Do you want to grow your business and make more money? If your answer is yes, the Black Business Supplier Development Programme (BBSDP), started by the Department of Trade and Industry, is meant for you.
BBSDP aims to help black business owners to become more competitive and successful by giving them money to improve their businesses. The programme will give up to R100 000 per business.
One beneficiary of BBSDP is Jabu Nyambi of Nelspruit, Mpumalanga. She received R100 000 to improve her lodge.
Nyambi, a mother of three children, bought Isivesethu Lodge after getting a loan from the bank and from the Mpumalanga Investment Initiative.
She had already saved R200 000 while running a catering business from her garage. But the money was not enough to do a business plan and to make some much-needed changes to the lodge.
Nyambi used to be a school teacher and financial adviser. But she left these jobs to concentrate on cooking, which is what she loves doing.
"I started cooking under a tree in a busy area in White River where there was a police station, post office and shops," Nyambi said. But when the municipality said she wasn't allowed to trade there, a building material shop offered her their parking area. She later started cooking and running her business from her garage.
"My biggest break was in 2004 when the Department of Health gave me a tender to cater for 21 000 people during a Women's Day function. After that, I started catering for more big functions like gala dinners and government events," Nyambi said.
She decided to start a restaurant and while looking for a restaurant to buy she found the lodge. Nyambi is already thinking ahead to 2010 when many tourists will visit the country for the FIFA World Cup. To accommodate them, she is fixing the lodge and making it bigger.
"I have already employed 12 full-time workers and 44 casual workers. My property is now valued at R10 million," she said.
be registered with the Company and Intellectual Property Registration Office (CIPRO) and SARS.


text:
Is COVID-19 Wildly Overblown?
Health coronavirus	0
From Johns Hopkins: "the total decrease in deaths by other causes almost exactly equals the increase in deaths by COVID-19. This suggests…deaths due to heart diseases, respiratory diseases, influenza and pneumonia may instead be recategorized as being due to COVID-19."
In the US we have been classifying all coronavirus patient deaths as 'COVID-19' deaths, regardless of cause
https://nypost.com/2020/04/07/feds-classify-all-coronavirus-patient-deaths-as-covid-19-deaths/
March 25th, 2020 CDC new rules of cause of death from Covid
https://www.cdc.gov/nchs/data/nvss/coronavirus/Alert-2-New-ICD-code-introduced-for-COVID-19-deaths.pdf
No 'test' required
People are dying, but not so many from Covid https://www.healthline.com/health-news/excess-deaths-from-covid19-pandemic
Inflating the numbers Issued March 24, the guidance tells hospitals to list COVID-19 as a cause of death regardless of whether or not there's actual testing to confirm that's the case.
Instead, even if the coronavirus was just a contributing factor or if it's "assumed to have caused or contributed to death," it can be listed as the primary cause.
What are the symptoms of Covid-19? https://www.cdc.gov/coronavirus/2019-ncov/symptoms-testing/symptoms.html
Just about the same symptoms for any respiratory infection? https://www.healthline.com/health/acute-respiratory-disease
A reminder, Respiratory issues are the 3rd leading cause of death in the US. https://www.cdc.gov/copd/basics-about.html
Hospitals are allowed to classify nearly any respiratory conduction as Covid, then they are given payouts between $13,000-$39,000 per Medicare patient for that classification
Source https://www.aha.org/special-bulletin/2020-03-26-senate-passes-coronavirus-aid-relief-and-economic-security-cares-act)
Source https://www.usatoday.com/story/news/factcheck/2020/04/24/fact-check-medicare-hospitals-paid-more-covid-19-patients-coronavirus/3000638001/)
DR. DEBORAH BIRX: So, I think in this country we've taken a very liberal approach to mortality. And I think the reporting here has been pretty straightforward over the last five to six weeks. Prior to that when there wasn't testing in January and February that's a very different situation and unknown.
There are other countries that if you had a preexisting condition and let's say the virus caused you to go to the ICU and then have a heart or kidney problem some countries are recording as a heart issue or a kidney issue and not a COVID-19 death. Right now we are still recording it and we will I mean the great thing about having forms that come in and a form that has the ability to market as COVID-19 infection the intent is right now that those if someone dies with COVID-19 we are counting that as a COVID-19 death.
"If someone dies with COVID-19 we are counting that as a COVID-19 death." https://www.realclearpolitics.com/video/2020/04/08/dr_birx_unlike_some_countries_if_someone_dies_with_covid-19_we_are_counting_that_as_a_covid-19_death.html#!
For example, in Minnesota, state officials are now admitting that every single person who dies in a nursing home after testing positive is now deemed to have died from the virus, never mind the fact that 25% of all natural deaths in a given week occur in nursing homes and that most cases of COVID-19 are asymptomatic, which means more often than not, they died exclusively of other causes.
https://alphanewsmn.com/analysis-minnesota-has-highest-percent-of-covid-19-deaths-in-long-term-care-facilities-in-the-nation/
The CDC has suspended data collection of the flu. Only Covid exists for them now https://www.cdc.gov/flu/weekly/overview.htam
The "Rule Out" rule. Meaning unless you can rule out Covid, it's Covid https://rojosonmedicalclinic.wordpress.com/2016/01/25/the-use-of-rule-out-and-rule-in-in-the-clinical-diagnostic-process/
Dying with covid is being listed as having died of covid which is artificially inflating numbers.
This admission from the Illinois Director of Public health has been echoed by people like Birx, the Toronto Director of Public Health and various physicians
"If you were in hospice and had already been given a few weeks to live, and then you also were found to have COVID, that would be counted as a COVID death. It means technically even if you died of a clear alternate cause, but you had COVID at the same time, it's still listed as a COVID death. So, everyone who's listed as a COVID death doesn't mean that that was the cause of the death, but they had COVID at the time of the death."
The way 'Covid deaths' are being counted is a national scandal
https://www.spectator.co.uk/article/the-way-covid-deaths-are-being-counted-is-a-national-scandal
Why no-one can ever recover from COVID-19 in England – a statistical anomaly
https://www.cebm.net/covid-19/why-no-one-can-ever-recover-from-covid-19-in-england-a-statistical-anomaly/
Excess deaths are also estimated…and none of them are being attributed to the lockdowns/mitigation efforts themselves even tho there are assuredly 10s upon 10s of 1000s of those types of deaths.
We are killing more people because of lockdown than we are saving
http://archive.vn/AX3Hm
Two new waves of deaths are about to break over the NHS, new analysis warns
Reorienting the NHS to focus on the Covid-19 emergency was essential but indirect deaths are mounting fast and now threaten to eclipse the carnage wreaked by the virus itself.
http://archive.vn/gEvrm
Lockdown may cost 200,000 lives, government report shows
http://archive.vn/4lXeg
About 5,000 heart attack sufferers in England missed out on lifesaving hospital treatment due to pandemic
https://medicalxpress.com/news/2020-07-heart-england-lifesaving-hospital-treatment.html
Toronto Director of Public Health
https://twitter.com/TOPublicHealth/status/1275888390060285967
Boston University finds Lockdowns responsible for huge numbers of excess deaths https://www.bu.edu/articles/2020/analysis-finds-true-pandemic-death-toll-is-much-higher-than-200000-in-us/
For every 2 Covid deaths, there is at least another death from the Lockdowns https://news.vcu.edu/article/Total_deaths_recorded_during_the_pandemic_far_exceed_those_attributed
Healthcare disruption and emotional crises may have led to around a third of the 225,530 "excess deaths" in the United States between March 1 and August 1, 2020, a new study suggests. https://jamanetwork.com/journals/jama/fullarticle/2771761
Universal Studios sued for cutting black couple from movie poster Mo Brooks plans to challenge Electoral College votes in the House

redpajama_set_name: RedPajamaCommonCrawl


text:
1950s Popular Appliances
By SF Gate Contributor Updated February 18, 2021
Kitchen Colors of the 1930s, 1940s and 1950s
Painting Vintage Refrigerators
The Differences in '70s, '80s and '90s Kitchen Decor
How to Calculate the Cost to Run a Refrigerator
How to Get the Mold Out of a Frigidaire Front Loader
During the post-war years, a new array of exciting and labor-saving appliances and devices entered the home. Both small and large 1950s appliances changed life for a new generation of upwardly mobile families. In some areas, the use of electricity as much as tripled from the mid-1940s to 1960. The modern conveniences of the 1950s remain common, in more contemporary forms, in the homes of today.
In 1949, an Indiana stove factory introduced stoves in red, yellow, black and blue, according to The MIT Press Reader, consumers fell in love with these bright additions to formerly dull work spaces and embraced color in the kitchen. In 1954 Frigidaire became the first company to offer a full line of colorful large appliances, making them one of the must-haves of modern conveniences of the 1950s despite their higher price.
Large kitchen appliances popular in the 1950s included refrigerators and electric ranges and ovens. While freon-cooled refrigerators had been introduced in the 1920s, the refrigerators of the 1950s gained the first ice makers and automatic defrosters. The electric oven and range, first available in the teens and 1920s, became common in the modern kitchens of the 1950s. While still a luxury item, dishwashers were included in some 1950s homes.
Labor-Saving Small Appliances
While many small appliances like the toaster and the electric chafing dish were invented before the 1950s, their designs were fine-tuned to meet the changing tastes of the decade. The Sunbeam electric frypan, introduced in 1953, had a built-in heating coil and automatic temperature control. In 1956 Kenmore released a twelve speed mixer - the homeowner could purchase it with her Diners' Club Card. Launched in 1951, it was the first consumer credit card.
One oddity was the Kenmore garbage burner. For only $39.88, you could dispose of your garbage by burning it, "right in the kitchen," according to their ad copy. A thoroughly modern kitchen would also have an automatic can opener and electric juicer.
The Laundry Room
Significant improvements in washer and dryer technology reduced the amount of time required to do the family laundry in the 1950s. Washing machines of the 1950s were fully automated top-loaders. Compared to earlier hand-crank machines, the automated washing machine provided easy care for clothing and linens. Dryers were front loading, providing an alternative to the clothesline in the backyard. Ironing machines, also known as mangles, debuted with the decade, allowing users to run clothing items through two rollers to press out the wrinkles.
Introducing Air Conditioning
While many of the appliances of the 1950s were labor-saving devices, the introduction of air conditioning brought cool temperatures to hot summer days. Bulky industrial air conditioning units were first installed in the 1930s, but a compact, economical version of the window air conditioner was invented in the 1940s, and by 1947 43,000 units had sold, ushering in a decade where window units became common and affordable. In 1953, some one million air conditioning units were installed in the United States, according to Popular Mechanics. Air conditioners of the 1950s included both window units and, less commonly, larger home units.
Popular Mechanics: A Brief History of Air Conditioning
The MIT Press Reader: The Dawn of the Colorful Kitchen
Kansas Historical Society: Appliances from the 1950s
Magnet Academy: Smoothing Iron, 1882
ElectraFix: Some Appliances Aren't Like They Used to be - and That's a Good Thing
Electric Frying Pan (Patent)
How to grow your own herb garden in any indoor or outdoor space
Sunbeam Electric Lawn Mower Information
What Are the Average Gallons Per Dishwasher Use?
Interesting Facts About Microwaves
Late '70s to Early '80s Popular Decorating Colors
How to Keep Stainless Steel Appliances Free From Fingerprints
Thermador Dishwasher Pricing Comparisons
Retro '70s Appliances
How to Identify Art Deco Hoosier-Style Cabinets
1 How to grow your own herb garden in any indoor or outdoor space
2 Sunbeam Electric Lawn Mower Information
3 What Are the Average Gallons Per Dishwasher Use?
4 Interesting Facts About Microwaves


