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Mr. Bond and His Ladies: Tales of Seduction and Espionage
January 9, 2018 Posted in Academy Awards, Adele, Adolescence, America, Art, Article, Bibliophile, Blog Post, Bond Girls, British Intelligence, Cadillac, Casino Royale, Childhood, Christoph Waltz, Cinephile, Coming of Age, Criticism, Critique, Daniel Craig, Deconstruction, Director's Cut, Dr. No, Empowerment, Eva Green, Existential Crisis, Famke Janssen, Film, Film Industry, Film Review, Films, For Your Eyes Only, GoldenEye, Goldfinger, Halle Berry, Hollywood, Ian Flemming, Identity Crisis, James Bond, Javier Bardem, Judi Dench, M, Mads Mikkelson, Memories, MI6, Moonraker, Octopussy, Pierce Brosnan, Roger Moore, Sam Mendes, Sean Connery, Secret Service, Singularity, Skyfall, Spectre, Stockholm Syndrome, The Indian Bibliophile, The Man With the Golden Gun, The Spy Who Loved Me, The World Is Not Enough, Thunderball, Uncategorized, Woman, Womanhood, Women, WritingTagged A View to a Kill, Academy Awards, Adele, Article, Blog Post, Bond Films, Bond Franchise, Bond Girls, Britain, British Intelligence, Casino Royale, Christoph Waltz, Christopher Lee, Christopher Walken, Criticism, Critique, Daniel Craig, Deconstruction, Die Another Day, Dr. No, Essay, Eva Green, Famke Janssen, Feminism, For Your Eyes Only, GoldenEye, Goldfinger, Hollywood, James Bond, Javier Bardem, Judi Dench, Lea Seydoux, Mads Mikkelson, Maud Adams, MI6, Moonraker, Music, Octopussy, Opinion, Oscars, Pierce Brosnan, Quantum of Solace, Roger Moore, Rosamund Pike, Sam Mendes, Sam Smith, Sean Connery, Skyfall, Spectre, Study, The Indian Bibliophile, The Man With the Golden Gun, The World Is Not Enough, Thunderball, Tomorrow Never Dies, WomenLeave a comment
It is nigh impossible to save the world from megalomaniac villains and romance seductive sirens on the same beat, but let's face it, Mr. Bond succeeds in accomplishing the impossible with panache. During my childhood, I remember my father being extremely confused as to whether I should or should not see a Bond film. You see, Star Movies used to be an "adult" channel back then. But he also wanted me to know about the heroes from his youth, likes of which included Gary Cooper, Gregory Peck and later, Sir Sean Connery. Yet, at the same time, he was worried that the sexual scenes would demolish the last remaining shreds of innocence in my childhood. So, like every other child who does exactly what he/she is told not to do, I endeavored to watch every single Bond film by the age of thirteen. Pierce Brosnan was the reigning box-office money-churner back in those days, the beach shots of a near-naked Brosnan and Halle Berry in an orange bikini advertised in almost every single trailer for Die Another Day (2002). Suffice to say, I had developed quite the infatuation for the casanova spy, only my affection leaned more toward Connery than Brosnan.
The British spy over the ages; from Left to Right: Sir Sean Connery, George Lazenby, Sir Roger Moore, Timothy Dalton, Pierce Brosnan, Daniel Craig. Absent: David Niven (Casino Royale, 1967).
It was after almost a decade, in the beginning of 2016, that I once again went back to watching all the Bond films, all thanks to a certain Austrian by the name of Christoph Waltz, who portrayed Blofeld in the latest Bond venture, Spectre (2015). And it goes without saying that disappointment was the word of the day. Gone were the days of idolizing seductive femme fatales who set the screen on fire with their backless dresses and beach frolicking in bikinis; or for that matter, staring at the screen, dazed by the superhuman ability of the spy surviving almost anything, be it a bullet to the heart or radioactive rays. The woman I turned out to be in my adulthood could not help but be appalled at the disuse of every single one of Bond's love interests in the 60s, 70s and mid-80s as nothing but an object. Their plotlines were sadly more predictable than the daily soaps, and after their initial dilemma about helping the spy, they effortlessly slipped into the roles of the damsels in distress, until of course everything ended with one big fat happily-ever-after of snogging and making love in exotic locations, until the next installment, of course.
From Left to Right: Holly Goodhead (Mookraker), Jill St. John (Diamonds Are Forever), Mary Goodnight (The Man With the Golden Gun), Pussy Galore (Goldfinger), Dominique "Domino" Derval (Thunderball).
Be it the breathtaking Ursula Andress as Honey Driver (Dr. No, 1962), Barbara Bach as the dangerous KGB agent Anya Amasova (The Spy Who Loved Me, 1977), Honor Blackman as Pussy Galore (Goldfinger, 1964) to Lois Chiles as Holly Goodhead (Moonraker, 1979), all these women have become half-remembered faces lost in the cold heart of time. With blithe honesty, I confess, I had to spend hours myself, gathering information to find the names of these ladies. Because, let's face the bitter truth here, we all know Mr. Bond will save his ladylove at the end of the day and kill the vicious villain, not to mention deliver that punchline that makes the whole film a visual display of a double entendre. And they, may I remind you, were the leading ladies of the films. Even, Maud Adams as Octopussy (Octopussy, 1983), who became a sensation in a single night, was in the end turned into nothing more than a damsel who needed a gentleman to rescue her, when in the beginning she started off as a mysterious, but deadly, businesswoman-cum-leader of a tribe of battle-hardy women. And whatever happened to the supporting cast, namely, the ever-present Miss Moneypenny, who seemed to spend all her time daydreaming about Mr. Bond, helping him skip the routine health checkup exams for the organizations, and being a generally unprofessional employee of MI6?
Jill Masterson's (Shirley Eaton) iconic gold-paint suffocation death scene from Goldfinger (1964). The scene was given homage to in Quantum of Solace (2008), where MI6 agent Strawberry Fields (Gemma Arteton) was murdered in a similar fashion, only this time by the use of crude oil instead.
An image here: If one has been a follower of the Bond films, the image of a certain gorgeous woman smothered in gold paint and suffocated to death is still etched in the back of one's mind. And yet, her name has long since escaped our minds, even if she used to be the partner of Mr. Bond himself in Goldfinger. But, let me not rant about the discrepancies; instead, the observations made from this phenomenon has baffled me much more. Back in those days, when femme fatales who either wanted to kiss or kill Mr. Bond, the British spy had been nothing short of a superman without a cape. He had defeated giants such as Christopher Lee (the eponymous man with the golden gun), and escaped radioactive explosions with a still-unbesmirched tuxedo.
But then, times changed, as time always does. When the screens bid adieu to the golden era of Bonds, including Connery and Moore, and the forgettable stint of Timothy Dalton in The Living Daylights and Licence to Kill, Brosnan became the face of the lethal spy. And with that, a new era of femme fatales came in. This time, however, the story was a little different.
From Left to Right: Xenia Onatopp (GoldenEye), Miranda Frost (Die Another Day), Elektra King (The World Is Not Enough), Paris Carver (Tomorrow Never Dies).
You see, Brosnan's Bond was not impervious, even if he had his fair share of super-heroic victories and nick-of-time escapes. Sure, he did succeed in peppering his ladies with kisses after saving the world, but he never did end up as unscathed as his predecessors. Brosnan's Bond showed his humanity; he was vulnerable with his trust, going so much as to trust the wrong people in more than one situation. And for that, he had paid the bitter price of loss. The thing is, Brosnan's Bond was not left unbroken, and perhaps that set the stage for Sam Mendes to explore his indecision, his personality's depth, and his relationship with the first female M in the series (the irreplaceable Dame Judi Dench) in the later installments. In GoldenEye (1995), Brosnan's first endeavor to be the British spy, he is shocked to see the betrayal of his presumably dead former partner, Alec Trevelyan or 006 (played by a stoic Sean Bean), and even after he wins the day and waltzes away with Scorupco's Natalya Simonova, he does mourn the loss of his former friend in his silences. Another interesting development in this movie was the introduction of a dangerous and ruthless lust murderer as the female antagonist Xenia Onatopp, played stupendously by Famke Janssen. In what might be considered a curve ball in the history of Bond film directions, Brosnan's expressions are not held back like his predecessors. In spite of all his punchlines, he openly shows expressions of pain (and later a subtle brand of existential crisis in Die Another Day) when he is tortured by Janssen's Xenia. And you are suddenly thwarted by the realization that this British spy is only human. Taking a page out of this motif, the following films with Brosnan delved deeper into the depths of his character sketch. An iconic example of that is Sophie Marceau's brilliantly portrayed Elektra King in The World Is Not Enough (1999). In this film, Bond goes on to almost admit to M that he had developed feelings for King, in spite of her revealing herself to be the manipulative mastermind in the end, having played both the hero and the villain. Perhaps this same motif was a tad bit stretched in Brosnan's last, Die Another Day, through Rosamund Pike's Miranda Frost, but the split second loss-stricken expression of Bond as he looks at Frost's corpse is enough to establish the gradual yet much needed evolution of the spy's almost two-dimensional character sketch.
From Left to Right: Vesper Lynd (Casino Royale), Camille Montes (Quantum of Solace), Eve Moneypenny (Skyfall), Sévérine (Skyfall), Dr. Madeleine Swann (Spectre).
And this prelude itself set the ball rolling for our most recent Bond. In what can only be considered as a distinct aberration to the previous Bond films, one that created quite the controversy, Martin Campbell went on to cast and work with Daniel Craig as the British spy. Not stereo-typically handsome, yet uncannily fascinating, Craig's Bond was a far cry from his predecessors. In spite of the burgeoning legacy on his shoulders, Craig broke form to portray a never-befoe-seen Bond. He was vulnerable, passionate, and even broken by his actions. In spite of his superficial cockiness, he didn't shy away from dreaming a life with Eva Green's Vesper Lynd, going so far as to severe his connections with M and the MI6 in Casino Royale (2007). And going hand in hand with this sudden sprout of character growth, there were even added multitudinous layers to his counterpart antagonists. From Mikkelson's Le Chiffre (Casino Royale) to Christensen's Mr. White (Quantum of Solace, 2008), and later, Bardem's iconic Raoul Silva in Skyfall (2012), the interlinked plots were added with newer and more profound dimensions, each leading to the steady development of Bond's character. With the rising complications in each of the Bond ladies to the constant juxtaposition of Bond's human vulnerabilities over his familiar brash overconfidence, newer textures were given to the franchise. The two most memorable proofs of such observations are Bond's plotline in Quantum of Solace as he leaves no stones unturned in his brutal quest for vengeance over Lynd's death, and his choice of a reclusive life when he survives, albeit narrowly, from a fatal gunshot in Skyfall. This reinvention of Bond, a departure from the usual overuse of unrealistic plot tropes in preceding Bond films, was a refreshing take from the overtly familiar entertainment quotient of the franchise—something which inevitably led to the fervent establishment of Bond's relationship with M.
A dying M (Dame Judi Dench) in Bond's (Daniel Craig) arms in Skyfall (2012).
What can only be described as the most emotional, if not the most heartbreaking, sequence of the Bond franchise, as M lies dying in Bond's arms in Skyfall, makes the very essence of Bond' restructuring of character. Although M can never be considered as a "Bond Girl" so to speak, she has been the driving force behind Bond's professional and personal ethics since GoldenEye. She was a mentor, a friend, a superior, and most importantly, as much as it makes me cringe to write this sentence, was one of the few women who earned the unequivocal respect of Bond. Time and again, Craig's Bond has fallen off the wagon, but Dench's M had been the force on the other end of the string to bring him back into symmetry. And although such a heartfelt relationship dynamism was not researched at all in the previous films, since Dench's introduction as M in 1995, this subplot has been subtly and steadily developed over the series of films. Perhaps that itself is the greatest proof of Bond's reinvention, ergo evolution, of character through the presence of all the Bond girls.
And the most fascinating truth is James Bond is a timeliness character whose very existence in the 26-film franchise is a singular graph of evolution through the woes of time. The process itself is a gradual rise-and-ebb tidal undertaking, spanning over decades at hand, mirroring the consumer-driven aesthetics of entertainment in each era. And being a peddler of art, and a follower of the British spy's many adventures, it has also been my unique journey of viewing his astute metamorphosis from the hay days of my childhood to my adulthood.
Oh, Aronofsky! The Art of Perfection
December 28, 2017 December 28, 2017 Posted in Adolescence, Advertisement, Albert Camus, America, Art, Article, Bibliophile, Black Swan, Blog Post, Blood, Bold, Brave, Broken, Burn, Celebrate, Child Abuse, Childhood, Children, Cinephile, Cogito Ergo Sum, Confession, Criticism, Critique, Cult Following, Darren Aronofsky, Daughters, Death, Depression, Destiny, Director's Cut, Dissociative Identity Disorder, Dreamers, Emotions, Empowerment, Energy, Essay, Fall, Family, Fantasy, Fate, Favorite, Film, Film Industry, Film Review, Films, Fire, Forgiveness, Happiness, Happy Ending, Hollywood, Humanity, Infinity, Infinity Loop, Inspiration, Javier Bardem, Jennifer Lawrence, Life, Light, Loneliness, Love Story, Melancholia, Melancholy, Mental Health, Mother, Murder, Narrative, Natalie Portman, Nihilism, Pain, Personality Disorder, Postmodernism, Psychological Thriller, Rape, Schizophrenia, Singularity, Split, Split Personality Disorder, Swan Lake, The Myth of Sisyphus, Universe, Woman, Womanhood, Women, Words, WritingTagged Albert Camus, Art, Article, Bible, Bibliophile, Black Swan, Christanity, Cinema, Cinephile, Cogito Ergo Sum, Critique, Darren Aronofsky, Deconstruction, Derrida, Director, Essay, Film Critique, Films, Infinity Loop, Inspiration, Javier Barden, Jennifer Lawrence, Literature, Mental Disorder, Mental Health, Mother, Music, Natalie Portman, Norse Mythology, Ouroboros, Paganism, Perfection, Philosophy, Postmodernism, Religion, Schizophrenia, Singularity, Sociopath, Split Personality Disorder, Swan Lake, Tchaikovsky, The Indian BibliophileLeave a comment
As an adolescent, I had nurtured myself with the idea of being an over-achiever. And whenever my dissatisfaction wedged gaps between my desires and my dreams, my father had always calmed with honey-sweetened words, such as, "Perfection is an unreachable concept. It is a state of imprisonment that you are constantly searching."
At the age of fourteen, such words didn't hold much worth to me, laden with insecurities as I used to be, and I do not proclaim that I understand the magnanimity of them a decade later. All I do understand is the innate need of the human species to achieve something more than their present state, call it perfection, call it a mere rise from the summation of mundane moments. Whatever be the case, we are constantly in an act of motion, in an act akin to thriving. Perhaps that was what attracted me the most about Aronofsky when I had watched Black Swan for the first time.
The one sequence and quote that propounds the psyche of Black Swan
Aronofsky's capability to create a monument of over an existing art form has always attracted the audience. In Black Swan, he enlivened Tchaikovsky's Swan Lake, only to modulate it with realism and a touch of obsessive surrealism. Lacing what might superficially appear as nuances of the psychological thriller genre, he constructed Nina (Natalie Portman) as a character suffering from schizophrenia and borderline personality disorder. In my very first watch of Black Swan, I was too lost in the artistic visuals, frames and the lithe grace of Portman to actually comprehend the audacity of Aronofsky's ambitions. Afterward, I was flabbergasted by the conceptualization of Nina's character sketch, of course. Aronofsky creates a schizophrenic protagonist to deconstruct Nina into two separate mirror halves, just as Tchaikovsky's Odette (White Swan) and Odile (Black Swan) were. But instead of two separate entities, he merges the two into a climactic conjugation of ballet and sequestered cinematography, thus giving a resolution to the eternal trope of postmodernism, that of the unreliable narrator.
Aronofsky repeatedly plays with the motifs of doppelgangers in Black Swan, and even though the presence of an unreliable protagonist is constantly upheld through Nina's interactions with her mother and her ballet academy director, he still toys with the audience as to whether the mirror halves are created in lieu of the original Swan Lake or for the psychological thriller genre of the film. But where does the presence of a mentally disturbed protagonist collage into the bedrock of perfection? Perfection, after all, is supposedly an unreachable linear concept, right? Sadly, wrong. And that is what Aronofsky sews in through the leitmotifs of not one, but two of his films. Perfection, to him, is an act of completing a full circle. Nina starts as a partially formed canvas, but when she performs her dramatic fall in the end, the myriad spectrum of colors and feathers now completed, she still etches herself on that canvas, only this time, the canvas holds itself grounded into realism. Does this break the fragmented narrative, so very salient in postmodernism? Yes, it does. And hence, conflict arises. From flaying herself to actually stabbing a version of the Black Swan (Mila Kunis), Nina breaks ground that is structured enough to uphold her perfection, the open ending only propounding the act further. The sheer genius of Aronofsky, however, does not lie on the fact that he could present a psychological thriller inspired from Swan Lake, but the fact that he could present the original in a postmodernist narrative and still break each of its tropes in the end. Perhaps the same concept applies to his newest and most ambitious project till date: Mother!
