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Lesson Worksheet: Writing and Evaluating Algebraic Expressions Mathematics • 7th Grade
In this worksheet, we will practice writing algebraic expressions and evaluating them for specific values of their variables.
Evaluate 𝑚+𝑘, given that 𝑚=7 and 𝑘=15.
Consider the shown trapezoid.
Write an expanded expression for its area. Simplify the expression, if possible.
A6𝑎+4
B𝑎+5𝑎
C𝑎+4
D𝑎+5𝑎−4
E𝑎−5𝑎+4
The given trapezoid is the cross section of a prism of length 2𝑎−5. Write an expanded expression for the volume of the prism. Simplify the expression, if possible.
A2𝑎−15𝑎+33𝑎−20
B2𝑎+5𝑎−13𝑎−4
C5𝑎−13𝑎−4
D2𝑎+5𝑎−13𝑎
E2𝑎−13𝑎−4
D𝑎−5𝑎+4
E𝑎+5𝑎−4
The given trapezoid is the cross section of the given prism of length 2𝑎−5.
Write an expanded expression for the volume of the prism. Simplify the expression, if possible.
A2𝑎−13𝑎−4
D2𝑎−15𝑎+33𝑎−20
E2𝑎+5𝑎−13𝑎
Evaluate 𝑚×5 if 𝑚=7.
Using 𝑥 to represent the cost of a notebook and 𝑦 to represent the cost of a folder, write an expression for the cost of 3 notebooks and 2 folders. Then, find the total cost, given that the notebooks are $1.69 each and the folders are $0.59 each.
A5𝑥𝑦, $4.99
B2𝑥+3𝑦, $5.15
C6𝑥𝑦, $5.98
D3𝑥+2𝑦, $6.25
E3𝑥+2𝑦, $5.15
Given that a day consists of 24 hours, write an expression that relates the number of days in terms of hours, and then determine how many hours there are in 3 days.
A24(𝑛+1), 96 hours
B24𝑛, 72 hours
C24𝑛, 144 hours
D24+𝑛, 27 hours
E24+𝑛, 21 hours
What is the area of a square of perimeter 7𝑥?
A4916𝑥
B494𝑥
C4916𝑥
E49𝑥
A club is producing posters. If the cost of making one poster is 10 LE and the shipping cost of an order of any size is 27 LE, what is the total cost of producing and shipping an order of 𝑥 posters?
A(10𝑥+27)LE
B10𝑥+27LE
C(27𝑥+10)LE
D𝑥10+27LE
E(10𝑥−27)LE
Write two equivalent expressions for the area of the following figure.
A20(𝑥+8), 20𝑥+160
B10(𝑥+8), 𝑥+80
C20(𝑥+8), 20𝑥+28
D10(𝑥+8), 10𝑥+18
E10(𝑥+8), 10𝑥+80
Translate the following verbal expression into an algebraic one, and then simplify it: Four sets of the sum of a number and eleven are added to three times the same number.
A4(𝑥+11)+3, 4𝑥+47
B4(𝑥+11)+3𝑥, 7𝑥+44
C4(𝑥+11)+3𝑥, 7𝑥+15
D4(𝑥+11)+3, 4𝑥+18
E(4𝑥+11)+3𝑥, 7𝑥+11
A rectangle's dimensions are (8𝑥+4) length units and (16𝑥+6) length units. Express the perimeter in terms of 𝑥 and calculate the perimeter when 𝑥=1.
A(24𝑥+2) length units, 26 length units
B(48𝑥+20) length units, 68 length units
C(48𝑥−4) length units, 44 length units
D(24𝑥+10) length units, 34 length units
Charlotte received $75 on her birthday to buy a gift. She bought 3 new pairs of pants for 𝑠 dollars each. Write an expression to represent the amount of money she has left. Given that each pair costs $21, how much money does she have left?
A75−21𝑠, $12
B75−𝑠, $54
C3𝑠, $63
D75−3𝑠, $12
E75+3𝑠, $138
An online art store sells paint brushes for $12 each and oil colors for $10 each and charges $7.5 per order for shipping. Denoting the number paint brushes by 𝑝 and that of oil colors by 𝑐, write an expression that represents the total cost, and then calculate the cost of one order of 7 brushes and 9 oil colors.
A(12×𝑝)+(10×𝑐), $174
B(14.5×𝑝)+(16.5×𝑐), $339
C(7×𝑝)+(9×𝑐)+7.5, $181.5
D(12×𝑝)+(10×𝑐)+7.5, $181.5
E(19.5×𝑝)+(17.5×𝑐), $294
Knowing that a year consists of 52 weeks, make a table to find the algebraic expression that relates the number of weeks to the number of years 𝑛. If the Greens have been living in a neighborhood for 19 years, determine that duration in weeks.
A52(𝑛+1), 1,040 weeks
B52(𝑛−1), 936 weeks
C52+𝑛, 71 weeks
D52𝑛, 988 weeks
E52+(𝑛−1), 70 weeks
A farmer harvested 36 pounds of cotton this year. Given that there are 16 ounces in 1 pound, determine, by making a table, the algebraic expression that relates the number of ounces to that of pounds, and find how many ounces of cotton the farmer harvested.
A16+𝑛, 52 oz
B16(𝑛+1), 592 oz
C16𝑛, 576 oz
D16(𝑛−1), 560 oz
E16+𝑛, 51 oz
David spent 540 seconds jogging. Make a table to determine the algebraic expression that relates the number of seconds𝑛 to that of minutes, given that there are 60 seconds in 1 minute. Then, determine how many minutesDavid spent jogging.
A𝑛÷60, 9 min
B𝑛÷6, 90 min
C60+𝑛, 600 min
D60𝑛, 8 min
E𝑛−60, 480 min
If a rectangle has a length of 13 centimeters and a width of 12 centimeters, determine, in the simplest form, what fraction of the perimeter the width is.
A pizza delivery company offers 2 medium pizzas and a 1-liter bottle of soda for $12. They offer 2 sides and a dessert for $6.
Benjamin ordered 8 medium pizzas, 4 sides, 4 liters of soda, and 2 desserts. What is the cost of his order?
A group of friends is planning to go to a concert, and the cost in dollars for 𝑛 tickets is 21𝑛. Given that as few as 14 people or as many as 31 people might go, find the minimum and maximum costs that the group of friends might pay.
A$651, $945
B$35, $45
C$294, $651
D$294, $434
E$35, $52
For a marathon, an athlete practiced on a track that is 𝑚 miles long. She ran for 5 laps each on Monday and on Wednesday and 4 laps on Friday. On Sunday, she ran for 18 miles. Write an expression in the simplest form that represents the total distance the athlete ran during her practice.
A14𝑚+18
B9𝑚+18
C9𝑚−18
D20𝑚+18
E13𝑚+18
The height of the Empire State Building is 164 meters more than 3 times the height of the Statue of Liberty. Let ℎ be the height of the Statue of Liberty. Write an expression that represents the height of the Empire State Building in terms of ℎ.
A3ℎ+164
B3(ℎ+164)
C164−3ℎ
D164ℎ+3
E3ℎ−164
You have $100 in the bank. Each day, you deposit $10 into your account. Write an expression for your balance after 𝑡 days.
A110𝑡
B10𝑡−100
C10𝑡+100
D100𝑡+10
E10𝑡
Admission to a museum costs $5 per person. A family has a coupon for a discount of $8. There are 𝑝 people in the family. Write an expression that represents how much the family pays.
A5𝑝
B5𝑝−8
C5𝑝8
D5𝑝−40
E8+5𝑝
A shop sells chocolates for 26 LE a kilogram and boxes for 6 LE. A boy bought 𝑥 kg of chocolate and a box. Write an expression for the amount he paid.
A(32𝑥)LE
B(26𝑥+6)LE
C(26𝑥−6)LE
D(6𝑥−26)LE
E(6𝑥+26)LE
Matthew spent 𝑚 minutes practicing the piano on Monday. On Tuesday, he practiced for 20 minutes more than he did on Monday. On Wednesday, he practiced for 35 minutes less than he did on Tuesday. On Thursday, he practiced for 3 times as long as he did on Monday. On Friday, he practiced for 25 minutes less than he did on Thursday. Write, in the simplest form, an expression that represents the number of minutes he spent practicing on these 5 days.
A5𝑚−40
B10𝑚−20
D5𝑚−20
E9𝑚−20
Lesson Video
Mathematics • Middle School
Adding Integers
Adding and Subtracting Integers with Absolute Value
Multiplying Integers
Dividing Integers
Converting Fractions to Decimals
Converting Fractions to Recurring Decimals
Converting Decimals to Fractions
Converting Recurring Decimals to Fractions
Addition of Rational Numbers
Properties of Addition of Rational Numbers
Subtraction of Rational Numbers
Multiplying Rational Numbers
Properties of Multiplication in a Set of Rational Numbers
Dividing Rational Numbers
Applying the Properties of Division When Dividing Rational Numbers
Word Problems: The Four Operations
Distance and Midpoint on a Number Line
Percent of a Number
Percentage Change
Percentage Equations
Applications of Percentage
Rates and Proportions
Unit Rate
Proportion Word Problems
Proportional and Nonproportional Relationships
Tables and Graphs of Proportional Relationships
Addition and Subtraction of Algebraic Expressions
Rewriting Expressions Using the Distributive Property
Equivalent Algebraic Expressions
Greatest Common Factor of Monomials
Factorization Using the Highest Common Factor
Writing and Evaluating Algebraic Expressions
One-step Equations: Addition and Subtraction
One-step Equations: Multiplication and Division
One-Step Equations: Rational Numbers
Solving Equations Using the Distributive Property
Two-Step Equations
One-step Inequalities: Addition or Subtraction
One-step Inequalities: Multiplication or Division
Two-Step Linear Inequalities
Probability of Simple Events
Experimental Probability
Theoretical Probability
Estimating Probability Using Simulations
Prediction Using Probability
Biased versus Unbiased Samples
Mean Absolute Deviation
Comparing Two Distributions Using Dot Plots
Comparing Two Distributions Using Box Plots
Angle Relationships
Vertically Opposite Angles
Adjacent Angles
Complementary and Supplementary Angles
Drawing 2D Shapes Accurately with Rulers and Protractors
Geometric Constructions: Triangles
Scale Drawings and Models
Cross Section of 3D Shapes
Plans and Elevations
Circles, Surface Area and Volume
Circumference of a Circle
Areas of Composite Figures
Surface Areas of Prisms
Surface Areas of Composite Solids
Volumes of Rectangular Prisms and Cubes
Volumes of Triangular Prisms
Volumes of Composite Prisms
Volumes of Composite Solids


