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Artist Snapshot: Christopher Gallego
by Stephanie Cassidy | November 5, 2019
Christopher Gallego, Woodstock, NY, 2016
This isn't meant to be funny, but the decision came at age 9, 14, and 21. Because I was in and out of art throughout my youth and flipped on it a dozen times.
Artists seemed too quaint for me; I associated them with grannies, smocks, and berets. And like a lot of young guys I was committed to being cooler than all that, so I dragged my feet. For the sake of simplicity, I now say 18 and am done with it.
I should give a little background first.
My teens were spent dabbling in art and banging on an old Fender Telecaster guitar. Senior year of high school I mostly partied with friends, barely opening a book or attending class. I honestly don't know how I graduated, let alone got into college.
Freshman year of college I rebelled against my father, a devoted painter, and told my folks that I wanted to straighten up and go to law school. They were devastated by this news, showing you how unusual my upbringing was.
But they must have thought that I had something, artistically, otherwise, they wouldn't have been so disappointed. And I liked pre-law classes, but just wasn't all that hungry for a law career. I'm sure my folks sensed that as well.
That was a moment of rare wisdom for a not-so-wise kid—the realization that if you don't love your work, someone who loves theirs will outperform you every time. "Competition drives so much of human endeavor," I wrote forty years later. "Without it, we'd all be living in mud huts and pumping water out of the ground."
And so came the decision to devote my life to painting.
I loved it enough to endure the marathon hours, financial struggles, and uncertainties that can plague an artist all the way into adulthood. Otherwise, I wouldn't have lasted a year.
In the late 1980s I settled, somewhat illegally, into a 300-square-foot commercial-only space in Long Island City, Queens, New York. This was before the area was gentrified.
In winter the building was heated only during the day, in summer it was oppressively hot. I jogged at night through empty streets where prostitutes chased me. I once caught a local thief stealing the wheels off my car, and when cops arrived, he helped me put them back on. We even had a conversation.
I slept on a mattress on the studio floor, just a few feet from my easel. The space had high ceilings and big windows facing north—I was in heaven.
Short story long…
My parents worried sick over my safety, my health, and my future, but they were relieved and delighted that I took this path.
My mother passed a year ago, and my father's health is failing. I'm forever grateful to them both for giving the kind of push that few parents would ever give.
The big three for me are William Nicholson[2], Vilhelm Hammershøi[3], and Giorgio Morandi[4].
Other names that come up are Antonio López[5] and Andrew Wyeth[6], but I'm seldom the one to bring them up. Similarities to the last two are more superficial than internal. And I rarely look at art nowadays.
That's because, and I know this is controversial, I feel that looking too much art, even great art, creates a kind of ceiling that's hard to rise above. "I can never be as good as so-and-so", is an attitude that can really dog an artist.
I'm not saying we can all become masters by ignoring the masters. But obsessing over them, the way I did when starting out, actually slowed my progress.
Helen Frankenthaler[7]. I'm one of those oddball realists who loves great abstraction.
I don't have much of an art library and can get along fine without art books. I can't go a day without the Internet and wish the opposite were true.
Such a great question. It's the same quality I admire most in people: authenticity.
OK, so what does authenticity look like in a work of art? It doesn't look like anything, but it feels to me like the artist embraced their subject with their entire being.
Too many artists, and way too many people, are bent on impressing more than connecting with others. Impressing is walling yourself off, connecting is letting your guard down, which takes more confidence and guts than the self-effacing get credit for.
I'm especially bored with intellectual showmanship; it's one reason I love artists like Morandi. Nothing flashy or didactic going on there, just pure, honest, heartfelt painting.
No, not anymore. I used to, but it's been ages.
My most memorable museum experience was Musée National Picasso, Paris[8]. I was there decades ago, but the memory is vivid. Such a warm, playful, joyful kind of place. Different from the staid museum installations we're all used to.
"Best" complicates things a bit, so here are a few:
I was blown away by the turnout for the Frida Kahlo show in Philadelphia, 2008[9]. I'd never seen a more packed house or felt more energy in one room.
Velázquez in New York, 1989[10], was life-changing. Also a full house, but unlike the Kahlo show, there wasn't a sound to be heard in the presence of those masterpieces.
Pollock at the Museum of Modern Art[11] was unforgettable. I strolled through it, virtually alone, on a freezing cold New Year's Eve when most of New York was out drinking or staying warm at home.
A writer, for sure. Which isn't a fair answer because I already blog about twenty hours a week. If I didn't teach or paint, I'd write sixty hours a week.
Writing doesn't feel like work at all, and when I'm immersed in it, the hours just fly. I often write on a laptop in my parked car while the street cleaners do their thing, with no feelings of impatience or distraction.
How to break into the art world and build a career. I got some coaching on that a few years out of school, and it was priceless.
That would be the MoMA[12]. I live just a few blocks away, so it's fun to just pop in for a few minutes
Velázquez' Juan De Pareja[13]. Hardly an original choice, as it's such a beloved piece among painters. So elegant, so effortless in the execution. Pure magic.
Movies, crime thrillers mostly, and dabbling in graphic design, which was my first "real" job.
Sometimes, but I prefer the sound of people talking. YouTube video lectures are wonderful for that. They take the loneliness out of the studio and give just the right amount of distraction, keeping me from obsessing or getting too intense.
I honestly don't remember.
Excluding the contemporaries—so many great living talents that only artists know of—I've never understood why Bastian-Lepage[14] isn't a household name.
It's true he died young, and that could be part of it. But he produced more work than Vermeer, and, in my not-so-humble opinion, was equally talented (I'm going to regret saying that, but it's just an opinion, so don't everyone pounce). The surfaces of Lepage's canvases are lush, textured, and understated all at once.
The painting knife is an absolute must. I have this maddening habit of misplacing it, and then panic if I have to search for it for too long.
My work life is divided into thirds: twenty hours painting, twenty hours teaching, twenty hours writing–nights & weekends. I try to paint every day, but will double-up if I skip a day.
I once spent a year and a half renovating my house.
The only brush I picked up during that time was for house painting. I spent more time in the Home Depot than the people who worked there, and looked so comfortable in the aisles that customers began asking me where stuff was. I was very happy to help them.
Friends warned me that home ownership was a lot of work, but I never dreamed it would be a daily marathon. Still, it was an enjoyable phase.
The best remedy is to just start working. Inspiration kicks in later.
I don't paint from the intellect, so questions aren't a driving force.
Typically, something in my environment grabs my attention. Not once, but again and again, for weeks, until it actually becomes a nuisance. Eventually, I'll give in and paint the thing just to get it off my mind.
Humility. The ego can really sabotage an artist. The more identified you are with your art the more reluctant you'll be to take chances or risk looking bad. Caution is the death of all creativity.
I've never given a demo, and never will. I'm too conscious of the audience and feel pressured to perform or entertain.
All observation, which is the basis of the work, then comes to a halt, and I end up with something dreadful. This hasn't hurt my teaching much, but I usually have some explaining to do when asked to give a demonstration.
That said, I envy painters who give great demos. It looks like such fun, and folks really do love watching them.
In 2001, a group of young painters, sculptors, and I were over the moon when 450 people attended the opening of our New York show.
In 2017, thanks to a slew of social media shares, one of my blog posts went viral and reached 23,000 readers in a week.
Many readers stayed on the site and clicked onto the art. The notifications from my mobile device sounded, non-stop, like one continuous drone. I should have turned it off but didn't. It was just too exciting. Those numbers are nothing compared to the traffic that big-name artists are getting.
You can argue that a website isn't an exhibition and that digital images aren't paintings, and you'd be right. Still, the potential for twenty-first-century artists to touch so many people, so fast, and from so many parts of the world, is miraculous.
Christopher Gallego[15] teaches "Observational Drawing, Painting, and Composition[16]" at the Art Students League of New York.
[Image]: https://asllinea.org/wp-content/uploads/2019/10/Christopher-Gallego-Profile-pic-LINEA-1.jpg
William Nicholson: https://artuk.org/discover/artists/nicholson-william-18721949
Vilhelm Hammershøi: http://www.artnet.com/artists/vilhelm-hammersh%C3%B8i/
Giorgio Morandi: https://www.metmuseum.org/exhibitions/listings/2008/giorgio-morandi/photo-gallery
Antonio López: https://www.marlboroughgallery.com/artists/antonio-lopezgarcia
Andrew Wyeth: https://andrewwyeth.com
Helen Frankenthaler: http://www.frankenthalerfoundation.org/artworks/paintings
Musée National Picasso, Paris: http://www.museepicassoparis.fr/
Frida Kahlo show in Philadelphia, 2008: https://www.philamuseum.org/exhibitions/278.html
Velázquez in New York, 1989: https://books.google.com/books?id=E-mx1VLZYnEC&printsec=frontcover#v=onepage&q&f=false
Pollock at the Museum of Modern Art: https://www.moma.org/calendar/exhibitions/1553?
MoMA: https://www.moma.org/
Juan De Pareja: https://www.metmuseum.org/art/collection/search/437869
Bastian-Lepage: http://www.artnet.com/artists/jules-bastien-lepage/
Christopher Gallego: https://www.chrisgallego.com/
Observational Drawing, Painting, and Composition: https://www.theartstudentsleague.org/class/advanced-drawing-painting-composition/


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Q: Extracting class within class in beautifulsoup I am trying to extract customer service star rating from the three reviews in the html:

Currently, my code looks something like this:
oururl= urllib.request.urlopen(x).read()
soup=BeautifulSoup(oururl,'lxml')
for rating in soup.find_all("div",{"class":"rating-customer-service"}):
    list_rating.append(rating.find_all("div",{"class":"star-rating"}))

But I do not get the star ratings in the list_rating. Can anyone suggest alternate approaches?