The convergence of a thousand emotions through the eyes of "her" (Jennifer Lawrence) along the film's narrative, accompanied with the haunting silences, create a sequence of ongoing circular patterns throughout the plot.
Aronofsky sped eons into the past with Mother! He unraveled biblical allegories, studied them intently and then presented the same through the simplistic narrative of his newest film. The question, however, was the passage of time. Unlike Black Swan, which can easily be characterized through its modern-day setting, Mother! dwindles between the the past and future, taking bits and pieces throughout the ages. The fact that "Him" (Javier Bardem), the only character with a capitalized pronoun for reference, is a writer, suffering from writer's block, that he is being celebrated by his mob of followers and publisher (Kristen Wigg), entail that the setting is contemporary. Yet, the structure of the house Him and her live in, its surroundings, the absolute silences succumbing around them, also alienates the setting from the passage of time, as if the place of narration is a sentient being in itself, freed from the constraints of time. Now, what does that remind you of? Well, with all his biblical allegories, simply put, the house is a representation of Eden.
The plot of Mother! is an act of decay. The story begins in silence and ends with rage and fire. In other words, Mother! is a deconstruction of chaos. But, where does, once again, Aronofsky's perception of perfection fit into the narrative? Mother! is a story of Mother Earth's (referred to as her. Notice, without any capitals) death. But if it is a case of death, why is it an act of perfection? In old-school pagan philosophy, perhaps death is considered the beginning, and that itself denounces the concept of perfection. But Aronofsky fiddles with the idea further, through Bardem's Him (in capitals, because he is represented as a version of God, the creator), and makes endless cycles out of a single narrative. Does this, on a higher dimension, construct a singularity? Perhaps, because what is super-intelligence, if not sentient human thought? In the house of Eden, Him and her exist in marital bliss, until uninvited guests come and crowd their home. Adam, referred to as man, (Ed Harris) ushers in Eve, referred to as woman (Michelle Pfeiffer), and they usher in Cain, referred to as the oldest son (Domhnall Gleeson), and Abel, referred to as the younger brother (Brian Gleeson). The rise of human thoughts, ranging from lust to greed to wrath, each encompassing the concepts of sin, thus find themselves existent in Eden sequentially. Satan, if exists, dwells, therefore, in the lingering essences of each emotion felt. The stage is thus viscerally set. So, when the guests start increasing, and the house descends into chaos, mother cannot take it anymore. She is suffocated, broken and an alien in her own skin. And when their child, the fruit of the mother, is murdered, his flesh eaten by the intruders, the climatic collapse is thus reached. She brings down the house in flames, something akin to the natural disasters that the planet's species has often faced. And perhaps that should have been the message, that we, as a species, are murdering the mother, something that any other director would have blindly followed, in order to ingrate into the audience's minds about a social message. However, Aronofsky, being the mad genius that he is, would have none of that plaintive one-dimensional storytelling.
The last smile: A laughing Him recreates the world again.
So, he once again inoculates his concept of perfection, wherein after the mass burning, only an unscathed Him and a now broken, burned and near-death her survive. And once Him obtains the crystal inside her's ripped-out heart, he creates Eden once again, with a new mother. But the question is, what does Aronofsky propound through this act of repetition? Is God inherently merciless? Is God a sociopath who refuses to mourn the death of the mother? Or is God only an idea, who himself is chained to the act of an infinity loop? Whatever it is, he imbibes the deconstruction of Him's character sketch into the very perception of perfection, once again piecing together the concept of visualizing perfection as a closed circle, an ouroboros, if you will.
Perhaps perfection, thus, is a singularity of a milieu of philosophies in itself. It rises from cogito ergo sum and thwarts upon the boulder of Sisyphus's curse. Whatever it is, Aronofsky paints upon Black Swan and Mother! his endless shades of fragmented thoughts, and creates something akin to infinity, a place where I believe perfection happily dwells.
New Orleans: Memories of a Summer Lost
November 30, 2017 November 30, 2017 Posted in Anne Rice, Art, Article, Beignets, Bibliophile, Big Easy, Blog Post, Blues, Bob Dylan, Books, Bourbon Street, Brave, Broken, Cadillac, Calcutta, Caricature, Celebrate, Cigarettes, Coming of Age, Confession, Death, Destiny, Dust, Easter Parade, Easter Sunday, Emotions, Essay, Family, First Love, French Quarter, Gothic, Home, Homecoming, Hope, I love you, Jackson Square, Jazz, La Vie En Rose, Life, Louisiana, Love, Love Story, Love Yourself, Lovers, Melancholia, Melancholy, Memories, Memory, Mississippi, New Orleans, Old Love, Rant, Rantings, Road, St. Louis Cathedral, Star Crossed Lovers, Strangers, Summer, Tangled Up in Blue, Tennessee Williams, Thoughts, Time, Travel, Traveler, United States of America, Universe, Unrequited Love, USA, William Faulkner, Woman, Women, Words, YouthTagged Ariticle, Article, Beignets, Big Easy, Blog Post, Blues, Bob Dylan, Bookworm, Bourbon Street, Cadillac, Cafe Du Monde, Carnival, Coming of Age, Cruise, Duke Ellington, Easter Parade, Elvis Presley, Essay, French Quarter, French Quarters, Hope, Inspiration, Jackson Square, Jazz, Life, Louisiana, Love, Love Story, Lovers, Magic, Magician, Melancholia, Melancholy, Memory, Mississippi, Music, New Orleans, Pictures, River, Riverwalk, Saint Louis Cemetery, Saxophone, Sea Food, Ship, St. Louis Cathedral, Star Crossed Lovers, Strangers, Summer, The Indian Bibliophile, Travel, Traveler, Twilight, USA, Woman, Word PornLeave a comment
Summer has long since dwindled into the cold heart of winter, and I have found my home once again. The blues of the skies are now hidden, Calcutta busily robbing me off the luxury of gazing at infinite azures once again, dazed as she is about her overt familiarity. Sometimes it is the trees that I like to blame, the ones that pepper the sky with their mystifying green. Most of the time, however, it is the city's blasted white noise that wraps me in this unwanted cocoon of ordinariness.
So as I sit in my favorite cafe, unable to differentiate between a Monday and a Saturday, the days now missing their individual gleam, moments chained into infinity loops of the same tasks over and over again, I drift off to New Orleans.
Between copious cups of piping hot tea, my only tether to reality, I travel 8, 801 miles effortlessly, I chase the sound of some nameless street musician's saxophone as she plays 'La Vie En Rose', I chase the street magician who befuddles his crowd with lovable parlor tricks, and I chase the girl that I had been in those sleepless 48 hours in the Big Easy.
New Orleans, an aging city, where the past lingers in every by-lane of the present, isn't perfect, far from it. But then again, she never made promises of painting a pretty picture, did she? You see, you can find New Orleans in the French Quarter, in Bourbon Street, in the high roofs of St. Louis Cathedral or perhaps in the blowing winds by the Mississippi river. But then again, you can find her in the unnumbered potholes in her cobblestone streets, in the Southern lilt of her citizens, in the old beagle that sat with her older masters in Jackson Square and in the intoxicated homeless musician who played his saxophone for me sometime before dawn colored the skies.
I am no travel blogger. I cannot give you an inventory of the places you must visit in a city that is perhaps as confused as me. I cannot tell you that you must visit the French Quarters right before the sun sets and see all the voodoo witches reading the palms of tourists, or that the best time to addle your senses is at midnight in Bourbon Street. Because, you see, in my sleepless 48 hours, I have lived an eternity in the Big Easy. I have sat by the steps of some stranger's house at St. Charles Avenue, only intending to do so for a few minutes, and I have let hours pass by instead, watching a couple in their seventies dance like unabashed adolescents to the blues of a traveling band. I have walked by the cobblestone street behind St. Louis Cathedral when the summer rains had decided to shower upon me, only to be saved by a stranger with green eyes and his red umbrella. I had spent hours standing underneath that crimson canopy and I remember falling in love with him. But when the sun shone saffron, us coincidental lovers had parted once again. And I have lived lifetimes sifting through the pages of moth-eaten yellowed books in the tiny haven of Faulkner Books, only allowing myself the luxury of a recess when the pangs for a Gelato set in. Because I went as a traveler, but New Orleans had made a home for me instead.
And when I no longer wished to be lost in the crowds, I had walked by the hundred miniaturist shops that litter the city, tiny remodels of the American Civil War standing proudly in their ornate shelves, with my sister. I had feasted on prawns and craw fish in restaurants that charged a fortune, and I had devoured the delightful beignets, those sugar-coated warm pastries, at Cafe Du Monde, a cafe that had once seen the works of Tennessee Williams come to life in her little tables.
And now as I sit scribbling snippets of my memories, I wish I had more montages to travel back to, I wish I had stayed in the Big Easy a little longer, I wish I had lived a little longer. Because I have only a handful to offer you; because spending only an hour at the Saint Louis Cemetery, trying to remember the names of the dead is not enough. Because spending only half a twilight in the river-walk, begging to board that ship which sailed across the Mississippi is not enough. Because spending only a couple of hours standing on the deck of the Carnival cruise ship, the tunes of Ellington's 'Star-Crossed Lovers' fleeting toward you, is not enough. Because a lifetime spent in the Big Easy is not enough.
You see, I am still in love with New Orleans. I am still in love with the stranger with those green eyes. I am still in love with the old couple dancing like the world would end the next day to a blues song. I am still in love with the artist who paints pictures of Mr Rabbit and His Three Red Balloons in the streets of the French Quarter. I am still in love with the three ladies who stood by a pink Cadillac on the Easter Parade. I am still in love with Cecille Robelet, a woman who slumbers in her grave in Saint Louis Cemetery. And I am still in love with the man with the sleeping dog, a man who would pen you a story for a dollar. And perhaps, just perhaps, I am still in love with the girl I used to be in the Big Easy.
The Love Stories of a Miniaturist
November 23, 2017 November 23, 2017 Posted in Adolescence, Art, Article, Asexuality, Bisexuality, Bullying, Childhood, Confession, Essay, First Love, Happiness, Happy Ending, Happy Endings, Hero, Home, Homecoming, Hope, I love you, Idea, Identity Crisis, Innocence, Inspiration, LGBT, Life, Loneliness, Love, Love Story, Lovers, Melancholia, Melancholy, Memories, Memory, Mental Health, miniaturist, November, Old Love, Peer Pressure, Poem, Rant, Rantings, School, Star Crossed Lovers, Strangers, Summer, Unrequited Love, Winter, Women, WordsTagged 2017, Bisexual, Bullying, Childhood, First Love, Homecoming, Hope, LGBT, Life, Loneliness, Love, Love Stories, Love Story, Melancholy, Memories, Memory, Men, Mental Health, Millennial, Muse, Musing, New Love, November, Old Love, Past, Photograph, Poem, Remember, School, Summer, Teenage, The Miniaturist, Winter, Women1 Comment
Father had always taught me to look at the bigger picture.
I would come from school, the itch of my dried-up tears begging to be scratched out of existence, my mangy hair disheveled from the hours spent in fighting my bullies.
Father would say, "One day, these memories will drown, and you will only remember its littlest fragments."
Of course I refused to believe him then, stubborn little wild child that I used to be.
Now I only remember the strands of brown in her black hair, her raging beady black eyes, and the scratch of her nails in my arm, the scars long gone.
I was a miniaturist long before I discovered love.
I was searching for memories long before I lost myself in remembrance.
The little lane behind the assembly hall of my school, the one that witnessed me devouring the words of a hundred stories,
The golden intaglio of a hardcover's title, its touch still sheltering the first moments of a childish smile that would often bloom in between my lips,
The taste of the first fruit in summer, its yellow-orange pulp finding little corners to hide in between my still-milk teeth,
I realize I have been collecting pictures long before I knew how to capture them.
So when he strode in between sixteen and seventeen, his towering frame overshadowing my little self effortlessly, I remembered the warmth of his embrace, his ever-encompassing arms still etched into my skin.
The love has long departed from my home, only its dwindling memory sometimes knocks at my doorstep, unwelcome yet unrelenting.
Yet Love never failed to thrash upon me after,
Sometimes, it was the lingering smile of a beloved,
In another, it was the lilt of his voice when he called me Red.
Time, my enemy in each story, has robbed me off the fervor,
Choosing only to leave a heart-shaped box of memories in his wake.
But the faraway caress of a past lover,
The kisses shared in the lovelorn lonesome evenings of an age-old staircase,
The softness of a lover's wrist, wrapped in a hairband, the one never used to tie her crimson curls,
They have remained.
So when you arrived today,
My new guest, my newest curse, my new reason to crumble once again,
You asked me, "Why do you say you shall be gone?"
And I wished to offer you a thousand words,
I wished to tell you that I will remember the rebellious brown that glimmered underneath a golden street lamp in your black beard,
I wished to tell you I will remember the hapless smiles you would often offer me in between my chaotic words,
I wished to tell you I will remember you in the million similarities you found in me and the phantom memories of women you once knew,
I wished to tell you I remember the sound of Red, the color of her raging mane, the warmth in his arms, the image of her bare feet upon grass still covered in morning dew,
I wished to tell you that I have long since loved pieces of you,
Yet, I could only say, "A miniaturist's curse, my friend. You shall be another memory I once knew."
October 16, 2017 October 16, 2017 Posted in Adolescence, Art, Child Abuse, Child conception, Childhood, Children, Daughters, Daylight, Death, Dreamers, Dreams, Faith, Family, Fate, Fear, Feminism, Feminist, Hope, I love you, Idea, Me Too, Melancholia, Memories, Memory, Mental Health, Molestation, Mother, Past, Poem, Poetry, Rape, Sex, Sexual Abuse, Thoughts, Time, Trust, Unique, Woman, Womanhood, Women, WordsTagged #MeToo, Adolescence, Adulthood, Alyssa Millano, Angels, Art, Child Abuse, Daughters, Demons, Depression, Devils, Evolution, Family, Feminism, Feminist, Harvey Weinstein, Heaven, Hell, Hope, Life, Mansplaining, Mental Health, Mental Health Awareness, Mental Illness, Molestation, Mothers, Poem, Poetry, Protest, Psychological Trauma, Rape, Rape Culture, Sex, Sexual Abuse, The Indian Bibliophile, Victim Blaming, Womanhood, Word Porn, WordsLeave a comment
When I was eight, Mama taught me that in our world, there was power in words no more.
When I was nine, and he had dug his nails in my backside, I screamed and told Mama, and Mama told me that in our world, there was power in words no more.
When I was twelve, and confused between angels and demons, praying for sinners and falling in love with sins, I stayed silent and prayed for mercy, because Mama told me that in our world, there was power in words no more.
When I was sixteen, and in love with wraiths, a hand clasped my mouth and showed me darkness, the abyss that awaited only for me, and when Mama's words rung like church bells in an empty altar, I leaped into an endless chasm, because in our world, there was power in words no more.
And life traveled at her own pace, passing days in hours and moments in lifetimes, and the world grew darker and brighter, the demons danced with the angels, and the angels made love to the devils.
Time danced in her little cage, welcoming me into her gilded prison, as she sung sweetened songs of mercy to my ears. My pretty young heart beat to her swan-songs, to secret dreams and unfulfilled hopes. And for a minute, Mama's words sounded truth no more.
And the world moved on, the seasons changed, yellow turned into saffron and saffron welcomed the grey mornings of winter, and somewhere in between, I was a child no more, I had a voice no more.
Until one morning, the fires burned again, and the world discovered that we could speak, and the angels began searching for their broken wings, and the demons no longer danced in secret in their souls at night.
Slit throats sewed in severed heads, only this time, a feeble swan throat no longer bore the burden of pretty broken faces, now the lionesses roared and the she-wolves howled, their broken bones, their scarred faces, their crippled paws in display for the world to behold.
They wanted to look away, oh they wanted to look away, color themselves blind and the devils gave them their masks, their masquerade almost as grand as the art we made of our shattered bones, our severed wings, our lone feathers still drifting somewhere across the sea.
And so I walked to Mama, and Mama is old now, she walks with a cane and she breathes with effort, the fumes of the past choke her still, silence her still, and when she thinks I have come for my lessons, she opens her dried mouth to say, Oh child, in our world, there was power in words no more.
And I use my softened palms, so very different from world-worn roughened ones, to cup those cheeks that carry the battle-weary lines of time, like half-scribbled sketches etched upon her skin, and I say, No, Mama, no more, no more.
She closes her eyes, the softest glimmer of a tear seeps out from the corner of those half-shut eyes, and her smile seems juxtaposed, as if stolen from the lips of a child and gifted to the mouth of an old remnant of the past.
And then she mumbles, oh, she mumbles, a cornucopia of secrets between two women across the shadows of time, and I hope she believes in words, once more, once more.


