising search for his mother, in the circus troupe who are ostracised for their oddities, in the animal cruelty that is touched upon but only lightly, only cautiously and from a distance. The sorrow was there but it was hidden from the vantage point the film's target audience––the children.
Though Dumbo was a tearjerker, it was also inspiring and educational, as you'll find most Disney films to be once you start to dig beneath their surface. Dumbo is truly a film that gives you all of the feels and it's certainly one we'd love to run away with.


Getting involved with Susan G. Komen can be as simple as attending an event, creating a personalized fundraising page, volunteering or becoming an Advocate. No matter what you decide to do, you'll be actively supporting the fight against breast cancer and helping us reduce breast cancer deaths in the U.S. by 50% by 2026.
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When we care, we give what we have earned. When we love, we offer that and ourselves. We run, walk or cry with those we love when they hurt. Our presence and participation is the beginning of the healing process for many.
Read about the impact we're making.
Get in-depth information on how your donations are spent.


text:
Q: Una más: unexpected EOF while parsing Sé que es una pregunta muy usual que suele deberse a fallos en los paréntesis, pero en este caso llevo horas intentando arreglarlo y no lo consigo.
El código sería:
while (len(tweet_list_ids) < tweet_query_size):
    try:
        print("Tweets %s to %s: cursor: %s" %
                (len(tweet_list_ids), len(tweet_list_ids) + 100, next_max_id))
        resul = twitter.search(q='#VolandoVoyRomanico', count = 100, max_id=next_max_id)

Y me da el famoso fallo
¡Muchas gracias por su tiempo y ayuda y perdón por haberla puesto originalmente en inglés!

A: El problema es que tienes iniciado un bloque try que no se termina, por eso es que el parser encuentra inesperado el fin del archivo.
Tienes dos caminos:

*

*quitar la sentencia try
while (len(tweet_list_ids) < tweet_query_size):
    print("Tweets %s to %s: cursor: %s" %
            (len(tweet_list_ids), len(tweet_list_ids) + 100, next_max_id))
    resul = twitter.search(q='#VolandoVoyRomanico', count = 100, max_id=next_max_id)

*completar el bloque try con finally o except, por ejemplo:
while (len(tweet_list_ids) < tweet_query_size):
    try:
        print("Tweets %s to %s: cursor: %s" %
                (len(tweet_list_ids), len(tweet_list_ids) + 100, next_max_id))
        resul = twitter.search(q='#VolandoVoyRomanico', count = 100, max_id=next_max_id)
    finally:
        print '¡eso es todo amigos!'

redpajama_set_name: RedPajamaStackExchange


Hopworks Urban Brewery (HUB) is Portland's first Eco-Brewpub offering world-class beer and fresh food in a relaxed and communal atmosphere. HUB incorporates a range of sustainable practices in their operation and makes every effort to protect "our" future with a thoughtful alternative. Hopworks is 100% renewably powered and "cradle to gate" carbon neutral.
"SiteHops" is the long-standing union between two childhood friends who grew up in the same cul-de-sac. Jean Pierre Veillet of Siteworks and Christian Ettinger of Hopworks have worked together for many years, so when Jean Pierre's Ecoflats was finished and Hopworks wished to debut a smaller concept, it was like chocolate and peanut butter coming together.
For Hopworks Urban Brewery, ecological innovation and bicycle adoration are core to the company's DNA. Sitework's energy net-zero, transportation-oriented EcoFlats development on Williams Avenue, Portland's largest bikeway, spoke to the core values of Hopworks, which were brought to life at EcoFlats in unprecedented ways. From bike frames, to an old beer can collection, to the 99 bottles of beer on the restaurant's south wall, beer-related objects and bike parts became design elements and fun interactive themes. Above all, "BikeBar" demonstrates energy conservation at a restaurant, a complicated type of business that's all but left on the sidelines in the energy-conservation race. Appliances run on alternative energy sources and employ state-of-the-art, cost-saving resourcefulness–a rarity in the food industry.