A: Try this.
oururl= urllib.request.urlopen(x).read()
soup=BeautifulSoup(oururl,'lxml')
for rating in soup.find_all("div",{"class":"star-rating"}):
    list_rating.append(rating.span.text)

redpajama_set_name: RedPajamaStackExchange


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text:
Le diocèse de Funchal (en latin : ) est une circonscription de l'Église catholique du Portugal, suffragant du patriarcat de Lisbonne. Son siège est la cathédrale Notre-Dame-de-l'Assomption de Funchal.

Histoire
Il est érigé le 12 juin 1514 par démembrement du diocèse du Maroc ( dioecesis Maroquensis) par le pape Léon X.

L'évêque de Funchal avait juridiction sur toute la zone occupée par les Portugais dans l'Atlantique et l'océan Indien. Ainsi, le diocèse comprenait tous les territoires découverts ou à découvrir par les Portugais. Sa juridiction s'étendait sur tout territoire de l'Afrique occidentale et orientale, le Brésil et l'Asie. Pour cette raison, son premier évêque, D. Diogo Pinheiro, a utilisé le titre de primat.
Le 31 janvier 1533, le diocèse est élevé au rang archiépiscopal. Pendant vingt-deux ans, il est géographiquement, la plus grande province ecclésiastique métropolitaine du monde, ayant pour diocèses suffragants : les Açores (diocèse d'Angra), le Cap-Vert (diocèse de Santiago du Cap-Vert), le Brésil (diocèse de São Salvador da Bahia), l'Afrique (diocèse de Tomé) et Goa. Le premier (et unique) archevêque était D. Martinho du Portugal, également titulaire du titre de primat.

En 1763, il est démembré pour la création de la préfecture apostolique du Sénégal.

Le 22 janvier 1842, il est démembré pour la création de la préfecture apostolique des deux Guinées et Sénégambie.

Les évêques de Funchal

 Diogo Pinheiro (1514-1526)
 Martinho de Portugal (1533-1547)
 Gaspar de Casal (1551-1556)

 António III José Cavaco Carrilho (2007-2019)
 Nuno Brás da Silva Martins (depuis 2019)

Références

Voir aussi

Articles connexes
 Église catholique au Portugal

Liens externes

Funchal
Funchal

redpajama_set_name: RedPajamaWikipedia


text:
Q: Core Plot: how to remove CPTGraph padding? I can't get rid of the gaps between CPTGraph border and CPTPlotAreaFrame inside.
The dark gray color on this example is CPTGraph and the light gray is CPTPlotAreaFrame. Both of them have frame size of { 150, 150 }.

What is the property that controls CPTGraph padding? CPTPlotAreaFrame's paddingBottom and others control internal padding of CPTPlotAreaFrame.
Here's the code.
CPTGraphHostingView *hostingView = [[CPTGraphHostingView alloc] initWithFrame:self.view.bounds];
[self.view addSubview:hostingView];

CPTXYGraph *graph = [[CPTXYGraph alloc] initWithFrame:NSRectToCGRect(hostingView.bounds)];
graph.fill = [CPTFill fillWithColor:[CPTColor grayColor]];
graph.axisSet = nil;
hostingView.hostedGraph = graph;

// both of these are { 150.0, 150.0 }
NSLog(@"%f %f", graph.frame.size.width, graph.frame.size.height);
NSLog(@"%f %f", graph.plotAreaFrame.frame.size.width, graph.plotAreaFrame.frame.size.height);

graph.plotAreaFrame.fill = [CPTFill fillWithColor:[CPTColor lightGrayColor]];
graph.plotAreaFrame.masksToBorder = NO;
graph.plotAreaFrame.borderLineStyle = nil;

CPTPieChart *piePlot = [[CPTPieChart alloc] init];
piePlot.dataSource = self.viewModel;
piePlot.pieRadius = MIN( CPTFloat(0.7) * (hostingView.frame.size.height - CPTFloat(2.0) * graph.paddingLeft) / CPTFloat(2.0),
                         CPTFloat(0.7) * (hostingView.frame.size.width - CPTFloat(2.0) * graph.paddingTop) / CPTFloat(2.0) );
piePlot.identifier = self.title;
piePlot.startAngle = CPTFloat(M_PI_4);
piePlot.sliceDirection = CPTPieDirectionCounterClockwise;

piePlot.labelRotationRelativeToRadius = YES;
piePlot.labelRotation = CPTFloat(-M_PI_2);
piePlot.labelOffset = -50.0;

piePlot.delegate = self;
[graph addPlot:piePlot];

A: Set the padding on the graph itself. A CPTGraph starts with 20 pixels of padding on each side.
graph.paddingLeft = 0.0;
graph.paddingTop = 0.0;
graph.paddingRight = 0.0;
graph.paddingBottom = 0.0;


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Hollywood's Rom-Com Age Disparity Through the Decades: A Scorecard
10:00 AM PST 12/14/2019 by Pamela McClintock , Molly Wright
'Six Days, Seven Nights'
The Hollywood Reporter breaks down the lead actors and actresses in a selection of romantic comedies since 1980 and finds 78 out of 100 feature older men (looking at you, Harrison Ford) with the largest differences from 1995-2003.
In 2018, Crazy Rich Asians became one of the top 10-grossing romantic comedies of all time at the North American box office, as well as one of the most successful in a decade with $174.2 million in domestic ticket sales. The pic stars Constance Wu who, in real life, is five years older than her fellow lead, Henry Golding.
Crazy Rich Asians is a rarity. The vast majority of the titles gracing the list of the 100 top-grossing rom-coms (not adjusted for inflation) feature an actor who is older than his female lead. Notable exceptions include 1987's Moonstruck (Cher is 18 years older than Nicolas Cage), 2009's The Proposal (Sandra Bullock is 12 years older than Ryan Reynolds) and this year's What Men Want (Taraji P. Henson is 16 years older than Aldis Hodge).
The biggest age gap between actor and actress — 27 years — belongs to 1998's Six Days, Seven Nights, starring Harrison Ford and Anne Heche. And there was a 23-year age gap between Ford and Julia Ormond, the stars of 1995's Sabrina. Harrison was also 15 years older than his Working Girl (1988) co-star, Melanie Griffith.
Richard Gere and Julia Roberts — he is 18 years older than her — were a favorite pairing, beginning with Pretty Women in 1990 and followed by Runaway Bride ion 1999.
Click the chart below to see a larger version of The Hollywood Reporter's survey of Box Office Mojo's list of the 100 highest-grossing rom-coms and the biggest age gap in each given year.
A version of this story first appeared in the 2019 Women in Entertainment Power 100 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Pamela McClintock
THRnews@thr.com PamelaDayM
Molly Wright

redpajama_set_name: RedPajamaCommonCrawl


Justin Krzyston is more than a contractor. His distinct eye for design that considers the fully adorned room as much as it does the quality of the construction has earned him a unique place in the design community and has stacked his Rolodex with names like Natalie Portman and David Hasselhoff.
We got to peek a renovation Krzyston completed with his team at Stonehurst Construction and Design. It's a beautiful little Spanish Revival cottage in West Hollywood complete with gated privacy and modern mid-century style.
Our favorite parts of this home? The clean lines that carry from the architecture—that sleek fireplace addition, the arched doorways—to the mid-century-inspired furniture. The home, both inside and out, feels classic, orderly, thoughtful.
Here's what Krzyston had to say about the redesign.
What was the house like prior to the remodel?
The home was well maintained but needed a major update. The homeowners completed a bathroom remodel a few years prior, but the living spaces and specifically the kitchen were in major need of an update.
Favorite part of the home?
I love the living room—we added a fireplace in this room. I also really like the tiles we used in the kitchen from Filmore Clark in West Hollywood.
Any fantastic details that a layman might not notice?
The fireplace was part of our addition! I built a custom mantel and designed an arch detail and then plastered over the entire face so it looked as it had always been a part of the room.


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Will White People Soon Turn On Donald Trump?
Minister Louis Farrakhan Warns Black America About Trump! Is He Spot On?
Did FOX News Release Fake News In Support of Donald Trump's Muslim Ban?
How Come Other Immigrants Are Being Banned But Slaves Weren't?


