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Tag Archives: YA
#PULPstories tour Robin Talley Q&A
I am loving Robin Talley's latest book Pulp, and was delighted to be asked to take part in the #PULPstories tour. I will be reviewing the book on the blog next week, for now, here's a Q&A with wonderful author Robin Talley.
What inspired you to write PULP?
I first learned about lesbian pulp fiction — a genre of books popular in the 1950s and 1960s that were published as cheap paperbacks and marketed to men, but that focused on romances between women — several years ago. When I first read one of these books, Marijane Meaker's groundbreaking Spring Fire, published in 1952, I was mesmerized, both by the story itself and by the world it presented. It focused on the relationship between two deeply closeted lesbians living in a time when being who they were meant having to go to extreme lengths to keep their sexuality a secret, and facing horrific consequences if they slipped up (which of course they did). There was an entire wave of these novels, some of which sold millions of copies, all during a time and place when anyone who didn't conform to expected norms faced terrible oppression. I wanted to explore that culture, and I thought it would be interesting to look at it through the lens of a teenage character in the present day — someone to whom all of this would seem like irrelevant ancient history, until she probes a little deeper and finds out it's anything but.
Why do you think it's important to feature LGBT characters in YA novels?
In the decades since young adult books became a publishing phenomenon, there have been only a small percentage of YA books published with lesbian, gay, bisexual or transgender characters in central roles. That number is starting to increase at last, but we've still got many years' worth of catching up to do. LGBT teenagers deserve to see characters like themselves in the books they read, and they, as well as teens who don't fall under the LGBT umbrella, both want and need to see characters who reflect the real world they live in — a world that's diverse in terms of sexual orientation and gender as well as race and ethnicity, religion, and disability status.
What do you hope readers will take away from Pulp?
That the social justice struggles of the twentieth century might seem like the distant past, but the truth is, we're still fighting the same battles now that we confronted then. The movement for equality has been going on for many, many generations, and there's no question that we've got a long way to go. We have to be mindful of what came before us so we don't repeat the mistakes of the past, and so we can fight back against the political leaders and others in power who are trying to take us there on purpose.
Check out the rest of the stops on the #PULPStories tour below:
Posted in Blog Tour, Interview, Uncategorized, YA	Tagged Blog Tour, LGBT YA, YA
Review: Notes on my Family by Emily Critchley
I was sent a copy of this book by the publisher in exchange for a review, this has not swayed my opinions or reviewing in any way!
Notes on my Family
Emily Critchley
Everything with Words, 2017
Contemporary, 12+
Louise Coulson is 13 and a half years old, and she very much likes being left to her own devices. She has a particular set of rules about how she likes things to be, and how she orders her life. And with her family in crisis, her world seems to have been turned upside down. Her father is having an affair, which means her parents will be divorcing. Her mother is having a breakdown, her brother is comfort baking, and her older sister has started dating a fireman. Lou's life at school is disrupted too when she is told to be new girl Faith's 'buddy'. Lou and Faith are completely different, but form an unlikely friendship.
Lou's observations on her life and the people around her are insightful and intriguing. Critchley has created a very likeable protagonist, and one whose many idiosyncrasies and quirks make her who she is. Readers who struggle with anxiety or are not neuro-typical will find a lot to connect with in this character. The other characters are interesting and multifaceted, and it is a very engaging read that handles tough topics in a sensitive manner. If you're looking for a well-written teen or YA book that deals with difficult family situations or with not fitting into the world around you, I would definitely recommend this.
Posted in 12+, Reviews, YA	Tagged 12+, Reviews, UKYA, YA
Review: I Was Born For This by Alice Oseman
I've been following Alice Oseman's books since her debut, Solitaire, and I'm a fan of her very modern and diverse YA. I interviewed Alice Oseman when Radio Silence was released, check out the interview here and my reviews of Solitaire and Radio Silence.
The publisher sent me a copy of this book in exchange for a review, the opinions expressed below are honest and my own.
Angel Rahimi is obsessed with The Ark, the boy band who are taking the world by storm. The Ark are her world – she reads fanfiction about them, tweets about them and makes up theories about their relationships. She has travelled to London to meet her friend Juliet, who she knows through the online fandom, in person for the first time. Together, they are going to actually get to meet The Ark, who they refer to as 'our boys'.
For Jimmy Kaga-Ricci, one of the boys in The Ark, their rise to fame has been less than dazzling. He loves playing music with Rowan and Lister, but the media frenzy has his anxiety spiralling out of control. His band mates aren't faring too well either – Lister is drinking too much, and Rowan's relationship is showing the strain. Is the major new contract they are about to sign a blessing or a curse?
Told in alternating chapters from Angel and Jimmy's points of view, this is a wonderfully diverse exploration of fandom, friendship, mental health and self worth. It is an entertaining read, and Oseman's care to represent her protagonists' experiences authentically and sensitively really shows. With a hijabi teenage girl and a gay transgender boy at its centre, this book is diverse but in a way that is far from tokenistic. Neither character is defined by their faith, sexuality or gender but are rounded and well developed, although I felt the complexities of Angel's relationship with herself could have been explored more. Jimmy's anxiety and paranoia is almost painful to read, and I really feel we got into his head. I didn't feel as much of a connection to Angel.
I loved how I Was Born For This engages with fandom and fan culture, and the intensity of love and passion fans can have. For this, and its queer representation, this is definitely a book I would recommend. Radio Silence remains my favourite of Oseman's books though!
Posted in Books, Reviews, Uncategorized, YA	Tagged LGBTQYA, Reviews, YA
Author Interview: Sophie Cameron (Out of the Blue)
I loved Sophie Cameron's debut Out of the Blue, which explores grief and loss through magical realism, as well as featuring a beautifully-told love story. I was delighted to get the opportunity to interview Sophie Cameron and ask her about her writing process and LGBTQ+ representation in YA.
Jenny Duffy: The title Out of the Blue fits the book so well – in terms of grief, the suddenness of the Beings' falls. Did you have this title all along, or did it come later in the process?
Sophie Cameron: I actually had a really hard time finding a title! I tried out lots (including some really cheesy ones) but nothing really fit. I was thinking about it on my walk to work one morning when I spotted a sticker for a community/arts centre in Edinburgh called Out of the Blue – I figured that worked pretty well, and it stuck!
JD: Which part of the story came first – the magical elements, the characters or the themes?
SC: The idea of the angels falling to earth came first (from a Lynx Deodorant advert, randomly enough) and then the characters. I never really think about the themes I want to include in a book at first; I try to focus on the characters and the story and let them arise naturally, then work on bringing the themes out later.
JD: I loved the scene in which Teacake is shown paintings of angels, were there particular images you used for reference when imagining the Beings?
SC: Their colouring was inspired by street artists in Barcelona: I used to walk past golden and silver angels every day on my way to work, which gave me the idea of making them different metallic colours. Otherwise I just invisioned them as looking like people with wings, but all the paintings mentioned in the book are based on real works of art. It was really fun to research!