We offer general size charts for the particular brands that we carry in our store. Specific measurements are available for certain products (see VIEW PRODUCT MEASUREMENTS).
If you cannot find measurements for your particular product, please do not hessitate to contact us! We will do our best to find the measurement for you!


4 classic Italian dinning chairs, metal structure with wooden backrest and black vinyl upholstery, upholstery need some attention. Frame finished with wooden end on the feet.
4 chaises classique de salle a manger, manufacture Italienne. Structure en métal avec dossier en bois. Tapisserie d'ameublement en vinyle noir, a besoin d'attention. Structure avec finition pieds en bois.


The Food Stamp Program has been renamed the Supplemental Nutrition Assistance Program (SNAP). The Bergen County Board of Social Services operates the SNAP Program under the operational guidelines of the U. S. Department of Agriculture, Food & Nutrition Services. This office establishes eligibility and continuing eligibility for persons who apply for the program, and issues Food Stamp benefits.
This SNAP Program provides a supplemental food allowance to low income families. Food Stamps can be used to purchase food and seeds at stores (licensed by the United States Department of Agriculture; Food and Nutrition Service) in the community that accept them. Food Stamps cannot be used to purchase tobacco, alcoholic beverages, or things that are not for human consumption, as well as paper products or soaps, detergents or any other cleaning products.
Food Stamp recipients access their benefit through their Families First Electronic Benefits Transfer card (EBT Card) which works similar to a debit card. The Families First EBT card makes food benefits available to clients through electronic benefit accounts using their own plastic card. The cards can be used at merchants POS (Point-of-Sale) terminals.
If you need to replace a lost or stolen EBT card or if you need more information regarding the EBT card please select from the frequently asked questions (FAQ) drop-down above.
Eligibility depends on several factors such as income, household size, resources, legal status, etc. The benefit amount a household receives each month is calculated based on the income and expenses of the household members (shelter, child care, and child support expenses are considered, medical expenses are also considered for elderly and disabled individuals).
In general, resources do not affect your eligibility for the SNAP Program, although in some cases resources may count to determine eligibility.
Some individuals may be required to participate in an Employment and Training Program.
In-Person: The agency is open from 8:00 a.m. to 4:30 p.m. weekdays. You may come in person and complete an application for our programs. After completing the application, and depending upon the program(s) you appear to be eligible to apply for, you will either be seen the same day or you will receive an appointment for an interview. Please note that the number of appointments available on a daily basis is limited and are assigned on a first come first serve basis.
On-line: The most convenient way to complete an application is to apply online at the NJOneAPP Website. This site will allow you to complete a single on-line application for Food Stamps, cash assistance, and/or Medicaid for children, families, and pregnant women (New Jersey Family Care). Elderly and Disabled individuals are not eligible to apply for Medicaid through the on-line application process. The agency will receive the application electronically and contact you by mail within 2 to 5 business days to schedule an in-person or telephone interview.
Applicants who are applying for Food Stamps only will be given an appointment for a telephone interview. Customers who apply for other programs in conjunction with Food Stamps may be required to attend an in person interview. Once the interview is completed, customers will be provided with a list of required verifications. Once the verifications are received, the application will be processed and a final eligibility determination will be made. Customers will be notified by mail once an eligibility determination has been made. Food Stamp applications are processed within Thirty (30) days of the date of application.


FLOOR FANTASY is proud to present the Exclusive Signature Style of the Bamboo Flooring Collection - a new dimension for a lifetime of elegant living, a reflection of inspirational beauty, and a new standard of style, luxury, elegance, and welcoming comfort.
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Elegant and Exotic outstanding design of FLOOR FANTASY Exclusive Bamboo Flooring Product Line represents an identification of a new generation of engineered Bamboo Floor with unique characteristics, and offers incomparable variety of design possibilities for impressive inspiring effects, providing romantic decorating options with superior performance, versatility and durability throughout the lifetime of the product. A new floor sensation offers the promise of luxurious comfort for the perfect experience, and became the favorite, preferred choice of Architects, Interior Designers, and Consumers worldwide.
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Welcome to the wonderful World of FLOOR FANTASY!
a Forum of Beauty and Harmony of the world-famous Exclusive Bamboo Flooring Signature Style Collection.
Copyright � 2003 [FLOOR FANTASY, INC.]. All rights reserved.


text:
The 4 Day Week - How the Flexible Work Revolution Can Increase Productivity, Profitability and Wellbeing, and Help Create a Sustainable Future
Author(s): Andrew Barnes
In The 4 Day Week, entrepreneur and business innovator Andrew Barnes makes the case for the four-day week as the answer to many of the ills of the 21st-century global economy. Barnes conducted an experiment in his own business, the New Zealand trust company Perpetual Guardian, and asked his staff to design a four-day week that would permit them to meet their existing productivity requirements on the same salary but with a 20% cut in work hours. The outcomes of this trial, which no business leader had previously attempted on these terms, were stunning. People were happier and healthier, more engaged in their personal lives, and more focused and productive in the office. The world of work has seen a dramatic shift in recent times: the former security and benefits associated with permanent employment are being displaced by the less stable gig economy. Barnes explains the dangers of a focus on flexibility at the expense of hard-won worker protections, and argues that with the four-day week, we can have the best of all worlds: optimal productivity, work-life balance, worker benefits and, at long last, a solution to pervasive economic inequities such as the gender pay gap and lack of diversity in business and governance. The 4 Day Week is a practical, how-to guide for business leaders and employees alike that is applicable to nearly every industry. Using qualitative and quantitative data from research gathered through the Perpetual Guardian trial and other sources by the University of Auckland and Auckland University of Technology, the book presents a step-by-step approach to preparing businesses for productivity-focused flexibility, from the necessary cultural conditions to the often complex legislative considerations. The story of Perpetual Guardian's unprecedented work experiment has made headlines around the world and stormed social media, reaching a global audience over 4.5 billion. A mix of trenchant analysis, personal observation and actionable advice, The 4 Day Week is an essential guide for leaders and workers seeking to make a change for the better in their work world.
Imprint : Piatkus Books
Author : Andrew Barnes


Andrew Gurland and Huck Botko's smirkily audacious Mail Order Wife starts off as a documentary about a Queens doorman with an ugly shrub of hair, a body as bulky as a washing machine, and a stare of the damned. When he picks a comely young Burmese mate out of a catalog, you think: This is just the sort of guy who would want a mail-order bride. When she arrives in New York, and he begins to treat her like dirt, you think: I knew this wouldn't work out. And when she responds by running into the arms of Gurland, who looks like a sleazy young Marvin Hamlisch, you think: Okay, what, exactly, is going on here… Everyone knows what a mockumentary is, but what do you call a documentary that teases us into deciphering whether it's real or not? Like last year's Incident at Loch Ness, which followed Werner Herzog's discovery of the Loch Ness monster (I almost bought it until Nessie popped out of the water as often as Jaws), Mail Order Wife is dedicated to the idea that truth is stranger than fiction even if it is fiction. It took gifted hucksters to make this movie, a funny and spirited — what to call it? — crockumentary.


The term 'chronograph' is composed of the two ancient Greek words 'chrónos' and 'gráphein'. Which means 'time' and 'write'. The term thus describes watches with an additional stopwatch function. A chronograph is a must have for every watch lover, so we thought of showing the 6 best chronograph watches below 10k.
How do I distinguish a chronograph watch from others?
Chronographs are typically characterized by two pushers allocated next to the crown and a few additional small dials (called "totalisers") on the main dial where seconds, minutes and hours are indicated. Starting the chronograph, seconds are shown by the large clockhand.
Unsurprisingly, this technique was used for aviation at the beginning of the 20th century. Accordingly, you will find a lot of pilot's watches within the chronograph world. We will explain that in detail later.
When shall I wear a chronograph watch?
They are so to say the ideal 'daily driver'. Your everyday-watch. A mixture of sportiness, elegance and a statement. The following watches are all easily combined with various dress codes such as Smart Casual or Business Casual.
The best chronograph watches below 10'000 CHF are a popular topic among our readers and definitely not easy to answer. All the timepieces listed below are an excellent choice in terms of beauty, quality and reliability. Once again the choice was far from easy. One or another brand listed here, offers other beautiful chronographs in the assortment. Our top 5 is deliberately not numbered because it should not be a ranking list.
The first watch worn on the moon and a must-have in every watch collection of a gentleman. The Speedmaster, which has been part of all six moon missions, is one of OMEGA's most legendary timepieces. In line with the discovery spirit, this new speedmaster contains two small moons.
Manufactured self-winding chronograph with column wheel and Co-Axial escapement. Certified Master Chronometer, approved by METAS. Calibre 9904.
Antoine de Saint-Exupéry was a recognized author and a lover of aviation. His book, 'Le Petit Prince', is a world famous bestseller. IWC takes the theme of Saint-Exupéry's petit prince with a special edition and presents this beautiful double chronograph.
Innovative display of the weekday.
Where shall we start? Official supplier of aviation. Inventor of the modern chronograph. A legend on the wrist.
Lovers of mechanical watches will appreciate the simple design of this model. With its modern look and distinctive vintage accents, the Master Chronograph inspires everyone who is looking for a touch of genuineness.
A clear view of a legendary mechanism: The famous Chronomaster El Primero «Full Open» by Zenith is justifiably named by its heart, performance and precision thanks to its fully opened and skewed dial. This chronograph beats at a high frequency of 36'000 Vph, or 5 Hz, which makes it one of the fastest and most precise industrial chronograph.
This handsome version of the Manero Flyback was presented at the Baselworld this year. It includes timeless elegance, sportiness and watchmaking at its finest. It is outstanding in terms of price/quality, since you get a very sophisticated movement for this amount of money.
A flyback chronograph is a complication watch, in which you can use the reset function without the need to first stop the chronograph. In regular chronographs you need to stop, reset, and restart the chronograph if you want to time an event after you have started the chronograph.