This roaster is oven-ready and equally suited to family suppers or festive parties. If you'd like, substitute other root vegetables, such as fennel, turnips, beets, or sweet potatoes.
Position oven rack so top of chicken is just above middle of oven. Preheat oven to 425°F. Lightly coat large roasting pan (about 16"x12"x3") with cooking spray. Make certain pan is large enough to provide space around chicken for vegetables.
Rinse chicken well inside and out; pat dry. Place roasting chicken breast side up, on rack in the pan. Toss together orange, garlic, and fennel seed in small bowl.
Using your fingers, loosen skin of the chicken breast. Carefully insert orange mixture. Rub skin with olive oil and sprinkle with salt and pepper. Tuck wings. Pour water into bottom of roasting pan.
Roast chicken for 30 minutes. Reduce oven temperature to 375°F.
Place potatoes, parsnips, and onions around chicken. Do not overcrowd pan when adding in potatoes, parsnips, and onions. If your roaster is not large enough, put extra vegetables in a separate ovenproof pan lightly coated with cooking spray. Baste vegetables occasionally with chicken pan juices.
Continue to roast, basting occasionally and adding water as needed, for 1 1/2 to 2 1/2 hours or until pop-up timer pops up and thermometer registers 180°F. The juices should run clear with no hint of pink in the meat.
Remove chicken from oven and let stand for about 10 minutes. Remove pop-up timer prior to carving and serving.
Roasting guideline for chicken is approximately 21 to 24 minutes per pound.