text:
Rancho Santa Fe School board approves official policy on participation in school programs
By Karen Billing
After last month's Rancho Santa Fe School District board's decision not to allow non-enrolled students to participate in school programs, the board set an official policy at its Sept. 11 meeting.
"I'm in favor of the motion," said board member Richard Burdge. "I think kids should be enrolled in the school to participate in our programs."
The vote to approve the policy was 3-1; Todd Buchner voted against it, saying he believes the school should be more open to the concept. Board member Marti Ritto was absent.
During public comment, parents addressed the board about its Aug. 20 decision.
Beth Nelson, who made the initial request to allow her formerly enrolled son to participate in the robotics program, said she didn't understand how her simple request had been elevated to such a high-profile board decision, with research by district lawyers, when non-enrolled students have been allowed to participate in school programs in the past.
The Nelsons have had a child in R. Roger Rowe School for 10 years, and Nelson spent seven years on the RSF Education Foundation and three on the board. She helped get the MUSE performing and visual arts group up and running, and her husband, Mark, spent most every Saturday for the past three years coaching robotics. They have spent "hundreds, if not thousands," of hours volunteering at the school and given financially as well.
"We had a horrible sixth-grade year, and despite repeated attempts, no one here seemed interested in giving us the support and help we needed. So we had no choice but to leave for academic reasons," Nelson said. "In short, the school failed my son; now the school board has failed him as well."
Nelson said the arguments and comments for the Aug. 20 decision were "weak at best, and even downright ridiculous." She said Rowe is a public institution and funded through the taxpayers, so they have a responsibility to educate district children.
"To cite budget concerns over a potential handful of non-enrolled students joining after-school programs also strikes me as ridiculous," Nelson said. "The cost of a couple students in the programs is a drop in the bucket of the overall budget. This board approves items left and right every month without so much as any discussion about the costs."
She referred to an item on that day's agenda to pay a school parent $20,000 to coordinate design of the district website. (The item was later pulled from the agenda by Superintendent Lindy Delaney because the contract was not complete.)
Former Rowe parent Matt Golden also spoke during public comment, requesting that his no-longer-enrolled son be allowed to participate in orchestra. He accused the board of having already decided to approve the policy in a "back room."
"The personal attacks are not called for," said RSF School District Board Vice President Tyler Seltzer, echoed by President Todd Frank, who said he did not appreciate the innuendo given in public comment.
"Obviously, it's a highly-charged, emotional issue," Seltzer said. "I think we've just reached a point of 'agree to disagree' with the families involved. I believe it is the best interest of students in this school to not allow non-enrolled students to go here. I don't take this decision lightly … it's hard to turn away kids and families that we know."
Frank said that he believes there are valid issues on both sides, but his biggest concern is to have a fair and even application of the rules, which is why he is in favor of implementing the new policy.
Karen Billing
Leib to resign from Solana Beach School board, new officers elected
Solana Beach School District Vice President Richard Leib has announced he is resigning from board, effective Jan. 17, 2020.
Solana Beach district to move away from at-large school board elections
The Solana Beach School District will start the process of transitioning to a by-trustee area election after receiving a demand letter alleging that the district is in violation of the California Voting Rights Act.
Residents push back against proposal to use Earl Warren site for new district office
Solana Beach residents spoke out against a San Dieguito Union High School District proposal to build a new district office that would take away field space on the Earl Warren Middle School campus.
Salary negotiations continue for San Dieguito classified staff
San Dieguito Union High School District's classified employees again rallied at the board's Nov. 7 meeting, as they seek "fairness and equity" in their ongoing salary negotiations.