B-TOP Vertical RJ45 Integrated Jack with magnetics for 10/100/Gigabit are available in 180 degree top entry single port configuration. Vertical RJ45 MagJack connectors with integrated magnetics meet the performance requirements of IEC6063-7. Integrated LEDs are available in a variety of colors.
1) Vertical RJ45 Jack with 10/100 magnetics are available in three configurations: with resistors on unused pairs but without internal capacitor, with resistors on unused pairs and internal capacitor or with Full Bob Smith termination.
2) Vertical RJ45 Jack with Gigabit magnetics have an integrated full Bob Smith termination and are available in two standard configurations: with the 2KV capacitor terminated on Pin 10, or with the 2KV capacitor terminated to the shield.
Main use: Set Top Box, Smart TV, IP Camera, IA Product.
Find more vertical RJ45 Jack pictures in the gallery.
Click to view the additional details. If you are viewing this page on mobile device, it is recommended to rotate the screen.
Recommended schematics for vertical rj45 jack with magnetics.


Description: A light corporate financial tune that reflects the human side of corporate life when things don't go as planned. Passed over for promotion; didn't get the sale; transferred to a new location, etc.
Description: A light corporate financial tune designed to convey the lighter side of corporate imaging. Major Key. Positive, reassuring, honest and uplifting.
Description: A light corporate tune skewed toward a female demographic. Reflects the strength women have in the financial marketplace with an uplifting, confident, and positive feeling. Heart warming, honest, hopeful and pretty.
Description: A Funky light corporate tune with a piano bass line and acoustic guitar. Crosses over to light industrial with financial overtones. Determination and optimism combined with a "can do" attitude ultimately carry the day.


Autumn/Winter 2010 Collection of Japanese fashion brand Matohu on March 25, 2010, during the Japan Fashion Week in Tokyo.
@Shinu: I thought so, too. Some items, like the one in the top photo, remind me of traditional Japanese clothing.
I like all the photos and outfits, but if I had to choose, I'll go for this one.
@cleawalford: there's something elegant, yet casual, about matohu's designs, don't you think?
Kjeld Duits, yes, I absolutely agree with you!