text:
O voo Peruvian Airlines 112 (IATA: P9-112; ICAO: PVN 112) foi uma rota doméstica regular de passageiros entre Lima e Jauja, no Peru. Em 28 de março de 2017, a aeronave que operou o voo sofreu problemas no trem de pouso principal ao pousar e pegou fogo. Não houve mortos no acidente, no entanto, trinta e nove das mais de 150 pessoas a bordo ficaram feridas.

Aeronave
A aeronave acidentada foi um Boeing 737-3M8, número de série 25071, prefixo OB-2036-P. A aeronave tinha voado pela primeira vez em maio de 1991 com a Trans European Airways e após o serviço com várias outras empresas aéreas foi concedida pela Peruvian Airlines em 2013.

Acidente
A aeronave pousou em Jauja, às 16:40 hora local (21:40 UTC). Os passageiros relataram "dois fortes impactos" no pouso. Todas as três partes do trem de pouso entraram em colapso e o avião deslizou ao longo da pista, partiu para a direita da pista e a asa de estibordo se chocou com a cerca perimetral do aeroporto. A aeronave acabou sendo destruída pelo incêndio. Todos os 141 passageiros e nove tripulantes a bordo escaparam, dos quais trinta e nove pessoas ficaram feridas e foram levadas para o hospital. Duas pessoas sofreram fraturas, e três pessoas sofreram concussão cerebral. O acidente foi flagrado por câmeras, usadas por vários passageiros a bordo.

Investigações
A Comissão de Investigação de Acidentes de Aviação, e o Ministério Público Criminal em Jauja abriram investigações sobre o acidente.

Ligações externas
 Descrição do acidente do voo 112 da Peruvian Airlines, Aviation Safety Network

2017 no Peru
Acidentes e incidentes envolvendo o Boeing 737
Peruvian Airlines 112
Acidentes e incidentes aéreos de 2017
Acidentes e incidentes aéreos no Peru