Extreme cold weather is a reality across Canada during the winter months. It turns routine activities into occupational health and safety hazards within the workplace; from workers being struck by falling snow to people tripping over snow-covered obstacles and slipping on icy surfaces.
If working indoors, slow their pace when about to step outside.
Report any equipment or supplies left in the walkways, on the floor or hanging dangerously.
Report any accumulated snow or ice that can melt at buildings' entrances.
Slow their pace and allow extra time to get to their destination when outdoors.
Carrying a flashlight at all times.
Last but not least, as harmless as freshly fallen snow can seem, it is important to remember that this snow may actually cover once-visible hazards or create new ones: companies have to raise occupational health & safety awareness when the temperatures are starting to get warmer.
At GardaWorld, we believe that avoiding risks is good but removing them or raising awareness within the workplace is the best strategy to avoid injuries altogether.


Senior Gabby Barlock would like to thank her English IV IB-HL teacher, Mrs. Kober, for creating a passionate and open learning experience. What makes Mrs. Kober so special to her students is that she cares deeply about them and their experiences in her class. Barlock explains, "she wants us to enjoy English and enjoy the reading we're doing." Mrs. Kober recognizes that English class is a lot of hard work and dedication, so she ensures that her students, like Barlock, are understanding and enjoying the books they're studying before they delve into the literary devices and analysis. This focus on the enjoyment of the curriculum is something that drew Barlock in, as it was a different experience than her previous English classes.
Barlock also appreciates that Mrs. Kober takes the time to get to know her students individually, remarking, "It's clear that she cares about us and she wants us to do well". English classes at WMMHS are often rooted deeply in discussion, and participation can be extremely difficult for quiet students. Barlock professes that she is shy, but feels comfortable in Mrs. Kober's class because of the time and energy her teacher puts into getting to know all of her students and creating a welcoming classroom that invites all voices to participate. Barlock can attest to this, "I'm pretty shy, but even in that class I'm not afraid to talk. It's a good environment." Mrs. Kober is responsible for this positive environment as she open to all her students' perspectives and ideas and genuinely wants to hear what they have to say.
Mrs. Kober's compassion for her students extends beyond the classroom, and even beyond the walls of WMMHS. This is exemplified in the service Mrs. Kober encourages in her students. For instance, Barlock's English class often focuses on service in the community. This past December, Barlock and her English class were challenged to raise enough money to buy an iPad for a child in need as a part of WMMHS' Toys for Tots drive.
Beyond being a fun and engaging senior year course, Mrs. Kober's English class will undoubtedly have a profound effect on her students as they move on to college next year. Barlock explains that for her, Mrs. Kober has given her "an appreciation for English" and has changed the way that she approaches assigned reading as her goal is now to get what she wants out of it first before focusing on the assignment.
On behalf of Gabby Barlock and her classmates, the Patriot thanks Mrs. Kober for her cheerful dedication to the subject of English and her students. The positive way in which she uses her influence to encourage students to speak their minds and participate in service are invaluable, and make her worthy of appreciation.
As the school year comes to a close, it is becoming time to say goodbye to the Class of 2019. The Patriot is asking seniors to thank their favorite teachers for making their high school career more enjoyable. If you're a senior looking to thank one of your teachers, email [email protected].


This is the name given to a large number of medical conditions.There are also many neuromuscular conditions which, while not called md, are similar to it. What all these have in common is a progressive weakening and wasting of muscles. The Muscular Dystrophy Campaign is the national charity which funds medical research into causes, treatments and cures while providing care, information and advice.
Here the term neuromuscular disorder or the abbreviation nmd is used to refer to all the relevant conditions, some of which are listed at the end.
Muscular dystrophy and other neuromuscular disorders are not catching, but anyone can get them.They are usually inherited from a parent or parents through their genes, but sometimes appear out of the blue. They affect babies, children, young people and adults of any race.
About one in every 2,000 people in the UK will have an nmd, but the effects are much wider than that. Relatives may be carrying the faulty genes while not showing any symptoms.
Not all conditions are inherited however. Some conditions are autoimmune. That means the immune system turns inwards to attack targets within the body rather than fighting off external dangers. And there can be a new mutation (or change) in the genes that causes types of nmd to appear for no apparent reason. There is, as yet, no cure, but there are ways of treating the symptoms of some conditions (like myotonia congenita) and there is much that can be done practically to improve life for those affected.
merely cause a mild disability.
Symptoms do not always appear straight away. Muscular dystrophy is mainly progressive. The signs may become more obvious over time. Some symptoms will not show until adulthood. Progress in genetic counselling and diagnosis however is making it much easier to predict which family members may develop the condition over time.
The main characteristic of md is a progressive weakening of muscles. Other parts of the body can also be affected however. Cataracts (a clouding in the eye's lens) are common in myotonic dystrophy for example. The heart can be affected in several types of md, whether the individual has the condition or is a carrier. Linked symptoms like this provide another reason for ensuring accurate diagnosis by specialists.
The Muscular Dystrophy Campaign provides practical help for individuals and families with neuromuscular disorders through its network of Family Care Officers, its hospital-based muscle centres, its expert advice on equipment and adaptations, and its information service. The charity can also provide grants towards essential equipment like outdoor electric wheelchairs and special beds.A branch network offers local help and support.
The charity is a leading funder of research into causes and possible treatments and cures. It ensures that teams of scientists in the UK and overseas can concentrate on finding ways of easing, reversing or preventing the conditions. There is still some way to go, but progress in diagnosis, and the existence of genetic counselling, has been made possible by a commitment to research since 1959.The charity has a network of volunteers across the country, who offer support and who raise funds to pay for the work. The Campaign relies almost entirely on voluntary donations.
There are around 60 different conditions that come under the umbrella of the Muscular Dystrophy Campaign. These involve muscles and motor nerves, not the central nervous system. The charity's information service can provide details of these.


text:
// Copyright 2000-2018 JetBrains s.r.o. Use of this source code is governed by the Apache 2.0 license that can be found in the LICENSE file.
package com.siyeh.ipp.opassign;

import com.siyeh.IntentionPowerPackBundle;
import com.siyeh.ipp.IPPTestCase;

/**
 * @see ReplaceAssignmentWithPostfixExpressionIntention
 */
public class ReplaceAssignmentWithPostfixExpressionIntentionTest extends IPPTestCase {
  public void testSimple() { doTest(); }
  public void testParentheses() { doTest(); }

  @Override
  protected String getIntentionName() {
    return IntentionPowerPackBundle.message("replace.some.operator.with.other.intention.name", "=", "i++");
  }

  @Override
  protected String getRelativePath() {
    return "opassign/assignment_to_postfix";
  }
}

redpajama_set_name: RedPajamaGithub


Delta Psi - ΔΨ Fraternity at University of Virginia - UVA 3.5 Preppy Feb 21, 2019 3:18:57 PM Woodberry Forest's, I mean, St. Anthony's Hall is known as being the best southern frat on grounds. Pros and cons definitely come along with that reputation so make of that what you will.
Woodberry Forest's, I mean, St. Anthony's Hall is known as being the best southern frat on grounds. Pros and cons definitely come along with that reputation so make of that what you will.
Delta Psi - ΔΨ Fraternity at University of Virginia - UVA 2.7 JP May 6, 2018 2:01:08 PM One of my friends has a close friend in the hall, so I went to one of their parties. I was just hanging out, mostly staying out of the way, and this guy Lance walks up and says "Who is this loser?" and throws me out of the party. For no reason. Some of these guys think they're way cooler than they are.
One of my friends has a close friend in the hall, so I went to one of their parties. I was just hanging out, mostly staying out of the way, and this guy Lance walks up and says "Who is this loser?" and throws me out of the party. For no reason. Some of these guys think they're way cooler than they are.
Delta Psi - ΔΨ Fraternity at University of Virginia - UVA 4.7 BROdoYOUevenFRAT Jan 31, 2018 4:21:10 PM BRO's! I saw this Killer Band named RoadHead at one of their supreme functions. This dude O-Dogg was absolutely shredding the strings. Come here if you like sweet chix and partying with laid back rich guys. Delta PSI more like DELTA SYFY cause these guys are outta this universe.
BRO's! I saw this Killer Band named RoadHead at one of their supreme functions. This dude O-Dogg was absolutely shredding the strings. Come here if you like sweet chix and partying with laid back rich guys. Delta PSI more like DELTA SYFY cause these guys are outta this universe.
Delta Psi - ΔΨ Fraternity at University of Virginia - UVA 1.0 hah Mar 25, 2017 5:34:13 PM Hey look everyone! We're all spoiled af and much wealthier than you. Come to our house where all we do is give off creepy vibes and pressure girls into drinking!
Hey look everyone! We're all spoiled af and much wealthier than you. Come to our house where all we do is give off creepy vibes and pressure girls into drinking!
Delta Psi - ΔΨ Fraternity at University of Virginia - UVA 1.8 TheTruth Oct 24, 2016 10:58:46 AM Hall is falling. Bunch of snobby kids who embody the worst of the UVA stereotype AND they couldn't even rally a decent pledge class.
Hall is falling. Bunch of snobby kids who embody the worst of the UVA stereotype AND they couldn't even rally a decent pledge class.