Below you will find answers to the most common questions we receive regarding the Nollning. If you have a question that is not answered below please visit the Contact tab where you will find contact information to ÖS, your program and Halmstad Student Union.
As a new student, you have zero credit and will therefore be called "Nolla" or Zero during the ten days. Nollning is an excellent opportunity to get to know the new location if you just moved here, get to know the Campus and the University, but above all it is a chance to meet new friends before your study period starts. Learn more about the Nollning here.
The goal of introduction is to welcome new students to safety through knowledge, fellowship, challenge and a good atmosphere.
What do you during the Nollning?
During the Nollning we play games, go walking tours both on campus and in the city, partying together and try to create a feeling of security and community among the new students. We believe this is importat to be able to get a wonderful studying period. You participate in the Nollning by your own ability and desire, nothing isforced.
Must I register in advance?
X-change student must register, do it by email responsible for your Nollning. You must also have paid the membership fee for Halmstad Student Union. Also make sure to keep an eye on the charge your group take the first day of the Nollning, check your letter of introduction which can be found at the X-change website.
As a new student at Halmstad University you are welcome to attend the Nollning, but first you have to become a member of the Halmstad Student Union. This is because itis the Student Union who arranges the Nollning. See the tab Student Union to read more about what you get out of your membership in the Student Union and what you have the chance to engage in during your studying period.
To participate you must pay a membership fee to, and join, the Halmstad Student Union before the Nollning begins, either for one semester 290 SEK or a full-year 500 SEK, click here to make your payment. Next to this, there is a fee that those who are responsible for your program during the Nollning charges, which varies (see your introduction letter/mail to see this fee). Do you want to participate in the Banquet at the end of the Nollning it costs 380 SEK (payment is made during the Nollning).
What do I do if I do not have accommodation?
The student union have a housing pot where you can get a accommodation, check it out at www.karen.hh.se. Every year there is a number of new students who do not have a accommodation during introduction. If that is the case you can usually stay at a fellow student druing The Zeroing.
Do you have to be there from the first day or can you "jump in" a little later?
You do not need to be present throughout the whole Nollning if you are unable to attend. If you would show up another day than the first, please contact the group responsible for your Nollning to announce the day and time you are supposed to show up!


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C.A. Quintet - Trip Thru Hell (1960)
Ripped By: ChrisGoes(Rock)
Below is a Q & A with C A QUINTET mastermind Ken Erwin,
who got in touch with me after he and his brother Jim had spotted my review of
"Trip Thru Hell" on the Net.
I consider Ken Erwin one of the most extraordinary musical talents to emerge during
the 1960s and was delighted at the opportunity to shoot some questions his way,
including a couple of really detailed ones.
This is not a comprehensive interview on the band's history,
which can be found in Lost & Found magazine #3 and/or the liner notes to the Sundazed
"Trip Thru Hell" reissue.
There are also more Erwin dialogues about to be published elsewhere shortly.
Take it away, Ken!
Q. Did CA Quintet play much outside the Twin Cities area?
Ken Erwin: Minnesota, Wisconsin, Iowa, Nebraska, North Dakota,
South Dakota was the main "touring" area...
we were suppose to play a job in Michigan one time...
but the bus broke down in Wisconsin and we never made it....
Q. Did the band ever appear on local TV?
Ken: Never on TV that I am aware of… we opened for some "national acts"… Like The
James Gang, Freddie Cannon, Kenny Rogers and the 5th Edition
Q. Were any of your releases reviewed or advertised in national magazines
such as Billboard?
Ken: I don't think so.
Q. Was there ever talk or plans of going with a major label?
Ken: There was some talk of going with some label in New York… Richard Gottehrer) ….
He got involved with Peter Steinberg in the late 60s …. But they were so crooked …
I have no idea what if anything was going on with them.
Q. There is a significant leap in creativity from the early CA Quintet 45s to the LP,
which sounds like nothing done before within pop & rock music.
Was there any particular event or source of inspiration that set you on the path that
led to the album?
Ken: Hummm.. I think the creativity was there all along… I think early on we were
just trying to get "known" to a point where we could get work… also,
the "glamour" and groupies got old pretty quick and we found ourselves searching for
something more than playing cover music… also in the late 60s any band worth
anything wrote their own music and created their own style.
Q. The music and moods on "Trip thru hell" is quite unlike anything made in rock music
up until that point, and often seems closer to modernist classical like Stravinsky or
Bela Bartok. Is this music that had influenced you?
Ken:… ya ( good question )… always in the back of my mind I had a feel for
classical music.. I got bored with the instruments (orchestration)
they used in the classic recordings… but I liked the way the masters had a feel
to take their listeners along in a manner that kept their interest and
had a good feel as to when it was time to "change things" in their music….
As a side note: Our father told us when he heard that album…
joked that it would never sell… as he liked it… he loves classical music.
Q. The cover design of "Trip thru hell" matches the music perfectly.
How did this come about; what was the creative process that led to the front cover artwork?
Ken: Rod Eaton… a local drummer who did something at Dove studios (not sure what )…
he did the whole thing… we had no input that I remember.
Q. The great use of trumpet on the album is far removed from how brass instruments
are normally used within pop and rock music.
Were there any rock bands around that you thought used horns in a similar way as you?
Ken: Well… using a trumpet was not in vogue at that time… I doubt if you would have found
a trumpet on stage with Jimi Hendrix… there were some R&B bands that did the
standard trumpet, sax, trombone… thing ( which I really like )…
but I guess we never really thought about it at the time…
we just used it to add a different element to our sound….
It probably was a handicap at the time… producers and probably many people in the
industry were followers of the trends… and the trumpet was not "cool".
Q. Do you remember approximately what month (in 1969) the LP was released?
Ken: I think it was summer …. I remember lying on the floor of this rat hole of a
place I lived and listening to the album the first time I smoked pot.
Q. What is "I shot the king" about -- is it inspired by the Kennedy assassination?
Ken: No…. it was just some vision I had of some daring fool risking and perhaps
losing everything … in perhaps the 14th century France ….
To get rid of some oppressive King… sacrificing himself for the greater good.
Q. There is an ominous low frequency rumbling that appears about halfway through
"Trip thru hell pt 1". Was this just studio ambience, or a deliberate effect?
Ken: Before I go on... I must say I am just amazed at Jim's bass guitar lines...
he really was the "heartbeat of the music and the band" ...
his playing really is a signature item in my opinion of most of the songs....
His creative bass lines made the songs distinct.... He held us steady...
usually from what I know (which is not a lot)
the drummer sets the grove and the rest follow...
but with three different drummers on the album...
Jim was excellent at adjusting to them all and anchoring the group ....
I guess I just took him for granted at the time as I heard him everyday....
but it is really true... he was the steady rock of the music ...
the foundation to the sound... and the rest of us all just climbed on board.
Well I gave up on the head-phones... the wife is gone, so I put it on the big speakers...
broke out some Heineken .. and cranked it up .... It has been a long time,
but to the best of my recollection... what you may be hearing is the "bleed through"
from other tracks coming in during the drum solo....if you notice after the drum solo
it goes back into the theme.... at the time we could have turned off the "rumble" ...
but I would imagine we heard it and thought it gave a nice effect so we left it in.
Note: ... maybe I might be the dumbest guy around ...
after listening to this thing again after so many years have gone by ...
I noticed something that most others have probably already figured that out..
isn't it kind of interesting that the music on "trip thru hell" album has no
"sappy love songs" or any other "boy girl relationship" type songs on it ...
the songs are about other subjects ...but that would make sense looking back on
it from the standpoint of what we were trying to create.
This at a time when 90% of the songs were about "true love", "broken hearts",
"sugar sugar" and "baby baby baby " .... I have to laugh as I am sure 30 years later,
the song writers of that age would prefer to hear a song about something else ....
maybe if we had put some "silly love songs" on there... we would have gone further....
I personally am very glad we didn't.
Q. Any particular reason for "Colorado Mourning" being about Colorado?
Ken: I hitchhiked through there as a young hippie and fell in love with the scenery.
Q. What are the lyrics for "Trip thru hell pt 2", i e: the last 4 lines on the LP?
They're hard to decipher on the record.
Ken: The angels came and played
But all the glory there
Was washed by tears
Q. What was the reasoning behind the "cocktail jazz" segment during "Trip thru hell pt 2", just before the apocalyptic finale? Does it signify anything in particular?
Ken: A "hiccup in reality" an "interruption" in agreement and expectations …. like an acid trip. It is like when reality tends to get tangled up a bit and things don't fit the pattern anymore.
Q. Where is "Sleepy Hollow Lane" -- is it a completely invented place?
Ken… It is totally in your imagination…. As far as I know.
Q. The vocals on the LP are rather different from the more conventional style on
"Mickey's Monkey" and "Blow to my soul". On the LP the vocals often have an introspective,
almost listless quality that enhances the eerie mood. Was this new vocal style a
deliberate move to match the musical style of the album,
or more of a natural progression?
Ken: From my standpoint … what we did with the vocals were intended to blend them
into the "landscape" of the music…. To have them be more than an instrument…
but not too much more… to be a special instrument that delivers lyrics and
some emotion/attitudes … they were meant to be different than the focal point,
the way most music is.
Q. Did you mix or filter the vocals on the LP in any unusual way to achieve their
"otherworldly" quality?
Ken: Many hours were spent mixing… we would make acetates of mixes… bring them home…
listen to them over and over… then go back and remix…
until we got it the way we wanted it… we could have "brought them out" more… but
again… we wanted them to blend.
Q. Do you remember how many copies of the album that were pressed?
Ken: Well as you may know we were just totally screwed by Peter Steinberg and his
"record company"… later on I found a check made out to us that he cashed…
I think I recall about 700 pressed… I have heard rumors of more (and less) ….
even though they sold out pretty rapidly when it was released…
the record company never pressed anymore… even though the demand was there at the time…
My brother Jim likes to recall a time when he and Tom Pohling sailed a bunch of them
against a brick wall.
Q. Did you perform the "Trip thru hell" material live? If so,
was it difficult to recreate?
Ken: Some of the songs we did live … Colorado Mourning, Smooth as Silk,
Underground music, Cold Spider…. But the "teeny boppers" wanted to hear Proud Mary….
and that is totally understandable.
Q. Could you say something about the band's development after the album was released?
There is a "live" album recorded in 1971...?
Ken: Well we slowly drifted into drugs and lost direction as to where (or even if)
we wanted to go anywhere… We never were matched to an audience that wanted what we did…
and we got to a point where we didn't care if people liked what we did anymore…
it got to be a job… the "live" album was nothing but an after thought…
like taking a photo to record an event… we had a tape recorder and just laid mics
on the floor…. As a result the live tape it is impossible to mix… ( we tried)
there were only 4 of us left… it was a snapshot of the end.
Q. The Minnesota 1960s scene produced an extraordinary number of unusual,
highly creative records by bands such as C A Quintet, Bedlam Four ("Hydrogen atom"),
T C Atlantic ("Faces"), Calico Wall ("Flight reaction"), the Litter, the Electras etc,
that is remarkable even on a national scale.
Was this something you were aware of back then? Do you see any particular reason for it?
Ken: I was highly aware of the scene…. For some reason Peter Steinberg
involved me at one point with the "management" of Candy Floss records….
As a result I still have a few acetates/tapes around from some of those groups…..
I always felt that Warren Kendrick ( spell ? ) was a real talented producer
( the Electra's)…. a lot of the music from the time came out of Dove recording studios….
It was a hot spot.
1. Trip Thru Hell (Part 1)
2. Colorado Mourning
3. Cold Spider
4. Underground Music
5. Sleepy Hollow Lane
6. Smooth As Silk
8. Dr Of Philosophy
9. Blow To My Soul
10. Aint No Doubt About It
11. Mickeys Monkey
12. I Put A Spell On You
13. I Shot The King
14. Fortune Tellers Lie
15. Sadie Lavone
16. Bury Me In A Marijuana Field
17. Colorado Mourning (Alternate Version)
18. Underground Music (Alternate Version)
19. Smooth As Silk (Alternate Version)
At 2:03 AM, Rochacrimson said...
Great album!
I here am casual, but was specially registered at a forum to participate in discussion of this question.
Brain Police - San Diegos only Psychedelic Cops (1...
Blackwater Park - Dirt Box (1971)
Under Milkwood - Selftitled (1970)
The Firebirds - Light My Fire (1969)
Stoned Circus - Revisited (1970)
Raw Material - Selftitled (1970)
Spriguns - Revel Weird And Wild (1976)
McDonald & Sherby - Catharsis (1969)
Flood - The Rise of (1970)
Beefeaters – Beefeaters & Meet You There (1967-69)