JD: What are some of your favourite LGBTQ+ YA books?
SC: More Than This by Patrick Ness, You Know Me Well by Nina LaCour and David Levithan, History is All You Left Me by Adam Silvera, We Are Okay by Nina LaCour, Girlhood by Cat Clarke, Noah Can't Even by Simon James Green, It's Not Like It's a Secret by Misa Sugiura, The Summer of Jordi Perez by Amy Spalding… and I'm really looking forward to Anger is a Gift by Mark Oshiro, Running With Lions by Julian Winters and Laura Dean Keeps Breaking Up With Me by Mariko Tamaki and Rosemary Valero-O'Connell, which are all out this year.
JD: In the book Jaya says 'There were all those words – labels that we didn't need, but that wrapped themselves around us, suffocating whatever it was that we had.' What are you own feelings on labels? Do you see them as helpful or damaging, or both?
SC: I think they can be restrictive for some, but empowering for others. Finding the right label was important for me when I was younger as it helped me work out who I was, but I don't find them quite so important (for myself) now, and I know some people who have never wanted or needed them – either position is totally valid, so I think it's good to show characters who both do and don't identify with labels in books.
JD: Different characters in Out of the Blue have very different responses to their sexuality, in terms of acceptance and coming out. Were you very conscious of the importance of showing a range of experiences?
SC: Actually, not really… it just happened naturally as it fit the story. Obviously different people will have hugely different experiences with regards to coming out or being accepted for their sexuality, and if books reflect that then that's great. But I don't think authors should necessarily feel they have to show that variety, either. It can be too much to fit into one story, for one thing, and I also think we need more stories with LGBTQ+ characters that don't touch on issues at all.
JD: The relationship between Jaya and Allie has a beautifully slow build – what do you think is the most important ingredient in writing a romance?
SC: For me, I think it's that the characters' relationship feels quite balanced and that they both have their own arcs outside of the other person – my favourite romance in YA is The Sun is Also a Star, where both characters have their own storylines that become intertwined. Romance isn't usually the main draw to a book for me, though, so it may be totally different for other readers!
JD: What would you like to see more of in YA?
SC: I think the most pressing issue in YA is a lack of books by authors of colour – there are only a handful published in the UK every year, so I want to see many more of those and lots of support for those that are published. I'd also like to see more diversity in general, and more stories that are focused on friendship or sibling relationships.
JD: What's next for you writing wise?
SC: I've just finished the second draft of my second book, which will be out in 2019. I'm having a wee break to catch up on reading and then I'll get started on what will hopefully be Book 3!
JD: Finally, a piece of writing advice you would pass on?
SC: The author Kirsty Logan mentioned in a talk a few years ago that she aims to write just 100 words a day, so I tried that and it worked really well for me: it's short enough as a goal that even if I'm feeling totally uninspired (or lazy) I can usually manage a few sentences, and quite often I end up writing way more than I'd intended anyway.
Posted in Interview, YA	Tagged Interview, LGBTQYA, YA
Review: The Loneliest Girl of the Universe by Lauren James
The Loneliest Girl in the Universe
Lauren James
Walker Books, September 2017
YA – Science Fiction
Romy Silvers is the commander of The Infinity, a spaceship travelling to a new planet on which Earth 2 will be established. She is also only 16 years old. A tragedy left her as the sole-surviving crew member, with full responsibility to steer the spaceship to its destination and secure the future of humanity. Romy is completely alone in space, she hasn't had direct contact with another human in five years. Then, she learns that there is another ship, The Eternity, sent to help with the mission. It will catch up with her, she will have an ally. When she receives an email from the commander of the other ship, she finds an unexpected friend in J. They communicate by email, with lags of months as their messages travel through space, but even still Romy finds herself falling for J. Can you love someone you have never met, someone who is lightyears away? However, news of dramatic events on earth could affect their mission and the ghosts of the past that haunt Romy refuse to fade away…
Described as a 'romantic thriller' this is a gripping read that I struggled to put down. Romy is a well-developed character who readers will root for, and Lauren James shows the strain Romy's mission puts on her in a very palpable way. Her feelings – the trauma, the stress, the longing – come across strongly, and she is a believable and complex character. She is a very admirable heroine – she is strong and capable, because she has to be.
For someone like myself with little knowledge of physics, the aspects of how time works in space were a bit confusing but I soon got my head around it, and James did not include a lot of technical information, focusing instead of character and plot. This was a book I didn't want to put down. It is a real page turner, and definitely one I will be recommending in the bookshop! Space travel really intrigues me, so if you have any recommendations of other books I should read please do leave them in the comments.
I received a proof copy of this book at the AmericYA panel event in Easons O'Connell Street.
Posted in Reviews, YA	Tagged Reviews, Sci Fi, YA
Author Interview: Claire Hennessy (Like Other Girls)
I reviewed Claire Hennessy's powerful new YA novel Like Other Girls recently, and was delighted to get the chance to chat to Claire about the book, her writing process, being an editor, and the joy of musicals.
Photo by Aisling Finn
Could you tell me about your writing routine? When and where do you write? Do you have any writing rituals?
I yearn for a proper writing routine but it really depends on what else I'm doing or working on at the time. For example, during the summer I teach on summer camps for teenagers, which means I might write in the evenings, whereas if I'm teaching a lot of evening classes then the writing tends to get done in the morning. It really depends on the stage the manuscript is at, too – when I'm in the middle of a first draft, getting new words down as often as possible (every weekday, hopefully) is really important, whereas when I'm revising I might think over things for weeks and then go and attack the manuscript again.
How do you find writing for teens as an adult, compared to writing for teens as a teen yourself?
I'm an adult? When did that happen?! I'm more wary of getting details wrong now, because I know that being a teenager today is different in certain ways – the endless encroaching presence of social media, for example – and I also try not to be preachy.
Do you think your work as an editor has changed how you approach your writing?
I am incredibly aware now of the importance of opening chapters, in a way that I wasn't before – there are so many clichéd and tired ways to begin a story, and as an editor you really start to notice all the recurring and worn-out tropes. I actually overdid it slightly with Like Other Girls and had a scene that really belonged much later at the start, for dramatic purposes, but it didn't quite work, so it got moved.
When in the process of writing Like Other Girls did you come up with the title?
It was when I was close to finishing the manuscript, and we already had a synopsis for the book before that, so it was quite late. But we agreed on it very quickly, which was brilliant.
Like Other Girls is a book that makes readers angry (to quote the wonderful Marian Keyes, it is a book that 'all but quivers with righteous anger'), which books make you angry?
Oooh. Anything about feminism makes me angry at the world, for obvious reasons, and then I get angry at books for pulling cheap stunts or having twists that don't quite work.
To my delight, musicals play a big role in Like Other Girls. What is your favourite musical, and your favourite song from a musical?
WICKED! And 'For Good'. I just love the fact that it has two female leads, and that the love story isn't everything, and that it's basically set in a magical boarding school at the start. It's very different from the book, of course, which is much darker and twistier.