text:
District Samples up to 367.0 g/t Silver, 30.1% Zinc, and 15.7% Lead on the Gruvberget Property
January 18, 2022 – District Metals Corp. (TSX-V: DMX) (FRA: DFPP); ("District" or the "Company") is pleased to report on assay results from grab and chip rock samples recovered from geological fieldwork carried out in late-2021 at its polymetallic Gruvberget Project in the Bergslagen Mining District of south-central Sweden. This fieldwork concentrated on reconnaissance prospecting and geochemical sampling at the Gruvberget South and North zones, which represents less than 10% of the mineralized trend that is enclosed by the 5,286 hectare Gruvberget Property.
Garrett Ainsworth, CEO of District, commented: "Our reconnaissance visit of the Gruvberget Property late last year was even more exciting than anticipated. We observed substantial polymetallic mineralization as stringer, vein, semi-massive and massive sulphides in outcrop and in mine dumps along our one kilometer traverse. We initially started out at the open pit in the South zone where sulphide mineralization hosted by the felsic volcanic and limestone units has clear opportunities for significant expansion. We continued along the North zone showings where numerous historical pits and trenches line up with past drilling that outline a completely open mineralized zone that is 550 m long and 160 m deep. It is clear that the North zone has walk up drill targets, however, the forthcoming interpretation of our recently flown SkyTEM electromagnetic and magnetic survey will greatly enhance our targeting."
Rock Sample Assay Highlights
Chip sampling from outcrop at the Gruvberget South zone returned 41.9% ZnEq1 (132.0 g/t Ag, 30.1% Zn, 7.6% Pb, 0.5 g/t Au, and 0.1% Cu). Mineralization at the Gruvberget South zone remains open in most directions as evidenced through outcrop assay results and historic drill results within and outside of the historic open pit.
Grab sampling from mine dumps at the Gruvberget North zone returned 28.7% ZnEq1 (367.0 g/t Ag, 4.7% Zn, 15.7% Pb, 0.2 g/t Au, and 0.04% Cu). Mineralization at the Gruvberget North zone remains open in all directions as evidenced through outcrop assay results and historic drilling.
Grab sampling from a small historic pit at the northern end of the Gruvberget North zone returned 28.3% ZnEq1 (111.0 g/t Ag, 18.5% Zn, 7.1% Pb, 0.1 g/t Au, and 0.1% Cu).
Rock sample locations are shown in Figure 1, and rock assay results are shown in Table 1.
The core area of the Gruvberget Property comprises the North and South zones, which have seen significant polymetallic mineralization historically drilled along a strike length of 1 km that is open in most directions. The remaining 14 km mineralized trend within the Property is strewn with historic polymetallic mines and mineral occurrences that have not seen modern systematic exploration.
The Gruvberget South zone was discovered around 1900 by a prospector named Rickard Bredenberg. Shallow core drilling and test mining was conducted intermittently in the 1900's until the Bredenberg family reached an agreement with Dalagruvor AB in 1987 to commence open pit mining to a 30 m depth by 1989. Historical records show that 40,000 tonnes at 90 g/t Ag, 5.1% Zn, 1.9% Pb, and 0.3% Cu2 was extracted via open pit mining, and transported to the Falun Mine facility for processing. In the early-2000's, limited ground geophysical surveys were completed and three shallow core holes were drilled at the South zone by Tertiary Minerals Ltd.. The Gruvberget South zone presently contains an unmined historical resource to a depth of 50 m from surface associated with the following drill intersection highlights:
Hole GS-20-55 intersected 6.4 m at 129 g/t Ag, 8.7% Zn, 3.2% Pb, 0.48% Cu
Hole DBH-18 intersected 4.6 m at 139 g/t Ag, 11.7% Zn, 3.0% Pb, 0.42% Cu
Hole DBH-17 intersected 6.4 m at 66 g/t Ag, 7.8% Zn, 1.8% Pb, 0.38% Cu
From 2008 to 2011 Wiking Mineral AB flew an airborne electromagnetic and magnetic survey that was limited to a maximum depth of penetration of 200 m, they and drilled 2,200 m in 15 core holes at the Gruvberget North zone. Past drilling was not followed up with down-hole electromagnetic surveying, which is a proven exploration method for exploring and expanding polymetallic deposits within the Bergslagen District. Wiking's drilling at the Gruvberget North zone delineated polymetallic mineralization across a strike length of 550 m and vertical extent of 160 m that remains open. A mineral resource estimate has not been established at the North zone that contains the following drill intersection highlights:
Hole GRU1003 intersected 8.9 m at 40 g/t Ag, 3.7% Zn, 1.3% Pb, 0.16% Cu, 0.04 g/t Au
Hole GRU1011 intersected 6.1 m at 1.3% Cu, 1.9 g/t Au, 51 g/t Ag, 1.1% Zn, 0.15% Pb3
In November 2021, District Metals retained SkyTEM Surveys ApS based out of Denmark to undertake a detailed heliborne SkyTEM312 HP (transient electromagnetic – high power) and magnetic survey over the Gruvberget Property. Electromagnetic and magnetic data from this airborne survey is currently being interpreted and will be reported on when ready. This is the first step of exploration at Gruvberget that will be followed by detailed geological fieldwork to prioritize drill targets.
Figure 1: Rock Sample Locations and Assays on Gruvberget Property
Table 1: Gruvberget Rock Assay Results
Mine or Showing Sample Type Comments Ag (g/t) Zn (%) Pb (%) Au (g/t) Cu (%) AgEq (g/t) ZnEq (%)
Gruvberget South Zone Chip Outcrop with mineralized limestone at edge of the south pit with dip of 50 degrees towards the southeast. The sulphide mineralization transitions from disseminated to impregnation to more massive towards south. 26.90 8.25 1.49 0.06 0.19 423.18 10.91
Gruvberget South Zone Chip Mineralized limestone dominated with massive sphalerite and galena. Stringers of pyrite and chalcopyrite occur along main foliation. 132.00 30.09 7.56 0.50 0.12 1,624.42 41.90
Gruvberget South Zone Chip Mineralized limestone with massive sphalerite and galena proximal to a small adit. 55.90 7.34 2.20 0.32 0.24 474.63 12.24
Gruvberget South Zone Chip Strongly folded marble mineralized with sphalerite. White rusty appearance is likely oxidized zinc. 116.00 17.10 6.92 0.27 0.04 1,049.19 27.06
Gruvberget North Zone Grab Small pit with dumps on the side. Minor sulphides include mainly pyrite with lesser galena and sphalerite hosted within skarn altered limestone. 77.20 4.55 2.20 0.08 0.23 360.28 9.29
Gruvberget North Zone Grab Small pit with mineralized boulders of galena, sphalerite, and pyrite. Host rock is fine grained green pyroxene skarn or felsic volcanic. 367.00 4.74 15.70 0.19 0.04 1,112.37 28.69
Gruvberget North Zone Grab High grade mine dump with massive sphalerite, galena, pyrrhotite that could be re-mobilized sulphide mineralization. Fine grained host rock that looks skarn altered. 111.00 18.50 7.08 0.10 0.14 1,095.39 28.25
Grab samples were recovered from mine dump piles, and chip samples were recovered from outcrop.
Rock grab samples are selective samples by nature and as such are not necessarily representative of the mineralization hosted across the Property.
Metal prices used in USD for the AgEq and ZnEq calculations were based on Ag $15.00/oz, Au $1650/oz, Cu $2.15/lb, Zn $0.85/lb, and Pb $0.75/lb.
AgEq equals = Ag g/t + (Au g/t × 110) + (Cu% × 98.286) + (Zn% × 38.857) + (Pb% × 34.286)
ZnEq = Zn% + (Ag g/t × 0.0257) + (Au g/t x 2.831) + (Cu% × 2.529) + (Pb% × 0.882)
The use of AgEq and ZnEq is for exploration purposes, and no adjustments were made for metal recovery.
1 Metal prices used in USD for the ZnEq calculation were based on Ag $15.00/oz, Au $1650/oz, Cu $2.15/lb, Zn $0.85/lb, and Pb $0.75/lb. ZnEq equals = Zn% + (Ag g/t × 0.0257) + (Au g/t x 2.831) + (Cu% × 2.529) + (Pb% × 0.882). The use of ZnEq is for exploration purposes, and no adjustments were made for metal recovery.
2 Sveriges Geologiska Undersökning (SGU) Map Viewer: https://apps.sgu.se/kartvisare/kartvisare-malm-mineral.html.
3 Wiking Mineral AB News Release dated May 12, 2011
The grab and chip samples reported in this news release were recovered from mine dump piles and outcrops, respectively. A total of seven rock samples were transported to ALS Geochemistry in Malå, Sweden for preparation, and subsequently pulps were sent to ALS Geochemistry in Ireland (an accredited mineral analysis laboratory) for analysis. Samples were analyzed using a multi-element ultra trace method combining a four-acid digestion with ICP-MS analytical package ("ME-MS61"). Over limit sample values were re-assayed for: (1) values of copper >1%; (2) values of zinc >1%; (3) values of lead >1%; and (4) values of silver >100 g/t using the high-grade material ICP-AES analytical package ("ME-OG62"). Additional over limit sample values were re-assayed for: (1) values of zinc >30%; (2) values of lead >20% using the high precision analysis of base metal ores AAS analytical package ("Zn, Pb-AAORE"). Gold, platinum, and palladium were analyzed using the 30 g lead fire assay with ICP-AES finish analytical package ("PGM-ICP23"). Certified standards, blanks, and duplicates were inserted into the sample shipment to ensure integrity of the assay process. Selected samples were chosen for duplicate assay from the coarse reject and pulps of the original sample. No QA/QC issues were noted with the results reported.
Some of the data disclosed in this news release discusses historical results. District has not undertaken any independent investigation of the sampling nor has it independently analyzed the results of the historical exploration work in order to verify the results. District considers these historical drill results relevant as the Company is using this data as a guide to plan exploration programs. The Company's current and future exploration work includes verification of the historical data through drilling.
Mr. Ainsworth has not verified any of the information regarding any of the properties or projects referred to herein other than the Gruvberget Property. Mineralization on any other properties referred to herein is not necessarily indicative of mineralization on the Gruvberget Property.
The advanced exploration stage Tomtebo Property is located in the Bergslagen Mining District of south-central Sweden is the Company's main focus. Tomtebo comprises 5,144 ha and is situated between the historic Falun Mine and Boliden's Garpenberg Mine that are located 25 km to the northwest and southeast, respectively. Two historic polymetallic mines and numerous polymetallic showings are located on the Tomtebo Property along an approximate 17 km trend that exhibits similar geology, structure, alteration and VMS/SedEx style mineralization as other significant mines within the district. Mineralization that is open at depth and along strike at the historic mines on the Tomtebo Property has not been followed up on, and modern systematic exploration has never been conducted on the Property.
For further information on the Tomtebo Property, please see the technical report entitled "NI 43-101 Update Technical Report on the Tomtebo Project, Bergslagen Region of Sweden" dated effective October 15, 2020 and amended and restated on February 26, 2021, which is available on SEDAR at www.sedar.com.
This news release contains certain statements that may be considered "forward-looking information" with respect to the Company within the meaning of applicable securities laws. In some cases, but not necessarily in all cases, forward-looking information can be identified by the use of forward-looking terminology such as "plans", "targets", "expects" or "does not expect", "is expected", "an opportunity exists", "is positioned", "estimates", "intends", "assumes", "anticipates" or "does not anticipate" or "believes", or variations of such words and phrases or statements that certain actions, events or results "may", "could", "would", "might", "will" or "will be taken", "occur" or "be achieved" and any similar expressions. In addition, any statements that refer to expectations, predictions, indications, projections or other characterizations of future events or circumstances contain forward-looking information. Statements containing forward-looking information are not historical facts but instead represent management's expectations, estimates and projections regarding future events. Forward-looking statements in this news release relating to the Company include, among other things, statements relating to the Company's planned exploration activities, including its drill target strategy and next steps for the Tomtebo Property; the company's interpretations and expectations about the mineralization of the Tomtebo Mine; the Company's belief that the numerous gravity high anomalies identified at the historic Tomtebo Mine provide immense expansion potential; the Company's belief that the modeled gravity high anomalies at the historic Tomtebo Mine could correspond with polymetallic and/or iron sulphide mineralization, or a mafic unit; and the Company's belief that the gravity high anomaly located one kilometer to the northeast of the Tomtebo Mine represents a potential grassroots discovery opportunity with a modeled tonnage that compares with the historic production tonnage from the historic Falun Mine.
These statements and other forward-looking information are based on opinions, assumptions and estimates made by the Company in light of its experience and perception of historical trends, current conditions and expected future developments, as well as other factors that the Company believes are appropriate and reasonable in the circumstances, as of the date of this news release, including, without limitation, assumptions about the reliability of historical data and the accuracy of publicly reported information regarding past and historic mines in the Bergslagen district; the Company's ability to raise sufficient capital to fund planned exploration activities, maintain corporate capacity and satisfy the exploration expenditure requirements required by the definitive purchase agreement between the Company and the vendor of the Tomtebo Property (the "Tomtebo Purchase Agreement") by the times specified therein; and stability in financial and capital markets.
Forward-looking information is necessarily based on a number of opinions, assumptions and estimates that, while considered reasonable by the Company as of the date such statements are made, are subject to known and unknown risks, uncertainties, assumptions and other factors that may cause the actual results, level of activity, performance or achievements to be materially different from those expressed or implied by such forward-looking information, including but not limited to risks associated with the following: the reliability of historic data regarding the Tomtebo Property; the Company's ability to raise sufficient capital to finance planned exploration (including incurring prescribed exploration expenditures required by the Tomtebo Purchase Agreement, failing which the Tomtebo Property will be forfeited without any repayment of the purchase price); the Company's limited operating history; the Company's negative operating cash flow and dependence on third-party financing; the uncertainty of additional funding; the uncertainties associated with early stage exploration activities including general economic, market and business conditions, the regulatory process, failure to obtain necessary permits and approvals, technical issues, potential delays, unexpected events and management's capacity to execute and implement its future plans; the Company's ability to identify any mineral resources and mineral reserves; the substantial expenditures required to establish mineral reserves through drilling and the estimation of mineral reserves or mineral resources; the Company's dependence on one material project, the Tomtebo Property; the uncertainty of estimates used to calculated mineralization figures; changes in governmental regulations; compliance with applicable laws and regulations; competition for future resource acquisitions and skilled industry personnel; reliance on key personnel; title matters; conflicts of interest; environmental laws and regulations and associated risks, including climate change legislation; land reclamation requirements; changes in government policies; volatility of the Company's share price; the unlikelihood that shareholders will receive dividends from the Company; potential future acquisitions and joint ventures; infrastructure risks; fluctuations in demand for, and prices of gold, silver and copper; fluctuations in foreign currency exchange rates; legal proceedings and the enforceability of judgments; going concern risk; risks related to the Company's information technology systems and cyber-security risks; and risk related to the outbreak of epidemics or pandemics or other health crises, including the recent outbreak of COVID-19. For additional information regarding these risks, please see the Company's Annual Information Form, under the heading "Risk Factors", which is available at www.sedar.com. These factors and assumptions are not intended to represent a complete list of the factors and assumptions that could affect the Company. These factors and assumptions, however, should be considered carefully. Although the Company has attempted to identify factors that would cause actual actions, events or results to differ materially from those disclosed in the forward-looking statements or information, there may be other factors that cause actions, events or results not to be as anticipated, estimated or intended. Also, many of such factors are beyond the control of the Company. Accordingly, readers should not place undue reliance on forward-looking statements or information. The forward-looking information is made as of the date of this news release, and the Company assumes no obligation to publicly update or revise such forward-looking information, except as required by applicable securities laws. All scientific and technical information contained in this news release has been prepared by or reviewed and approved by Garrett Ainsworth, PGeo, President and CEO of the Company. Mr. Ainsworth is a qualified person for the purposes of National Instrument 43-101 - Standards of Disclosure for Mineral Projects.


Gerald Ambrose 1952 Smith Corona Sterling Serial # 5A425329 1952 Smith Corona Sterling typewriter, Serial # 5A425329 Gerald Ambrose's 1952 Smith Corona Sterling typewriter. 2018-03-23 2019-04-13 From the Virtual Typewriter Collection of Gerald Ambrose: 1952 Smith Corona Sterling Serial # 5A425329 So, I went into one of the antique stores I frequent after not going for a couple of weeks and I looked into a stall and spotted a closed tweed case. The tag was a welcoming sight of $36! Upon opening the case I found a nice, slightly smudged Smith-Corona Sterling. I have to admit that I had hoped it would be a Silent, but I'm not complaining.
Testing it out it worked well, and I decided that I was bringing home another typewriter.
It came with a BUD type cleaner that is slightly dried out. The sticker says it was priced on '11 - 76 - 4,' for .69, as well as a small Smith-Corona brush.
Once home getting it out of the case, I spotted a dealer/service sticker with 'C & A Business Machines West Hartford, CT; it seems that the business went out not too long ago.
The odd thing is that this machine was hit, probably while in the case, on the left side, as there is a sizable dent, but it does not affect the machine's function.
So, I went into one of the antique stores I frequent after not going for a couple of weeks and I looked into a stall and spotted a closed tweed case. The tag was a welcoming sight of $36! Upon opening the case I found a nice, slightly smudged Smith-Corona Sterling. I have to admit that I had hoped it would be a Silent, but I'm not complaining.
RESEARCH NOTE: When researching the Smith Corona Sterling on a computer with lots of screen real estate, you may find that launching the Smith Corona Serial Number page and the Smith Corona Sterling By Model/Year/Serial page in new browser windows can give you interesting perspectives on changes throughout the model series.


text:
Joseph Harold Negri (born June 10, 1926) is an American jazz guitarist and educator. He appeared as himself and as "Handyman Negri" in the Neighborhood of Make-Believe segments on Mister Rogers' Neighborhood. He appeared on the 1959 children's television program Adventure Time and with Johnny Costa on the 1954 TV series 67 Melody Lane hosted by Ken Griffin.