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Mike Downes 'Root Structure' CD/DIG (Addo) 5/5
24th October 2017 ukvibe
Here's another helping of great jazz from Canada. Mike Downes is a bassist of some repute having been prominent on the Canadian jazz scene since the early 1980's. Not only does he play wonderful bass but he is also a talented composer, arranger and educator. He's played with the cream of the Canadian musicians and some of the biggest names in jazz including Pat Metheny, Chris Potter, Michael Brecker, Kenny Wheeler and John Taylor, to name just a few. On top of all this he is a Juno award winner for his 2014 album, 'Ripple Effect'.
The emphasis for this album is melody. The album presents 10 compositions, the majority of which are written by Downes. There is even an interpretation of a Chopin 'Prelude'. This is clearly a quartet of very talented musicians. As stated on Mike's website, the album "has everything a jazz lover looks for in a record – outstanding compositions, tight ensemble play and dynamic soloing" and "demands repeated listens". Is there anything more for me to say? Well, yes, plenty.
The quartet features the talents of Robie Botos (keyboards) Ted Quinlan (guitars) and Larnell Lewis (drums). The album opens with 'Momentum' and the first thing that one notices is the leader's warm bass sound, deep and low-down. This seems to me to be a quite complex piece of writing which succeeds in displaying the evident skills of all involved. 'Heart of the Matter' is a spine-tingling ballad. The guitarist is well featured on this track. From mellow acoustic guitar we move to electric guitar reminiscent of John Scofield on 'Miles'. Indeed, this could almost have been a Scofield composition in terms of the spirit of the piece. 'Moving Mountains' is different again, more intense than what has preceded it. Insistent pulsating rhythms are a characteristic of this tune. 'The Raven' is a delightful medium swing composition and amongst other delights, includes another feature for Downes. The title track is pure funkiness and drummer and bassist are clearly having fun on this one. More please. Then it's back to more reflective material with 'Flow' with seductive guitar from Quinlan. A contemplative 'Pre-Prelude' follows and is a lovely feature for Botos. 'Prelude and Variations' is next. Aside from inspiring a certain Barry Manilow, this tune proves to be a perfect vehicle for these four master improvisers. This, for me, is the highlight of the album. The acoustic guitar fitting the mood of the piece perfectly.
The recording is completed by 'Matter of the Heart'. A fine relaxed piece which brings to mind the best of Pat Metheny.
This album is as close to perfect as it is possible to get and fully warrants its rating here. Buy it!
Previous PostZara McFarlane 'Arise' CD/LP/DIG (Brownswood Recordings) 3/5Next PostQotob Trio 'Entity' CD/DIG (Choux de Bruxelles) 5/5

redpajama_set_name: RedPajamaCommonCrawl


David Davis' Brexit department has the worst transparency record of any in central government, new data shows.
The Department for Exiting the EU (DExEU) responded to just 17% of freedom of information (FOI) requests in full last year, according to a government release of annual statistics.
This is less than half the proportion across government as a whole.
Liam Fox's department for international trade (DIT), which is also heavily involved in post-Brexit talks, were not far behind, responding in full to 21% of requests. Michael Gove's environment department responded to 40% of requests in full, coming in just under the average of 46%.
UK environmental law could be heavily impacted by Brexit, with up to four-fifths of regulation originating in the EU, from nuclear regulation to agriculture to fisheries. Trade deals could affect standards on food, chemicals and animal rights.
One FOI expert told Unearthed that the lack of disclosure is another indication of how the government "has played Brexit in far too secretive a fashion".
Despite Fox making a public pledge for transparency on trade deals, in December Unearthed discovered that DIT had signed a deal with US counterparts in which they committed to keeping post-Brexit talks secret.
Two months later we revealed the existence of a secret database, housing cross-departmental work on Brexit, a large proportion of which concerned the environment. DExEU, which maintains the database, refused to release any information about it on the basis that it could risk the UK's relationships with other countries.
The data also shows that the Cabinet Office, which is itself responsible for the implementation of FOI law (and published the statistics), rejected 63% of requests in full, the highest proportion of any department in central government.
DExEU and DIT rejected 61% and 45% of requests in full respectively. The small proportion of remaining requests were partially withheld or are still waiting a response.
DExEU saw a fourfold increase in requests on the previous year, the largest rise of any department, but it has only existed since July 2016. Thirteen other ministerial departments received a greater volume of requests.
The most common reason cited by DExEU for refusing requests was that it could affect the UK's international relationships. Other commonly used exemptions included that publication could negatively affect the economy, the formulation of government policy and that information would be published at a later date. DIT's most common reason for refusal was that publication could affect commercial interests.
Ben Worthy, an FOI expert based at Birkbeck, University of London, said that there was some justification for these departments being more reticent to publish.
He told Unearthed: "Both departments are new and involved with ongoing negotiations so they are dealing with sensitive policy areas. But the government in general has played Brexit in far too secretive a fashion.
Longer term data suggests that transparency within central government has plateaued over the course of this parliament, with a steady decrease while the coalition was in power. In 2010, 57% of requests were responded to in full, compared to 46% last year.
The data does not include requests where the department does not hold the information asked for, or where further clarification was required. Requests to local authorities, which make up a much greater proportion, are not monitored in this data.


It's weird to be blogging again after not posting in over a month. I haven't been reading my fellow bloggers' posts during this time, so I definitely feel out of the loop with what's happening in the blogging community.
For those of you that have been following His New Creation for quite some time now, you know my schedule. Every Tuesday, I would publish a new post, and on rare occasions, I would do two posts in one week.
You're probably also familiar with a particular post I published back in June about why I skipped writing one week for the first time. The ultimate purpose of this blog is not to be self-serving. His New Creation is something that I felt God calling me to begin, stepping out in complete faith to try my hand at blogging in order to encourage others and also share the Gospel. As I mentioned in "A guide in the wilderness," if I don't feel God's peace or calling for me to write, I won't do it.
That's where I've been since August. I've been in prayer over His New Creation, asking for God's guidance in the direction of this blog. I wasn't even sure if He was wanting me to continue. There were moments when I would sit down and try to type, but I couldn't find the words to write.
Accompanying that desire to please God in my blogging was a desire to please others. I have a tendency to be a perfectionist and a people-pleaser, and this break from blogging has been constant friction in that area of my life.
As I've asked for God's help in blogging, discouragements would enter my mind. Statements from other bloggers saying "you can find time to write every day, don't make excuses," filled my head. My desires to "grow" and "reach more people" with words of encouragement mixed with external pressures to "grow" and "reach more people" because it would make me more successful as a blogger.
I've stopped listening to the external voices that have pressured me to write constantly, in which I believe I would have been stepping out of God's will for my writing during this season.
I've stopped listening to the external voices that have told me that maybe I should stop blogging altogether.
I've stopped listening to myself, wondering what people would think if I stopped blogging weekly or altogether.
Quite honestly, a few hours ago I didn't expect to be writing this post, let alone blogging at all. But for the first time in a few months, I have peace.
Maybe you can relate to where I am right now. I don't know what your situation may be, but perhaps you're struggling with the battle of pleasing God versus pleasing men. Different people may be offering you advice, and you've reached a point that you don't know what to do anymore.
I'm not saying to completely ignore people's wisdom and advice. I believe God uses people to encourage us and even provides them with words to say that He needs us to hear. In fact, I've had an incredible group of people who have been a great source of encouragement for me and have been praying alongside me in this area. However, we have to ensure that we're not valuing others' personal opinions over what God has called us to do.
Ultimately, our decisions can be traced back to our motives: are we trying to please God, or men?
I still don't know what God's plan is for His New Creation. I don't even know when my next blog post will be. But for now, I will continue to follow in obedience, writing as He leads me. For those of you who are striving to please God over men in a particular area of your life, I am praying for you. I pray that God will give you clarity, wisdom, and peace as you continue to follow in His will and plans for you.
No matter what challenges we're encountering, we can have peace in knowing that God will guide us.
Next postHappy Birthday, His New Creation!
I feel like God keeps on bringing up that one verse, Galatians 1:10. That is about the fifth round it has allowed up in the last couple days. He must be trying to tell me something.


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Prince William Officially Quitting Job as an Air Ambulance Pilot — "It's Been a Huge Privilege to Fly With the EAAA"
'Feud' Season 2 Will Chronicle Princess Diana and Prince Charles' Royal Divorce — See Our Dream Cast!
You Could Work Beside Kate Middleton, Prince William, and Prince Harry at Kensington Palace — Find out How!
What Is Princess Diana's Last Name? Plus More Questions From the Royal's Documentary Answered!
Prince Charles and Camilla, Duchess of Cornwall's Next Royal Tour Will Be to... Australia!
Princess Diana's Cause of Death: How Did the Beloved Royal Pass Away?
REPORTPrince Harry and Meghan Markle's Royal Engagement Is "Fast Approaching!"
Kate Middleton Wows in a Yellow Dress in Germany — Plus See More Times She's Rocked the Sunny Color!