I feel that the inclusion of newspaper articles and other media references really reflected what it is like being a young woman in Ireland at the moment, and also showed how Lauren's story is one that happens every day, to many women. Was this aspect of the book there from the start?
I didn't necessarily know I was going to include newspaper articles but I was conscious that I'd probably be addressing what the narrative is around reproductive rights in Ireland, as well as how such issues are handled in popular culture. And then as it went on, it seemed to make sense to include actual articles (and sadly the media continues to offer up many examples to work with…)
Like Other Girls is a book that confronts and explores real experiences and problems without turning into the dreaded 'issue novel.' What do you think is the importance of books and other art forms in exploring issues we are facing today?
Thank you, that is very kind of you to say! I did worry hugely about this turning into a big rant, which a novel shouldn't be, and I was aware in certain chapters that I needed to go back and make things about the characters rather than The Issues. What stories are wonderful for is creating empathy – seeing the world through someone else's eyes and learning to understand each other a little bit better. So much cruelty and ugliness in the world comes from a capacity to dehumanise certain groups of people, and empathy is the cure for that.
As both an editor and a reader, what would you like to see more of in YA?
More funny books for teenagers that still manage to deal with serious issues. More books set outside of the UK and the USA. More books featuring protagonists with disabilities, chronic illness, etc. And, as ever, more boarding school novels.
What are your favourite YA reads of 2017 so far?
Spontaneous by Aaron Starmer completely blew me away. I absolutely adored Moira Fowley-Doyle's The Spellbook of the Lost and Found. We Come Apart by Sarah Crossan & Brian Conaghan was, predictably, brilliant. Angie Thomas's The Hate U Give lived up to the hype. And Sara Zarr's Gem & Dixie is amazing.
Posted in Interview, Irish YA	Tagged Interview, Irish YA, YA
Top Ten Most Anticipated Reads for the Rest of 2017
Top Ten Tuesday is a weekly meme run by the lovely ladies of The Broke and the Bookish bringing together two of my favourite things – books and lists. This week's topic is the ten books we are most excited to get our hands on during the rest of 2017.
Listed in order of release…
Spellbook of the Lost and Found – Moira Fowley Doyle (Corgi, 1st June)
I adored Moira Fowley Doyle's magical debut, The Accident Season, and have been eagerly anticipating this book. The author has described it on Twitter as a 'weird little book about poteen & patron saints, tattoos & rusty keys, secrets & magic, longing & lost things' and I am sure I will be enthralled by her beautiful writing once more. Launch in Eason O'Connell St on June 2nd.
One of Us is Lying – Karen M McManus (Penguin, 1st June)
This sounds like a tense and thrilling read, and I do love a good mystery!
Once and for All – Sarah Dessen (Penguin, 6th June)
What better to read in summer than a Sarah Dessen book? No more needs to be said.
When Dimple Met Rishi – Sandhya Menon (Hodder, 13th July)
A YA romance told from alternating perspectives of two Indian-American teens whose parents have arranged for them to be married. It's been getting great reviews, and I'm trying to read more diverse YA.
The Guggenheim Mystery – Robin Stevens (Penguin Random House, August)
This is the sequel to Siobhan Dowd's fantastic book The London Eye Mystery. Dowd was a brilliant talent – Bog Child is an incredible book – and Stevens is a wonderful choice to continue on this story. I look forward to seeing what she does with it, and to re-reading The London Eye Mystery in preparation!
Genuine Fraud – E. Lockhart (Hot Key Books, 5th September)
When I got a proof copy of this through the bookshop my excitement was uncontainable. So far Lockhart's voice is as sharp and intriguing as ever.
Moonrise – Sarah Crossan (Bloomsbury, 7th September)
Sarah Crossan is queen of the verse novel, and of strong voices. One is one of my favourite YA books and so deserving of the many awards it has won. I am sure this book, about a boy whose brother is on death row, will be as moving and poignant as her other books.
The Break – Marian Keyes (Penguin, 7th September)
Marian Keyes' novels blend comedy and drama with memorable characters and note perfect dialogue. I only came to her books a couple of years ago, and I flew through them. I know I will love this!
It Only Happens in the Movies – Holly Bourne (Usborne, 1st October)
While I will miss the Spinster Club girls, I am very much looking forward to Holly Bourne's next YA venture!
Tangleweed and Brine – Deirdre Sullivan (Little Island, October)
Tangleweed and Brine will be a collection of feminist fairytale retellings, illustrated by Karen Vaughan. Her Rumpelstiltskin story was previewed on online Irish design journal Make Believe and gives an idea of how dark and magical the book will be.
Posted in TTT	Tagged 2017, TTT, YA
Review: Like Other Girls by Claire Hennessy
Like Other Girls
Claire Hennessy
Hot Key Books (2017)
YA, Contemporary
Like Other Girls is the story of Lauren, a 16-year-old bisexual girl grappling with the sometimes harsh realities of being a young woman in contemporary Irish society. Lauren is struggling with her identity – with the expectations of perfect femininity espoused by her all girls school, with dismissive attitudes towards bisexuality she finds even within the LGBTQIA community, and with her relationships, particularly with her boyfriend and the best friend she is still somewhat in love with. Then, she finds out she is pregnant. Readers familiar with Irish law will know the implications of this for Lauren, as she journeys alone to England for an abortion.
Lauren is a complex protagonist, and one in an incredibly difficult situation. She makes some bad choices, and Hennessy doesn't shy away from showing Lauren's darker and more 'problematic' (to use a much discussed word) thoughts. At times this can make for uncomfortable reading, particularly when Lauren is dealing with a close friend (whom she still has feelings for) coming out as transgender, or considering the degree of privilege you have as a cisgender woman in a country that denies women bodily autonomy. I do wish some of Lauren's attitudes had been challenged a bit more, the transphobia in the book did make me uncomfortable, however her friend Ellie does call her out and at the end of the book there is a sense of Lauren growing as a person. Besides, in other ways Lauren's flaws are a strength of the book and part of the way it pushes back against the pressure on girls to always be perfect.
Hennessy's book is incredibly timely and will make readers angry. She uses articles very similar to those Irish readers will have encountered over the last few years, and a chilling scene in which her protagonist is given misleading and false information at a 'counselling' service. It evokes a very true-to-life sense of what it is like to be female in a country in which you don't have bodily autonomy, in which abortion is illegal, and in which girls and women like Lauren must travel to the UK every single day for a medical procedure that should be available safely and legally in their home country. The trauma Lauren goes through makes the book painful to read, and shows how damaging the lack of access to abortion in Ireland is. Acclaimed Irish writer Marian Keyes has said that this book 'all but quivers with righteous anger', and I think its readers will too.
Like Other Girls tackles a number of very sensitive topics without falling into that dangerous trap of becoming an issue novel, without moralising or preaching, and without demonising its protagonist or giving her an unrealistic 'happily-ever-after' type ending. It is also a funny book, filled with pop culture and musical references, and with a strong, snarky voice at its centre. It also has a fantastic cover – it's a label! for a book about labels! – designed by Leo Nickolls.
To sum up – Like Other Girls is a fierce, feminist book that while not an easy read, is an important one. We need stories like Lauren's, and we need to repeal the eighth amendment.
Like Other Girls will be launched tonight, May 25th, in Dept 51 at Eason O'Connell Street at 6pm.
Posted in Irish YA, Reviews, YA	Tagged Irish YA, LGBT YA, Reviews, YA