text:
Let's run the banks like e-Bay and Wikipedia
Let's not despair that human nature always causes ruin just because the banks are collapsing. Individuals can make a fantastic difference, and together, given a leap of imagination, can find a solution to global financial inequality in an unexpected place.
In a week when capitalism's Goliaths have fallen so swiftly, not by the action of many Davids, but because they were made rotten to the core by their own rapacity, I have been gleaning potential solutions to some of the world's most pressing economic problems from a quite different quarter.
I am researching a book on links between individual and communities in Africa and Wales. This means I am travelling around Wales talking to people who are changing the lives of others thousands of miles away, and whose lives themselves are being transformed in the process. Individuals like Angela Gorman, who, just because she saw a BBC documentary in 2005 about women dying in Chad during childbirth for want of a simple and cheap compound, has given up her job to raise money to help them, and as a result slashed the mortality rate from 17% to under 2.5%, exceeding a Millennium Development Goal. These drugs cost just 60p a pop, and a woman would need five to seven of them. Yet they had, until her straightforward intervention, been dying by the hundred. In short she has achieved in a year what the United Nations failed to, so much so that they have asked her to repeat her success in neighbouring Liberia. [http://www.hopeforgracekodindo.org/]
On Wednesday I met Denise Lord from Pen-y-Craig, in the Rhondda, an ex-coal-mining area classed as 'deprived' in the lexicon of EU or government grant-dispersing bodies, and which has had millions poured into it in an attempt to help its children. Although Denise says the kids she runs workshops for are "materially rich, with their mobile phones and Sky boxes" compared to those she has visited in the slums of Cape Town, the problem is that compared to the Cape Town kids they are "spiritually poor, while the Cape Town kids are spiritually rich and materially poor". [http://www.valleyskids.org/news_details-13198.html]
I asked her to explain. "We have so much to learn from these people," she replied, "And I think among the most important is humility. The kids there have to struggle to get to school so they value it. The kids here take it for granted, so they don't. They bunk off and think it's cool to drop out and get into trouble."
'We have so much to learn from these people' is a phrase I've heard from every one of these extraordinary-yet-ordinary individuals I have talked to so far. But Martha Musonza Holman is one apart. She left her two sons, aged 9 and 12, behind when she fled Zimbabwe in 2001 to come to Wales, where she now resides running a fair trade business called, appropriately, I Love Zimbabwe [http://ilovezimbabwe.co.uk]. She and her partner David struggle to import crafts made by people from her community back there to sell here, so she can send the profit back.
It might be easier to trade in hedge funds. To start with she has to contend with officials in Zimbabwe who demand a cut which puts the price up. "You may think they're corrupt," she says, "like some financial traders. But they're just trying to survive themselves in the worst of economic conditions. However we have a consignment of ceramics that has been sitting in a port for three months and we can't bring it here to sell."
The bankers on Wall Street and in the City, who paid themselves billions of dollars in bonuses, don't have the excuse that they were just trying to survive.
"The last consignment we received cost us £1130 to bring here, but I can only sell it for £1200," she complains. Furthermore, sometimes she sits in the Abergavenny market all day and sells nothing. "People in Zimbabwe think it's simple. We are all rich in the West, they believe, so it's easy for me to sell their crafts. But it is not!" The market decides what sells. If no one buys, or if the profit is miserable, her people back home will starve, fair trade or not.
Here is a clear case where the market needs intervention, to help the poorest. That is exactly why the Welsh Assembly Government has commissioned me to write this book and help Martha and all the others to find a bigger market.
Fair Trade is about transparency. Those who pay can see, should they choose, that their money benefits the community where the producers live, and that the producers receive a fair wage. Should not all trade be fair? Should not all banks be transparent? Why do we expect one system to apply to one type of financial transaction, and another, of supposedly far greater import, to be shrouded in secrecy and occluded by hopelessly obscure rules?
The few exceptional people I am meeting are passionate, inspirational, hard-working and often unpaid, as they try in every way they can to help people so far away. Why do they do it? Because their own spirits are enriched and their lives gain meaning by doing so - without the need for religion.
I struggle to understand human nature when I compare their generosity to the insatiable greed of the equally exceptional few bankers who have sucked dry the trough that millions, also far away, are now unable to feed from.
So what is the solution I am advocating, besides transparency, fairness and humility? I believe that it is glaringly obvious. It's a solution dreamed up by ordinary people and millions use it every day. It is a model which others have proselytised for other spheres of human endeavour but few have dared suggest could equally apply to the financial world. When I suggest it you will doubtless laugh. You will snort. But after you've done that, consider it further with me.
We all know that a lack of regulation has brought the crisis upon us. We all know that this has encouraged human greed. I believe that particular aspects of human nature, multifarious as it is, are manifested in different environments purely as a result of what is acceptable in that environment. If you approve excess, excess is what you get. If you reward honesty, then that is what you get.
Every day, millions of people use e-Bay and Amazon and other online marketplaces, buying and selling to other invisible individuals whom they will never meet. They do so with trust and faith because they can clearly see their trading history. Bad deals get bad feedback, and we can all read it. Yes, sometimes scams occur, and sometimes people get ripped off because they don't bother to check the trader's history. But compared to the majority of transactions these are rare.
If, thirty years ago, I had told you that in the future people would trade to this extent with others whom they would never meet and, by and large, have faith that they would not be defrauded, you would have called me hopelessly idealistic. You would have said that such a thing was only possible in a small community where everyone knew everyone else and the high probability of repercussions for bad behaviour would help to curb it. Yet here we are, and, thanks to simple rules, effective monitoring, and modern technology, it happens all the time and millions of dollars change hands every day.
Furthermore, Credit Unions [http://en.wikipedia.org/wiki/Credit_Unions] and community banks trade cash and help individuals and communities bootstrap themselves up without recourse to high interest rates or rapacious moneylenders. In these constituted environments individuals or groups invest money, and other individuals or enterprises borrow it, in a transparent way. They are owned and controlled by their members. The average U.S. credit union has $93 million in assets versus $1.53 billion in assets for the average U.S. bank, so they are commonly smaller - not a bad thing, since if one fails it is not the end of the world.
So here is my horribly naive, simplistic and obvious solution, in outline, to the problem of global financial ineqality and the dark side of capitalism. Here is my mad plan to render these monstrous predatory dinosaurs of banking and insurance extinct once and for all. Here is the route to allow small and medium sized traders - everyone in the world, eventually - access to capital fairly and in confidence: use modern technology, e-Bay type rules and checks and balances, transparency and fairness, to apply a credit union style model to mutual one-to-one exchanges.
Even if those traders be large concerns, they must still follow the same rules of transparency. Everyone's credit history will be visible to all. And if you can see your own history so plainly, would you not be more prudent yourself?
The same rules would apply to everyone, not one set of rules for us and another for the bankers. As with peer-to-peer networking, file-sharing, and indeed Wikipedia-style collaborations of any sort, we would all be bankers, whether lenders or borrowers. If millions of otherwise unconnected people working together can build something as essential and huge as Wikipedia or e-Bay, why can't they build lending institutions, independent of banks? I am not an accountant, or a banker. I can't work out the nitty-gritty of how it would work. i don't need to. I believe in human nature - someone else will, or a crowd of people working together.
If this were done then maybe, just maybe, we might learn some spiritual wealth and humility; by doing things the slightly harder way - and following some simple rules that we collaborate on to make up.
Labels: Africa, banks, e-Bay, Wales, wikipedia
Campaign for the book Charter 2008
A gathering of authors
An interview in Brazil