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Unique Yorkville Townhouse Features 299SEATS/4BA
By Dave Hogarty Jun 20, 2012, 11:45am EDT
Amenities like a movie room in one's apartment building are nice, but a private screening room in one's townhouse is definitely better. What to do, however, when an actual stage is needed for putting on a show—light-hearted comedy, gripping drama, musical, whatever— with a place to put an audience? A screening room just isn't going to cut it! For that you're going to need a theater, and one is available on the Upper East Side in Yorkville for just $10 million, and it's got dressing rooms, rehearsal space, a backstage area, and seats for 299 of your closest audience members/friends. Form your own start-up company! Buy a theater.
· 316 East 91st Street [Elliman via StreetEasy]


The video game industry is built on progress. Both creators and fans alike are always looking for the next big step, even when what we have currently is fairly impressive. The current generation of consoles has brought VR to the masses, is introducing 4K gaming to console users, and has stepped up visual fidelity to a point where it's difficult to imagine anything better. Yet, even while the Xbox One and PS4 are constantly building momentum, many are beginning to wonder when we can expect the next evolution.
We already know that Microsoft is putting out their Project Scorpio later this year, so there will be some time before we see a next major step from them. Nintendo is kicking off the next generation with its own new console, the Switch, this March. So it's no surprise that eyes are turning to Sony and the inevitable PS5.
Before we can predict when we might see Sony's next, bona fide new console, we have to take a look at the past. Console life-cycles have changed quite a bit over the years. From the first iteration of the PlayStation ('94) to the PlayStation 2 ('00), there was a six year gap. Thanks to the insane popularity of the PS2 and the momentum it generated, it went on to become the highest selling console of all time, surpassing the next highest selling home console by over 50 million units. Still, the life-cycle moved on, and six years after we were introduced to the PS3 ('06).
The PS3 struggled a bit out of the gates, especially since it came a year after the Xbox 360 and Sony's much higher price wasn't doing the hardware any favors. Yet it held strong, and Sony had ample time to work on what would come next. So in 2013, seven years after the release of its predecessor, Sony released the PS4. It was more than just an upgraded version of previous consoles in the family, though; it changed the way Sony approached its gaming hardware, and that is causing a huge ripple in the life-cycle.
Prior to the PS4 and the Xbox One, gaming consoles each used proprietary hardware. They ran on different systems, which is why games were often quite different depending on where you played them, and why development time on new systems sometimes took so long. However, with the current generation, gaming consoles are using an X86 architecture, bringing them not only more in line with gaming PCs, but also making advancements in tech much easier, and quicker.
Just three years after the release of the PS4, we received the PS4 Pro, which, in the past, would've just been an entirely new console. This was the first taste of just how quickly console makers can present a new product to players at this point. Sure, it's not as big a jump as the PS1 to PS2 in terms of graphics, but as technology continues to become more and more advanced, those benchmarks aren't going to be as grand as they were in the past.
This makes the prospect of a PS5 coming in sooner rather than later a strong possibility. Sony has, for the most part, released their consoles to be in line with the competition. The one time that they didn't was with the PS3, and that almost cost them dearly. Microsoft's Project Scorpio is supposed to be the strongest gaming console ever made, something that you can bet dollars to donuts won't sit unchallenged for very long. Whether the answer to the upgraded Xbox One's release will be the PS5 is not known, but it's a certainty that something will come from Sony.
While many are considering the PS4 Pro the halfway mark for the current generation's life cycle – placing the run at six years – we may be going back to the five year gap that Sony's ecosystem first used. With advancements in graphical capabilities, memory, and game development picking up pace, it's not difficult to imagine Sony keeping up and putting out the PS5 within the next two years, much to the surprise of fans and competitors. It's definitely within the realm of possibility if history is anything to go by.


Roisín is founder and creative director of Kingston Lafferty Design (KLD), specialising in Interior Architecture and Interior Design. Since it's launch in 2010, KLD has quickly made it's mark across Ireland and Europe with a portfolio that spans both residential and commercial design. KLD strives to create truly magic spaces for every client.
Why did you decide to follow a creative path?
As long as I can remember I was always very artistic; painting, drawing. In secondary school I found art class to be a release. I didn't get much support at school — no one seemed to know what guidance to give. So I had to pursue a portfolio course myself. When all my friends were going to Trinity and UCD and following the predetermined academic routes, I paused my CAO application and went and did a year long portfolio course in Sallynoggin. It was a scary time for me.
In Sallynoggin I was out of my comfort zone. I didn't really know where I fit in. Afterwards I went to DIT and did my degree there. From that I got the impression the harder you work the better you do — which I think in a creative world is maybe wrong. You can't quantify how valuable an idea is, it's not about the time spent it's the quality of the thinking.
[Kingston University] was probably the only time I ever really thought about quitting something. They push you to your maximum, you will either break or you will succeed.
What had the biggest impact in your early career?
For me Kingston University in London, where I did my masters, was the most impactful. The lecturers were successful designers in their own right. As a result it was really harsh, they did not buy any fluff. Plenty of people failed. It was probably the only time I ever really thought about quitting something. They push you to your maximum, you will either break or you will succeed. Looking back at it now I wouldn't be where I am now if I didn't do it.
Another experience that was a real eye opener was one of my first jobs after completing my masters. I interned in Image Interiors Magazine and it showed me a whole other side of my skill set that I hadn't thought about. That was how to articulate what it is you're doing. It showed me that if you can't articulate, people won't buy into it. Sometimes marketing and talking yourself up can be seen as taking away from the creative essence. But if you don't tell people what it is you're doing, who else will?
How do you come up with new ideas and designs? Tell us about your creative process.
Design is a way of life, whether I'm working or not — where I go on my social time, where I travel to, what I wear — if you think it's going to be a nine to five job, it's not! Your work is an extension of you and that's what makes it successful. You are exposing yourself to a lot of judgement and criticism. It's not pleasant, you do have to develop a thick skin. But it's the personal that makes it.
Our jobs start with an idea, an idea in someones head. It's then a scribble and it ends up being a real space, an environment that surrounds people, that people get to experience. There's no better feeling than seeing a complete job. It's amazing. The power of space; how it impacts, how every single person feels from the minute they wake up every day. It's so transformative to be a part of that.
The aspect that's most challenging about being a creative is that I have no background in business. I had no understanding, or interest in business. That was a real challenge, to grow a team you have to understand the basics. I got to do Going for Growth with Enterprise Ireland and that was super helpful. Now I feel a lot more confident, we have a solid base and a strong support network. Asking for help is hugely important.
Design is a way of life, whether I'm working or not — where I go on my social time, where I travel to, what I wear — if you think it's going to be a nine to five job, it's not!
What are your future ambitions for your design studio, KLD?
One of the really exciting things that's happening now is that I'm working with really amazing creatives and the clients that are coming to us are also looking to creatively collaborate. Because of that it's genuinely equal and there's a better result. It's a really big deal for us that we have KLD HQ in Baggot street. It's the first opportunity we've had to really show people who we are and create a space that encapsulates KLD. We have lots of great projects both commercial and residential across Europe and the team continues to grow.
Copyright © 2019 Institute of Designers in Ireland.


Image Title: Made By Joel Free Coloring Sheets In Sheet 15. Post Title: Free Coloring Sheet. Filename: made-by-joel-free-coloring-sheets-in-sheet-15.jpg. Image Dimension: 300 x 231 pixels. Images Format: jpg/jpeg. Publisher/Author: Schuyler O'Connell. Uploaded Date: Saturday - September 29th. 2018 02:45:23 AM. Category: Coloring Pages. Image Source: hgtv.com. Co 16. Pertaining Within Coloring To Pages Color Turtle For FREE Free Ninja Printables Colouring In MomJunction With Printable 4100 Largest Alley 3. Sheet Made 101 Art 4. 13. Joel Sheets 15. Doodle Amazing Davidjoel The Seatle 17. 6. Regard 11. Flower Sun Ladybug 18. By Print 9.