redpajama_set_name: RedPajamaWikipedia


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text:
1951 FU LIANG CHANG Whither Pine Mountain?
Series 25: Case Studies, Reports, Surveys, Consultant Documents
Series 09: Guests, Visitors
A Survey of Pine Mountain
The Fu Liang Chang Whither Pine Mountain, a Survey of Pine Mountain, has been cited by many scholars as the pivotal tool that pushed the transition of Pine Mountain Settlement from a boarding school within a local community to a school that was a part of a maelstrom of rapidly shifting educational reform that was sweeping rural communities across the nation.
The brief eleven-page survey conducted in December of 1951, by Chang, an employee of Berea College, was made at the request of Dr. Francis S. Hutchins, President of Berea, and recently assigned President of the Pine Mountain Settlement School Board of Trustees. The study was necessitated by the dire financial situation of the boarding school brought about by the shift of educational programs within the geographic region and the evolving post-war economics.Cooperative and consolidated schools or, more commonly known as Community Schools were seen as new and promising educational models. In 1951 Pine Mountain joined with the Harlan County School system in the adoption of the new consolidated school model. The shared responsibility brought much-needed revenue to the settlement school from the Harlan County Board of Education and enabled continuing maintenance of the large infrastructure of the settlement. Teacher's salaries, bus drivers and bus maintenance, as well as rental income for the classroom space paid through the Harlan County Board of Education, significantly eased this difficult transition period of the School and ended the boarding school.
INSTITUTIONAL STUDIES
Over the course of its one-hundred-year history, Pine Mountain has been studied and re-studied and then studied again. The mountain institution is a remarkable test-bed for sociology, history, environmental studies, economics, ethnology, linguistics, education, religion, and a multitude of other topics, generally focused on the many cultures found within the Southern Appalachian region and Harlan County, specifically. Some have said of Pine Mountain Settlement School that it is "ever surprising in its surprises." Especially say those who have made a deep dive into the archive at the settlement school. Yet, what seems to be the most remarkable feature of the school is its resiliency.
While there have certainly been surprises over the years, the consistency of the School's mission has remained intact. Uncle William Creech (1814-1918), the donor of the land, whose generosity and wisdom helped to shape the institution, set forward an idea that is timeless. It is a vision of a school that would perpetually serve the community, the nation, and the world with a sound set of ideals
"… I have heart and cravin' that our people may grow better. I have deeded my land to be used for school purposes as long as the Constitution of the United States stands. Hopin' it may make a bright and intelligent people after I'm dead and gone."
Studies by outside agencies and also independent scholars have often served as a counterpoint to ideas of self that are found in local cultures, and as a signifier of the local. These various formal studies such as in this study, the so-called, 1951 Chang Survey, "Whither Pine Mountain," and also the Roscoe Giffin Study of Pine Mountain conducted earlier in the summer of 1950, take issue with a narrow "local" and attempt to bring Pine Mountain Settlement forward into a new vision of the future. Both the Chang study and the Giffen study mark an important period of transition in the school; the years immediately following the closure of the boarding school and the succeeding program-focused trajectory.
Both the Giffen and the Chang studies came through Berea College interests but only the Chang study was commissioned by the Berea College President, Francis Hutchins, who had recently assumed a role on the PMSS Board of Trustees. In 1949 Berea became an affiliate of the rural settlement school following a mutual agreement between the two institutions. The Pine Mountain 1949 closure of the mountain school's boarding program was necessitated by economics. Berea's affiliation with the School was one of long-standing connections, starting with the China experiences of President Francis Hutchins and Burton Rogers. Hutchins, as the Yale in China Director had hired Rogers to teach at the Yale school, known as Yali. When Yali was overrun during the Japanese incursion, Rogers left and found placement at Pine Mountain in 1942. The two men assisted H.R.S. Benjamin, the last Director of the boarding school program make the difficult transition. While there is no fiduciary responsibility to Pine Mountain, Berea faculty and the college President established an agreement that placed succeeding Berea College Presidents on the Pine Mountain Settlement School Board of Trustees from 1949 forward.
ONE OF MANY IN DEPTH STUDIES OF PINE MOUNTAIN SETTLEMENT SCHOOL
The Chang study, "Whither Pine Mountain," was not the first in-depth study of the institution. The earlier and later studies of the educational institution; some formal and others not so much, are found in scholarly research articles, personal autobiographies, in the journalism of visitors and the travelogues of "passer-throughs," and the diaries of staff "insiders." Whatever the source, the studies and commentaries provide rich windows into life at the settlement school and into the surrounding community and offer valuable counter-points to the Chang study.
01 Classroom at Pine Mountain after consolidation with Harlan County Schools.
The community under study in the Chang survey is the community covered by portions of five school districts in Harlan County that were consolidated at Pine Mountain in 1949, the year of the closure of the boarding school. The creation of the so-called "consolidated school" consisting of the five district schools of Creech, Little Laurel, Big Laurel, Divide and Incline they also included, by virtue of geography and not "district", the community schools of Abner's Branch and Turkey Fork.
In his brief but thorough survey, Chang evaluates not only the educational needs but also the medical and agricultural needs of the community served by Pine Mountain School. He builds on the more sociological, formal and in-depth study of his colleague, Dr. Roscoe Giffin and like Giffin, he is quick to acknowledge the limiting aspects of the regional geography, particularly on the practices of subsistence farming. He cites the prior Giffin study that indicated "only about 450 acres or 10% of the land holdings of families were cultivated in 1949 by over 50% of the families with an average of less than 5 acres." In some ways, it was the Ellen Churchill Semple model narrative of economic possibilities limited by nature. But, to the Semple model Chang added the limitations of the current and evolving (U.S.) economic system. In his study, Chang cited only limited feasible employment for those who dwelled in the area such as mining, manufacturing, trades or part-time farming, and development of logging and forest products. Ironically, or perhaps, not, Semple accompanied Pine Mountain Settlement School founder Katherine Pettit and Berea instructor Penniman, on her first formal trip into Eastern Kentucky in 1899.
A PERVASIVE COMMUNITARIAN POINT OF VIEW
What Cheng's study generally recommended for the school was a pervasive communitarian point of view for all concerned parties. Following this perspective, the Chang survey is little different in its conclusions from other earlier and later studies, that found the sense of community and teamwork to be at the center of the meaningful work of the institution. Cheng's recommendations were community-centric approaches and were intended to be the guiding impetus and critical to any planning going forward. In this respect, the study was not-so-much a counterpoint to the current culture, but was largely a familiar road-map well traveled by many of the early leaders at the School.
In addition to the familiar planning and community-centric approach, Cheng also made allowances for local cultural influences and like the historians in his current twentieth-century, Chang saw the "rugged individualism" of the mountain pioneer to be a restraint on the cooperative development of the area, i.e. a move to accommodate rapid industrialization. True to his own education, and that of his supporting institution, Berea, Chang encouraged a Christian values model as a starting point and as a model for scale. It was a model that found local favor. His suggestion that the "community organizer" serve as the "transmission line between the community and the school," still remains a strong foundation of the School's work. That same model provided a base for the community organizing work that characterized the region in the late 1960s and 1970s War on Poverty campaigns some years later.
In section III, part 6 "Team Work," he summarizes the survey result
To be community-centric Pine Mountain Settlement School has to include in its planning different types of adult education without sacrificing the efficiency of its consolidated school. The belief is that education for children and for adults, as has been pointed out before, are complementary and mutually strengthening. The excellent teamwork among the staff members of the consolidated school will be further expanded and extended to the work with and for the community. While the community organizer will serve as the main transmission line between the community and the school, there are many other live wires connecting these two ends, through the children of the school, patients at the hospital and cooperators with and visitors to the farm and workshops. The members of the staff of Pine Mountain Settlement School will no longer be individual school teachers and specialized personnel in health, agriculture, woodwork, weaving and administration, but a team of purposeful community builders. A team of twenty community builders following an integrated plan will accomplish many times more than what can be accomplished by twenty individual workers. Through their different lines of service, they will present to the people of the community the same ideals and ideas of the Christian way of life, follow the same scale of Christian values and press forward towards the same goal of a prosperous, enlightened, and happy Christian community. The teamwork of the whole staff rather than the brilliant work of any individual will carry the day in making Pine Mountain the community-centered school.
Importantly, the Cheng study is a study aligned with the larger national historical milieu. The changes occurring at Pine Mountain may also be seen throughout the United States as it continued its recovery from WWII. The economic, social and political shifts in the U.S. were creating rapid introspection at both the national and the personal level. In 1955 the work of Richard Hofstadter captured the rapid changes of the first quarter of the 1950s. His Pulitzer Prize-winning book, The Age of Reform, was greeted by an audience that was eager to make sense of the many economic, social and environmental shifts going on in the country. Hofstadter's historical assessment and that of other scholars of the day was in tune with Cheng's sociological views, particularly his grasp of the impact of agrarian reforms. It was Hofstadter who coined the phrase, "agrarian myth" and famously said "The United States was born in the country and has moved to the city." In many ways, Pine Mountain Settlement and like institutions were and are America's birthplaces of community work.
AGRICULTURAL REFORM
While the consolidation of the Pine Mountain Settlement School with the Harlan County Schools system was an educational reform model that was echoed in many parts of the country, the agricultural reforms across the land were also radically changing the landscape and influencing decisions at Pine Mountain. National agrarian reforms were at work even in hard-scrabble Appalachian farms and their subsistence model or their agricultural practice. The elimination of the boarding school and the subsequent reforms took a substantial toll on the struggling settlement school farm and its accompanying loss of boarding school labor. Fu-Liang Chang was particularly sensitive to agricultural shifts from his years in China.
In 1951 when Berea's President Francis Hutchins assigned the study of Pine Mountain, to Fu-Liang Chang, he did so with some knowledge of the background of Chang and his wife Louise. Both Hutchins and Chang had attended Yale University but at different times. Hutchins and the Changs had met in the 1920s, when they both held teaching positions at Yali, the Yale-in-China program in Nanchang, China. Hutchins' work at Yale had earned him the position of the director of Yali in late 1933.
Both Hutchins and his wife Louise and Fu-Liang Chang and his wife, also called Louise, were at Yali when the Japanese invaded China and occupied the school in 1937. The situation at Yali was horrific and the bonds that Hutchins and Chang shared ran very deep. The Japanese incursion that devastated Yali has been described as unimaginable, but as Fu-Liang Chang followed the course of China after the Japanese invasion, he was particularly cognizant of the changes brought on by the Communist takeover in the late 1940s. While Hutchins and also Burton Rogers came back to the States when the Japanese invaded, Fu-Liang Chang and his wife remained and suffered under both the Japanese as well as the later Maoist regime. The years of Mao were in many ways even more difficult for the Changs than was the short period of the Japanese incursion.
SHARING ACROST' THE SEA
As the Communist pressures grew in China, Fu-Liang and his wife planned their depature from their homeland and in 1949 Chang was accepted into the Yale Divinity Schoo and they left for America. The growing oppression of Mao in China would have been fresh in Fu-Liang Chang's mind when he came to Yale in '49. And, when in 1951, he was asked by Hutchins to consider a study of the Pine Mountain Settlement and to help develop a strategic plan for the School, it is not surprising to see elements and reflections of his China trials in his work. Fu-Liang's career in China had focused on sociology, rural reconstruction, forestry, and botany. He held the position of director of the middle-school department at Yali and Hutchin's belief was that Chang's skills and the many lessons learned in rural China would be useful in understanding the changes occurring in rural Appalachia and specifically at Pine Mountain. As Fu-Liang Chang set about considering "Whither Pine Mountain" the vision of his homeland under Mao must have weighed heavily on his mind.
Following his brief stay in the Yale Divinity School program, Chang was enticed to come to Berea and he was given a place on the faculty of the college in 1951. For Chang, the fit was perceived to be in keeping with his life's mission, that of addressing rural poverty and the severe lack of resources that accompanied that poverty. The familiar academic environment at Berea and at Pine Mountain allowed Chang to use the skills he had gained from Yali and from Yale and to meld those skills into a knowledgeable analysis of the Pine Mountain issues.
Further, Chang had a direct connection to Pine Mountain. His Yali colleague, Burton Rogers, who had headed the Literature department at Yali had left China when the Japanese invaded, and he had also studied at Yale and was since 1942, at Pine Mountain as the school's Principal of the evolving Community School program. Their exchange of information gave the study a rich and informed base, albeit one framed against the Japanese experience, and the growing distress caused by Mao, that only they could know deeply.
Chang had both the credentials and the motivation for a study of Pine Mountain and there he also found friends and the perfect field work for a course he developed for Berea in the sociology department. The course, called Rural Reconstruction of Underdeveloped Areas, pulled many ideas from the students at the college whose homes were in the region, as well as his own global ideas that had been formed by his direct experience. Chang had seen the upheavel and the political treachery of Mao's claims of sympathy and legitimacy to rule and had lived the results of that treachery. He would naturally be a cautious evaluator where reconstruction was concerned. Again, Pine Mountain had brought its lessons to those "acrost' the sea" and those "acrost' the sea" had brought theirs to the mountains of Eastern Kentucky. The mutual sharing and the shared sense of community was the knowledge-base that helped to transition Pine Mountain into what Richard Hofstadter, in 1953, called the new "Age of Reform."
OUTLINE OF THE FU LIANG CHANG SURVEY
I. PINE MOUNTAIN COMMUNITY
(1.) Area and Population
(2.) Natural Limitations and Human Adjustments
II. PINE MOUNTAIN SETTLEMENT SCHOOL
(1.) Its Past Achievements
(2.) Its Present Status
III. WHAT OF THE FUTURE?
(1.) Recognition of Existing Limitations
(2.) Special Contributions of Pine Mountain Settlement School
(3.) Community Organizer
(4.) Suggested Fields of Organization for Community Service
(5.) Concerning the Hospital and the School Farm
(6.) Team Work
GALLERY: 1951 FU LIANG CHANG SURVEY OF PMSS Whither Pine Mountain?
Whither Pine Mountain chang_001.jpg
Whither Pine Mountain chang_001a.jpg
Whither Pine Mountain chang_002a.jp
Return to CASE STUDIES, REPORTS, SURVEYS, CONSULTANT DOCUMENTS