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Haight Ashbury Apartments
San Francisco Average Rent
Apartments for Rent in Haight Ashbury, San Francisco, CA
1965 PAGE Apartments
1965 Page Street, San Francisco, CA 94117
795 Ashbury
795 Ashbury Street, San Francisco, CA 94117
OAK SHRADER Apartments
1995-1999 Oak Street, 400-402 Shrader Street, San Francisco, CA 94117
533 Clayton
533 Clayton Street, San Francisco, CA 94117
1900 Page Street
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1585 Waller Street, San Francisco, CA 94117
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291 Broderick Street, San Francisco, CA 94117
506-508 Ashbury
506-508 Ashbury Street, San Francisco, CA 94117
1591 Page
635 ASHBURY Apartments
555 Buena Vista
555 Buena Vista Avenue West, San Francisco, CA 94117
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1985 Fulton Street, San Francisco, CA 94117
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500 Stanyan Street, San Francisco, CA 94117
430 BAKER Apartments
430 Baker Street, San Francisco, CA 94117
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1040 Ashbury Street, San Francisco, CA 94117
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1431 Grove Street, San Francisco, CA 94117
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1359 Hayes St., San Francisco, CA 94115
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201-207 Divisadero 820 Waller, San Francisco, CA 94117
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1836 Mcallister Street, San Francisco, CA 94115
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275 Grattan Street, San Francisco, CA 94117
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800 Lyon Street, San Francisco, CA 94115
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Rent prices in cities near Haight Ashbury, San Francisco, CA
Apartments in Alameda $2,703
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Apartments in Corte Madera $4,495
Apartments in Cupertino $3,652
Apartments in Daly City $2,520
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Apartments in Emeryville $2,798
Apartments in Foster City $3,547
Apartments in Fremont $2,814
Apartments in Hayward $2,407
Apartments in Larkspur $3,607
Apartments in Livermore $2,671
Apartments in Mill Valley $3,763
Apartments in Millbrae $3,205
Apartments in Milpitas $3,017
Apartments in Mountain View $3,437
Apartments in Oakland $2,850
Apartments in Pacifica $2,917
Apartments in Palo Alto $3,498
Apartments in Petaluma $2,825
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Apartments in Redwood City $3,367
Apartments in Richmond $2,716
Apartments in Rohnert Park $2,434
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Apartments in San Leandro $2,303
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Apartments in San Rafael $2,798
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Apartments in Santa Clara $3,093
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Apartments in Vallejo $2,160
Apartments in Walnut Creek $2,622
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Rent prices in neighborhoods near Haight Ashbury, San Francisco, CA
Apartments in Bernal Heights $3,233
Apartments in Hayes Valley $2,727
Apartments in Marina $2,716
Apartments in Mission Bay $4,218
Apartments in Noe Valley $3,261
Apartments in North Beach $2,957
Apartments in Pacific Heights $2,837
Apartments in Potrero Hill $3,666
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Apartments in Russian Hill $2,702
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Average rent in Haight Ashbury, San Francisco, CA
$3,388/mo Haight Ashbury, San Francisco, CA average rental price, January 2023
The average monthly rent for an apartment in Haight Ashbury, San Francisco, CA is around $3,388.
Haight Ashbury, San Francisco, CA rent trends
Check out the average rent in San Francisco.
The national average price of rental apartments is $1,727, while the average monthly rent in Haight Ashbury, San Francisco, CA is $3,388.
Getting around in Haight Ashbury, CA
Walker's Paradise
Excellent Transit
Very Bikeable
Walk Score®: 98, Transit Score®: 75, Bike Score®: 76
When were prices and availability in Haight Ashbury, San Francisco, CA last updated?
Prices and availability in Haight Ashbury, San Francisco, CA were last updated on 27 Jan 2023.
What are the best apartments in Haight Ashbury, San Francisco, CA?
The best apartments in Haight Ashbury, San Francisco, CA are: 1965 PAGE Apartments, 795 Ashbury, OAK SHRADER Apartments, 533 Clayton and 1900 Page Street.
What is the average rent in Haight Ashbury, San Francisco, CA?
The average rent in Haight Ashbury, San Francisco, CA is $3,388. Start your search for apartments in Haight Ashbury, San Francisco, CA now.
What is the price range for a 1-bedroom apartment in Haight Ashbury, San Francisco, CA?
The price range for a 1-bedroom apartment in Haight Ashbury, San Francisco, CA is between $3,195 and $5,195. Browse all available 1-bedroom apartments in Haight Ashbury, San Francisco, CA now.
The price range for a 2-bedroom apartment in Haight Ashbury, San Francisco, CA is between $3,195 and $5,195. Browse and find a 2-bedroom apartment in Haight Ashbury, San Francisco, CA.
What type of rental buildings are in Haight Ashbury, San Francisco, CA?
In Haight Ashbury 73% of the housing is rented out compared to 27% of homes are owned, according to the most recent Census Bureau estimates. 5% of Haight Ashbury's apartments are found in large buildings of 50 units or more, 92% are located in smaller apartment complexes with less than 50 units, and 3% are single-family rentals.
Haight Ashbury, San Francisco, CA demographics
20,970 Female
22,556 Male
In total, Haight Ashbury, San Francisco, CA has 43,526 residents, 20,970 women and 22,556 men, per U.S. Census recent estimates. Statistics show that the median age of Haight Ashbury's population is 33.3.
Haight Ashbury, San Francisco, CA households
11,230 Non-family
15,304 No Children
17,871Total Number of Households
There is a total of 17,871 households in Haight Ashbury, San Francisco, CA. Of these, 2,567 have children and 15,304 are without children. Per Census Bureau's most current estimates, 6,641 family households and 11,230 non-family households live in this area. The size of a household in Haight Ashbury is 2.24 people, on average. The median household annual income in Haight Ashbury equals $167,807, and the monthly housing costs equal $2,597.
Haight Ashbury, San Francisco, CA education statistics
According to data from the U.S. Census Bureau, 2% of the population in Haight Ashbury, San Francisco, CA have no high school education, 10% went to high-school, and 12% have partially completed college. Moreover, 4% of the population hold an Associate Degree, 46% hold a Bachelor Degree, and 27% hold a Graduate Degree.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Omoplatica is a monotypic moth genus in the family Geometridae. Its only species, Omoplatica holopolia, is known from Australia. Both the genus and species were first described by Turner in 1926.