Negri taught jazz guitar for 49 years at the University of Pittsburgh, where jazz guitar was first offered as a discipline in higher education. He taught for 46 years at Duquesne University, as well as at Carnegie Mellon University.

Biography
Joe Negri began performing on radio at age three, playing the ukulele and singing. He joined the local musicians' union and began playing professional engagements. In the 1940s, he toured nationally and was a member of the Shep Fields Orchestra from 1943 until 1944, when he entered the Army for two years.

After returning home, he performed in Pittsburgh with his brother, pianist Bobby Negri. He enrolled at Carnegie Mellon University, concentrated on music composition, and spent the 50's playing locally around the Pittsburgh area and often worked with pianist Johnny Costa on KDKA television.  His trio, with accordionlist Dom Trimarkie and bassist Lou Mauro, were the regular band on the live KDKA variety show "Buzz and Bill," hosted by the team of Buzz Aston and Bill Hinds. Around 1960, WTAE, Pittsburgh's ABC television outlet, hired him as their Music Director. Negri played on various live programs and composed theme music as well.  He spent the next twenty-two years working at WTAE as music director. He met Fred Rogers at WTAE, when Rogers hosted a short-lived children's show. In 1968, Negri began appearing as Handyman Negri in the children's program Mister Rogers' Neighborhood for nearly 40 years until Rogers stopped producing new episodes in 2000.  Though many assume Negri was part of the musical ensemble on the show, in fact he only occasionally joined the show's band on special occasions.  Most of his work on the program involved his Handyman Negri character or portraying himself as owner of "Negri's Music Shop" when Rogers presented musical guests.

Negri taught guitar and later helped Duquesne University establish a jazz guitar program.  Over the years he taught many students including Ralph Patt, the inventor of major-thirds tuning.  Negri and Patt recorded in 1989.

In 2010 he recorded the album Fly Me to the Moon with Michael Feinstein and performed with him during the next year at the Newport Jazz Festival. Negri was the subject of a profile in the September 2010 issue of Vintage Guitar magazine written by Rich Kienzle.

Joe Negri archives
The Joe Negri archives consist of the collection of manuscripts, recordings, memorabilia, and original hand-written scores that document his life, work and influence. The collection was donated by Negri in 1999 to the Center for American Music within the University Library System (ULS) at the University of Pittsburgh. The donation became the 1,000th collection at the ULS to have an electronically accessible finding aid (i.e., a guide that describes the contents of an archival collection and creator). The archives contains correspondence, commissioned commercial musical compositions, scores, recordings and television archival footage. His donation also included his college coursework, compositions written for the River City Brass Band, television scores, commercial jingles, and film work. Companies that commissioned work from Negri included McDonald's, Alcoa, Kaufmann's, and Westinghouse.

Discography

As leader
 Afternoon in Rio (MCG Jazz, 1998)
 Guitars for Christmas (MCG Jazz, 2003)
 Uptown Elegance (MCG Jazz, 2004) with Buddy DeFranco
 Dream Dancing (Noteworthy Jazz, 2010)

As sideman
 Michael Feinstein, Fly Me to the Moon (DuckHole, 2010)

Other works
 A Common Sense Approach to Improvisation for Guitar (Mel Bay, 2002)

References

 Further reading
 Articles
 Anderson, George. "Where Are the Bucks for 'Bucs' Song?". The Pittsburgh Post-Gazette. September 13, 1990.
 Apone, Carl. "Song Writers Beaten To Bucks". The Pittsburgh Press. October 22, 1971.
 Apone, Carl. "Musical Negris: Tale of 2 Brothers". The Pittsburgh Press. April 17, 1980.
 Blank, Edward L. "Personality Profile ..Negri: Composer, Performer, Teacher, Music Director". The Pittsburgh Press. January 25, 1971.
 Cloud, Barbara. "Joe Negri still finds magic in music". The Pittsburgh Post-Gazette. March 5, 2006.
 Guidry, Nate. "Galleria Budget Cuts Sounding Somber Notes For Jazz For Juniors". The Pittsburgh Post-Gazette. February 1, 2002.
 Heimbuecher, Ruth. "They're Jazzing Up Poetry Again". The Pittsburgh Press. February 4, 1983.
 Kienzle, Rich. "Pittsburgh's Guitar Man: Joe Negri". The Pittsburgh Post-Gazette. September 25, 2011.
 King, Peter B.. "The Buzz: For the Record". The Pittsburgh Post-Gazette. June 18, 1998.
 Kirkland, Kevin. "Joe Negri's jazz guitar is his legacy". The Pittsburgh Post-Gazette. September 25, 2011.
 Leonard, Vince. "Camera, Modern Music Illuminate Pittsburgh". The Pittsburgh Press. December 24, 1964.
 Leonard, Vince. "Porter's 'Kate' to TV: Goulet, Carol in Leads; Either Fate or Planned That Way". The Pittsburgh Press. October 19, 1967.
 Leonard, Vince. "Triple-Threat Man". The Pittsburgh Press. June 1, 1969.
 Miller, Jane. "Jazz Profs String 'em Along". The Pittsburgh Post-Gazette. March 13, 1996.
 Moffitt, Mary Irene. "Joe Negri Credits Success To Gene Kelly". The Pittsburgh Post-Gazette. January 2, 1961.
 O'Keefe, Mark. "Handyman Negri Handy With A Guitar". The Beaver County Times. December 24, 2003.
 Peticca, Carole Elaine. "What I Really Wanted to Be". The Pittsburgh Post-Gazette. December 1, 1988.
 "Negri Joins Morning Show". Washington (PA) Observer-Reporter. March 16, 1979.
 "Joe Negri to Teach at D.U.". The Pittsburgh Press. August 3, 1973.

 Books
 Barth, Joe (2006). Voices in Jazz Guitar : Great Performers Talk About Their Approach to Playing. Pacific, MO : Mel Bay.
 Chapman, Charles. (2001). "Joe Negri (September 1999)". Interviews with the Jazz Greats... and More!. Pacific, MO: Mel Bay Publications. pp. 48–50.
 Negri, Joe (2002). A Common Sense Approach to Improvisation for Guitar''. Pacific, MO: Mel Bay.

1926 births
Living people
American jazz guitarists
American male television actors
Musicians from Pittsburgh
Carnegie Mellon University College of Fine Arts alumni
Carnegie Mellon University faculty
Duquesne University faculty
University of Pittsburgh faculty
Mainstream jazz guitarists
American jazz educators
History of Pittsburgh
Guitarists from Pennsylvania
American male guitarists
University of Pittsburgh Library System Archives and Collections
20th-century American guitarists
Jazz musicians from Pennsylvania
American male jazz musicians
United States Army personnel of World War II