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Nothing in nature is contingent, but all things are from the necessity of the divine nature determined to exist and to act in a definite way.
The knowledge of an effect depends on, and involves, the knowledge of the cause.
Ethics, I, Proposition 29 and Axiom 4
Waldo Bien / Spinoza. by Muriel Rive, drawn from 'A stone in flight', publisher: Arti et Amicitiae, Amsterdam, 1997. ISBN 90-72612-21-3
When Waldo Bien wants to make a white painting, he first paints layer after layer of black and then works layer by layer towards white. Using diluted coal dust obtained from all parts of the world, he paints twenty or thirty layers from milky grey tones towards darker shades, mirroring the way day fades into night. In this way he obtains a black which has passed through all the stages of white, and the other way around. 'Then you understand the black in terms of light and vice versa. Like you understand a photo from the negative. There too the positive image undergoes a process of transformation, the negative.
Black is a state of light and light is a state of darkness.'
Bien approaches art from an anthropological perspective. Applying a knowledge of the form processes undergone by man and matter, he delves his way through all layers of consciousness. Figuratively by penetrating through to knowledge and literally by processing the material with the help of the acquired understanding. In the example of the black painting this incorporates an entire process of consciousness.
Because what we perceive as black coal dust has its origins in the light falling on the plant. With its roots this brings up the darkness from the earth and at the same time penetrates it with light. Colour is created in the play between these two poles. As a result of death, time and compression the plant condenses its original being of light into darkness, eventually to become a being of light again in the diamond. 'The essence of its own being'. It is a being of time itself from the knowledge of the physical matter, in this case coal, you also derive knowledge of the non-physical, such as light. There is nothing in the world of matter in which light is more incarnated than in diamond.'
In the past twenty-five years of Waldo Bien's interdisciplinary research he has encountered many philosophers, including Spinoza. But at a certain moment (in 1982) Bien decided to relegate reason as driving force to the background. Instead of looking for a form or a content, he started searching for the content of the form. 'Interdisciplinary research is a difficult discipline. You mustn't want anything in particular and to begin with, you have to be very open, without expectations. Dip the brush into paint, lift it up to the paper, and let it happen. One should only permit the analytical consciousness to follow what has already happened, and to allocate it a place. Then you notice that as soon as you change perspective all the content shifts too, changes kaleidoscopically and penetrates other cultures.'
Applying his interdisciplinary research 'methods' he brings everything into mutual relationship. The symbiosis which can arise between different things is an important element of the work. During the process of research the form presents itself, so to speak. Sometimes it can take years before the meaning within the totality is revealed, but there are no coincidences. 'The word says it all', says Bien, referring to the Dutch word for 'coincidence': toeval (fall to), 'something falls to you.'
'Nothing happens without a cause. We're directed by other forces than just our own. A large part of the time we do things we don't even realize we're doing. If you're lost in thought, that doesn't mean that you'll walk into a lamppost. In such moments we're guided by our automatic pilot. Sometimes there are encounters: the world lets something fall to us'. At such moments the question is whether you let it penetrate into your consciousness. Otherwise nothing will happen. These are messages from the same area which we enter with our intuition.'
During his travels Bien collects all sorts of materials, for instance from other (extinct) cultures. But he never just takes something with him because he finds it pretty. 'It's always material seen in a very broad context. The object I find already fits, or in retrospect forms part of an entire process of thought which slowly unfolds on the basis of the materials and objects, like a topographic marker within the conceptual field of image".'
The various routes taken by Bien led him - from Goethe's colour theory - to a treatise by Spinoza on the rainbow. This is a document, according to Bien, which Spinoza threw on the fire and about which nothing more is known. This therefore gives him complete freedom in his further approach to the subject. He enters the 'empty space' provided by Spinoza.
'The way that Spinoza approaches things is strongly related to the ordering principle in my own work. ' But for Bien, rationality should not dominate the process from the very beginning. If you focus too strongly on the theoretical side of things, he believes, then you end up on the descriptive, superficial level too quickly. The danger here is that the 'time' is lost from the process which is needed to dig things up, so to speak. Matter is anchored in time and also needs a lot of time to be penetrated and read.
'You have to place yourself in between these elements, like a prism, and thus allow knowledge to establish a link with subjective constituent parts of the individual. Then your art will blossom forth'.
The working process is not possible without thought, but it's not just a question of thought either. It only becomes a concept at the moment that you've 'checked' and 'cross-checked' everything. We can see from the developmental phases of a child that something only becomes a concept when it can literally be grasped (to 'grasp' a concept).
In your imagination let your hand glide o'er the sculptures of Giacometti, Michelangelo and Brancusi. Then you really experience their true nature, their material secret. You won't find it in any book, the eye can't read it. The hand is an organ of speech and hearing. The hand, the thinker and grasper, is the organ with which I initially perceive. I'm always surprised by how clumsy or 'unhandy' philosophers are. They can think a nail into the wall, but they mostly can't hit it. But Spinoza ground lenses too, whereby he integrated the hand in the process of thought and let his thoughts pass through his hand.'
One can say that Bien's points of departure in art are related to Spinoza's conditions for seeing things from the perspective of infinity.
According to Gaarder '... if we recognize that everything happens from necessity, we can achieve an intuitive understanding of nature as a whole. We can come to realize with crystal clarity that everything is related, even that everything is One. The goal is to comprehend everything that exists in an all-embracing perception. Only then will we achieve true happiness and contentment. This was that Spinoza called seeing everything "sub specie aeternitatis".'2
Bien himself doesn't call it eternity, but he does feel it necessary for art to move beyond the individual domain. He reduces basic terms to the human source from which they sprang and confronts this with what the terms have eventually become. The resulting consequences and insights then require one to act accordingly.
In addition to the 'unconscious' Spinozist elements, such as the awareness of a necessary bond between all elements and the striving for a holistic vision n which the nature of concepts and things is revealed, Bien's work for this exhibition also contains direct references to the life of Spinoza.
'Marranomap' is the title of the installation, referring to the 'Marranos', the Jews baptized as Christians in Spain and Portugal. The open cube represents the conceptual space of reason and thought. It carries the world, and within it, the shadow of the Christian cross falls on the Jewish seven-armed candlestick, the menora. 'It is the secret space within which Spinioza was a jew, within which his life arid thoughts took place, which we will never be able to understand. And the menora can also be viewed as a plan of Amsterdam.'
The menora on the horizontal base functions as trunk, as the roots of Spinoza. The 'family tree' also triumphs as the mid-point in the painted X-ray photo with the word 'Heliczer'.
'Heliczer' is a surname which here functions as the trunk or stem of the images. In the ruin of an isolated house in Normandy, Bien found a pocket diary with literary notes by a certain Pierot Heliczer. Some of these concerned a house on the Lijnbaansgracht in Amsterdam which Bien walks past every day. 'In the same pile of rubbish I found pots of blue-grey paint and a pile of X-ray photos of an unknown French woman. I was in Normandy, not involved in anything to do with Spinoza, involved in the rainbow. It rains rainbows there almost every day. So Spinoza himself came to me, he was simply already there.'
Bien's investigation revealed that Heliczer had been a cameraman for Andy Warhol in the New York Factory. Jewish, half Italian, became lost in France and was killed there in a road accident. Heliczer, as a Jew, was in principle not allowed to deal with images but nevertheless worked as a cameraman. A man of images. Chagall broke with tradition to be able to paint God and the angels. Spinoza, Chagall and Heliczer cut through their own umbilical cord.'
For the glass of the seven X-ray paintings Bien started a search for old window panes which were not rolled as sheets, but instead cast in the mould. Bien decided on this wave-form glass due to its optical relationship to liquids. 'It isn't comprised of ground lenses, but if you walk past it the images behind the glass move as if in waves. The pictures were also created in movement, in the growth process of the human body. The body is an individual universe, delineated by the skin, the skeleton of which we can see here on the X-ray photos, the supporting, architectonic construction of the human body. The skeleton is the hat stand of the philosophers, they hang their concepts on it.'
The use of colour in Bien's 'rainbow treatise' is striking. It contains no red or yellow. This was a conscious decision because it is exactly through this absence that he can create a longing for the complementary colours. When one regards the pictures in their blue-grey quality, the missing colours appear in the mind as counterpart. These absent colours do however appear in a section of the 'Marranomap'. The welded-together 'Module' segments are parts of chemical vats, originating from the Western world. Bien found them in Africa, bought them and had them and returned them to their region of origin. Although they were initially used as frames, he is now more interested in painterly colour formulas. The colours, in their original quality, contain direct references to the poisonous content.
Within the installations Bien shows possible illustrations from Spinoza's treatise on the rainbow. They are a substitute for the lost text. The iconography of the illustrations consists here of several layers of image and consciousness. They are fixings of moments, thoughts', notes and references to other perceptions. Bien worked all summer in Ireland, and subsequently in France, Normandy. In the process he primarily 'read' some things in a Celtic, Christian manner. Working in this perspective he provided the image with title and caption to ease it out of the Spinozan context and to extend the scope of the image. 'Sometimes, in my mind, I add to the work by writing down how I read it all. You could also write it all the way round, like the commentaries on the original text in the Jewish tradition. Then... if necessary: another addition, a reduction, a fixing. All of it very relaxed, controlled, it's a sort of Zen. Eventually the meaning may even transcend the intentions of the artist. Because with every change of context, the picture changes too.'


DESCRIPTION The Nest is a handmade, signed & numbered floor lamp. The Nest lamps are shaped individually into unique pieces, and therefore vary in form and shape. The shape of the lamp and its structure forces the light to find its way out through the cracks formed through the layers of wood.
MATERIAL Pinewood sticks / socket with a black cotton cord / Technical specifications: 220-240 v max 60 w regular bulb / 30 w incandescent bulb.
DIMENSION Height: 40 cm. diameter: 40 cm. / Cord length: 2,5 meter.


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Trio wins Nobel Medicine Prize for uncovering how cells sense and adapt to oxygen levels
Oxygen keeps the world turning. Well not really, but it's important for cells.
in Biology, Health & Medicine, News, Science
William Kaelin, Gregg Semenza (US), and Peter Ratcliffe (UK) jointly received the Nobel Medicine Prize for their work on how cells gauge and respond to oxygen availability, knowledge which could point the way towards new cancer treatments.
Together, the three identified the molecular mechanisms that regulate genetic activity in response to changes in oxygen levels inside the body — a mechanism that can be co-opted to fight a host of conditions.
Putting the O in operational
"[The team] established the basis for our understanding of how oxygen levels affect cellular metabolism and physiological function," the jury said, adding that their research has "paved the way for promising new strategies to fight anaemia, cancer and many other diseases."
There is a sizeable interest in academia and the pharmaceutical industry to develop compounds that can activate, block, or alter the oxygen-sensing mechanisms in living cells.
Oxygen is vital to animal cells, which use the gas to extract energy from food via oxidation. However, oxygen availability can fluctuate quite wildly for different tissues at different times, and when it's in short supply, cells need to adapt. The jury awarded the Nobel Prize to the trio in recognition of the potential of their findings going forward, for both academia and industry.
"This prize is for three physician scientists who found the molecular switch that regulates how our cells adapt when oxygen levels drop," Randall Johnson of the Nobel Assembly told reporters.
Kaelin, 61, works at the Howard Hughes Medical Institute in the US. Semenza, 63, is the director of the Vascular Research Program at the John Hopkins Institute for Cell Engineering. Ratcliffe, 65, is the director of clinical research at the Francis Crick Institute in London, and director of the Target Discovery Institute in Oxford.
The 2019 Nobel session is shaping up to be quite an exciting one — after a scandal postponed the awarding of last year's literature prize, we're set for two laureates in that category this year. The Peace Prize, to be awarded this Friday in Oslo, is also likely to spark public debate (hopefully, civil), as it has been speculated that Swedish teenage activist Greta Thunberg could receive it for her campaign against climate change (which has been quite polarizing so far). Other strong contenders are the Ethiopian Prime Minister Abiy Ahmed, who signed a peace deal with Eritrea, ending two decades of conflict, and NGOs such as Reporters without Borders and the Committee to Protect Journalists.
Tags: Health & MedicineNobelPrize