redpajama_set_name: RedPajamaCommonCrawl


text:
Home NHL
'Endangered' Connor Hellebuyck Sounds off on NHL Protocols
by Carter Brooks
in NHL, Winnipeg Jets
Player safety was not a priority on Friday night in Dallas, Texas, according to Connor Hellebuyck.
The Winnipeg Jets netminder spoke with the media on Saturday afternoon just hours after what ended up being an overtime victory over the Dallas Stars from American Airlines Center on Friday.
"Plain and simple, when a goalie's mask gets knocked off, the play needs to get blown dead," Hellebuyck said.
After already having a goal called back via a coach's challenge from his former bench boss Rick Bowness earlier on the night, Stars' scoring phenom Jason Robertson fired his third of the game into a wide-open net with just 19 seconds remaining to tie the game late in the third period.
Making it easy for Robertson to find his hat trick marker was the fact that Hellebuyck was laying on his stomach with his exposed head in his glove and blocker after having his helmet knocked off his head four seconds prior.
JASON. ROBERTSON.
After review, it's a good goal and he sends this one to OVERTIME with his 18th of the season! pic.twitter.com/gFcZIcSUSE
— Sportsnet (@Sportsnet) November 26, 2022
"There was not an immediate scoring chance after there," Hellebuyck added. "There were two passes made and a shot from the point. Those refs made a mistake, but I feel like the rule needs to change so that the war room and the refs have the opportunity to realize they made a mistake. They put me in danger. A lot of bad things could have came from that."
There was no whistle to stop the play, however, the officials did gather and review the play prior to announcing their reasoning for ensuring the game-tying goal stood.
"When a goalie's mask is knocked off or comes off, and it's not an immediate — and I mean, like, puck's going in, getting tapped in — that whistle needs to be blown," Hellebuyck said. "Just like a player who loses his helmet has to go to the bench. He's allowed to finish the motion of the play, but he has to go to the bench. The same thing should apply for a goalie. Toronto is not able to replay the stoppage of play because that is on the refs, for their [discretion]."
Hellebuyck was reaching down to cover the puck at the side of the net, when Stars captain Jamie Benn ran him over en route to racing around behind the net and dishing the puck off to a teammate, all while Hellebuyck dove for cover in an instance that would typically call for a stoppage in play.
"What I saw was, I made a save, I'm in the crease. I leaned maybe a hair outside the crease — the crease isn't very wide — maybe I leaned a hair outside, but my balance and my weight was in the crease. [Benn] was coming right by my face, and maybe he wasn't going to hit me, but he was close enough where any play on him forced him into my head. I think Josh did hit him — I don't know how hard he hit him, that's not for me to judge because I'm not the one who put the hit on him. But he hit him."
The resulting play ended up with the Stars tying the game fours to send the Central Division matchup to overtime, giving Dallas a point it likely shouldn't have earned. Winnipeg did end up with two of the three points awarded, but in a divisional contest where every point matters, the referees' (in)discretion very well may have affected the overall NHL standings.
That's the worst video review call against Connor Hellebuyck and the Jets since James Neal broke his stick over Hellebuyck's face mask and they allowed that goal. BRUTAL
— Joe Pascucci (@Pascucci015) November 26, 2022
The explanation from the on-ice officiating crew was that Josh Morrissey had pushed Benn into Hellebuyck, which saw his helmet come off his head. But it didn't provide clarity as to why the play was not blown dead.
"The way the play goes, they're expecting me to get up, go to the post and square up to a point shot? For me, that's just way too long and no one's going to do that with no mask on," Hellebuyck added. "So four seconds. I'm pretty sure we could have got a shot on the other net in four or five seconds. That tells you how much ice you can cover. Immediate is, like I've been saying, the puck needs to be going in the net or on its way into the net or a guy is in the act of finishing a puck and there was none of that."
For reference, Josh Morrissey needed just four seconds to carry the puck the length of the ice and score the game-winner just 32 seconds into the extra period.
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Earlier in the game, Dallas netminder Jake Oettinger lost his pad when a defender happened to come down on one of his straps, causing the pad to come off in the process. The play was immediately whistled down by referee Garrett Rank.
"I think there (were) two passes and I don't even know if Jamie Benn got a point on that play (he didn't). And that was the initial guy who hit me and got the puck."
Hellebuyck, a member of the NHL's Competition Committee, and Adam Lowry, the Jets' NHL Players' Association executive board representative both voiced their confusion on the eventual game-tying goal.
"I'm the goalie on the committee, I get my voice out. I hate complaining without doing something about it," Hellebuyck said. "We talked about it last meeting. We talked about how we need to protect the goalies' heads. How we're getting hit there and nothing is being done about it. So, the refs are supposed to be looking for it."
Not only did Hellebuyck deem the actions of the on and off-ice officials incorrect, he also called for a rule change after what he considered to be a very dangerous play on-ice.
"The amount of force that went into my head was very scary," he said. "The feeling in my neck was very scary. I'm glad I'm OK, I'm glad I'm having a maintenance day. But the force that went into my head is a no-brainer for me that it needs to get blown dead and looked at… No one's going to do that with no mask on. We don't want any goalie in this league [doing that] — we don't want that for us. We don't want to see that anywhere in this league. So, the fact that that happened last night is very eye-opening and hopefully we can get better, and get this rule changed."
Lowry put everything into perspective quite well:
"It's a scary situation when your team's MVP goes down and is laying motionless on the ice with no helmet and pucks are coming to the net," Lowry said, a day after picking up three points in the team's overtime win. "I just think in these situations, there's always going to be one side that's upset. At the same time, we remember just how dangerous it is if someone gets a puck in the head, just how fast that things can change. Whether you're the team that kind of feels like you get screwed out, you want player safety to be at the forefront. That's going to be something that is going to get brought up and hopefully dealt with."
The text from the official NHL rule book reads as follows:
"NHL Rule 9 – Uniforms – 9.6 – Helmets – When a goalkeeper has lost his helmet and/or face mask and his team has control of the puck, the play shall be stopped immediately to allow the goalkeeper the opportunity to regain his helmet and/or face mask.
When the opposing team has control of the puck, play shall only be stopped if there is no immediate and impending scoring opportunity. This stoppage of play must be made by the Referee. When play is stopped because the goalkeeper has lost his helmet and/or face mask, the ensuing face-off shall take place at one of the defending team's end zone face-off spots.
When a goalkeeper deliberately removes his helmet and/or face mask in order to secure a stoppage of play, the Referee shall stop play as outlined above and in this case assess the goalkeeper a minor penalty for delaying the game. If the goalkeeper deliberately removes his helmet and/or face mask when the opposing team is on a breakaway, the Referee shall award a penalty shot to the nonoffending team, which shot shall be taken by the player last in possession of the puck."
"We disagree with the call, it's as simple as that," coach Bowness said. "You can't ask a goalie to get in there and make a save without his mask on. Anyways, that happens. We've moved on. I don't talk to the league about those things. Chevy does. Chevy has been in constant contact with the league. That's all we can do is voice our opinion and go from there."
The post 'Endangered' Connor Hellebuyck Sounds off on NHL Protocols appeared first on Full Press Hockey.
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Ground And Pound: Jacobs, Raiders Cook Seattle Defense
Carter Brooks
Carter Brooks is a news writer and sports columnist situated in Winnipeg, MB. On top of reading and writing, coaching hockey is his favourite pastime. Carter can be reached at carterbrooks1994@gmail.com


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Q: Query not returning results in PHP for blank variable A SELECT statement does not return values when run from PHP when the parameter is left blank. The same statement if run from the MYSQL query window works just fine for the above condition.
This is the SELECT statement in MYSQL
SELECT * FROM table1 WHERE field1=IFNULL(:var1,field1);

This is the code in PHP.
if(isset($_GET['var1'])){
$var1=mysqli_real_escape_string($conn,$_GET['var1']);
}
$sql = "SELECT * FROM table1 WHERE
         field1= IFNULL('$var1',field1)";
$query = mysqli_query($conn, $sql);

When the variable var1 is left blank the query should fetch all the records. If there is a value put in for var1 then only that record is to be displayed. This works fine. The problem is when the variable var1 is left blank. No records are displayed.
Please note running the SELECT statement in MYSQL query window for both the scenarios works perfectly.
Just an update: I tried putting a default value ('ALL') for the field(var1) in my HTML form which calls the PHP code.
I then changed the SELECT statement in the PHP code as below:
$sql = "SELECT * FROM table1  WHERE
         field1= COALESCE('$var1','ALL',field1)";

Even this does not work. Guys there has to be some way to do this.