By LOST GAMES ENTERTAINMENT LTD.
The Orcfather is a cardgame for 4-10 players in which they assume fantasy characters' roles in a mafia background.
UPDATE 4 -The Dark Knight is here!
The Orcfather is an easy cooperative cardgame for 4 to 10 players.
Players create two families to battle between them. Each familly will secretly choose a 'godfather' at the beginning of the game and the other team will try to eliminate him.
Your goal will be to protect your 'godfather' and defeat the leader of the opposite team.
What will the game include?
Here you are a small graphic to see what is included on each box. Please note this is not definitive; depending on the funds we get we will add new cards and improve the quality of the components. Have a look at the 'stretch goals'.
This one is the basic version of the game. You can have your print&play for just £1.
All unblocked stretch goals will be added to the physical final version of 'The Orcfather' and to the print&play.
Players form two teams and draw a random character card. Each character has special skills (check here). Players should take these abilities into account when they are choosing their 'godfather'.
You can't talk about this with your team! Each player should secretly choose the actions.
Players will use their intuition to take the most effective action, trying to guess what actions their enemies and allies will take.
Once players have decided the actions to take, the turn will be played on a fixed order.
First of all the defense actions: Players will place a defense token on the players they have decided to defend or on himself if it's the case.
Secondly the attack actions: Players will place an attack token on their targets.Each attack token will annul one defense token. If the target players is running out of defense tokens each attack token will annul one life token.As you can imagine, when a player is running out of life tokens he will be eliminated from the game and he will reveal if he is 'the godfather', if he is not the game will keep on.
Lastly players that have choosen business will take a business card. These cards improve the attacks, heal and can save allies from tricky situations. Each card explains when can you use them. Check the business deck here.
As you can see the art is one of the key points of a game for us.
We are confident that these tales and short stories will enrich the game; this background has a lot to offer! We are working on a website where we will publish all news.
The whole thing is almost finished.
We just need to define some design details. We will ask you about them so you can participate on the making process decisions.
We need your support to make this game happens. We are a bunch of friends fans of board games. Some time ago we decided to found our own company to create our original games.
This is the second project we launch on a crowfunding basis. The first one was our game CASTLE RISING which is ready to release thanks to you.
As you can see we are absolutely independent and we'd like to continue in this way with your help.
You will be the first one to have the game if you support our campaign; we won't sell it until all of you had received your own game.
Moreover you will also have the opportunity to get a special edition including two exclusive characters as well as some business cards only available on kickstarter.
We have a real transparency policy so be sure we will inform you about every details around the game.
We are really proud of this game, both its appearance and its playing and we want to share this passion with you.
We use Amazon to send the packages so we can include the shipping costs to USA, Europe* and Canada.
If you're not from one of these countries, please add £9 ($15;11€), or £14 for the Special edition + Castle Rising.
Overseas Manufacturing: The board game may possibly be subject to production delays, shipping delays, and custom delays, but we will do all that is possible to minimize these potential risks.
We're a small company and very aware of our limitations. The reason for this Kickstarter is to produce what we believe will be one of our most popular sets in a more controlled environment where we can better anticipate demand and be able to plan for it with lots of cushion time built in.
Our first game Castle Rising were successful funded on kickstarter and is on way of delivering.
Print&Play+Stretch Goals ********************************************* Other currencies est.: $1.60; €1.20 ********************************************* THANK YOU FOR YOUR SUPPORT!
With this reward tier you will be able to download a Print&play of "The Orcfather"
Game copy+Stretch Goals+Print&Play ********************************************* Other currencies est.: $25.00; €18.20 ********************************************* THANK YOU FOR YOUR SUPPORT!
Game copy+SGs+PnP+kickstarter exclusive content ********************************************* Other currencies est.: $30.00; €21.90 ********************************************* THANK YOU FOR YOUR SUPPORT!
Game copy+SGs+PnP+kickstarter exclusive content+Castle Rising ********************************************* Other currencies est.: $65.00; €47.00 ********************************************* THANK YOU FOR YOUR SUPPORT!


He headed the jury of the Prague Quadrennial in 2011, is a member of the artistic committee of South Africa's National Arts Festival, and is this year for the second time a juror of the International Theatre Institute's 'Music Theatre Now' competition. From 2008-2011 he was curator of South Africa's only public arts festival, 'Infecting the City', in Cape Town. In 2014 he wrote the International Theatre Institute's World Theatre Day message for UNESCO.


The nomination period for the elections is now open!
Clubs, Societies, Communities and Media groups are run by students for students. You don't need any experience, just enthusiasm to organise events, lead meetings and build a community.
To stand for a position go to the Societies, Sports Clubs and Communities List, click on the group you would like to run in the election form then nominate yourself for a position with a photo and 100 word manifesto.
Not seen a society/community you're interested in? Set up a new one here.


I was recently hiking around Liberty Reservoir, and happen to look down to find this dead branch and wonderful bracket fungi (mushrooms). My best guess is that these are Violet Polypores (Trichaptum biforme), but as I say that's only a guess. I like the brown-purple coloration; its very rich and luxurious, and very appealing to the eye.
As you might imagine, this photo was taken in my studio. It's an HDR composite to help bring our details and colors in the shadow areas.


text:
Lee Township is one of seventeen townships in Adair County, Iowa, USA.  At the 2010 census, its population was 214.

History
Lee Township was organized in 1880.

Geography
Lee Township covers an area of  and contains no incorporated settlements.

References

External links
 US-Counties.com
 City-Data.com

Townships in Adair County, Iowa
Townships in Iowa
1880 establishments in Iowa
Populated places established in 1880


text:
3131 Olympic Blvd. # 203
Santa Monica CA. 90404
Los Angeles, CA – 10/30/13 - Every year, the MY HERO International Film Festival honors individuals or organizations that are using media to make a positive difference in our world. In recent years, we have honored scientists, musicians, health organizations, community activists and more.
This year, the MY HERO International Film Festival is pleased to announce GE FOCUS FORWARD as the recipient of the 2013 MY HERO Media Award. GE FOCUS FORWARD uses short documentaries to highlight innovators who are striving to make a positive impact on our future. GE highlights people from all trades and professions as they make advances in culture, technology and medicine.
The short documentaries that GE FOCUS FORWARD has created, shed light on the work of unique heroes who are shaping the future. This impressive body of work includes the following titles: Slingshot, The Impact of One and The Secret of Trees.
Dean Kamen
Slingshot highlights inventor Dean Kamen as he takes on the world's great challenges one invention at a time. It is the story of Kamen, his water purification technology, and his innovative approach to the planet's safe water crisis.
The Impact of One discusses Muhammad Yunus and his vision to bring the free market and entrepreneurship to the poor. Through his kindness and belief that every individual is born an entrepreneur, Muhammad Yunus was able to change the lives of several people by offering microcredit to those who would otherwise have no access.
Aidan in The Secret of Trees
The Secret of Trees highlights 13-year-old inventor, Aidan, who realized that trees use a mathematical formula to gather sunlight in crowded forests. With this understanding, Aidan went on to create a system that allows us to use solar energy the same way.
MY HERO will honor GE FOCUS FORWARD at our 2013 MY HERO International Film Festival on November 23rd at the University of Southern California's School of Cinematic Arts Ray Stark Family Theater. MY HERO will be hosting a special screening of GE FOCUS FORWARD short films from 4:00 – 5:30 pm. For more info and to RSVP please visit www.myhero.com/rsvp.
There will also be a screening of the 2013 MY HERO Media Award recipient GE FOCUS FORWARD short films in Santa Monica on Thursday afternoon as part of the MY HERO Salon. This event will take place at the Capshaw-Spielberg Center for Arts and Educational Justice inside the Leadership Center on November 21st, 2013. The afternoon screening will begin at 4:00 PM.
The CENTER FOR EDUCATIONAL JUSTICE is the home to twelve nonprofit partners, selected by New Visions, who share the communal goal of providing educational programming for at-risk youth in Los Angeles. For more information, please visit http://myhero.com/CEJ
RSVP here: http://myhero.com/Nov21_RSVP
Page created on 11/15/2013 12:00:00 AM
Last edited 7/10/2017 4:57:29 PM
GE Focus Forward - Short Films Big Ideas
Slingshot - by Paul Lazarus
The Impace of One - Produced and Directed by Holly Mosher
The Secret of Trees - by Albert Maysles