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Death Toll Rises To 26 in Hub Accident
by Pak Desire January 22, 2019
by Pak Desire January 22, 2019 0 comment
According to the latest news, at least 26 people were killed in the drastic collision between a passenger bus carrying 37 passengers and an oil tanker, in Hub Baluchistan.
Travelling passenger bus carrying 37 passengers was going from Karachi to Panjgar District when it crashed into an oil tanker. This collision resulted in the bursting of flames, and the oil tanker and the bus were engulfed in that fire.
Many people jumped out of the bus in order to save their lives. It is reported that at least 16 people jumped out of the burning bus to save their lives and many succeed as well.
But according to the latest update, 26 people lost their lives due to burning. They could not get out in time and burned to death.
The seriously injured people are admitted to the local Hub district hospital while 6 people who are in very critical conditions are sent to the Karachi hospital.
The bodies of the deceased will be handed over to their relatives after their DNA test will be done, and they will be transported to the Sohrab Goth Edhi's Mosque where they will be sent for DNA tests.
Many rescue officials including law enforcement agencies rushed to the incident site and carried out the rescue operation.
It was a very difficult task as the fire was out of control and intensity of the fire was way too much to continue the rescue operation, but it was done.
Every year, many lives are lost due to reckless driving and extreme weather conditions. But no precautions have been taken as such. It feels as if the loss of human lives doesn't matter this much to our officials.
Serious precautions must be taken regarding the drivers of the passenger buses and allowing of the transportation to continue in foggy weather.
accidentPassengers
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One of the best building lots left at Firerock CC. Great value! Overlooks the 1st green/fairway and possesses dramatic mountain views, great sunsets and night lights. Gradual slopes permit one level living. Excellent Custom Home or Spec Home Lot. Builders/ Developers welcome!