A: You can use the WHERE clause only if the variable is not null :
$sql = "SELECT * FROM table1" ;
if(isset($_GET['var1'])){
    $var1=mysqli_real_escape_string($conn,$_GET['var1']);
    $sql .= " WHERE field1 = '$var1'" ;
}

$query = mysqli_query($conn, $sql);

A: This is how it should be done. Use if statement and have 2 separate queries for the 2 scenarios.
if (isset($_GET['var1'])) {
    $stmt = $conn->prepare('SELECT * from table1 WHERE field1=?');
    $stmt->bind_param('s', $_GET['var1']);
    $stmt->execute();
    $result = $stmt->get_result();
} else {
    $result = $conn->query('SELECT * FROM table1');
}

Pay attention to how I used query(). You can only use that method if you do not have variables to be put inside of SQL. If you have some variable data you need to use placeholders and then bind it using bind_param().

A: // New Connection
$db = new mysqli('localhost','user','pass','database');
// Check for errors
if(mysqli_connect_errno()){
  echo mysqli_connect_error();
}
$sql = "SELECT * FROM table1" ;
if(isset($_GET['var1'])){
  $var1=mysqli_real_escape_string($conn,$_GET['var1']);
  $sql .= " WHERE field1 = '$var1'" ;
}
$result = $db->query($sql);
if($result){
  while ($row = $result->fetch_object()){
    $rlt_arr[] = $row;
  }
  $result->close();
  $db->next_result();
}

A: try to add nullif
select
    *
from
    table1
where
    field1 = ifnull(nullif('$var1', ''), field1)

redpajama_set_name: RedPajamaStackExchange


I went shopping at Asda at the weekend and they have some great deals on on baby stuff. Of particular interest to all you baby led weaners might be the Tomme Tippee First cup suitable from 4 months is selling at only £1 at the moment.
I also found some lovely Tomee Tippee self-feeding spoons. They were less cheap at £3.99 for 5 but they are really nice and the perfect length for my little man to feed himself. The pack advises that they are suitable from 7 months but as we all know you can use them from 6 months.
I have a mission that I'm just now working on, and I have been at the look out for such information.


A belated report but news nonetheless: WA has released the Wilson Combat CQB. WA has also released a silver version of the popular Beretta M84FS. This gun is extremely compact and has a refined finishing. Footprint is small like the Glock 19 and power is ample considering how small this gun is. Highly realistic and perfect for the Bond girl!
On the old front, KSC's heavy weight MK23 is now back in stock! From now on, credit payment is free through Tradenable! Just simply choose "Seller Pays" in the order and we'll pay the fees!


John Stonestreet: "Without the image of God you have no grounding for anything approaching universal dignity." Pop quiz: What does it mean to be created in God's image and likeness?
The average churchgoer might reply people resemble God because of their abilities, including the knack to be rational and to communicate. This is known as the functional viewpoint.
Others might says that we don't resemble animals' behavior and thus must be a reflection of the Almighty, also called the relational perspective.
John Stonestreet, president of the Lansdowne, Vir.-based The Colson Center for Christian Worldview, plumbed deeper the answer to that question at a recent Acton Institute Lecture Series held at its downtown Grand Rapids location, 98 E. Fulton.
Knowing the answer gets to the heart of what it means to be fully human, said Stonestreet, who also co-hosts the nationally syndicated radio commentary, BreakPoint.
Stonestreet contrasted the biblical worldview with what he termed the dehumanizing myths in a post-secular age. The answer also serves as a sobering juxtaposition of the world's viewpoint of humankind, which too often evokes dreadful results.
Stonestreet said the functional and the relational viewpoint has its limits, but more so with the functional aspect.
"I have a problem with the functional view in and of itself because it describes the image of God through functionalities and capabilities," said Stonestreet. "What happens if we lose the abilities to communicate? Does that mean the image of God is not upon them? Absolutely not."
Even so, defining people's personhood because of their capabilities has its tentacles gripped around society, according to Stonestreet.
"One of the reasons doctors have given in for the euthanasia of children in the Netherlands is not because they have a terminal disease but a permanent condition and one of them cited as justification for euthanizing children was their inability to communicate.
"Another is relational view, a reflection of God's essences as Trinity," continued Stonestreet. "It's not that God does relationships. It's that God is relationship, and as a relationship, we image Him. There's certainly a lot to be said for that."
Genesis 1 is the scriptural passage that affirms God made humans in His image and likeness, but He goes on the say humans must be fruitful and multiply and subdue (have dominion) over the earth.
"That's what it means to be created in the image of God in a contextual vantage point," said Stonestreet. "It's that to be made in the image of God is to be a ruler, a vice regent, given responsibility to make the world what God intended it to be. That is the more biblical, theological perspective on this."
Stonestreet contrasted the biblical worldview with what he termed the dehumanizing myths in a post-secular age that has conjured an identity crisis.
"The theory going into the 20th century is that the death of God would lead to the progress of man, that the death of God, getting God off of our back, would help us move forward without the constraints of God," said Stonestreet.
"Secularism would make humanism possible. Instead secularism lead to a profound de-humanism. When we look at the 21st century, where are we now? The removal of God in the center of our lives, the death of God in the public life and now here we are as a society are holding onto terms like dignity but grounding them to what?
Christian, Stonestreet said, must guard their hearts and minds against modern-day mores.
"As Christians, seeing how things have shifted, we're tempted with the things we see in the 21st century as we chalk it up with what we might call a moral slide, particularly in the areas of sexuality, gender and family," said Stonestreet. "Things that were once OK are considered wrong, things that were once considered taboo, are now considered acceptable and even preferable.
"With the tsunamis of social change, there certainly has been a moral slide, but what's really taken place is not a moral slide, but a cosmological shift."
Without understanding what it means to be in God's image, people are without a moral foundation for anything approaching universal dignity, according to Stonestreet.
• The fall. "Our best efforts are a filthy rags," he said. "everything we do has been corrupted by the fall. We need someone to rescue us from the fall."
• Redemption. Meaning we exchange disobedience for obedience, unrighteous for righteous. "We need that exchange," said Stonestreet.
• Restoration. "We can all agree, no matter what theological perspective, that Jesus Christ said, 'Behold I am making all things new." We live some place between redemption and restoration. Apostle Paul talks about what it means to be reconciled, living in the light of the kingdom."


text:
El Achotal är en ort i Mexiko.   Den ligger i kommunen Atoyac de Álvarez och delstaten Guerrero, i den södra delen av landet,  km söder om huvudstaden Mexico City. El Achotal ligger  meter över havet och antalet invånare är .

Terrängen runt El Achotal är huvudsakligen kuperad. El Achotal ligger nere i en dal. Den högsta punkten i närheten är Cerro El Poste,  meter över havet,  km norr om El Achotal. Runt El Achotal är det ganska glesbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Atoyac de Álvarez,  km väster om El Achotal. I omgivningarna runt El Achotal växer huvudsakligen savannskog.

Savannklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är maj, då medeltemperaturen är  °C, och den kallaste är juli, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är september, med i genomsnitt  mm nederbörd, och den torraste är mars, med  mm nederbörd.

Kommentarer

Källor

Orter i Guerrero


Who would not want to have a garden right at their own backyard? Though container gardening is the latest craze nowadays, some homes are just plain lucky to have ample yard for gardening. One of the most elaborate Garden design ideas is that of a cottage garden. Once commonplace next to homes, cottage gardens are the very source of freshly cut flowers for the dining and living room table during spring time and summer. Tulips that bloom during winter also make good decorative embellishment to a certain space. But unlike in the olden past where cottage gardens are as illustrious as the stately homes of London, today's designs are more space-savvy. A small stretch of land on your home's corner or a small front/back yard space is all it takes to prettify your landscape.
Fluidity is the very essence of cottage gardens or any gardens for that matter. Informal and colorful, the use of plants and flowery blooms arranged harmoniously taking height and season into mind would be a great thought. Try to be practical by scattering herbs or vegetables on some areas where they can be hidden among the canopy of foliage and flowers. Plants such as hollyhocks, foxgloves, snapdragons, peonies, and geraniums with host as and ferns for texture and contrast are good plant options. If you have trellises, use roses or wisteria. Rosemary, dill, sage, thyme, parsley, tomatoes and pepper also make good addition to a cottage garden. Make sure that the latter are planted near your kitchen for easy picking.
Author: Peter working as SEO executive for Machine Dock Machinery House the no.1 Lathe Machine Manufacturer and Exporters in India.