When you think of cocktails, we immediately think of the Mojito, Pina Colada, Bloody Mary, Margarita or Caipirinha. Now all these are achievable cocktails without alcohol. Rich in vitamins, mocktails are trendy now.
Mocktails become fashionable. Registered as syrups mimic the taste of tequila, rum, with 0% alcohol. Or even the taste of the cocktail itself as the Pina Colada, Mojito or the Daiquiri for Teisseire.
These amazing syrups are a great help when you want to prepare the non-alcoholic version of the mojito or margarita.
Increasingly popular juice vegetables has become a mocktail because of all the possible combinations. In California and other regions of North America, vegetable cocktails have become a fad cocktails vegetables offer a variety of tastes, from the softest to the complex, adapting to the preferences of all.
According consumers vegetables used, you can create a variety of flavors: thick celery juice or cucumber bring originality to cocktails but are not suitable for everyone. However, carrots or beets make sugary drinks while radishes make spicy.
To properly perform this type of appetizer, appetizers should be preferred flavors like: juice citrus fruits: citrus juice or cranberry, tonic flavors such as Schweppes or Canada Dry, fruity flavors such as lychee or original red fruits.
To make a cocktail without alcohol, then just embellish this drink with original syrups, spices such as cinnamon, ginger and vanilla, citrus zest fresh herbs like mint or basil.
Moreover, about half of mocktails, the use of fruit may be beneficial to health through nutrients and vitamins.
For a cocktail without alcohol presentation is paramount. We must give appetizing colors, serve in beautiful decorated with fresh fruit cups or mini skewers, fresh strawberries or citrus zest. Or frosting glass with sugar, cocoa, salt.
The mocktail can include various ingredients: water, syrup, fruit juice or soft drinks. This clever concoction enables guests to propose an alternative to cocktail.
Bailo Gimgembre mocktails are 100% handcrafted brand Baïlo Ginger.
Ice Tropez is a wine-based cocktail created in Saint Tropez.
Mister Cocktail is a range of non-alcoholic cocktails.
Emozioni Sanbitter- is a range of non-alcoholic cocktails. Sanbittèr emotions Spice Chilli Pepper, Sanbittèr juice Passion Fruit, Cinnamon Spice Sanbittèr emotions.
Scenario is a range of 3 cocktails without alcohol flavored proposed by Antésite.
Zizi Coin Coin is a Belgian brand cocktail ready based fresh juice. Besides the original Zizi Coin Coin, the company has also restyled its other products, such as: Zizi Coin Coin Mojito, Caipirinha, 4 Agrum's, Strawby, Passion and Coco Rico.


Please encourage your child to read at home regularly. Home readers should be returned to school at least once a week so that we can ensure your child has a new book to read as soon as possible. In literacy we are currently looking at 'Stories with Familiar Settings'. We are encouraging the children to identify how authors use language well, especially the use of adjectives. Towards the end of this term we will be looking at instruction writing. Please support your child with reading instructions for games and recipes etc. Your child should sound out any unfamiliar words when reading to you.
Could you please return your data forms as soon as possible at the start of the new school year. All Year 3 pupils need the class teacher to say they can go to the person who has come to pick them up at the end of the day. Thank you for your patience as we dismiss the children at home time.
Please note that Year 3 children from September 2018 will be dismissed from the rear entrance of the junior hall. Adults collecting children should make their way down the right-hand side of the junior building and form an orderly queue. Signs will be displayed to show the way.
On a Monday to Thursday in the juniors we encourage all pupils' to bring a healthy snack (1 piece of fruit or vegetable) from home. School only provides a snack on a Friday.
We have P.E. on a Thursday morning. The children should have a white T-shirt, black/navy shorts and a pair of pumps, (football kits are not allowed). Trainers can also be included for outdoor sports. Please make sure your child keeps their PE kit in school.
Our Creative Curriculum topic for Autumn 1 is 'The Valley of the Kings.' We will be learning about Ancient Egypt through History and Geography. In Art we will design and make Egyptian masks and reproduce an Egyptian wall painting with watercolor paint. The children will also develop their knowledge and understanding of their rights and responsibilities under the United Nations Convention. These rights will help the Year 3 children to create a 'Class Charter'. In Science our topic is 'Animals including Humans'. We will link our work on the human body to our topic on Ancient Egypt and the mummification procedure.
In Year 3 the children are invited to create their own project about Ancient Egypt. As this is a wide ranging topic, the homework can be about any aspect of Ancient Egyptian life. We will be sending home the individual logon details for Abacus the school online homework programme. Children will be given a reminder in class on how to access the online homework. Every week we will send home spellings linked to the Year 3 National Curriculum wordlist.
As part of our curriculum we will be visiting the Egyptian section of the World Museum and the Walker Art Gallery in November. Details regarding the trip will follow on shortly.
Mrs. McLain (3M) and Miss Bennett (3B) are the teachers working in Year 3.


Staff at the Science Museum of Minnesota have spent the last several months ordering, sorting, and packing materials to create 200 copies of the amazing NanoDays 2011 kits. Here are a few pictures of the final kit assembly process in mid-December.
We plan to ship the kits on January 7th.


text:
Bluebulb Projects presents:
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100 kilometers per hour is about four-fifths as fast as a Hurricane.
In other words, it's 0.8390 times the speed of a Hurricane, and the speed of a Hurricane is 1.190 times that amount.
(formally: Topical cyclone; a.k.a. typhoon)
A hurricane is defined by the US National Hurricane Center as a Northern Hemisphere tropical storm having one-minute average wind-speeds of at least 119 kph. Typhoons Tip (October, 1979) and Keith (October, 1997) and Hurricanes Camille (August, 1969) and Allen (August, 1980) jointly hold the record for highest tropical storm wind speeds at 310 kph (192.63 mph).
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Small, round, green fruits mature to a rich red with a hot, sweet flavour.
Reminiscent of the Italian hot peppers of old.
Whilst being a fairly new variety, this follows in the footsteps of many traditional Italian 'hot peppers' - so we're not quite sure if this should be a sweet pepper that is hot or a chilli pepper that is sweet.
The small round fruits start off dark green and sweet in flavour; as they mature to red so they heat up - and the longer they are left to mature in the sun the hotter they will get. That said, they never get really spicy and always retain their pepper sweetness.
Heat: Medium - Approximately 5,000-15,000 SHUs.


Looking for a Goodrich L-120 Low Profile pedal in good condition.
I have a gold colored one in great condition. The pot is getting scratchy. $150 + postage. Pm me if interested.
I have a nice one with a brand new pot, but the travel on the string needs to be adjusted. It would be a week or so till I could get to it as I'm in the process of moving. Just looking to get what I've got into it back out. Sending you a PM.