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Closed for renovations Satellite location opens March 2022
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Report to Community 2020-2021
April 1, 2020 – March 31, 2021
Download the Audited Financial Statements
Message from Nicholas R. Bell, Glenbow President & CEO and Irfhan Rawji, Chair of Glenbow Board of Governors
This past year was defined by unprecedented upheaval to arts and culture organizations due to the global pandemic – as well as new opportunities to engage with our communities in a time of great need. Glenbow's unique mandate was to navigate this ever-shifting terrain while preparing for the full renovation of its building and reimagination of its program in the years to come.
Change has been fast paced: February 2020 brought us the transformational announcement of the Government of Alberta's pledge of $40 million towards the renovation of Glenbow's building. Less than a month later, on March 13, 2020, our museum closed in response to the COVID-19 pandemic. The continuing public health crisis has left the arts and culture sector with an unclear pathway to return to business as usual. At time of writing, in September 2021, Glenbow has been open only 82 of the 555 days since that first closure, leaving us unable to support our pre-pandemic business model. A substantial portion of Glenbow's operating budget has traditionally been funded by visitor admissions, memberships, school programs, event rentals, and shop sales – earned revenues stopped cold by the pandemic. Last year we came to the difficult but unavoidable decision to reduce staff positions to only essential services, and to focus our limited resources on the delivery of online programming, and long-term planning for the museum's future.
In the early days of 2020's lockdown and worry, the first thought of Glenbow's team was, what could we contribute that would help our community pull through a such an unsettling time? We are very proud of our staff who mobilized quickly to ensure that Glenbow could continue to serve as a trusted source of information and enrichment as schooling went online and families were isolated at home.
With our #GlenbowFromHome digital initiative, our team ensured art and culture could continue to provide inspiration, solace, and, most importantly, a sense of connection to the people and world around us. Between March 31, 2020, and April 1, 2021, we produced over 50 digital activities and programs, featuring artist talks, virtual tours, and education segments, in addition adapting our school programs to the virtual space and delivering almost 200 programs to over 6,000 students who were learning from home.
A selection of Dear Glenbow letters received by the museum
We also launched a rapid collecting initiative: Dear Glenbow invited Albertans to send the museum letters, photos and drawings and social media messages about their experience of the unique time we were all living through. We received over 700 submissions from as far away as Ontario and Kansas. Our hope is that these personal letters will give a powerful sense of people's lives at a pivotal moment in time and contribute to the ongoing story of a connected community in a time of shared experience.
In all this, Glenbow retained one substantial advantage – our process of reimagining the museum was already in progress. Our plan to renovate the building and the bulwark of the provincial government's financial commitment to the project offered a clear path to emerge from the immediate challenge of Covid-19 and rebuild a stronger, more resilient, more impactful Glenbow.
Over the last three years, our focus on revitalization and renewal has deliberately included efforts to improve diversity and equity in all aspects of Glenbow's operations. However, the urgency of the anti-racism movement that exploded in 2020 has reframed how we will approach that process. While we are proud of our past efforts, Glenbow is not separate from the institutional systems that perpetuate racial and social inequity. The way forward must involve building trust by demonstrating action beyond well-meaning statements. To support this, our commitment to increasing diversity in our leadership continues. In 2018, six of 22 Governors identified as BIPOC (Black, Indigenous or People of Colour). When we confirm our 2021 Nominees for Governor, Glenbow will benefit from greater representation from a diversity of voices across Canada and internationally. The Board will include 10 BIPOC members, increasing the percentage of BIPOC Governors from 22 percent to 42 percent.
Anti-racism, accessibility and equity must be at the foundation of decisions about what Glenbow will be in the future. In the summer of 2020, we created a new Anti-Racism and Equity committee that includes staff, management, and board members. This committee is evaluating and recommending structural improvements throughout the organization. Recommendations that are put forward are collaboratively worked on with an achievable, transparent, and realistic timeline. Over the past year, the committee has initiated a staff priority survey, a staff and public help line for anti-racism support, proposed a review of HR and hiring policies, and facilitated Indigenous Understanding training for Glenbow's staff, Board and for the contractors and partners who are working on Glenbow's renovation project.
Our curatorial and programming team is committed to developing new outreach, education, and exhibition strategies to build upon what we already do to share and support the work of racialized artists and creators. An integral part of our Glenbow Reimagined project is an investment in audience outreach and research to inform some of this work.
Throughout the challenges we have experienced this year, it has become clear that the most fundamental thing we must do as an institution is define how a museum – how Glenbow – serves people. What will Glenbow do to participate in a thriving community?
Each time health restrictions eased, we were able to reopen the museum (with reduced capacity and timed ticketing) for a more traditional visitor experience. The feedback we received from visitors on their delight at being able to experience Glenbow's galleries in-person again was a much-needed morale boost for our team.
In September 2020, The City of Calgary generously included Glenbow's renovation project in their allocation of Municipal Stimulus Program Funding. We received a capital grant of $14 million for Facility Revitalization and Renewal. This commitment allowed us to move up our timeline to begin critical renovations to the upper floors of the museum, where our priceless collections are stored. The rapid advancement of the project meant that our third and fourth floor galleries were set for permanent closure in late November 2020. We encouraged members and guests to visit and say farewell to their favourite exhibitions, including Mavericks, Niitsitapiisini: Our Way of Life and Treasures of the Mineral World. Our long-time partners at Servus Credit Union, who have supported free admission days with the Free First Thursday Nights program since 2015, stepped up again to help us offer a free All Access Week so that as many people as possible (within our limited visitor capacity) could experience these galleries one final time.
Between April 1, 2020, and August 29, 2021, 22,152 tickets were booked for visits to Glenbow. 13,097, or 59 percent of those tickets were free, thanks to Servus Credit Union's ongoing support for our access initiatives.
As we look back, we can see that the challenges of the past year have also offered opportunities that may not have existed in a normal year. COVID-19 lockdowns and the resulting economic impacts across all sectors sparked a collective recognition that access to cultural infrastructure is essential to people's wellbeing, and necessary for a great city's vitality and resiliency.
Over the past 17 months, we have made incredible progress in matching the Government of Alberta's financial commitment to our renovation. With the endorsement of $40 million from the Government of Canada, and a total of $25 million in support allocated by the City of Calgary, our $135 million Glenbow Reimagined campaign, launched in June 2021, is well on its way.
Supporters of Glenbow, granting agencies, corporate sponsors, family foundations and individual donors and philanthropists have all stepped forward – there is an undeniable momentum to further big-picture projects like Glenbow Reimagined – projects that fuel tourism and foster innovation, entrepreneurial growth and economic diversification. Glenbow is one of the civic assets that attract and retain people of all ages. Calgarians want to live, work, play and invest in a globally relevant city that is exciting, dynamic, and diverse.
Glenbow Reimagined is about more than the renovation of Glenbow Museum's building. It is about creating a foundation for vibrant, thriving cultural resource in the heart of Calgary, that serves all Albertans, Canadians and visitors to our great community.
Architectural Rendering of Glenbow's renovated exterior
After years of planning, organizational restructuring, and intensive fundraising, Glenbow's long-awaited and critically necessary renovation project is now underway. There is new momentum propelling us forward; Glenbow will play a huge part of revitalizing Calgary's spirit and economic renaissance.
With in-person visits to the museum paused between March 13 – July 31, 2020, our team shared exhibition content online through our #GlenbowFromHome program: twice-weekly video or virtual content posted across Glenbow's digital and social media channels. The goal of #GFH was to create virtual "shared experiences" to maintain connections with our audiences and support our community during a difficult time.
Virtual tours, curator and artist talks and programs directed at school-age children were all produced to share the details and themes of each of our 2020 exhibitions. We installed new exhibitions in February 2021, and continued to share them with our audiences through virtual experiences while Glenbow was still closed to the public. Thankfully, we were able to extend the run of Shuvinai Ashoona: Mapping Worlds, so that Calgary audiences were able to see it when Glenbow reopened on June 19, 2021.
While the shift to digital was by necessity, the learnings from #GFH will now be applied to a long-term strategic plan for ongoing digital engagement that is proactive, intentional and complementary to in-person museum experiences. By delivering interesting, relevant and enriching content to our audiences in a way that is intuitive and convenient to them, the museum can use technology and online experiences to make Glenbow more accessible and personalized for both existing and new audiences.
Vivian Maier: In Her Own Hands (Feb 8 – May 24, 2020)
Maxwell Bates: The In Crowd (Feb 8 – Oct 4, 2020)
One New Work – Ron Moppett: Do You Remember Snow and Stars (Feb 8 – Nov 29, 2020)
Dynamic Connections: Threads of Living Memory (Feb 22, 2020 – Aug 29, 2021)
Recent Acquisitions 2019 (Feb 22, 2020 – May 2, 2021)
Metamorphosis: Contemporary Canadian Portraits (Mar 7 – Nov 22, 2020)
Enclosing Some Snapshots: The Photography of Métis Activist James Brady (Mar 21 – Nov 22, 2020)
Porchraits: Calgary Families in Isolation During COVID-19 (Sept 5, 2020 – Jan 3, 2021)
Shuvinai Ashoona: Mapping Worlds (Feb 1 – Aug 29, 2021)
Highlights from the Art Collection (Feb 6 – Aug 29, 2021)
project prōjekt (Feb 11 – Feb 28, 2021)
Maud Lewis (May 29 – Aug 29, 2021)
Neil Zeller, Untitled, 2020, Collection of the Artist
Porchraits: Calgary Families in Isolation During COVID-19
In September 2020, we opened Porchraits, an exhibition of 55 photographs taken by local photographer Neil Zeller during the initial pandemic lockdown. They were from a selection of more than 650 participating families he photographed. The images reflect the diversity of lived experience in Calgary during this time, showing our resilience and the importance of family and friendship to get us through turbulent times.
Stephanie Kochorek, We Glow In The Dark, 2021
project prõjekt
In February 2021, Glenbow was a presenting partner for project prõjekt, a free outdoor exhibition of new art projected on Glenbow's exterior, as part of Chinook Blast Festival. The exhibition featured 54 artists and was an experiment in bringing art to the community and encouraging people to come downtown for a fun and Covid-safe art experience.
Local artists age 16+ were invited to create an artwork using illustration, design, typography, painting or photography to express one of the key project themes (spreading kindness and compassion, equality, Calgary's future) in a clear and impactful way.We were absolutely thrilled with the response – we received over 500 artwork submissions from Alberta artists, and thousands of Calgarians attended the festival.
Vivian Maier: In Her Own Hands
Ron Moppet: Do You Remember Snow and Stars
Maxwell Bates: The In Crowd
Metamorphosis: Contemporary Canadian Portraits
Dynamic Connections: Threads of Living Memory
Shuvinai Ashoona: Mapping Worlds
Maud Lewis
These classic exhibitions closed on November 22, 2020
A Farewell to Old Friends
In November 2020, as building renovations began, we invited Calgarians to say farewell to some of their favourite exhibitions. Servus Credit Union sponsored free admission for a celebratory All Access Week. All 2662 available timed ticket spots "sold out" between November 14-22, 2020.
Treasures of the Mineral World
opened in 1976 when Glenbow's building was newly completed
The Rocks & Minerals gallery was a favourite destination for several generations of children, due to its treasure box atmosphere and glow-in-the-dark specimens. Meteorites, petrified wood, and minerals from all over the world were on display; the gallery showed off some of the highlights from the museum's collection of precious and semi-precious gems.
Where Symbols Meet: A Celebration of West African Achievement
For over 26 years, there was a small but significant portal on the prairie into the heart of West Africa. This exhibition was built in collaboration with Calgary's West African community, and offered a window to the art and stories of five major cultural groups from over a dozen West African countries.
Warriors: A Global Journey Through Five Centuries
The Warriors exhibition was another favourite of young visitors. Drawing on Glenbow's extensive Military History collection, the exhibition encouraged visitors to consider the individual inside the uniform or behind the shield and ask what was life like for the warrior? The exhibition provided insights about combatants throughout time and raised questions about the relationship between warriors and their societies, past and present, and in different cultures around the world.
Niitsitapiisini: Our Way of Life
This exhibition was the result of a groundbreaking partnership between Glenbow Museum and the Blackfoot Confederacy. Nineteen Blackfoot elders worked with Glenbow staff to lead the design of the exhibition and infuse traditional knowledge and contemporary lived experiences into an innovative storytelling experience that shared the history and culture of the Blackfoot people. The exhibition has been an important cultural resource for Indigenous and non-Indigenous museum visitors for almost 20 years.
The New Sun Gallery of Indigenous Art and Culture
This gallery invited visitors to discover the stories of Canada's first inhabitants. From the beauty of Inuit carvings to the intricacy of Plains quillwork and distinctive designs created by Northwest Coast Peoples, The New Sun Gallery featured artworks and objects from Glenbow's collection that illuminate the traditional cultures of Canada's First Nations, Inuit and Métis communities.
Mavericks: An Incorrigible History of Alberta
The 24,000 square-foot Mavericks gallery was the largest and most extensive exhibit unveiled since the museum opened in 1976. This exhibition fundamentally changed the Museum's approach to presenting Alberta's history. Inspired by the award-winning book of the same name by Calgary author Aritha van Herk, the exhibition told the story of Alberta through the lives of 48 mavericks, representing an impressively diverse group of people, including politicians, artists, ranchers, writers, immigrants, activists and entrepreneurs.
Collecting activities slowed in 2020-21, but there were some noteworthy gifts made to the Glenbow's Art and Indigenous Studies collections, including works by Evan Penny, Margaret Shelton, John Snow and Janet Mitchell, all notable Alberta artists who helped define the Modernist and contemporary art landscapes in Calgary and Alberta. All four are already collected by Glenbow and are recognized as artists to whom we have a duty to represent in our holdings.
A gift of Indigenous Studies material from Randall Stowell and Marlene Tanaka
This is a significant collection with good provenance dating to the 1950s. Items are in good condition and many are samples of "work in progress" and would make excellent educational examples. The collection also includes a wide variety of mediums including beading, tufting, embroidery and hide and quill work.
The late Ken Stowell (1921-1976) joined Indian Affairs in 1954 and was posted to serve at Siksika. He was made an Honourary Chief and given the name Chief Pe-ToTo-Kon, when he left to serve further North. He was given a headdress and buckskin jacket when he left. He was also given a book of hand and typewritten poetry and tales from a Blackfoot perspective which is particularly unique and valuable.
After Kenn left Siksika, he headed north with his family to Tulita (Fort Norman) where he stayed from 1957-1961. Tulita is in the Sahtu region and the Dene peoples who live there create beautiful embroidered, tufted and beaded artworks and clothing. People of Dene heritage live everywhere from Canada and the U.S. to Mexico, and even Siberia; they are the largest Indigenous group in North America with almost 750,000 people. The Tsuut'ina who live next to Calgary are a Dene people and in 2019 hosted a Dene Reunification Conference in Calgary. This movement seeks to encourage Dene people to gather together, reunify as a nation and learn their language and culture.
Some of the items being donated by Kenn Stowell's descendants are "works in progress", panels of spectacular embroidery and beadwork which will be of great value to the Dene people, including Tsuut'ina, who have been visiting Glenbow more frequently, particularly in the past several years. In recent trips to Tsuut'ina for ceremony, community members expressed dismay that they "are our neighbours, but not well represented at Glenbow." Adding these pieces to Glenbow's collection will be a move towards correcting this and also provide opportunities to connect with future visitors from Dene regions in Canada and beyond.
Dene Embroidered Mittens, ca. 1950s, Collection of Glenbow, Gift of Randall Stowell and Marlene Tanaka
Dene Embroidered Gloves and Pouch, ca. 1950s, Collection of Glenbow, Gift of Randall Stowell and Marlene Tanaka
Dene Embroidered Felt Piece, ca. 1950s, Collection of Glenbow, Gift of Randall Stowell and Marlene Tanaka
Dene Beaded Belt and Ornaments, ca. 1950s, Collection of Glenbow, Gift of Randall Stowell and Marlene Tanaka
Collections in Action
In 2020-21 Glenbow received a generous donation of an artwork from the corporate collection of CNOOC International. The gift is formally recorded as a purchase; Glenbow payed $1 to CNOOC to acquire Energy Steeple, 1990, by beloved Canadian artist Joe Fafard (1942 –2019).
This is a unique bronze sculpture from an artist whose work is often editioned. The sculpture is just over six feet or almost two metres high, and weighs 1,100 lbs, or almost half a tonne.
Energy Steeple joins ten other works by Joe Fafard already in Glenbow's collection. Those ten artworks include five works on paper, three sculptures, and two ceramic works.
Education Highlights
Historically, Glenbow's School Programs open the museum's doors to thousands of students each year, delivering educational and engaging content to school children, youth and adults, opening minds and encouraging new ways of looking at the world around us.
This 2020-2021 school year, the COVID-19 pandemic quickly induced the modification of a regular school year and Glenbow was challenged to adjust our school programming from in-person field trips to virtual sessions.
With the support of our partners Chevron, Calgary Arts Development and Calgary Foundation we were able to adapt quickly and deliver our museum education programs virtually to thousands of students, teachers and adults, continuing our outreach to generations of art and culture lovers.
Our Virtual Programs are linked to the Alberta curriculum, with new programming developed every year, to engage students with First Nations, Metis and Inuit perspectives, as well as conversations concerning active citizenship, social justice and change making. Our goal this year was the same as always: to give teachers ways enhance learning opportunities for their students across a breadth of program areas and help create critically thoughtful and empathic students.
Glenbow Educator Margery McBride Elliott delivering a virtual program
Glenbow is a proven leader in the delivery of Indigenous first-person education experiences which, interactively, bring Indigenous culture and history to life for learners of all ages.
This Living Culture perspective authenticates Glenbow's substantial and diverse collection while providing insights that demystify and encourage a newfound appreciation for Indigenous ways of knowing.
As news headlines pilot the Indigenous experience to the forefront of conversations in Canada and across the world, it is more imperative than ever that these rich, diverse histories are shared with the public. Our Indigenous programs and workshops are regularly reviewed and updated, to ensure we deliver current, relative and specific information; the annual demand for which increases exponentially.
The success of these programs stem not only from the content delivered, but from our education team that substantiates the first-person voice we ensure our programs come from. This delivery allows our patrons to recognize the value and importance of these teachings, and helps guide them towards their own role in reconciliation
Adrian Wolfleg, Blackfoot Elder and Glenbow Educator
As we adapted to educating students in the virtual space, it was imperative for Glenbow to ensure our programs were as interactive as possible. It was very important for us to develop programs, resources and supplementary materials that would build upon our notable 'hands-on' approach yet translate this through digital platforms. We continued to use the museum collections to the utmost; utilizing artifacts, archival photographs, stories, and program delivery by educators that are trained in Experiential, Inquiry and Object Based Learning techniques.
We are looking forward to continuing our digital outreach with our school program audiences both during Glenbow's building renovation and into the future in our new building, realizing virtual platforms will be critical in museum education from this point forward. We will continue creating and adapting programs that prioritize usability and ease of access to enriching, curriculum-connected online resources.
In the 534 days between closing the museum doors in response to the pandemic on March 13, 2020, and our final day of operations before shutting down the building for full renovations on August 29, 2021, Glenbow was open to the public for just 82 days. We were able to offer visitors free admission on 22 of those days, thanks to the support of Servus Credit Union. That adds up to almost 60 percent of the 22,152 tickets booked by visitors.
This past year re-emphasized the importance of our efforts to ensure equitable access to Glenbow's resources. As we move ahead with the Glenbow Reimagined campaign, every aspect of Glenbow's redevelopment is being approached with the goal of removing barriers, whether financial, physical, cultural or geographic.
Glenbow's community of supporters and donors are a group of people who believe in the importance of art and culture and the role that Glenbow plays in building a vibrant, thriving and resilient community. We gratefully acknowledge the significant contributions made by our donors, sponsors and supporters from April 1, 2020 – March 31, 2021.
Download the Donors & Supporters List
The Glenbow Team
Download the Glenbow Staff List
Download the Glenbow Board of Governors List
Glenbow is located on Treaty 7 territory and respects the history, languages, traditions and cultures of the nations on whose traditional land we reside: the Niitsitapi from the Blackfoot Confederacy, which includes Siksika, Piikani and Kainaiwa; the Îyârhe Nakoda of the Chiniki, Bearspaw, and Wesley Nations; and the Dene of the Tsuut'ina Nation; as well as the Métis Nation Region III. Their contributions to the museum and continued support are integral to our success in educating our visitors and sharing the rich heritage of this land. We further acknowledge the vital connections we have to other indigenous people (including other First Nations, Inuit and Métis), whose visual and intangible culture is represented in our collections and exhibitions.
Calgary, AB T2G 0P3
Glenbow's main building is closed for renovations.
Our temporary location: Glenbow at The Edison is scheduled to open in March 2022.
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Our Scholarship Community
2018 marked the 11th anniversary of the All Ireland Scholarships.
To date, 1,371 scholarships have been awarded, with 656 All Ireland Scholars graduating from third level education. In recognition of their academic achievements, the All Ireland Scholarship Alumni has been created.
Throughout 2016, extensive research was carried out through various surveys and questionnaires put to previous All Ireland Scholarship Winners, stretching back as far as 2008. The feedback received was overwhelmingly positive. It is amazing to see that 33% of the respondents are in contact with fellow scholarship winners, and 83% of these maintain personal contact. The Alumni looks to further the prestige of the scholarship and allows the trust to follow from afar, the bright and prosperous careers of the All Ireland Scholarship Winners. The Alumni forms a national network of All Ireland scholarship Alumni, connected through an online community, various social and business networking sites, regional events and gatherings, including support and services. The Alumni exists to facilitate personal, professional and intellectual opportunities; foster meaningful interactions; and increase the connectedness of the All Ireland Scholarships Alumni.
An All Ireland Scholar will automatically become an Alumnus after completing their undergraduate studies and the Association will be maintained with support from the All Ireland Scholarship Programme.
We look forward to engaging with our scholarship community in what promises to be an active and rewarding endeavor.
Each year WIP brings together a team of talented young people, who commit to a 6-month program of service and leadership development.
You Are Here: All Ireland Scholarships > Alumni