This category recognises individuals who have inspired real change and have contributed positively to the awareness of Sustainable Development in Wales.
Iain Cox established Ecostudio in 2008 to help organisations benefit by putting sustainability into practice. Ecostudio designs capacity building programmes and delivers green and innovative growth strategies that enable commercially sound, environmental and social objectives to be met. Since 2000 Iain has worked with a range of clients including micro companies, SMEs, through to large public and private sector organisations and policy makers. Iain has published several peer-reviewed articles about the practical application of sustainable development in business and supply chains and has developed the Sustainable Business Review – a self-assessment toolkit for food businesses to communicate their sustainable credentials to customers. He supports RRU Community Food Co-ops Programme in Wales to report the benefits they bring to business, the environment, people and communities.
Alexandra Wall has been working on establishing a luxury sustainable clothing brand, Xandra Jane, in Wales since January 2016 after working in the London fashion industry for the luxury streetwear brand KTZ and AllSaints. Her Autumn/Winter 2016 collection is entitled ZERO after its approach to zero waste on textiles. Her clothing brand rebels against fast, high street fashion and is releasing a capsule collection consisting of only three garments, in three colours which are more considered and revised in their execution. Solving the design issue of zero waste and up cycling garments has led to new exciting ideas in the design process.
Since joining Melin Homes in 2013 Trish has driven their environmental agenda through enhancing their Environmental Management Systems (EMS), achieving the BS8555 standard and creating and leading a new sustainability team. Trish has developed the Value Wales Community Benefit toolkit, organised an event with Minister Carl Sargeant and set upon a program of educating all staff about sustainable development as part of the Melin corporate training plan. This September Trish planned Melin's first successful sustainability week and launched a newly built veg patch alongside a large conference around sustainability within communities. Trish has transformed Melin Homes into an organisation now leading in the field of sustainable development.