text:
Insurers to Gov't: 'We're in this together' with tax
As of Friday, September 2, 2022
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By NEIL HARTNELL
Tribune Business Editor
nhartnell@tribunemedia.net
Bahamian insurers yesterday said they have presented the Government with recommendations for solving the industry's twin tax-related concerns without causing "disruption or confusion" in the market.
Anton Saunders, RoyalStar Assurance's managing director, told Tribune Business that the Government will respond to these proposals in two weeks' time following Wednesday's meeting between insurance industry representatives and a team from the Davis administration headed by Senator Michael Halkitis, minister of economic affairs.
"The meeting was held and we thank the minister and his team for hosting us, listening to our ideas and we'll see how it pans out," he said. "We gave our suggestions on the way forward, and they are supposed to get back to us in two weeks. We have made our suggestions on both the points we have issues with.
"We told the Government: 'We're all in this together. We understand you need to raise money, and these are ways you can raise money without disrupting the insurance industry and not causing confusion in the international insurance market'."
The meeting was held to address two specific concerns and uncertainties relating to the Government's tax policy towards the insurance industry. One concerns the measure, unveiled in May's Budget, to move from the 3 percent tax paid by consumers on insurance premiums to a 2.25 percent annual Business Licence fee based on an insurer's "turnover".
The second involves the VAT treatment of private medical claims, with the Government seeking to bring this into line with what it argues is standard global practice. This would result in consumers paying the 10 percent VAT on private health insurance claims payouts, rather than the tax being treated as an 'input' deduction and offset against the insurer's output VAT.
"The medical professionals advised them accordingly, gave the Government their recommendations as to what to do, and we await to see what the Government side comes back with in two weeks," Mr Saunders told this newspaper. He declined to comment further or go into the details of what was discussed between the industry and the Government, citing an agreement not to do so.
While the previous 3 percent levy paid by consumers on all policies was in effect eliminated on July 1 as the Budget's tax measures became law, the absence of any implementation road map, together with a precise "definition" of what turnover means and a clear basis for calculating the new Business Licence fee, has left the entire sector - both property and casualty, as well as life and health insurers - scrambling to adjust without possessing key details.
A critical issue is the definition of "turnover" that the Government plans to apply for the purpose of calculating the Business Licence fees payable by the sector. Underwriters, in particular, are seeking clarity as to whether "gross written premium" or "net premium earned", the latter of which strips out the sums ceded to reinsurers, will be used as the basis for the calculation or even "net underwriting income".
The resulting uncertainty has made it impossible for the industry to plan or properly advise partners such as reinsurers. Mr Saunders said previously that while Tribune Business' copy of the Business Licence (Amendment) Bill showed insurers as having to pay a fee equivalent to 2.25 percent of annual turnover, the draft he possesses shows that as being 2 percent.
Meanwhile Simon Wilson, the Ministry of Finance's financial secretary, in an earlier interview affirmed to this newspaper the Government's position that the 10 percent VAT levied on health insurance claims payments to medical providers is a service provided to the end-consumer, and thus treated as 'output' VAT, rather than treated as an 'input' by the insurance carriers and claimed as a deduction against their own tax payments.
Acknowledging that Bahamian health insurers have applied this VAT treatment since the tax was introduced in 2015, Mr Wilson said: "It's not about trying to get money. This is not us trying to put on ordinary Bahamians an additional tax.
"This is us saying: 'Guys, we're not following what the law says, and the idea is: 'Do we we need to change, do we make an adjustment?' What do we do? I just hope to have these discussions soon." Health insurers fear any changes that prevent them obtaining VAT deductions on claims payouts will result in increased premiums for both groups and individuals with private health insurance, increasing medical treatment costs and making coverage increasingly unaffordable.
At present, the health insurance industry can deduct, or offset, the VAT portion of patient care bills submitted to it by doctors, hospitals and other medical facilities against what it pays to the Government from the 10 percent levy imposed on client premiums.
However, the Ministry of Finance and Department of Inland Revenue want to change this treatment such that health insurers are no longer able to deduct/offset the VAT charged on their clients' medical bills against the taxes collected on the premium.
With the industry no longer able to treat medical bill VAT as an 'input' deduction, it has warned that consumers will "ultimately" pay the price through having to absorb the levy on their patient care expenses - something that will effectively increase health treatment costs by 10 percent at a time when Bahamians are grappling with soaring inflation and the continuing fall-out from the ongoing COVID-pandemic.
Given that some medical costs can be substantial, reaching into the hundreds of thousands and even millions of dollars, the potential revenue boost for the Government could well be significant. Yet, if implemented, the increased cost could be just as impactful for both individuals and employees who presently enjoy private health insurance under their company's group policy, potentially making quality healthcare less affordable and accessible when COVID-19 remains a threat.
Should the revised VAT treatment become law, insurers would likely be forced to alter their pricing while providers of medical care would need to adjust their services. The change, if implemented, could impact over 100,000 Bahamians with private health insurance.
tribanon 4 months, 3 weeks ago
The headline to this article should more accurately read:
Insurers to Gov't: 'We're in this together' with tax to screw the poor insured policyholder.
Especially with Anton Saunders saying:
Translation: Insurers are willing to help government get more tax from their poor and financially struggling policyholders, like you and me.
Flyingfish 4 months, 3 weeks ago
Exactly, those insurance companies out off all need to be capped and taxed. At least Atlantis employs thousands directly and indirectly.
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text:
Kohli is not invincible, slip catching let us down: Anderson
BIRMINGHAM: England pacer James Anderson says Virat Kohli is not "invincible" and poor slip fielding from his teammates has allowed the Indian skipper to get off the hook in the first innings of the opening cricket Test here.
It was an engrossing duel between Test cricket's second most successful pacer, Anderson and Kohli on the second day when the Indian skipper was dropped twice off the bowler on 21 and 51 by Dawid Malan.
Kohli went on to score 149 and was batting on 43 not out in India's second innings score of 110 for 5 with the visitors still needing 84 more to win first Test. Anderson rued his side's poor catching and said England need to take their chances against a batsman of Kohli's calibre.
"I've been encouraged the way I've bowled at him (Kohli) in this game so far, found the edge a few times in the first innings. On another day I could have got him for 20, and then we're not talking about how brilliant he is," Anderson said last night.
"You can't drop Virat Kohli on 21, because he's one of the best players in the world, and he'll capitalise on that and which he did. We could have been in a much different position now. We've just got to go away and know we can get him. No one is invincible in world cricket. We can get him out," he said.
Anderson said that Kohli can shield his tail very well like he did in the first innings, and thus England needs to find a way to quickly get him out if the hosts desire to win the Test.
"To be a part of it is great, and tomorrow we've got a really good chance of winning the game. If we recover well and come back fresh in the morning, we know it's going to be 25-30 overs max one way or the other, so we can give it all we can," said Anderson.
"If he (Kohli) bats like he did in the first innings India will win. Even batting with the tail, he just managed to find the gap, or get down the other end – the way he batted with the tail was brilliant.
"We need five wickets, simple as that, fairly quickly – otherwise, they'll get the runs. We've just got to give it everything we've got for the first 15-20 overs – leave absolutely nothing out there," he said.
Anderson said the ongoing match was a brilliant example for Test cricket.
"It's been really exciting, if not a bit frustrating at times. What's been great is the way the momentum has shifted. Test cricket at its best – the way we dominated the first two sessions of the match, then India wrestled back the momentum, then it was our job to go out and bowl well. It's gone to and fro," he said.
"It's a really exciting place to be, because you know we could do something special tomorrow by winning this – such a close Test match. So we'll go to bed dreaming about getting Kohli out first thing," he said.
The hosts have dropped quite a few chances in the slips, and their record is only marginally better than India's.
Anderson said this was a matter of concern as slip catching is an area where they have struggled for quite some time now.
"The personnel in the team has changed quite a lot, so it's been difficult to get a set cordon. But we're just going to have to keep working harder and harder, pushing ourselves to be better, because you can't keep creating the chances and not be taking them," he said.
Anderson was also full of praise for young Sam Curran, who brought England back into the game with a maiden Test half-century after they were reduced to 87 for 7 in the second innings at one stage.
"He's (Curran) a really impressive lad. I remember me as a 20-year-old, and I didn't know what was going on. I was in awe of everyone. But he's been around quite a bit, he knows his game really well for a young lad, and his skills are brilliant with the ball," he said.
"He has obviously got a little bit of fight in him as well, to go out in that situation and show the guts and determination he did to get us back into the match," Anderson signed off.
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redpajama_set_name: RedPajamaGithub