redpajama_set_name: RedPajamaWikipedia


text:
Company Update (NASDAQ:AMD): Advanced Micro Devices, Inc. Unveils Radeon Pro 400 Series Graphics
Corey Williams- October 27, 2016, 5:23 PM EDT
Advanced Micro Devices, Inc. (NASDAQ:AMD) unveiled a new family of power-efficient graphics processors, Radeon™ Pro 400 Series Graphics. Available first in the all-new 15-inch MacBook Pro, select Radeon Pro 400 Series graphics deliver extraordinary performance and efficiency gains over the prior generation to fuel modern creative efforts from anywhere inspiration strikes.
Radeon Pro 400 Series Graphics are designed specifically for today's makers — the artists, designers, photographers, filmmakers, visualizers and engineers that shape the modern content creation era. Harnessing AMD's acclaimed Polaris architecture, Radeon Pro 400 Series Graphics are built on the industry's most advanced process technology for graphics processors in production today, 14nm FinFET, resulting in incredibly small transistors. To enable the thinnest graphics processor possible, AMD also employs a complex process known as 'die thinning' to reduce the thickness of each wafer of silicon used in the processor from 780 microns to just 380 microns, or slightly less than the thickness of four pieces of paper. Operating in a power envelope under 35W, the Radeon Pro 450, 455, and 460 Series graphics processors deliver spectacular energy efficiency and cool, quiet operation to speed through the most demanding tasks in popular creative applications.
"We couldn't be more proud to have Radeon Pro 400 Series Graphics launching in the new 15-inch MacBook Pro, a notebook designed for performance and creativity," said Raja Koduri, senior vice president and chief architect, Radeon Technologies Group, AMD. "Today there are millions of professional creators and designers, and a billion more who aspire to reach the next level. Radeon Pro 400 Series Graphics are a powerful and versatile creative technology that gives makers entirely new ways to create the art of the impossible no matter where they are."
To celebrate the people behind the products, and the passion shared by makers of all sorts, AMD is launching a new program called "Meet the Creators," bringing creators together and inviting them to share their work. Creators will have the opportunity to collaborate across a variety of fields, learn about new tools and techniques for their respective crafts, and have a chance to be featured in Radeon Pro promotional campaigns.
The "Meet the Creators" program will also explore how Radeon Pro graphics play a role in the creative process, from harnessing extraordinary graphics performance in today's popular 2D and 3D creative applications, to using modern low-overhead graphics and compute APIs to accelerate rendering in today's workflows. A part of that workflow is Radeon ProRender, AMD's physically-based rendering engine planned for open source later this year, and supported via plugins across many popular 3D content creation applications including Autodesk® Maya®, and a beta plugin for Rhino®. Bolstering the list of supported applications, AMD and Maxon announced today that Radeon ProRender software will be available in a future release of Maxon's powerful and intuitive Cinema 4D application for 3D modeling, animation and rendering, providing GPU-accelerated performance on Mac by leveraging Radeon Pro graphics and Apple's Metal API. (Original Source)
Shares of Advanced Micro Devices closed today at $7.11, down $0.18 or -2.47%. AMD has a 1-year high of $8 and a 1-year low of $1.75. The stock's 50-day moving average is $6.49 and its 200-day moving average is $5.40.
On the ratings front, AMD has been the subject of a number of recent research reports. In a report issued on October 21, BMO analyst Ambrish Srivastava reiterated a Hold rating on AMD. Separately, on the same day, Bernstein Research's Stacy Rasgon maintained a Hold rating on the stock and has a price target of $7.50.
According to TipRanks.com, which ranks over 7,500 financial analysts and bloggers to gauge the performance of their past recommendations, Ambrish Srivastava and Stacy Rasgon have a yearly average return of 9.0% and 2.6% respectively. Srivastava has a success rate of 70% and is ranked #486 out of 4188 analysts, while Rasgon has a success rate of 50% and is ranked #1238.
The street is mostly Neutral on AMD stock. Out of 16 analysts who cover the stock, 9 suggest a Hold rating , 5 suggest a Buy and 2 recommend to Sell the stock. The 12-month average price target assigned to the stock is $6.88, which reflects a potential downside of -8% from last closing price.
Advanced Micro Devices, Inc. is a global semiconductor company that develops computer processors and related technologies for business and consumer markets. It design and integrate technology for intelligent devices, including personal computers, game consoles and cloud servers. The company operates through the following segments: Computing and Graphics, and Enterprise, Embedded and Semi-Custom. The Computing and Graphics segment includes desktop, notebook processors, chipsets, discrete GPUs and professional graphics. The Enterprise, Embedded and Semi-Custom segment includes server and embedded processors, dense servers, semi-custom SoC products, engineering services and royalties.
AMD Stock Looks Solid Heading into Today's Earnings Report
Stone Fox Capital, July 28, 2020
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AMD: Console Boost to Round Out Big 2H
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Our business is about mining of base metals such as tin ore and lead ore, starting up with the former. Our market is global and of high demand. We need funding to acquire beneficiations equipment and to rent and take on lease some equipment for mining purposes. We will give back to investors 10 times the money invested by the. The investor will be able control our account for the agreed time after which they will be free to exit the business.
We need funds up to the tune of 100,000 USD to start our mining project. We have a license to mine the base metals. We are starting small but will go bigger in no time.
The tin ore mining is a very good investment that will bring 500% ROI. For up-to-date tin ore prices, you might check the site of the London Metal Exchange (lme.com). We are selling 70% at LME price and we are planning to produce 10tpd. The purity of tin ore is 68% and of the lead ore - 74%.
We do not have any direct competitors. The business will produce a commodity that is highly demanded on the global market, as tin is something almost every manufacturer needs and looks for at LME.
Our opportunity refers to our ability to act fast to the requirements and demand of our buyers. The buyer enjoys a never ending demand on the part of the manufacturers. We will be generating revenues from the sale of the metals mined. I have been a local miner working with a firm, so I have personal experience in this business.
We are looking for debt finance. The loan payback time is 6 months to 1 year. The interest rate can be even more than 80% but should not exceed 100% in six months. Any investor who sees our potential and is interested in our deal can contact us.