References

Oenochrominae
Monotypic moth genera

redpajama_set_name: RedPajamaWikipedia


Gringo charts two journeys, both of which began a decade ago. The first is the sweeping transformation of Latin American politics that started with Hugo Chávez's inauguration as president of Venezuela in 1999. In that same year, an eighteen-year-old Chesa Boudin leaves his middle-class Chicago life -- which is punctuated by prison visits to his parents, who were incarcerated when he was fourteen months old for their role in a politically motivated bank truck robbery -- and arrives in Guatemala. He finds a world where disparities of wealth are even more pronounced and where social change is not confined to classroom or dinner-table conversations, but instead takes place in the streets.
The rugged handmade wooden canoe fitted with a powerful outboard motor pushed up against the dirt shore of Lake Petén Itzá where the town's first houses nestled the beach. There was no Welcome to San Andrés sign. A handful of chickens clucked around, a few pigs rooted in the dirt, and the sweet smell of burning plastic garbage filled the air. San Andrés, with its rapidly growing population of five thousand, covered the steep hill leading up from the lake and back toward a lush tropical jungle where an ancient civilization had reached its peak some six hundred years ago. Mayan stone cities and temples, long abandoned, were the region's primary attraction for foreigners.
On the journey across the lake from the triple city of Flores–San Benito–Santa Elena, with its few tens of thousands of people, I had sat in the rear of the boat near the loud motor and intense fumes: being the gringo and a first-time visitor, I had no way of knowing better. Riding in the back, I had the additional disadvantage of waiting while the rest of the passengers—all Guatemalans—disembarked. A group of young men with neatly pressed school uniforms and meticulously gelled straight black hair got out first. Next, an old woman with an impossibly large bag was helped ashore; then a younger woman with an infant at her breast and two smaller ones following behind with sacks balanced on their heads. A couple of men carried machetes and wore muddy knee-high rubber boots—workers in the fields or the jungle.
As the people in front of me climbed onto the dirt embankment, I looked down the beach and saw small groups of young women and girls washing clothes by hand and carrying water in plastic tubs. On the other side of the beach, heading away from town toward more trees and unsettled jungle between the villages dotting the lakefront, partially clothed families bathed and splashed in the shallows of the cool water. Oye gringo! Hey gringo, time to go. The boatman, no more than twenty with a thin mustache and sneakers well cared for but far past their prime, wanted me off his boat. Sporting new, sturdy boots and a big hiking bag that was strapped, unnecessarily secure, to my back, I jumped out onto the wet ground and started walking up the hill. I passed one-story cinder-block and wood houses on narrow, partially paved streets and footpaths. The sun burned down, scorching everything it touched, and the people I passed stayed in the shadows while children played and ran freely. A few blocks up, climbing steeply, I stumbled on Eco-Escuela. It was a one-room language school built on stilts out over the hill. The back wall was cut away to provide a panoramic view of the lake.
This was to be my new school but I didn't stop there. Instead I continued farther up the hill to the small wooden house of Doña Eugenia, which was where I had arranged to stay for my two-month-long visit. I was to share my new home with Doña Eugenia's only daughter, Delia, and, when he got back from working in the jungle, her quiet, amiable husband, Jesús. Doña Eugenia had short hair and was one of the only married women in town with just one child—an oddity in a community where contraception was rarely used. Her daughter was sixteen, with a squat frame and feet more used to flip-flops than shoes. The women were both tiny, coming up no higher than my chest. It would be a week or more before I met Jesús. He had a warm smile, and like most men in town who worked in the fields or the jungle, carried a machete wherever he went. I wasn't the first gringo they had hosted, so my Birkenstocks, headlamp, and wide array of sunscreens came as no surprise.
Dinner on my first night at their house was handmade corn tortillas fried into tostadas and covered with cabbage and grated cheese. While I ate hungrily, I tried out the various getting-to-know-you one-liners I remembered from Spanish class in high school. Soy de Chicago; tengo dieciocho años; me llamo Chesa: C-H-E-S-A. ¿Cómo estás? We struggled to get to know one another, but my Spanish was a severe limitation, often slowing conversation to a total halt. While on my third or fourth tostada Doña Eugenia asked me ¿Qué hacen sus padres? Small talk about what her exchange students' parents did was probably a safe ice-breaking question for most of the gringos Doña Eugenia had hosted in the past. But her question left me with a dilemma.
I've been open and matter-of-fact about my family situation since before I can remember—as a kid I just took it for granted that it was as normal as saying my parents were doctors or teachers; eventually, I even preferred my whole class to know at the beginning of the year rather than lying or worrying about who knew what—and I didn't see why I should hide it now. But what were the words for jail or adoption in Spanish anyway? Tengo cuatro padres. That part was easy, but I saw the puzzled look on Doña Eugenia's and Delia's faces.
¿Cómo así? ¿Son divorciados? came the inevitable reply. No, they were not divorced. They were…I had to rely on my pocket dictionary for this one…encarcelados. If I thought having parents in prison was going to give me street credibility in San Andrés, the distraught look that passed between my hosts dispelled that misconception immediately. They were worried. I started talking fast, making up the words I didn't know. Bebé, padres, crimen, tres muertos, político, negros, imperialismo, Nueva York.
How could I, with only the most basic Spanish, articulate to my now concerned hosts that in October 1981, when I was just fourteen months old, my biological parents, Kathy Boudin and David Gilbert, had left their Manhattan apartment and dropped me off at my Dominican babysitter's house, only to head off into a tragedy? How could I explain that, while I played and fussed as an infant, my parents made a terrible mistake, the worst of their lives? They had waited in a U-Haul in Nyack, New York, as a couple of miles away, members of a radical armed group of black nationalists robbed a Brinks truck of $1.6 million. Tragically bungled, the Brinks robbery left three men dead and an entire community traumatized. By the time my mother and father received a twenty-years-to-life sentence and a seventy-five-years-to-life sentence, respectively, friends of theirs, Bill Ayers and Bernardine Dohrn, had taken me into their family and become my other parents. How could I explain to Delia what the political turmoil of the 1960s and 1970s had been about, or how my parents, white Jews, got involved in antiracist and antiwar activism and ultimately armed robbery?
For more than a decade before I was born, all four of my parents had lived on the run from the FBI as members of the militant political group called the Weather Underground; they had a common history. In 1980, after the Underground had fallen apart, Bill and Bernardine surfaced, and voluntarily turned themselves in to the authorities—the most serious charges against both of them had been dismissed because of illegal activities, including wiretaps, break-ins, and mail interceptions, initiated by the attorney general and an FBI assistant director. Bernardine was given three years probation for charges stemming from a protest. When I landed in my new household, Bill and Bernardine already had two sons: Zayd and Malik became my older brothers. With the support of my new family, through visits, letters, and phone calls, before I can even remember, I began to build relationships with my other parents from the distance incarceration creates. Somewhere in the gray area between collective family memory and where my own recollections start, I grew accustomed to going through a metal detector and steel gates every time I wanted to give my biological parents a hug.