text:
HEADstrong Foundation
USILA and HEADstrong Partner For Cancer Awareness Month This April
ROCHESTER, NY – The USILA (United States Intercollegiate Lacrosse Association) is proud to announce plans for HEADstrong Cancer Awareness Month this April. The USILA is empowering more than 360 DI, DII and DIII men's lacrosse teams to unite on the playing field during the month long campaign to raise awareness and funds to support the essential services offered by the HEADstrong Foundation to help families affected by cancer. Throughout the month teams will be encouraged to pledge a home game and raise funds in support of the cause. Coaches plan to show their support by wearing a commemorative pin and teams are encouraged to further support this initiative by purchasing and wearing "lime green" accessories including shoelaces, knee bands, crew socks or patches. The USILA backed cancer awareness initiative was created in 2016 with a designated week and was expanded in last season to encompass the entire month. In 2017, more than 144 teams raised more than $75,000 to support the cause and this year the USILA is aiming for 100% participation with hopes of raising $127,000 for the cause.
"The role that HEADstrong plays for families facing a cancer battle is critical and overshadowed at times. The financial implications and strain experienced by families dictates course of treatment and the reality is that it is all too often the families will sacrifice the best treatment options due to affordability and accessibility of care. At HEADstrong we are 100% committed to playing an active part a families cancer journey and exist to help them navigate with greater clarity, dignity, normalcy and quality of life. With the recent opening of our second Nick's House and with our backyard emerging as one of the top destinations for clinical trials we are poised to accommodate the influx of families traveling to the region to seek the best care for their loved ones. We are sincerely proud and humbled by have the support of the USILA and NCAA lacrosse and we take great pride in knowing that our Nick's legacy lives on through the amazing efforts of the game, more importantly we want our network of teams to know that their efforts on the field are being matched by our relentless efforts to change the game for families facing unthinkable circumstances." Cheryl Colleluori, HEADstrong Foundation President & Nick's Mom.
"During the 30-day period more than 138,800 American families will be heartbroken by the news of a cancer diagnosis. Our hope is that all college lacrosse teams will join our fight, helping to raise awareness and funds, because together we can be the difference for so many. We wish to extend our sincere appreciation to the USILA and the lacrosse community for believing so strongly in our mission." said Colleluori
"We at the USILA are extremely proud of the success and impact of that the HEADstrong Awareness Month has had and this April we are looking to strengthen our commitment to the cause. There are so many of our lacrosse families that have been affected by cancer and April is a way for us to memorialize those who have come before us and have been touched by this disease. We pride ourselves on the aspects of exemplary leadership demonstrated by our players and member institutions during the month and being a supportive arm which will allow HEADstrong and our game to have maximum impact on behalf of families across the country fighting cancer." Gene McCabe, USILA President
"Lacrosse meant everything to our Nick and it was the hope of one day returning to the field that got him through the darkest days of his life. In a letter written about his love for the game, he wrote "This sport represents my life. It's the passion, adrenaline, anxiety and excitement that shape us into who we become. When I think back to my childhood, all of my greatest memories came from this sport. I cherish every moment I had on the field." said Colleluori.
This year, HEADstrong will provide member institutions with resources including custom team specific fundraising pages, which will allow teams the ability use social platforms to fundraising for the cause. Proceeds from the USILA HEADstrong Awareness Month will be used to provide aid to ailing families, financial support to offset incurred medical expenses and funding for Nick's House, guest family homes operated by the HEADstrong Foundation which provide complimentary lodging for families pursuing life-saving cancer treatment.
About USILA
Founded in 1885, USILA is the longest running college lacrosse organization in the country. USILA provides awards and recognition to NCAA Division I, II, and III men's lacrosse programs and their players. These awards include National Player of the Year, Player of the Week, Weekly Coaches Poll, All American team selections, Team Milestone Awards, Senior All Star Game and others. The association is entrusted to enhance and develop intercollegiate lacrosse by providing leadership, management, and services to its membership so that student athletes, coaches, institutions, and other constituent groups will realize the maximum benefit from the sport of lacrosse.
Follow HEADstrong:
Facebook: https://www.facebook.com/HEADstrongFND
Twitter: @HEADstrongfnd
Instagram: @HEADstrongfnd
Following USILA
Facebook: https://www.facebook.com/usilalax/
Twitter: @USILA_Lax
The HEADstrong Foundation is committed to being a resource for cancer patients and their families. Dedicated to assist them navigate the harrowing ordeal of cancer by sharing our experience, lending guidance and providing essential services with emphasis placed on sustaining and improving quality of life during the process.
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text:
Slavery, African-Americans, Native Americans
In the 1830s, abolitionists began to argue that slavery was a sin. This position created division amongst the Protestant sects. The American Sunday School Union had taken a carefully non-committal position with respect to slavery but as particular groups began to take decisive positions in their children's literature all positions subject to criticism. The American Sunday School Union received criticism from abolitionist Massachusetts church groups and Pro-Slavery church groups in the South, especially after Nat Turner's revolt in 1831. Slavery presented a dilemma for the Sunday School Union in its attempt to forge a national Sunday school culture precisely because it was defined as the central moral issue of the day. Abolitionists forced Protestants to decide whether or not slavery was a sin, and if so, then to judge members' conduct accordingly. In other words, the division over slavery within the country ran through churches and children's books.
Since much of our collection is northern in origin, readers will find a predominantly anti-slavery position worked out largely on theological grounds. But as the issue of slavery came to be a moral touchstone many other issues were discussed in terms of slavery. A homicide case involving a black man, like that found in Black Jacob will discuss his condition in terms of the moral evil of chattel slavery. Even an advice book for girls, Daniel Eddy's The Young Woman's Friend, uses slavery to criticize the unequal relations between men and women in marriage. He points out that enslaved women have less protection than had married women in the Bible. Slavery, Eddy argues, reduced what was 'man's equal' into a station where she has no protection. In a double-edged comment he says that, "Women whiter than yourselves, and fairer too, perchance, are sold at auction to the highest bidder." He also charges a slave-trading society with a general hypocrisy. What does it matter to be saved on Sunday if on Monday one continues to trade in human beings? What does is mean that the Monday morning shouts of the slave auctioneer drown out "the Sabbath words of the Episcopal, Presbyterian and Baptist church of Negro"? One can see how in the context of giving advice to young women Eddy was attempting a broader social critique. The country, he argued, could not long tolerate the hypocrisy of slavery sanctioned by religious authority. Eddy closes with a reminder of how the practice is even sanctioned by religious authorities. He quotes Longfellow's "The Warning" from Poems on Slavery (1842)
Beware! The Israelite of old, who tore
The lion in his path, --when, poor and blind,
He saw the blessed light of heaven no more,
Shorn of his noble strength, and forced to grind
In prison, and at last led forth to be
A pander to Philistine revelry,
Upon the pillars of the temple laid
His desperate hands, and in its overthrow
Destroyed himself, and with him those who made
A cruel mockery of his sightless woe;
The poor, blind Slave, the scoff and jest of all,
Expired, and thousands perished in the fall!
There is a poor, blind Samson in this land,
Shorn of his strength, and bound in bonds of steel,
Who may, in some grim revel, raise his hand,
And shake the pillars of the Commonweal,
Till the vast Temple of our liberties
A shapeless mass of wreck and rubbish lies.
In this way, even in books directed at children, the issue of slavery became the litmus test of religious authority.
Racism was also addressed in this literature and where it was challenged without condescension (however rare) it was done so on scriptural grounds. Jacob Hodges is an outcast redeemed by the bible. In The African Woman, little Mary is instructed not to hate a black woman because "God has told us to love everybody in the world." Racism, of course, was widespread and one will find that through the lens of biblical tolerance, one will perceive racial prejudice and condescension. But in the directive to love everyone, one at least can imagine the possibility of a radical form of fellowship.
The Native American figures marginally in this collection. One text listed below, The Indian Chief and The Little White Boy (1857), appears to be based on an actual account of Indian and White relations in New York State. It is a story of rapprochement, or friendship springing from détente. One can find fault with a number of inaccuracies in the generalizations it makes about native Americans but it is interesting in that it runs counter to the more hostile fantasies of western tribes that would become popular in the dime novels of the 1860s.
— Stephen Rachman, Department of English, Michigan State University
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text:
Crossroads Correctional Facility is prison for men located in unincorporated Toole County, Montana just west of Shelby. The facility is privately operated by the Corrections Corporation of America. It is the only private prison in the state.

The facility houses detainees under contract with the Montana Department of Corrections and the United States Marshals Service.  The facility opened in 1999 and is "multi-security".

Crossroads was the detention site for Montana medical marijuana provider Richard Flor, who died a few months into his five-year federal sentence, allegedly because of a lack of appropriate medical care.

In December 2014, former NFL quarterback Ryan Leaf was released from the facility on good behavior.

References

Prisons in Montana
Buildings and structures in Toole County, Montana
CoreCivic
1999 establishments in Montana
Private prisons in the United States


Installed within the cemetery chapel is the Obitus music system. The system allows for playback of any commercially released songs during the service.
We can also play slideshows or video clips, known as Visual Tributes that you supply via two large screens. The service can also be streamed via a secure web link to those who are unable to make the service.
Should you wish, we can also play CD's and there is also an electronic organ for those who wish to have a more traditional service.
For further information please contact the main cemetery office on 020 7527 8300.