text:
Sorrentino the Metafictionist--Part 2
"Walking Around Inside": Mulligan Stew
In many ways, the publication of a novel like Mulligan Stew in 1979 should not have seemed especially startling. Not only had it been preceded by Sorrentino's own Imaginative Qualities of Actual Things, perhaps the most radical work of postmodern metafiction to have yet appeared, but the entire period in American fiction from the early 1960s to the late 70s was notable for the number of writers employing a kind of iconoclastic, "carnivalesque" comedy--the term used by Bakhtin to describe a spirit of comedic abandon that subjects everything in its purview to parody and mockery. The black humor of Heller and Vonnegut explicitly adopts this attitude, while the equally mordant if less readily categorizable comedy of writers such as Stanley Elkin or Thomas Pynchon participate in this spirit as well. Although not indulging in quite the sort of outrageous self-parody characterizing Mulligan Stew, novels like William Gaddis's JR, Robert Coover's The Public Burning, and John Barth's Letters nevertheless were equally ambitious, comedically extravagant novels published in the mid and late 1970s (Letters the same year as Mulligan Stew).
Yet Mulligan Stew clearly exceeds even these works in its formal antics and metafictional burlesque. Indeed, so extreme is its rejection of even the vestiges of linear coherence and unitary storytelling remaining in Imaginative Qualities of Actual Things that the novel itself famously begins with a series of rejection letters (invented by Sorrentino but generally corresponding to editorial reactions the manuscript of Mulligan Stew actually received from publishers) turning down the novel because of its obvious failures to observe novel-writing proprieties. One editor, "Alan Hobson," observes: "The book is far too long and exhausts one's patience. Its various worlds seem to us to lack the breadth and depth and width as well to sustain so many pages." According to "Horace Rosette,"
Not the least compelling aspect of this book is that it has, far beneath the tortured story told by the author. . .a dry, subtle, and deliberate humor, a humor so fragile and evanescent that one reads it while almost literally holding one's breath that too gross an appreciation of it should make it scatter to the black winds that sweep and roar through the "fiction." For some reason, I kept thinking of the question that Dickens had his old mad gentleman pose in Nicholas Nickleby: "The young prince of China. Is he reconciled to his father-in-law, the great potato salesman?" Sorrentino's gentle humor is of the same tenor as this angst-laden query.
Beyond the non-sequiturs offered by Mr. Rosette in this passage, his most egregious misreading of Mulligan Stew is his perception of its "gentle humor." The humor in this novel is far from gentle, is in fact of the most thorough and caustic kind, although it is directed less at the publishing machinery satirized in the preface (which turns out to be a kind of satiric collateral damage, representing the kind of incomprehension of his novel Sorrentino surely expected to encounter) and more at the generic and aesthetic assumptions that are thought to govern the writing of novels. Those generic assumptions include both those associated with "experimental" fiction and those that make a work of prose even recognizable as a novel. In undermining its own pretensions (as represented by the novels' protagonist, Antony Lamont, an experimental novelist who takes himself very seriously indeed), Mulligan Stew as well potentially undermines the whole enterprise of novel-writing. Indeed, its profound questioning of all of the fundamental conventions of fiction as a literary form can ultimately be credible only if the avant-garde or experimental novel, the form in which Mulligan Stew ostensibly presents itself, is also subject to the same questioning.
Few literary works exhibit the degree of "radical skepticism" described by Bakhtin as comprehensively as Mulligan Stew. The novel portrays Lamont as a hopelessly inept writer who nevertheless fancies himself on the cutting-edge. Excerpts from his previous novels--he is in the process of writing a new novel in the present time--show him to be a writer of very pedestrian and finally very conventional tastes who wishes to be taken as an original. These excerpts are among many other documents that proliferate throughout the novel: passages from Lamont's work-in-progress, from his journal and scrapbook, letters, magazine ads, as well as the most outrageous of the novel's devices, a journal kept by one of Lamont's characters, Martin Halpin (himself stolen from Finnegans Wake). Within this journal, still more "documents" are introduced, including a 40-page "masque," whose characters include Susan B. Anthony, the Marquis de Sade, and James Joyce himself. The "story" of Mulligan Stew chronicles Lamont's disintegration, both professional and personal, through a combination of egregious bad luck and his own poor decisions; the nadir is reached when the second of his novel's characters, Ned Beaumont (stolen from a Dashiell Hammett novel) simply walks away from the book, followed shortly thereafter by Martin Halpin.
The collapse of Lamont's life and career is more than the story's "content," however. In a very real sense, Mulligan Stew itself is "about" its own disintegration. What begins as a stock situation of self-reflexive fiction, a writer writing a novel, becomes a comic anatomy of that situation, a travesty of the kind of superficial experimentation to which this situation often leads. Of all the major metafictional works by American writers, Mulligan Stew could most literally be called a "deconstructed" text. Not only does the book question all of the assumptions about the novel to which most readers are accustomed, but it refuses to substitute the assumptions commonly associated with the avant-garde. Mulligan Stew almost seems to have no stable structure at all. It falls apart before the reader's eyes.
But finally this impression is a result of Sorrentino's carefully created illusion, an illusion based primarily on the removal of all signs of authorial and narrative presence. As Sorrentino described it in an interview with John O'Brien, "there was a conscious attempt to refrain from using a narrator who could allow us to look at the characters from the outside, to look at the situation, to look at the movement of lack of movement in the book in terms of Lamont and his hopeless life. The book is sealed. The book is artificial and is meant to be artificial." Unlike Barth's Lost in the Funhouse or Robert Coover's "The Magic Poker," Mulligan Stew does not reflect back on the manipulating author; as Sorrentino says, all vestiges of such an author have been deliberately erased. The novel provides no rhetorical anchor, not even the disclosed narrator of Barth and Coover's stories. But, again, the apparent lack of such a presence is an illusion. Mulligan Stew is not a work of random chaos, but of controlled and, as Sorrentino admits, intentional chaos.
Sorrentino says further of the design of his novel and its probable effect on the reader that
A narrator who exists outside of written documents would have given the reader a way of getting a handle on the book, but I didn't want the reader to be able to get a handle outside the terms of the book itself. If you want to understand this book, you have to be able to walk around inside of it and understand it in the sense that one understands the real world: that is, you're in it, and whatever data and phenomenon impinge upon you, you understand them insofar as you are able to.
In evoking a world the reader can "walk around inside," Sorrentino brings to perhaps its purest fruition his conception of the literary text as "real" in its linguistic artifice, standing autonomously as an addition to reality, not its reflection. The reader must indeed essentially leave the real world outside the text behind, not to indulge in fantasy or make-believe (Sorrentino is not a fabulist), but to "walk around" in language, or, more precisely, to closely register not the "action" or the "content" offered but the multitude of language effects the novel produces.
The biggest inspiration Mulligan Stew takes from James Joyce's Ulysses (and Sorrentino freely acknowledges the influence) can be found in its multifarious styles and modes, incorporating, simulating, and parodying many different kinds of writing. Although it might initially be categorized as a kind of epistolary novel, its title more adequately evokes its basic structural trope. Lamont himself is a literary chameleon of sorts, albeit an unwitting one. The first few chapters of Guinea Red, Lamont's novel-in-progress, are first-person accounts, in the style of a crime novel or detective story, of the murder of Ned Beaumont--except that the narrator, Halpin, believes he might be the murderer:
You must believe me when I tell that I honestly don't know if I killed Ned Beaumont or not. I know that he lies on the floor in the den, his face contorted in rage, that rage that had become so much a part of his life when he was among the quick. I "know" that he has been shot. I know that I still feel deeply for him, for the remarkable partnership that he and I had for so many years. But I don't know whether or not I shot him. But was he shot.
Halpin's loopy tone, combined with Lamont's hopeless "comic" touches and inept attempts at suspense, often produce genuine, if unintended (by Lamont) humor, humor that mocks Lamont's incompetence but also unavoidably mocks the very endeavor in which Mulligan Stew itself participates--if Antony Lamont is quite obviously a terrible experimental writer, it is to say the least far from clear what "correct" practice could instead be presumed from the novel's gleeful heterogeneity.
Indeed, it seems to me that Sorrentino would quite readily agree with the criticisms of Mulligan Stew made by M. Keith Booker in his book, Techniques of Subversion in Modern Literature ("The Dynamics of Literary Transgression in Sorrentino's Mulligan Stew"), all of which point to flaws in the novel that impede its ability to fulfill a traditional satirical function (which for Booker is always specifically political). With its borrowed characters (from Flann O'Brien's At-Swim-Two-Birds), the novel is too artificial to disrupt the reader's sense of reality, to "question his/her own identity." The characters "are mainly linguistic constructs" who are "hopelessly intertwined in the linguistic texture of the book." "It is simply too easy to recuperate Sorrentino's characters as amusing artifacts of textual play," writes Booker, "his characterization is not troubling and therefore not ultimately subversive," since the most immediate response to the characters and their machinations is simply to laugh.
It is hard to imagine Sorrentino taking exception to any of this. Mulligan Stew does not seek to provoke the reader to question his/her identity; it wants the reader to reject comparisons with a reality external to the text and to instead affirm the aesthetic reality of the work itself. It wants to be taken precisely as a linguistic construct, textual play that is the novel's addition to reality, not its attempt to "capture" the real. That the reader might find the characters "hopelessly intertwined in the linguistic texture of the book" would surely be to the author a sign of its success, as would, of course, the reader's laughter, although this would be the carnivalesque laughter invoked by Bakhtin, not the mere amusement that Booker seems to find in the "pure farce" of Sorrentino's methods.
Booker further contends that Mulligan Stew lacks originality ("Books about the writing of books have become extremely common in the 20th century"), that in particular it reprises too many of the moves initiated by Joyce. Joyce is certainly a presence in Mulligan Stew, both in direct allusions and through Joyce's influence not just on Sorrentino but also on O'Brien, but when he asserts that "Sorrentino writes against a background that has already been substantially modified by predecessors such as Joyce, in a sense depriving him of a target," Booker assumes the relationship between Sorrentino's novel and the modernist works of Joyce is essentially satirical. Ulysses or Finnegans Wake ought to be "targets" of Sorrentino's mockery. He can't be lampooning traditional novel-writing, since the inheritance of this tradition has already been "modified" by Joyce's previous departures from convention. But this would cast Joyce and other modernists as the representatives of a practice that Sorrentino wants himself to modify, to replace its now approved procedures with new procedures of his own, when in fact the overwhelming impression left by Mulligan Stew is that there are no fixed procedures that determine the formal features of fiction, an assumption that ratifies and extends the modernist subversion of norms, not, as Booker would have it, simply repeating them.
Moreover, the claim that Mulligan Stew is not especially original is not very consistent with Booker's additional accusation that its radical self-reflexivity "goes too far," as well that it relies too much on "rule breaking for the sake of rule breaking." Finally it is not so much that, for Booker, Mulligan Stew doesn't sufficiently "transgress" established literary methods but that it doesn't do so in quite the right way:
A work that includes radical formal innovation, or even radical content. . .is likely to seem "transgressive" to many and to have a powerful effect on some. But the question remains whether such individual subjective effects are truly transgressive in a genuine political sense (i.e., challenging existing dominant ideologies in a way that contributes to the process of social change).
Suffice it to say that Gilbert Sorrentino would most likely express contempt for the notion he should be writing novels to help enact social change, even through the exquisitely ineffable processes M. Keith Booker discerns in formally unorthodox fiction. Booker elevates putative political effect above all other qualities, and neither Sorrentino's commitment to the integrity of art nor his acerbic comic sense would have allowed him to privilege politics--or any other version of "saying something"--over those "individual subjective effects," a characterization no doubt mean implicitly to disparage a "merely literary" reading, that for most readers are the primary object of the reading experience--although no doubt Sorrentino would maintain that the effects produced by his fiction are not inescapably subjective. They are the result of the very palpable and emphatic formal and stylistic devices the writer has used that allow the reader to "walk around inside" the novel's verbal space.
Booker's reluctance to be amused by Mulligan Stew seems profound, and it is made even more peculiar by his frequent citations of Bakhtin and his insistence that Bakhtin's ideas entail a requirement that carnivalesque comedy be directed toward political goals. (The "breaking of traditional rules" in Bakhtin's analysis, according to Booker, "can be subversive only if it has a troubling effect on the reader that results in his reexamining the hierarchies normally accepted by his society.") Although it is certainly possible to gloss Bakhtin's notion of "absolute comedy" as valorizing the subversion of authority in a general sense, his analysis of the novel in particular celebrates the "polyglossia" that defines this form in contrast to those forms of writing that convey a more monologic sense of rhetorical control--a questioning, if not subversion, of specifically discursive authority and norms. Bakhtin's emphasis in such essays as "Discourse in the Novel' is on showing the novel to be the most capacious and supple of literary forms, qualities that Mulligan Stew illustrates as forcefully as any modern novel.
It is, in fact, hard to imagine a more polygossic novel than Mulligan Stew, consisting as it does of a multitude of letters, notebook entries, and interpolated texts of various sorts, composed by a dizzying assortment of characters. It consistently brings the reader back to writing as both its vehicle and its subject, perhaps more dauntlessly than any other work of American fiction at a time when American writers had already become remarkably adventurous in their use of self-reflexive strategies. Booker avers that "Mulligan Stew is so obviously metafictional that one is never tempted to recuperate it as a conventional unified narrative with theme, plot, character, and so on" (although ultimately he considers this to be another of the novel's flaws). But what is finally most impressive (as well as most important) about Mulligan Stew is in the way Sorrentino invalidates the need for "recuperation," through the ostensibly excessive metafictional devices he employs finding ample substitutes--in terms of the reader's ability to enjoy his novel (albeit in unexpected ways)--for "plot, character, and so on."
We could call Antony Lamont's ongoing novel itself an entertaining read, but not for any reasons Lamont himself might have for considering it such. After a few chapters trying to flesh out his hilariously puerile idea--did Halpin kill Ned Beaumont or not--Lamont begins to indulge in stylistic "experiment." Most of this experimentation consists of varying degrees of "poetic" prose, ranging from a relatively sober chapter of dramatic monologue in which Halpin imagines what may be happening to the police as they close in on the murder scene, to the absurd Chapter 12, "Like Blowing Flowers Stilled," which begins: "How now, Master Halpin! What? Can it be fear that thrones itself in those bright orbs that were wont on a day to flash as bright as those of a gentleman in pleasant surfeit o' the good Rhenish or a gen'rous flagon o' sack?" For all of his desperate stylizing, Lamont's prose is never more than an imitation of stereotyped, dimly understood notions of literary style. He never sees style as more than an excuse for outrageously inept similes and metaphors, laughably skewed clichés, and other bloated and incompetent rhetorical flourishes.
Parts of Lamont's novel do come to life, however. In several chapters that suggest his true preoccupation, Lamont introduces the characters of Corrie Corriendo and Berthe Delamode, owners of a "service" they describe in a letter to Ned Beaumont:
We have decide to offer direct to a selected numbers of perceptive customers our exceptional, UNUSUAL, and extensive stocks of really truly HEMANS' HOT PHOTOS.--They are available only from us--and exclusive! SATISFACTION GARANTEED. We offer, only hard-to-get sizzling items inobtaineable in any other parts at whatever price you can pay.
Soon enough Corriendo and Delamode begin to dominate Lamont's narrative, including a pornographic encounter between the ladies, Halpin, Beaumont, and the shared woman of the men's dreams, Daisy Buchanan. These passages demonstrate that Lamont would likely be no more successful as a pornographer than as an avant-garde novelist, but actually Sorrentino is able to evoke more reader sympathy for Lamont in such pages, as we suspect that this material is more the result of the author's desperation--in this case sexual--than a concerted attempt to integrate pornography and innovative fiction. While compelled to laugh at Lamont's general incompetence, the reader can also understand his need to express himself. More crucially, Sorrentino's creation of Lamont's misshapen prose is itself an aesthetic triumph, replacing traditional notions of characterization and reader identification and producing a center of interest rooted in the use (or misuse) of language.
Lamont's notebooks give us direct access to his strategy as he composes his novel, as well as excerpts from his previous novels, which show that the current project is clearly not an unfortunate aberration. Lamont's scrapbook is itself a kind of mulligan stew, containing everything from advertisements (including one from Writer's Helper Monthly) and other clippings to a collection of question-and-answer exercises presumably written by Lamont. Some of these show rather more imagination (or at least more humor) than Guinea Red:
Are the stars out tonight?
They are. But before dawn some of them will have found places in various eyes, some settle on flags and banners, still others will take up residence in Hollywood and other film capitals of the world, many will be wished upon, one will be born, a handful will shimmer, gleam, shiver, glitter, tumble, or shine, a few will either shoot or fall, dozens will cluster together, dozens more give off dust, one will be steadfast and constant, another lucky, some few will have a stairway built to them, one serve as a cocktail ingredient, many will wander, one have a wagon hitched to it, another team with a garter, some form a crowd, scores remain chaste, most look down, and a group fall on Alabama.
Lamont's letters are perhaps even more engaging. Many of them, especially those addressed to his sister Sheila (previously encountered in Imaginative Qualities of Actual Things) are full of ill-concealed sarcasm and outright invective, the latter of which really seems to be Lamont's métier. The letters to one "Professor Roche," who is planning a course in the "American experimental novel" and is thinking of including Lamont, are particularly scabrous. The early letters to Roche, written when Lamont believes that the exposure his work would receive from the course justifies currying favor, are relatively obsequious; gradually, as it becomes apparent that Roche does not intend to include him, Lamont loses his fragile composure, culminating in an impressive tirade near the end of the book:
Not to mince words, your truly and quintessentially shithead decision not to use any selections from any of my works is not surprising, now that I check back through your last few letters. The scrawl was, even then, on the wall. But how can you, a man who, by your own admission, thought of The Centaur as a "breakthrough" in the American novel (surely you meant a "breakdown"), say that my work, while displaying many of the "gestes" of the avant-garde, is not truly "avant-garde," and lacks a consistent "engagement" with those subjects most germane to "the contemporary." My dear old bumbling Roche, I suspect that you would not know an avant-garde work were it to grasp you by your academic tool. . . .
The reader might feel a kind of support for Antony Lamont at this point, perhaps because, for once at least, he seems to be acting as a mouthpiece for his creator, as Sorrentino's dim view of John Updike's work is well known. Here, however, Sorrentino especially subjects his own views to the radical skepticism his comic view expresses, as of course Antony Lamont is otherwise depicted as an experimental writer of dubious ability and discernment. At the same time, Professor Roche, as a representative of the academic class, is even more profoundly obtuse, his notion of "experimental" sufficiently empty that it could include both Updike and Lamont. The perceptiveness of critics is sampled further in a series of excerpts of reviews of Lamont's previous books, most of which are unsparing in the opprobrium: "Sometimes awkward, always banal"; "Makes Mickey Spillane's noisiest trash read like Thomas Mann"; "Yet another third-rate novel sure to be remaindered for forty-nine cents in a few months." Yet some come close to echoing the criticisms of Mulligan Stew made in the novel's appended preface:
. . .the attempt to create a "poetic novel" is pathetic, although Mr. Lamont has learned all the superficial tricks of the modernistic poetry canon. . .Tiring story of the age-old search for meaning in life. . .alas, such meaning escapes Mr. Lamont's trite, one-dimensional characters as it escapes the author himself.
Other interpolated texts seem to have less less connection to Lamont, the most prominent of which is "Flawless Play Restored: The Masque of Fungo," a phantasmagoria set in "a major league baseball park, the home of a team of disconcerting ineptitude." Perhaps this "masque" is consonant with the story of Antony Lamont in the shared theme of incompetence (loosely reflected in the "failure of "Flawless Play Restored" to apparently cohere with Lamont's story, as well as the failure of Mulligan Stew itself to cohere in the expected ways), but it is otherwise an outrageous farrago of voices shouting, declaiming, and apostrophizing on a multitude of subjects from baseball to feminism in multifarious styles and idioms. FPR follows on another inserted literary work by other than Antony Lamont, a collection of erotic verse entitled "The Sweat of Love," by "Lorna Flambeaux," who has sent the poems to Lamont, soliciting his opinion. The writing, like Lamont's, is unintentionally hilarious, although Lamont, indulging in yet another misconception about literature, takes Ms. Flambeaux's verse as a mirror to her own presumed behavior and clumsily attempts a rendezvous with the poet, with a disagreeable result for both.
Paradoxically perhaps, the aesthetic strategy that arguably draws most attention to Mulligan Stew as an artifact of writing is one that initially almost seems to represent an abandonment of writing altogether. Although Sorrentino makes use of lists in Imaginative Qualities of Actual Things, Mulligan Stew really marks the emergence in Sorrentino's work of the list as an alternative expository device, one that would continue to be identified with Sorrentino for the rest of his career. Not only are the lists longer (two longer than four pages), but they are used insistently enough that they become a kind of substitute for conventional prose, no doubt prompting some readers to ask whether Sorrentino hasn't finally discarded "writing" completely. As Sorrentino himself said of his lists, they are attempts "to clear the ground and dump all the impedimenta that narrative clings to, that narrative pulls to itself, like a magnet and iron filings." What is left is language, shorn of even the final impediment of syntax or figuration. But most of them are also funny and inventive, even if their audacity can be extreme--the very long list of books and periodicals belonging to Lamont, for instance, catalogued by Martin Halpin in his journal as he plots his escape from Guinea Red, itself one of the most uproarious tropes in the novel, as Lamont's character literally "walks off the page."
What makes Mulligan Stew not just the most radically experimental American novel of its time and perhaps the signature work of American metafiction, but one of the truly great novels of the postwar era is that Sorrentino employs his heterodox strategies to create a literary work that fulfills the traditional expectation that a work of literature will entertain, even as it seeks to reconfigure the requirements for "entertainment" in fiction. Readers willing to find delight in the riotous, relentless upending of unexamined presumptions and threadbare conventions surely would find it in Mulligan Stew. More than anything else, it provides a unique, dynamic, and ultimately transforming reading experience.