This was our second time staying at Mediterranean 502W and we couldnt be more thrilled with our stay. The condo is so spacious. Plenty of room for our two families of 4. Love the wraparound balcony and amazing views of the gulf and Florabama Marina. Being right next to the Florabama isnt an issue at all. If you can hear the music in the condo, its usually loudest (and its really not loud) on Friday and Saturday nights. Being next to a shorter building on the west side allows for some amazing views. Metri is phenomenal. Always there to help with anything you need. Couldnt have wished for a better experience. Will definitely be back again!
The condo that we rented was Beautiful, plenty of room for our family of 9.
It was a great beachfront property.
Metri was great to rent from, he was there to greet us when we arrived with a Key Lime Pie, and explained everything about the condo to us.
As always we love this unit with its amenities. A beautiful unit with fabulous views. Metri is always so attentive to details.
Thank you for such a great getaway.
This was our second time staying in this unit and we absolutely loved it!! The front bedrooms can be a little warm but nothing a fan or two cant solve.
Great vacation with our daughters & son-in-laws, grandchildren and our "on the way" great-granddaughter. We've vacationed in several of the Mediterranean condos and all agree that 502 West is the best. Plenty of room for 12. Very well appointed and furnished including complete kitchen equipment. The first floor storage locker is great for beach chairs, umbrellas, floats, etc. and keeps sand out of the condo. The balcony goes on forever with first class furniture and a very nice, large hot tub. The cleaning crew gets a "10" for an excellent job cleaning and prepping the condo before our arrival (and they showed up to do it again as we were packing the cars to leave). Demetri gets a "12" for a great reservation experience, pre-arrival information and assistance during our stay. We highly recommend this condo to a large family group or several couples with children (could be a battle for the master BR).
The Flora-Bama is next door for live entertainment and there are several places to eat within walking distance.
And, of course, the white sand Gulf beach can't be beat.
Our family loves staying at the Mediterranean. It is comfortable, clean, and a great location.
Metri is very attentive to our needs and insures our stay is beyond our expectations.
We enjoyed an awesome month at the beach in this beautiful condo.
Metri is the best. Kind, thoughtful, with wonderful follow through!
Metri was an awesome concierge. We had a great visit and loved the accommodations. The view from the condo and the hot tub was a plus for the overall experience. We will be back and hope to stay at this same property when we return.
This is an awesome condominium! We loved being next door to the Florabama. We enjoyed the new Florabama offerings on the Bay side. Had dinner at the Yacht Club. Rented a Party Barge twice. I think we never set foot far from the property except for Grocery outings. The convenience of the storage locker on the first floor made outings to-and-fro Beach very easy. Hope to return again!


text:
Hattie McDaniel (* 10. Juni 1893 in Wichita, Kansas; † 26. Oktober 1952 in Woodland Hills, Kalifornien) war eine US-amerikanische Schauspielerin und Sängerin. Bei der Oscarverleihung 1940 gewann McDaniel als erste Person mit afroamerikanischer Herkunft einen der begehrten Filmpreise, als sie für ihre Rolle als loyale Sklavin und spätere Hausangestellte "Mammy" in Vom Winde verweht in der Kategorie Beste Nebendarstellerin ausgezeichnet wurde.

Leben
Hattie McDaniel wurde als eines von 13 Kindern eines Baptistenpredigers geboren. Nach ersten Erfolgen als Sängerin, darunter auch in Aufnahmen für Winston Holmes' Label Meritt und in verschiedenen Produktionen des Musicals Show Boat, ging sie 1931 nach Hollywood, um als Schauspielerin zu arbeiten. Aufgrund ihrer Abstammung wurde sie auf die Darstellung von Dienstmädchen, Köchinnen und anderen nachgeordneten Figuren beschränkt. Zunächst waren ihre Rollen meist klein. Erst John Ford erkannte 1934 McDaniels Talent und baute ihre Rolle als Haushälterin von Will Rogers in Judge Priest  aus. McDaniels erhielt danach allmählich bessere Rollen, darunter in Alice Adams. In Show Boat, der Verfilmung des Musicals, mit dem McDaniel bereits einige Tourneen unternommen hatte, trat sie neben Irene Dunne an der Seite von Paul Robeson auf und sang mit ihm gemeinsam die Ballade Ah Still Suits Me, die extra für den Film komponiert wurde, sowie einige Zeilen bei Helen Morgans Interpretation von Can't Help Lovin' Dat Man.