text:
In the Studio With Andrew and Silas Chandler
There are only a handful of images of Confederate soldiers and officers with their slaves or camp servants. The famous tintype of Andrew and Silas Chandler is the most famous, but it is also one of the most unusual images. The photograph of the two was likely taken in August 1861 right around the time Andrew enlisted as a private in the Palo Alto Guards, which became Company F of the 44th Mississippi Infantry, Army of Tennessee.
Most photographs of master and slave show the former sitting with the slave standing behind and just slightly out of focus. Andrew and Silas sit side by side. Both occupy center stage. More importantly, both men are armed. Andrew wears a typical private's jacket and holds a pinfire pistol while a revolver is nestled in his belt. Tucked into what appears to be Silas's Short or Shell jacket is a pepperbox, which leaves his large left hand free to grip a rifle across his lap. To complete this unusual scene, both men wield large bowie knives in their right hands.
It is likely that the weapons are studio props.
There is something quite humorous about this image. It's not that the two men are armed, it's that they are armed to the hilt. We would do well to remember that Andrew was only 17 years of age in 1861. Silas was about 24 years of age. Andrew must have been anxious to capture those feelings of youthful exuberance and the anticipation of martial valor for his family. One can imagine a wide-eyed Andrew as he spotted the props and quickly found a way to include as many as possible. Perhaps that is why Silas is seated. Observing the image from this perspective, it's hard not to chuckle.
What Silas made of this scene is more difficult to discern. He has always appeared to me to be seated just slightly slouched compared to Andrew. Did he share Andrew's excitement? Was he disinterested or perhaps even embarrassed by this faux display of martial manhood?
H. S. Anderson Nov 6, 2015 @ 7:52
According to what I've read, in 1863 Silas saved Andrew's wounded leg after the battlefield surgeons wanted to amputate. He took him to a hometown doctor in Mississippi who found an alternative to amputation. The impulse to protect was mutual as Andrew kept a group of soldiers from attacking Silas and stealing a shelter that Silas had built for himself. These two young men may have been master and slave, but they clearly had a bond of mutual loyalty to each other.
People hate when they're taught to hate. I'd like to think these two men were not taught to hate, whatever the life circumstances they experienced.
Kevin Levin Nov 6, 2015 @ 8:04
You can find all kinds of stories on the Internet.
Is the Library of Congress website an unreliable source, in your opinion?
Here is my source: http://www.loc.gov/rr/print/coll/SoldierbiosChandler.html
From an essay by Ronald S. Coddington, "He Aided His Wounded Master," published in his book African American Faces of the Civil War: An Album (Baltimore : The Johns Hopkins University Press, [2012])
He took him to a hometown doctor in Mississippi who found an alternative to amputation.
I know Ron Coddington and I am familiar with his research. This is not what he claims in his book. At least get his story right.
H. S. Anderson Nov 6, 2015 @ 10:36
I summed up the following paragraph from the linked article in my initial comment:
7th paragraph: "In 1863 at Chickamauga, three of every ten men of the Forty-fourth who went into battle became casualties, including Andrew.10 Thanks to Silas, he avoided an amputation. According to one of Andrew's grandsons, "A home town doctor prescribed less drastic measures and Mr. Chandler's leg was saved."
However, you are correct that there is more to the story.
3rd paragraph: "According to family history, surgeons decided to amputate the leg. Silas stepped in. A descendant explained: "Silas distrusted Army surgeons. Somehow he managed to hoist his master into a convenient boxcar." They rode by rail to Atlanta, where Silas sent a request for help to Andrew's relatives. An uncle came and brought both men home to Mississippi, where they had started out two summers earlier."
Kevin Levin Nov 6, 2015 @ 10:43
My concern with your earlier comment is the assumptions concerning the nature of their relationship. We have no wartime evidence from Silas as to what it was like serving as Andrew's slave during the war before traveling with his younger brother. This is a serious issue given the many unsubstantiated accounts that one can find on the Internet. Ron Coddington is careful not to delve into this quagmire. I agree with the general outline that he provides, which confirms with my own archival research.
I understand, and thanks for clarifying. To be fair, for this particular post you did ask "what do you see?", which invites speculation about the two men. So I speculated. 🙂
Eric A. Jacobson Sep 21, 2015 @ 3:58
I see much more of 1861 in this image than anything else, i.e. war would be an adventure, and Andrew wasn't going to miss it and Silas was coming along whether he wanted to or not.
Contrast this to photos from 1864 or 1865 – no more Bowie knife pics, no more posing with multiple pistols and rifles, etc. Those late-war photos are the opposite end of the spectrum, and the adventure was long since dead.
Michael Williams Sep 18, 2015 @ 20:50
http://www.history-sites.com/cgi-bin/bbs62x/nvcwmb/webbbs_config.pl?page=1;md=read;id=76423
Here's another photo of black men in Confederate uniform.
Nice pic of four Confederate slaves/servants. Thanks.
Marian Latimer Sep 15, 2015 @ 17:06
I have studied this photo off and on for several days and what jumps out at me is that Andrew looks rather olive-skinned. I guess he was just getting a lot of that Mississippi sun or perhaps it might be that as some historians/anthropologists have noted, the people of the south did not have as white a bloodline as they wanted to believe. I would have never noticed this any other time, but there you have it. That is what jumped out at me right away and that's what stuck with me after reading your post.
Matt McKeon Sep 15, 2015 @ 6:48
"intrepreting"
We're not interrepting the photo. We're guessing and mindreading after 150 + years.
I admit that it is a very loose reading and it is just a blog post, but I do offer reasons. My own reading is based on a limited understanding of Andrew and Silas.
Tim Talbott Sep 14, 2015 @ 14:59
I've looked at this pictured many times before, but before looking at it closely on the Library of Congress website I never noticed before now what appears to be a military-style dark stripe on the side seam of Silas's trousers.
Rosieo Sep 14, 2015 @ 10:38
well…. oh.
Rosieo Sep 15, 2015 @ 9:50
Can we in 2015 appreciate the mindset of a slave in 1861? Silas maybe grew up with Andrew – didn't kids have kid slaves? I seem to remember that they did. Silas maybe saw himself as Andrew's caretaker and took the job seriously and with pride. He does not have the face of … he looks subservient.
I feel sad about him. But sad for Andrew, too. Andrew is looking so young and cocky.
Both men were taught lifestyles that are just crazy mean.
What is your take, Kevin?
At least Silas got the better hat…
Somewhere in the back of his mind, Silas wants to make the arm holding the knife move and jam the edge sure and strong across Andrew's neck.
But Silas knows he won't do it.
He won't allow the thought of doing it more than the fleeting instant it commands when it rises unbidden in his consciousness.
But time and many marches later when Andrew sleeps, Silas slips behind Union lines.
….As for Andrew, he is a victim of his time. He'll never know what he dosen't know.
Silas was with Andrew through his wounding at Chickamauga and then accompanied his brother until the very end of the war.
I think these exercises are more revealing about the observer, than about the observed.
Any exercise that involves interpreting the past reflects the values and biases of the interpreter. You do your best to interpret the available evidence as do others and hopefully through the give and take you come to some approximation of the truth.
TFSmith Sep 13, 2015 @ 18:00
Is it a rifle or a shotgun? None of the weapons are exactly the appropriate for an infantryman destined to face opponents with rifled small arms. One question – are there similar portraits of, say, women decked out like this? Presumably there may be some elaborate joke element to this incident.
MSB Sep 13, 2015 @ 8:51
Silas definitely looks like the grown-up of the pair. When I first saw the image (here, actually), my eye was drawn to Silas, and it took all I knew about the ACW to recognize that the skinny white kid was supposed to be the subject of a picture of "a man and his property go to war".
Yes, while Andrew is holding himself rigid Silas looks patient and relaxed. These are the two possible ways to pose for a long-exposure mid-19thC photograph, of course, but I think Silas looks slightly amused by the whole thing.
At the beginning of the Civil war teenagers could believe they were going on a great adventure. It was the CW, particularly the last 2 years, that established that War is Bad. Europeans showed a similar excitement in 1914. Did Americans, with the experience of the CW behind them, have a more sober attitude in 1917?
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The Ublox SARA-G3 series of GSM/GPRS modules feature extremely low power consumption and a miniature LGA form factor. SARA-G3 modules are interchangeable, and have been designed with the diverse needs of M2M customers in mind. Different functionalities and feature sets are available to meet different customer and application requirements.
SARA-G350 is full-feature GSM/GPRS module with a comprehensive feature set, including an extensive set of internet protocols (TCP, UDP, HTTP, FTP and SMTP). It has fully integrated access to u-blox GNSS positioning chips and modules, along with embedded A-GNSS (AssistNow Online and AssistNow Offline) functionality.
Here below, the Zerynth driver for the Ublox G350 and some examples to better understand how to use it.


text:
Distribution Guide
Equipment and Concessions Guide
ICTA Insights
On the Move: Motion seats gain momentum in Europe and the Middle East
In the course of one year, German-based European Cinema Consulting (ECCO), a specialist in integrated cinema concepts, has installed "motion seats" by the Canadian manufacturer D-BOX across several countries in Europe and the Middle East.
What is 4D cinema? (and why you should care)
"Whenever any animal's behavior puts it out of touch with the realities of its existence, it becomes extinct."—Michael Crichton
The accessibility challenge: New cinema rules proposed for hearing and visually impaired
The U.S. Department of Justice has proposed new regulations to require closed captioning and "audio description" in theatres. Public comments are being accepted until Dec. 1, 2014. The extended comment period is due to a request of the National Association of Theatre Owners (NATO) for a 60-day...
Greening the cinema: New technologies help exhibitors conserve energy
The world is going more "green" every day. By "green," of course I'm referring to building construction materials and methods, and energy conservation. This is driven by the desire to save construction and operating costs as well as minimizing carbon footprint, and people wanting to be good...
No crystal ball needed: Pathé utilizes new software to optimize film scheduling
Let me take you back to 1957, when Nat Taylor, owner and operator of the Elgin Theatre in Ottawa, Canada, became frustrated over having to replace still-profitable films with new releases. For this reason, he opened a second screen and put older releases in the second theatre while keeping new...
A new dimension: How disruptive technologies will change the U.S. digital 3D cinema business model
As the first months of the new year come to a close, and with award season in full swing, it's a perfect time to take a look at the current state of cinema technology. The implementation of newer cinema technologies, especially 3D, continues to be an important barometer of movie theatre success....
Raising the bar: Dine-In and VIP cinemas enhance the movie experience
Technology is threatening movie theatres. IT has created an on-demand world allowing consumers to instantly stream movies in the comfort of their own home. Consumers can download movies anywhere at any time on tablets, laptops and even mobile phones. Why pay more and fight crowds at the movie...
3D grows up: Stereoscopic technology continues to advance
Far from being in the doghouse, 3D is growing up. The economics in exhibition remain solid: Domestic 3D ticket sales scored a steady percentage of total sales over the past three years. 3D moviemaking continues to mature. If Texas Chainsaw 3D didn't do it for you, then surely Gravity did....
Towards the future: New technologies hold promise for a livelier cinema experience
Ten years ago, digital-cinema projection, still not ubiquitous, was viewed as the ultimate game-changer in our industry. Never before had there been such a shift in cinema processes or technology affecting every exhibitor. True, there have been big evolutions in sound, seating and concessions—but...
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Նախադիտման չափ՝ 800 × 600 պիքսել։ Այլ թույլտվությաններ: 320 × 240 պիքսել | 640 × 480 պիքսել | 1024 × 768 պիքսել | 1280 × 960 պիքսել | 4000 × 3000 պիքսել.
English: Lyon County Courthouse (Nevada).
This image, originally posted to Flickr, was reviewed on November 8, 2011 by the administrator or reviewer File Upload Bot (Magnus Manske), who confirmed that it was available on Flickr under the stated license on that date.


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