As I grew up, my four parents' group efforts made feasible the transitions between the mostly white, middle-class, private school day-today and the mostly poor, black, and Latino prison system that was a constant thread in my life. I lived in parallel worlds. My family taught me radical politics from the beginning, but I also learned to prove myself in elite institutions. Brought up with the privileges and opportunities the United States offers some people, and a political line that condemned the very existence of an elite, I lived a contradiction. Life's incongruities were not merely between theory and practice. Much of the left-wing politics took root, despite the exclusive networks and institutions, because prisons can be a great equalizer. The line for the metal detector at Attica Correctional Facility didn't move any faster for me because I attended the same private school where Nobel Prize winners and billionaires sent their kids.
With one hand cuffed to a barely visible abyss of poverty and incarceration, and the other grasped in the confident handshakes of those accustomed to privilege and comfort, I learned to move freely between different universes. Almost miraculously these existences came to complement each other. Each served as a lens through which life could be viewed and understood, a bridge to reach out and connect with people around the planet in the most unlikely places. Metal detectors, languages, planes, and buses have come to serve as portals between my different worlds.
There was no way I could articulate all this with the little Spanish I knew at the time of arrival in San Andrés, and my fifth tostada was getting cold while I fumbled with my dictionary. Even looking up every word I could barely explain to Doña Eugenia and Delia that my parents were kind, generous, well-meaning people, buenas personas, that we loved one another with the complexity of any strong family, mucho amor, that their crime had been politically motivated, crimen político, that despite their incarceration I had grown up in a stable, middle-class family, familia estable. Their tight faces suggested confusion, concern, maybe even fear. I didn't want them to be scared to have me in their home, but the more I tried to explain in broken Spanish and infinitive verbs plucked straight out of the dictionary, the more confused I seemed to make them. I wanted them to see me as a friend, to articulate a self-portrait of a good gringo, an ally, but I wasn't so sure who I was myself.
While I was in Doña Eugenia's kitchen, in January 1999, my classmates were beginning the last semester of senior year of high school. I had finished my credits early and decided I would see how well Mr. Fuentes's intensive Spanish class could serve me during an immersion experience in rural Guatemala. It was my first trip to Latin America and my first-ever journey outside the United States without my family.
In Venezuela, a few hours flying south from San Andrés, Hugo Chávez was being sworn in as president and would soon begin shaking up the region. Later that year, at the Battle in Seattle, a burgeoning global protest movement would target institutions like the World Trade Organization, the International Monetary Fund, and the World Bank that propagated neoliberal policies—classical liberal economic policies with the goal of transferring control of the economy from the public to the private sector. By the 1990s, neoliberal economic and social policies had become the norm throughout Latin America, though politicians advocating them openly were rarely elected democratically.
On the flight south I had read Stephen Schlesinger's and Stephen Kinzer's Bitter Fruit: The Untold Story of the American Coup in Guatemala, which described the role of the United States government in overthrowing Guatemala's democracy back in 1954. It was one of a number of books my parents had suggested to help me understand the role North American companies and the CIA played in Guatemala's tragic history of poverty and civil war. Che Guevara happened to be living in Guatemala City at the time of the coup; the events the young Argentine witnessed would forever change his life and with it pan-American history.
The CIA-sponsored 1954 Guatemalan coup, justified in the name of fighting communism, was followed closely by brutal military dictatorships and a thirty-six-year-long bloody civil war that ravaged the country. Dictators and death squads left an estimated 200,000 dead, mostly unarmed indigenous civilians, and the country deep within the United States policy fold. But when I flew into Guatemala for the first time I only had the vaguest idea of what a neoliberal policy was, let alone what it would look like on the ground.
From Chicago I had signed up to study at a language school in the sparsely populated northern region of Guatemala called the Petén, and it was through the school that I was assigned to live with Doña Eugenia. My school tuition of $150 a week included four hours of one-on-one classes per day, and a home stay with all my meals included. The school had an inviting, progressive-sounding name, Eco-Escuela. A family friend who had studied there recommended it.
After collecting my new backpack from the baggage claim in Guatemala City's international airport, I wandered over to the airport information desk. A woman in a light green dress suit who was working there spoke more English than I did Spanish. She said that I had two basic choices for getting to the Petén: I could board a one-hour flight for $65 or I could take a twelve-hour bus ride for about $9. In a decision that would foreshadow much of my travel over the next decade I decided that a plane ride was too expensive and straightforward. Nervous though I was, I wanted to get into the mix and travel like a Guatemalan: the bus it was.
A taxi driver charged me $4.30 for a ride to the private coach terminal of a passenger bus company called Fuente del Norte, Fountain of the North. It wasn't until I stepped out of the taxi into the sun and smog of downtown Guatemala City that I realized what I had thought to be perfect low-key travel gear—Timberland boots, khaki cargo pants, and oversized photojournalist vest with twenty-three pockets (I counted them, though I could never figure out what the little mesh pouch on top of the left breast pocket was for), along with my stuffed backpack that had more straps and hooks and snaps than could possibly be useful—was conspicuous against the dirty gray central city. There were several rows of seats in the open-air waiting area just off the busy street where the cab left me. In one corner a few men in short-sleeve button-down shirts and thick jeans ate fried chicken and drank Gallo beers. One row of seats was occupied by a family of six with bags, parcels, bundles, and boxes of all sizes spread out around them. Several other travelers sat on duffel bags up against the back wall and kids played on the floor. A steady stream of travelers walked in and out of the terminal from the narrow sidewalks. I realized I was stepping, uninvited, into a new world that I understood practically nothing about and I wasn't at all sure that I was welcome. In my mind's eye I regarded myself as a comrade in arms with the downtrodden guatemaltecos I had read about. But how were the dozens of people in the bus station to know that? I had the uncomfortable feeling, standing there in my new gear, that I looked like another rich white tourist dropping into a foreign reality for exotic thrills and narcissistic self-exploration.
I made my way to the ticket office, a dirty Plexiglas cubicle in one corner of the room, and bought a $9 ticket that was handwritten on a recycled paper template. The bus would leave in an hour. I didn't want to wander around the center city, known for street crime, with a bag that could easily be confused for Santa's sack by any of the handful of street kids I saw sitting on the sidewalks. So I found a seat in one of the rows of empty blue chairs and took in my surroundings.