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Times of Transition: Judea in the Early Hellenistic Period edited by Christophe Nihan, Oded Lipschits, Sylvie Honigman
by jewishbooks · May 20, 2021
Buy this book at Amazon
Mosaics: Studies on Ancient Israel
This multidisciplinary study takes a fresh look at Judean history and biblical literature in the late fourth and third centuries BCE. In a major reappraisal of this era, the contributions to this volume depict it as one in which critical changes took place.
Until recently, the period from Alexander's conquest in 332 BCE to the early years of Seleucid domination following Antiochus III's conquest in 198 BCE was reputed to be poorly documented in material evidence and textual production, buttressing the view that the era from late Persian to Hasmonean times was one of seamless continuity. Biblical scholars believed that no literary activity belonged to the Hellenistic age, and archaeologists were unable to refine their understanding because of a lack of secure chronological markers. However, recent studies are revealing this period as one of major social changes and intense literary activity. Historians have shed new light on the nature of the Hellenistic empires and the relationship between the central power and local entities in ancient imperial settings, and the redating of several biblical texts to the third century BCE challenges the traditional periodization of Judean history.
Bringing together Hellenistic history, the archaeology of Judea, and biblical studies, this volume appraises the early Hellenistic period anew as a time of great transition and change and situates Judea within its broader regional and transregional imperial contexts.
Tags: Christophe NihanOded LipschitsSylvie Honigman
Most popular books in May 2021 on JewishBookWorld.org
by jewishbooks · Published July 7, 2021
Divine Violence in the Book of Samuel by Rachelle Gilmour


If there's any constant in today's technology landscape, it's change. And when it comes to security, there's no rest for the weary. Advancing technology, savvier-than-ever users and the onslaught of attacks are making today's IT teams scramble to keep up. Now more than ever, it's critical to make sure the basics are covered so that you have the ability to respond and keep your business safe.
I recently sat down with OneNeck's CISO, Katie McCullough, to discuss some of the key fundamentals organizations must keep in mind when developing a security strategy.
Keep your software up to date. This may seem like a given, but many organizations struggle to make patching a priority when they're busy just trying to grow the bottom line. But much like the Equifax breach, many attacks are avoidable with routine and timely patching.
Educate and train your employees. The bad guys aren't getting any dumber, and they know that phishing is still a great way to get inside your organization. No matter how many tools you have, if your employees aren't trained to recognize phishing schemes, then no tool can keep you safe.
Compliance measures aren't just an operational burden. It's critical to document your processes, train your teams on those processes and monitor their adherence to build the solid foundation to keep your organization safe.
Develop and incident response plan. In the event that you do experience a breach, an incident response plan will help you know exactly what steps to follow so that you can respond quickly and mitigate the attack before it does even more damage.


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Young M.A "Praktice"
Young M.A. pays homage to rap legend Jewelz in her latest video, referencing the iconic moment that launched a thousand memes. Jewelz, of course, might be better recognized as NBA Hall Of Famer Allen Iverson, whose infamous "practice" rant is still a cultural touchstone for anyone who grew up with an internet connection. In her "Praktice" video, M.A. recreates Iverson's rambunctious rant with a boisterous twist of her own.
The Rik Cordero-directed video starts off with a reproduction of a post-game media scrum, with dozens of reporters clamoring to ask M.A. their questions. Of course, why asks the million-dollar question, sparking the by-now familiar "We talking about practice?" from M.A. before her bodyguard interjects with an even-more outrageous reaction. The two flip the table and exit the scene, then M.A. takes to the court to perform for her adoring fans. Basketball gyms appear to be the new project steps when it comes to prime music video locales and M.A. utilizes the setting to full advantage, spitting her grimy lyrics at center court while surrounded by supporters.
M.A. has been building a buzz and bubbling under the radar since the release of her first EP Herstory last spring, returning to the freestyles that first built her following. Most recently, she snapped over Gucci Mane's "I Get The Bag," excoriating new rappers who violate her personal code of ethics, while displaying an even tighter flow than the one that made "OOOUUU" the song of the summer in 2016.
"Praktice" Young M.A
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