text:
Buffett's Billion Adds to March Madness
Photo courtesy of mediabistro.com
Anthony Metcalfe, Sports Editor
I chose the Dayton Flyers to make it to the Sweet Sixteen. Not because the statistics favored them‒Dayton was an 11 seed and would have to beat both a 6 and a 3 seed‒but because, while pondering the matchup 4th hour, I went to the bathroom and saw that Eagan's hand dryers are made by a company named Dayton. My dad chose them to get to the Elite Eight because Dayton came before Ohio State, Syracuse, and Eastern Kentucky alphabetically.
It's safe to assume that neither of us have any idea what we're doing when it comes to filling out our bracket. And yet, come Saturday night my dad and I were just two of a fairly small group‒only 3.9% according to ESPN‒that chose Dayton to advance to the Sweet Sixteen on ESPN's website.
He and I are living proof of the dumb luck (emphasis on dumb) that is required to keep your bracket from getting busted. With the bevy of upsets, from the Flyers squeaking by the Buckeyes to the 14-seed Mercer Bears beating the 3-seed Duke Blue Devils, no one is going to win their bracket pool by going chalk. No, the best strategy seems to be to pick the teams you believe in, no matter their seeding, and hope that there's no bracket-busting Cinderella taking down one of your Final Four teams early. That, combined with the aforementioned dumb luck, gives you a good chance to at least get your money back.
This year, however, a man named Warren Buffett has made a very important change. Backed by Quicken Loans and a bank account big enough to get him ranked #4 by Forbes rich list, Buffett added a wrinkle to this year's tournament. Instead of simply looking to beat your peers with your bracket, he offered a challenge: if a person can get a perfect bracket‒correctly picking 63 games‒he would pony up $1 billion.
Not exactly pocket change, the enormous sum, to be paid out in annual installments of $25 million a year for 40 years, caused a lot of publicity, and a lot of brackets being entered. All this at a likely cost of only $2 million, the minimum amount Buffett and Quicken Loans will pay divided evenly between the top 20 scoring brackets, or $100,000 each. Although limited to 15 million bracket entries (Quicken Loans hasn't yet released how many officially entered), Buffett has created himself a great marketing opportunity, as well as Quicken Loans gaining a lot of required-for-entry mortgage information about the billionaire hopefuls.
Technically facing 9.2 quintillion to 1 odds of correctly picking all 63 games (although only 128 billion to 1 if you know anything about college basketball), it wouldn't take much to bust a bracket. As such, each and every game would be more important than the last. Each game could be the difference between $1 billion and heartbreak. What Buffett did was turn every game choice, no matter who you have in the Final Four, into one that could haunt you for the rest of your non-billionaire life.
And, as if orchestrated by Buffett, this year of madness has certainly lived up to its name. Starting with the first second-round game, a thrilling Dayton victory that left only 16% fighting for the payday, the tournament has been highlighted by unpredictable upsets. Already viewed as perhaps the greatest round of 64 we've ever seen, it's come at a bad time for perfect bracket hopefuls. In fact, after just the 25th game of the second round, no one remained in the running for the $1 billion.
Whether it was the 11-seed Dayton Flyers, complete with their one-point win over 6-seed Ohio State; the 9-seed Pittsburgh Panthers, defeating 8-seed Colorado handily; the 12 seed Harvard Crimson, taking down a Cincinnati team seeded 5th; the NDSU Bison, benefitting from strong play late to beat 5-seed Oklahoma in OT; the 14-seed Mercer Bears, who saw guard Kevin Canevari doing the Nae Nae after defeating 3-seed Duke; the 10-seed Stanford Cardinals, knocking off 7-seed New Mexico; the 11-seed Tennessee Volunteers, who carried their momentum from their play-in win victory over Iowa to dismantle 6-seed UMass; the 8-seed Memphis Tigers, defeating a 9-seed George Washington team that all three of the last perfect bracket competitors had picked; or a combination of those and some other extremely close finishes, no billion dollar bracket competitor got through the first 25 of the necessary 63 games unscathed.
Even among all those that didn't enter Buffett's seemingly unwinnable contest, there stands no bracket that remains perfect. Brad Binder made news as the only one to have braved the first 32 games without a loss, helped especially by a Desmond Hayman's rare 4-point play to tie it with 3.6 seconds left in an eventual overtime victory for his SF Austin Lumberjacks. However, even he wasn't unstoppable. In an unfortunate turn of events, his first win, Dayton, also handed him his first loss, as they would defeat Syracuse 55-53 to ruin his stretch of 36-straight wins.
With the end of the 37th game, no one was perfect. If that was supposed to signal the end of upsets, they didn't listen. March 23 alone saw the fall of a 1, 2, and 3-seed, none of which lost to an opponent seeded higher than 6. With only the Sweet Sixteen teams left standing, there are the same amount of double digit seeded teams as there are 1-seeds: 3. Half of the 2 and 3-seeds have been eliminated.
To win a bracket pool requires both knowledge of the game and a copious amount of dumb luck. To win $1 billion requires 9.2 quintillion different bracket submissions. Warren Buffett undoubtedly improved an already spectacular month of basketball. This billion dollar proposition, no matter how unattainable, is something that should be offered every year. It magnifies the small upsets; it forever remembers the big ones.
As my dad and I proved, there's no way to tell if your strategy for making picks is going to be correct. Neither my analytical, bathroom-going approach nor his (profoundly stupid) alphabetical approach appear to be working for us. But who knows, maybe next year's perfect bracket will owe its claim to fame to a high school hand dryer.
Anthony Metcalfe, Editor-in-Chief
Sports man. Enjoys long walks on the beach. REALLY good looking. Above average table tennis player.
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