text:
Behind the Data
ReadyScore
ReadyScore Factors
Preparedness Strengths
Preparedness Gaps
Mandatory Self-Assessment
Download All Country Data
Search by WHO Region
PreventEpidemics.org by Resolve to Save Lives, an initiative of Vital Strategies, is the world's first website to provide clear and concise country-level data on epidemic preparedness and the ability to find, stop, and prevent epidemics.
WHO declared a Public Health Emergency of International Concern (PHEIC) over the Ebola outbreak in DRC. https://bit.ly/2XK08KR
The PreventEpidemics.Org website has launched it's updated look. Check out the Interactive Map and Country Pages to see more.
What Is the ReadyScore?
The ReadyScore is a tool created by Resolve to Save Lives, an initiative of Vital Strategies. The score determines whether a country is prepared to find, stop, and prevent epidemics, using data from the World Health Organization's Joint External Evaluation. Similar to a report card, there are 19 areas of preparedness and response capacity that are scored, first by a group of national experts of the country and then by an external group of international experts. The ReadyScore is the average score of the 19 preparedness areas. The ReadyScore relays five levels of preparedness:
Better Prepared (80% or higher)
Country is better prepared for the next epidemic. They have functioning systems to find, stop and prevent health threats, but they must work to maintain this level of protection for their people.
Work to Do (40-79%)
Country has work to do to prepare for the next epidemic. They are committed to improving preparedness, but an outbreak today could cause deaths and cross borders.
Not Ready (39% or lower)
Country is not ready for the next epidemic. They have shown commitment to improving preparedness, but an outbreak could cause a devastating loss of lives and disrupt political and economic stability.
Country has began the external evaluation process but no data is available at this time. There is not a robust way of knowing whether this country is prepared for an epidemic, but there will be in the near future. Country has began the external evaluation process but no data is available at this time. Until then, we have no independent way of knowing their level of preparedness.
Country has not volunteered to have an external, transparent evaluation of their ability to find, stop and prevent health threats. Without this robust assessment we cannot be certain they are ready prevent epidemics. Country has not volunteered to have an external, transparent evaluation of their ability to find, stop and prevent health threats. Without this, we have no independent way of knowing their level of preparedness.
What scale is the ReadyScore based on?
The ReadyScore calculates each country's level of epidemic preparedness on a scale from 0 to 100, with 0 representing a country that is not ready and 100 representing a country that is better prepared. A score higher than 80 indicates that a country is better prepared for an epidemic.
What does the ReadyScore mean for your country?
The ReadyScore tells you how prepared your country is to find, stop and prevent an epidemic. By looking at the score, and the accompanying information, you can learn what your country needs to do to be better prepared.
How does the ReadyScore impact you?
The ReadyScore is important because it tells you if your country is prepared, and if it is not, highlights the steps that should be taken to improve preparedness.
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text:
Un periodinane (calque franglais) ou periodane est un composé chimique contenant au moins un atome d'iode hypervalent, c'est-à-dire ayant plus de huit électrons dans sa couche de valence, ce qui contrevient à la règle de l'octet.

Vocabulaire
Lorsqu'un atome d'iode est complexé par des ligand électronégatif monodentate tel que des ions chlorures, il peut se retrouver dans l'état d'oxydation +3 (iode(III)), on parle pour ces composés d'iodane λ3, ou à l'état d'oxydation +5 (iode(V)) et on parle alors d'iodane λ5. L'iode en lui-même possède sept électrons de valence ; trois électrons supplémentaire lui sont donnés par les trois ligands dans les iodanes λ3, lui donnant une structure de décet (10 électrons partagés), cinq électrons supplémentaires lui sont donnés par les cinq ligands dans les iodanes λ5, lui donnant une structure de dodécet (12 électrons partagés). Ceci est possible car dans l'atome d'iode, les orbitales atomiques, 4d sont proches en énergie des orbitales HOMO des ligands et certaines possèdent la bonne symétrie pour se combiner avec.

Dans les composés ordinaire de l'iode, tel que l'iodobenzène, l'iode suit la règle de l'octet et possède huit électrons de valence, seule une combinaison des OA 5s et 5pz de l'iode est engagée dans la liaison. Dans le modèle de l'iode hypervalent, on peut considérer que l'iode est oxydé et perd dans un premier temps trois électrons, puis deux supplémentaires pour les iodanes λ5. En retour, les ligands l'entourant partagent leurs paires d'électrons et forment des liaisons covalentes de coordination, redonnant ainsi à l'iode 6 ou 10 électrons.

Pour décrire et classer les periodanes, on utilise parfois la « notation N-I-L » (notation N-X-L des molécules hypervalentes avec X=I (iode), N le nombre de ligands et L le nombre d'électrons de valence et dans les doublets libres autour de l'atome d'iode).

Historique
Le concept d'iode hypervalent a été développé en 1969 par J.J. Musher. Afin de s'accommoder de l'excès en électrons des composés hypervalents, on a introduit le concept de Liaison à trois centres et quatre électrons par analogie avec le modèle de la Liaison à trois centres et deux électrons utilisé pour les composés en déficit d'électron. Un telle liaison existe dans les composés de l'iode(III), deux dans les composés de l'iode(V).

Le premier periodinane, le dichlorure d'iodobenzène (C6H5Cl2I) fut préparé en 1886 par le chimiste allemand Conrad Willgerodt, en faisant buller du dichlore dans une solution froide de chloroforme de l'iodobenzène.

C6H5I + Cl2 → C6H5ICl2

Géométrie
Les iodanes λ3 tels que les diarylchloroiodanes ont une géométrie moléculaire bipyramidale pseudotrigonale présentant une apicophilicité avec les groupes phényle et chlore en position apique . Ces composés de l'iode (III) peuvent aussi présenter une géométrie en T, même en l'absence de liaison multiple, comme pour le diacétate, C6H5I(OCOCH3)2.

Les iodanes λ5 tels que le periodinane de Dess-Martin ont une géométrie moléculaire pyramidale à base carrée, avec quatre hétéroatomes en position basale et un groupe phényle apique.

Exemples

Iodanes λ3
Outre le dichlorure d'iodobenzène, on peut citer l'iodosobenzène et le diacétate d'iodobenzène (ou PIDA), un réactif organique utilisé comme oxydant. De nombreuses procédures organiques classiques existent pour préparer ce dernier à partir de l'iodobenzène, de l'acide peracétique et de l'acide acétique.

C6H5I + CH3COOOH + CH3COOH → C6H5I(OCOCH3)2 + H2O

On peut citer également le (bis(trifluoroacétoxy)iodo)benzène, aussi appelé bis(trifluoroacétate) de phényliode ou PIFA, un dérivé de l'acide trifluoroacétique et de l'iodobenzène, ou encore l'acide 2-iodoxybenzoïque (IBX), un oxydant doux très utile mis qui présente l'inconvénient d'être insoluble dans de nombreux solvants organiques courants.

Iodanes λ5
Le periodinane de Dess-Martin est l'un des iodanes λ5 le plus connu. Préparé pour la première fois en 1983, cet oxydant doux peut être vu comme une amélioration de l'IBX, celui-ci étant soluble dans la plupart des solvants organiques courants.

Utilisation
Les periodanes sont principalement utilisés comme oxydants, remplaçant ainsi des composés beaucoup plus toxiques à base de métaux lourds.

Ainsi, un iodane λ3 a longtemps été utilisé comme oxydant, en association avec l'acétate d'ammonium et une source en azote, pour produire à partir d'une solution aqueuse d'acétonitrile le 2-furonitrile, un intermédiaire pharmaceutique et potentiellement un édulcorant. Cette réacton se déroule à  et a un rendement de 90%.

Les recherches actuelles se concentrent sur leur utilisation dans les réactions de formation de liaisons carbone-carbone et carbone-hétéroatome. On peut citer une étude sur un couplage C-N intramoléculaire d'une alkoxyhydroxylamine avec son groupe anisole, accompli avec une quantité catalytique d'un iodure d'aryle dans le trifluoroéthanol :

Dans cette réaction, le periodane (intermédiaire A, en bleu) est formé par oxydation de l'iodométhylebenzène par le catalyseur sacrificiel mCPBA, qui, à son tour convertit le groupe hydroxylamine en ion nitrénium (B). Cet ion est l'électrophile d'un addition ipso sur le cycle aromatique, formant un lactame avec le groupe énone.

Notes et références


text:
Китсон Капириэль (родился 10 декабря 1993 года) — спринтер из Федеративных Штатов Микронезии. Он участвовал в летних Олимпийских играх 2016 года в беге на 100 метров среди мужчин; его время 11,42 секунды в предварительном раунде не позволило ему пройти в первый раунд.

Примечания

Ссылки
 Профиль на сайте Worldathletics
 Профиль на сайте Олимпийских игр

Легкоатлеты Федеративных Штатов Микронезии
Участники Олимпийских игр


text:
Photo gallery of a charming hotel near Cudillero
Menu of the Restaurant Casa Vieja del Sastre
St. James Way
The Northern Way
Pilgrim services
The North Way, St. James Way, on its way through Soto de Luiña.
The coastal route of the Way of Saint James passes through Soto de Luiña. There is no doubt about it because in our village there is one of the few remaining Hospitals in this St. James Way.
The current one is a construction from 1713. It is of Asturian baroque style reproducing the model of a rural noble house. It is decorated with frescos and woodwork of great richness and variety.
Descuento para peregrinos con credencial, 15% descuento sobre nuestra mejor tarifa
The Hospital, now the Rectory House, was inaugurated by HRH Prince Felipe on the occasion of the awarding to Soto de Luiña of the Prince of Asturias Award 1.992 to the Exemplary People. It is currently used as an exhibition hall, library, assembly hall, historical archive, museum and parish house. It was declared a Historical Monument in 1985 and is now a Site of Cultural Interest.
Next to the Hospital is the Church of Santa Maria, a work of 1712 in which the unique tower stands out, making it a unique example of Asturian Baroque.
Our church was opened as a Historical Monument in 1984. It has received the International Prize "Europa Nostra" 1.997 to the protection of the European Architectural and Natural Heritage. It was recently declared an Asset of Cultural Interest.
tfno: +34 985 596190
info@casaviejadelsastre.com
Soto de Luiña, Cudillero. Asturias
->Formulario contacto<-
If you want to take advantage of our current offers, promotions and discounts feel free to contact us via phone or email.
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Tfno: +34 985 59 61 90
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