People all over were selling junk food, magazines, pens, watches, hairclips, and sunglasses. A young Mayan girl, a toddler, tried to sell me a newspaper. I started talking to a chubby-cheeked young woman but we didn't get far because my Spanish wasn't up to it. I managed to figure out that she was seventeen and married, which seemed to me, at eighteen, an unfortunate state of affairs. Her husband, a powerful-looking man with black eyes and strong jaw, showed up carrying a large machete. I relaxed after he shared a smile. They were as helpful as my Spanish permitted them to be.
Eventually, with the assistance of the young couple, I figured out that my bus was starting to board. The attendant who took my ticket made me check my big backpack. I worried about it disappearing and resolved to look out the window every time we stopped to make sure it wasn't being offloaded along with someone else's belongings. After boarding, I squeezed down the aisle, maneuvering around large sacks of potatoes and live chickens tied together in a bunch by their legs. Many of the seats were broken and the bus was filthy. There was no bathroom and I regretted not having visited the one in the bus station.
The attendant led me past people standing in the aisle to the one seat that was still empty. I was drenched in sweat and overwhelmed by my surroundings. Only later did it occur to me that I owed my seat to my white skin and my helplessness. The attendant had reserved it for me because I was a gringo. In Latin America, at least, a United States passport and a little confidence open doors to an elite world of perks and preferential treatment. Later I was to feel much more uncomfortable about drawing on this kind of white-skinned privilege, what I came to know as the gringo wild card, but on this occasion I was just glad to sit down.
As we rolled out of Guatemala City, we passed by what seemed an endless landscape of industrial parks and free trade zones. The sprawling boxlike factories were surrounded by fences and barbed wire. I later learned that the number of maquiladoras, industrial sweatshops that import raw materials and equipment on a duty-free basis for assembly and then export to mass consumer markets like the United States, had more than quadrupled from 1994 to 1999. Most of them made textiles and apparel products, but the word maquila came from the portion of grain the miller traditionally charged as a service fee. The millers still took their share in rural corn-growing areas but Guatemala's economy, like that of the region, was in flux. Throughout the previous decades the government had privatized the mail, electricity supply, and telephone companies. The Guatemalan state had long since abandoned its role as an agent of social development, cutting social spending across the spectrum and leaving the country's poor without a safety net. It also opened the economy to foreign, mainly North American, imports while simultaneously implementing policies aimed at consolidating agricultural holdings to maximize cash crop exports that could be used to pay off the foreign debt. Peasant farmers who lost their land converged on cities, providing a cheap, flexible labor pool for newly established industry.
The sweatshops I saw that day, filled with people who a few years earlier would have been planting corn, were one of the faces of neoliberalism that defined the economic landscape I was traveling through. Guatemala, like many countries across the global south at the time, was part of the Washington Consensus, a partnership with American-based financial institutions like the World Bank and the International Monetary Fund. These bodies granted loans only on the conditions of fiscal austerity, privatization, and the opening up of local economies to unfettered global trade. This resulted in such dismal economic performance that the 1980s became known as the lost decade in Latin America, although economists continue to debate how successful the model was in countries like Chile and El Salvador. In many countries, including those called successes by some, military dictators forced these policies on unwilling populations. In elections Latin Americans have rarely supported politicians who openly advocate neoliberal policies, yet the whole region ended up with them.
Neoliberal reforms may well have attracted foreign direct investments and created jobs in the maquiladoras I saw out of the bus window on that first day in Latin America. But Guatemala's income distribution and human development index were among the worst in the hemisphere. Only the rich minority was in a position to benefit from these policies. The poor were left with no labor protections or social safety nets, and few options besides jobs that didn't pay a living wage. The sweatshops provided jobs, but they didn't look like the kind of place I could imagine working in. They reminded me of prisons.
After we eventually escaped the sprawling outskirts of the capital, the only roadside buildings that interrupted the passing garbage-strewn rural landscape were little roadside tiendas. Each store was painted top to bottom with either Coke or Pepsi advertisements, depending on which of the two soft drink giants had bought the owner paint and agreed to make regular deliveries. Coke and Pepsi products—sodas, bottled water, and juices—are virtually the only affordable drinks in a country where little if any water from public sources is potable. The acid and the sugar in the soda, together with limited access to dentists, left even young children's teeth rotten, while adults had more metal caps than I had seen anywhere outside rap videos.
As passengers got on and off the bus, different people sat down next to me for an hour or so at a time. Although I couldn't communicate with them verbally, kindness and sympathy were often apparent in their eyes and smiles. Several of them told me cuídate, "be careful," but I couldn't tell what they were warning me about. The word ladrón was whispered on more than one occasion, with particular emphasis. When I finally looked it up in the mini-dictionary I kept in one of my various vest pockets, I was dismayed to learn it meant thief. Of course! As the only foreigner on the bus I was sure to be a target, I realized, panic-stricken. But who were the thieves? And what was I supposed to do to foil them?
I tried to sleep but was unable to doze off. I was anxious and uncomfortable. Maybe, it occurred to me, we gringos have made life too easy for ourselves. The Guatemalans around me seemed to have an amazing capacity for discomfort. While the bus rattled and bounced over terrible roads, kids slept on the dirty floor and women stood or sat for hours in positions so awkward that I couldn't have maintained them for ten minutes. No one else appeared to mind the large bugs that appeared on the insides of the windows and roof as the sun went down. Hygiene and personal space were quickly taking on whole new meanings for me.
As one of the few people with a functional seat, I felt embarrassed and self-conscious about my aching back and the fact that it made me uncomfortable when random kids draped themselves across my legs without so much as a glance in my direction before they fell asleep. Apparently an empty lap looked to them much the way an empty seat looked to me. Occasionally the vehicle jostled to a stop at some indistinguishable spot on the road and a woman, often clutching a baby, would wake the kid on my knees and lead them off the bus. My eyes followed them as they set out along narrow mountain roads or forest paths, until they disappeared in the dark.
The paved road became a bumpy dirt track, and a thick mist descended outside the windows of the bus. I heard birds and bugs in the night but my eyes were useless in the pitch black under cloud cover: night had fallen with the suddenness and finality of a black velvet curtain. At one point a couple of loud bangs pierced the silence of the jungle and the bus stopped suddenly: I snapped to attention with nervous thoughts of gunshots from armed bandits, or guerrilla holdovers from the country's civil war. But the loud reports turned out to be only the engine backfiring. The driver announced a temporary breakdown but assured us that it would just be cinco minutos más as his assistant attacked the engine with a wrench. Twenty minutes later he was back onboard trying to calm the passengers, demanding another momentito. Once we got going again the remainder of the ride was uneventful and I dozed.