Ihre bekannteste Rolle war die der Sklavin und späteren Hausangestellten "Mammy" in Vom Winde verweht. Hauptdarsteller Clark Gable, der mit McDaniel unter anderem in Abenteuer im Gelben Meer und Saratoga gespielt hatte, soll sich persönlich bei David O. Selznick für sie eingesetzt haben. Für ihre Darstellung erhielt McDaniel bei der Oscarverleihung 1940 den Oscar als beste Nebendarstellerin. Sie war die erste afroamerikanische Schauspielerin, die in dieser Kategorie ausgezeichnet wurde. Während der Verleihung saß sie von den anderen Nominierten getrennt mit ihrem afro-amerikanischen Begleiter an einem eigenen Tisch.

Als sie unter anderem von der National Association for the Advancement of Colored People kritisiert wurde, regelmäßig Rollen anzunehmen, die den damaligen Stereotypen von Afroamerikanern entsprächen, erwiderte McDaniel:

Bis zu ihrem Tod arbeitete McDaniel in Film, Radio und Fernsehen. Popularität erlangte die Schauspielerin auch durch ihre Hauptrolle als patente Haushälterin Beulah in der gleichnamigen Radioserie von 1947 bis 1952. Sie spielte diese Figur auch für kurze Zeit Ende 1951 in der gleichnamigen Fernsehserie, ehe sie sich aus gesundheitlichen Gründen zurückziehen musste.

Die Schauspielerin war mehrmals verheiratet. Ihr erster Ehemann starb noch im Hochzeitsjahr 1922. 1938 heiratete sie Howard Hickman; die Verbindung endete noch im selben Jahr mit Scheidung. Ihre dritte Ehe führte sie von 1941 bis 1945 mit James Lloyd Crawford, ihre vierte Ehe mit Larry Williams von 1949 bis 1950. Beide Ehen wurden ebenfalls geschieden. Hattie McDaniels Geschwister Sam McDaniel (1886–1962) und Etta McDaniel (1890–1946) waren ebenfalls als Filmschauspieler tätig, allerdings weniger erfolgreich. Hattie McDaniel starb 1952 im Alter von 59 Jahren an Brustkrebs. 2006 wurde sie posthum in die Black Filmmakers Hall of Fame aufgenommen.

In der US-amerikanischen Fernsehserie Hollywood (2020), die u. a. die Themen Rassismus, Sexismus und Homophobie in der Traumfabrik der 1940er-Jahre aufgreift, wird Hattie McDaniel in einer Nebenrolle von der Darstellerin Queen Latifah verkörpert.

Filmografie (Auswahl)

 1932: Love Bound
 1932: Blonde Venus
 1933: Walking Down Broadway
 1933: Ich bin kein Engel (I'm No Angel)
 1934: Judge Priest
 1934: Operator 13
 1935: Oberst Shirley (The Little Colonel)
 1935: Abenteuer im Gelben Meer (China Seas)
 1935: Alice Adams
 1936: Next Time We Love
 1936: Show Boat
 1936: Die zweite Mutter (Valiant Is the Word for Carrie)
 1936: Lustige Sünder (Libeled Lady)
 1937: Denen ist nichts heilig (Nothing Sacred)
 1937: Ein Mordsschwindel (True Confession)
 1937: Saratoga
 1937: Stella Dallas
 1938: Vivacious Lady
 1938: Engel aus zweiter Hand (The Shopworn Angel)
 1938: Sorgenfrei durch Dr. Flagg – Carefree (Carefree)
 1938: Brennendes Feuer der Leidenschaft (The Shining Hour)
 1939: Vom Winde verweht (Gone with the Wind)
 1939: Zenobia, der Jahrmarktselefant (Zenobia)
 1941: Der Herzensbrecher (Affectionately Yours)
 1941: Sein letztes Kommando (They Died with Their Boots On)
 1941: Vertauschtes Glück (The Great Lie)
 1942: Thema: Der Mann (The Male Animal)
 1942: Unser trautes Heim (George Washington Slept Here)
 1943: Ich will mein Leben leben (In This Our Life)
 1943: Johnny Come Lately
 1943: Thank Your Lucky Stars
 1944: Als du Abschied nahmst (Since You Went Away)
 1944: Janie
 1944: Three Is a Family
 1946: Onkel Remus' Wunderland (Song of the South)
 1949: Fünf auf Hochzeitsreise (Family Honeymoon)
 1949: Die Todeskurve (The Big Wheel)

Weblinks

 ausführliche Biografie mit zahlreichen Screenshots

Einzelnachweise

Filmschauspieler
Oscarpreisträger
US-Amerikaner
Geboren 1893
Gestorben 1952
Frau
Person (Afroamerikanische Kultur)


What a wonderful embroidery site. Thank you for the delightful free patterns.They will come in handy as I have a babies quilt to make in the next week or so, thank you.
Childrens Library Sentiments 15 is a single design from the Childrens Library Sentiments design set. Childrens Library Sentiments are perfect for make library bags for the children and are a great way to make going back to school fun! These are perfect embroidery designs for reading pillows. This collection comes in two sizes for the 4x4 and 5x7 hoop. Additionally designs 1, 2, 4, 5, 6, 7, 8, 9, 13 and 16 include a 6x10 size as well. Designs 4, 13 and 15 are applique versions. PCS and SEW users please note that as your machines do not support the 5x7 or lager hoops, this collection is not available for your format. Wilcom EMB files are also included in the downloads for precise resizing with the Wilcom Truesizer software (a free resizing software available at the Wilcom website).


text:
Prison death – court asked to compel AG to handover documents, CCTV footage
by onlinecitizen
By Andrew Loh
The mother of deceased inmate, Dinesh Raman, filed an application with the courts on Monday afternoon to compel the Attorney General (AG) to provide prison documents in relation to DInesh Raman's death.
Dinesh Raman had died while in Changi Prison in September 2010. He was 21-years old.
The authorities said he died of "positional asphyxiation", a finding which is being disputed by Dinesh Raman's family.
The Government has taken responsibility for the death and has offered to pay Dinesh Raman's family compensation. It had also charged one officer in relation to the incident. The officer pleaded guilty and was fine S$10,000 by the courts.
No other officers were charged for the death.
In her affidavit submitted to the court on Monday, Mdm Selvi Narayanasamy, represented by lawyer M Ravi, said she found in November last year that "several categories" of documents in the AG's list of documents (LOD) were missing.
The LOD are documents submitted to the courts by both parties, and mutually inspected by both parties.
Subsequently, in December, a request was made to the AG to provide the missing documents. These were namely:
Closed-circuit TV recording capturing the events leading up to the death of Dinesh Raman.
The Prison Service handbook that was used in the training of the prison officers on the use of the Oleoresin Capsicum Delivery System (OCDS), or more commonly known as "pepper spray".
The handbook from Her Majesty's Prison Service (UK) that outlined the execution of joint locks from which the Singapore Prison Service adapted its practice.
Mdm Selvi's affidavit says that the AG has not responded to her request since it was made in December. Therefore, she is seeking the court's assistance to compel the AG to provide these documents.
"I believe that Prison Service surveillance footage capturing the events leading up to the death of my son on 27 September 2010 must exist," Mdm Selvi's affidavit says, "and is in the power of the Defendant, as I am informed by a news release by the Singapore Prison Service that constant security monitoring has been maintained at Changi Prison since 2004."
In August 2004, the Prison Service said Changi Prison Cluster A – where Dinesh Raman was also held before his death in 2010 – was "equipped with state-of-the-art security and monitoring technology, making it one of the world's most secure prison institutions."
Mdm Selvi's affidavit also cited the government's own statements about the events leading to Dinesh Raman's death to prove that these documents in fact exist, otherwise the government would not be citing from them.
Mdm Selvi's latest court action follows her appeal to the courts on the dismissal of her case last year to have the Coroner resume his abandoned or discontinued inquiry into her son's death.
The hearing date of her appeal is yet to be confirmed.
[spacer style="1″ icon="none"] Application for the Attorney-General's Chambers to provide prison documents
Summons 06.01.14 – FOR DISCOVERY
Market ignores Adani's 413-paged rebuttal against Hindenburg's allegation and continues the sell-off
Driver dies after vehicle fell into sea at Keppel Terminal
One pilot dead after Vietnamese military fighter jet crash
Japan and NATO pledge 'firm' response to China, Russia threats
Japanese junior high school sprinter breaks another record in prefectural race
Malaysia PM stressed the need for people to be allowed to effectively and actively participate in civil society
Singapore ranked least corrupt country in Asia, fifth in the world
China angered by new Czech president's Taiwan call


text:
package notary

import (
	"encoding/hex"
	"fmt"
	"os"
	"path"
	"strings"

	"github.com/docker/notary"
	"github.com/docker/notary/client"
	"github.com/docker/notary/trustpinning"
	"github.com/docker/notary/tuf/data"
	"github.com/vmware/harbor/src/common/utils/log"
	"github.com/vmware/harbor/src/common/utils/registry"
	"github.com/vmware/harbor/src/common/utils/registry/auth"
	"github.com/vmware/harbor/src/ui/config"

	"github.com/opencontainers/go-digest"
)

var (
	notaryCachePath = "/root/notary"
	trustPin        trustpinning.TrustPinConfig
	mockRetriever   notary.PassRetriever
)

// Target represents the json object of a target of a docker image in notary.
// The struct will be used when repository is know so it won'g contain the name of a repository.
type Target struct {
	Tag    string      `json:"tag"`
	Hashes data.Hashes `json:"hashes"`
	//TODO: update fields as needed.
}

func init() {
	mockRetriever = func(keyName, alias string, createNew bool, attempts int) (passphrase string, giveup bool, err error) {
		passphrase = "hardcode"
		giveup = false
		err = nil
		return
	}
	trustPin = trustpinning.TrustPinConfig{}
}

// GetInternalTargets wraps GetTargets to read config values for getting full-qualified repo from internal notary instance.
func GetInternalTargets(notaryEndpoint string, username string, repo string) ([]Target, error) {
	ext, err := config.ExtEndpoint()
	if err != nil {
		log.Errorf("Error while reading external endpoint: %v", err)
		return nil, err
	}
	endpoint := strings.Split(ext, "//")[1]
	fqRepo := path.Join(endpoint, repo)
	return GetTargets(notaryEndpoint, username, fqRepo)
}

// GetTargets is a help function called by API to fetch signature information of a given repository.
// Per docker's convention the repository should contain the information of endpoint, i.e. it should look
// like "10.117.4.117/library/ubuntu", instead of "library/ubuntu" (fqRepo for fully-qualified repo)
func GetTargets(notaryEndpoint string, username string, fqRepo string) ([]Target, error) {
	res := []Target{}
	authorizer := auth.NewNotaryUsernameTokenAuthorizer(username, "repository", fqRepo, "pull")
	store, err := auth.NewAuthorizerStore(strings.Split(notaryEndpoint, "//")[1], true, authorizer)
	if err != nil {
		return res, err
	}
	tr := registry.NewTransport(registry.GetHTTPTransport(true), store)
	gun := data.GUN(fqRepo)
	notaryRepo, err := client.NewFileCachedNotaryRepository(notaryCachePath, gun, notaryEndpoint, tr, mockRetriever, trustPin)
	if err != nil {
		return res, err
	}
	targets, err := notaryRepo.ListTargets(data.CanonicalTargetsRole)
	if _, ok := err.(client.ErrRepositoryNotExist); ok {
		log.Errorf("Repository not exist, repo: %s, error: %v, returning empty signature", fqRepo, err)
		return res, nil
	} else if err != nil {
		return res, err
	}
	//Remove root.json such that when remote repository is removed the local cache can't be reused.
	rootJSON := path.Join(notaryCachePath, "tuf", fqRepo, "metadata/root.json")
	rmErr := os.Remove(rootJSON)
	if rmErr != nil {
		log.Warningf("Failed to clear cached root.json: %s, error: %v, when repo is removed from notary the signature status maybe incorrect", rootJSON, rmErr)
	}
	for _, t := range targets {
		res = append(res, Target{t.Name, t.Hashes})
	}
	return res, nil
}

// DigestFromTarget get a target and return the value of digest, in accordance to Docker-Content-Digest
func DigestFromTarget(t Target) (string, error) {
	sha, ok := t.Hashes["sha256"]
	if !ok {
		return "", fmt.Errorf("no valid hash, expecting sha256")
	}
	return digest.NewDigestFromHex("sha256", hex.EncodeToString(sha)).String(), nil
}

redpajama_set_name: RedPajamaGithub