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text:
Ляновери (, катаревуса Λιανοβέργιον, Ляновергион, до 1926 Λιανοβέρι) е село в Република Гърция, дем Александрия, област Централна Македония.

География
Селото е разположено в областта Урумлък (Румлуки), на 9 m надморска височина, на 5 km източно от Александрия (Гида) и на 2 km западно от Плати.

История

В Османската империя
В XIX век Ляновери е гръцко село в Солунската каза на Османската империя. Александър Синве ("Les Grecs de l'Empire Ottoman. Etude Statistique et Ethnographique") в 1878 година пише, че в Ляновери (Lianovéri), Камбанийска епархия, живеят 156 гърци. По данни на секретаря на Българската екзархия Димитър Мишев ("La Macédoine et sa Population Chrétienne") в 1905 година в Лянивор (Lianivor) живеят 185 гърци.

Според доклад на Димитриос Сарос от 1906 година Ляновери (Λιανοβέργι) е елиногласно село в Кулакийската епископия със 175 жители с гръцко съзнание. В селото работи начално гръцко смесено училище с 24 ученици и 1 учител.

В Гърция
През Балканската война в 1912 година в селото влизат гръцки части и след Междусъюзническата в 1913 година Ляновери остава в Гърция. В 1926 година изписването на името на селото е променено. След Първата световна война в 1922 година в селото са заселени гърци бежанци. В 1928 година Ляновери е смесено местно-бежанско селище с 31 бежански семейства и 143 жители бежанци.

С указ от 5 декември 1946 година Ляновери е откъснато от община Гида и заедно с Палеохори (нефигуриращо в преброяванията от 1961) образува самостоятелна община (кинотита) Ляновери. От 1986 до 2011 година е част от дем Плати.

Бележки

Села в дем Александрия


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So what do you do with a box that twists? This clever little box is looking for ideas. Here is my version.
It seemed a little complicated when looking at the pieces, but once I got the box together I had an "ah-ha" moment, actually a few. Since I could only make one project, I wanted to make something functional and that I could leave out on display. In our house, it usually means something to do with family. Since we recently celebrated Gramma's 90th birthday with a gathering of the family ... what better subject to use.
Besides Karen's very cool die, I included other Sizzix dies in the project. I always seem to go for a challenge - My initial idea for the twist cube was a bit more than I bargained for, so I just did "simple". (Though I'm going to keep trying and if I get it to work, I'll share.) I like the way it will collapse to make it fit nicely in a card, book or album. The idea using it as a "box" without collapsing will be fun to experiment with too. Using the die either way with other materials besides paper is an exciting challenge that I'm up for.
What I ended up with is a small compact photo album, with a little "twist" at the end of the album, and filled with just enough memories of this family celebration.
Below you will find the list of materials I used. If you have any questions about any part of my project, please feel free to contact me. I am more then happy to respond.
The accordion album pieces were easily threaded together with ribbon, to hold the album together. I used a paper that was already textured for the backs of each page, though I could have textured my own using the Sizzix texture or impression folders. The parchment pages were aged with Distress Inks for a vintage feel. The photos were changed using the effects in iPhoto for a slight antique look. The twist cube states the title on the inside. I had other ideas for what to place on the cube, but went with "easy". It folds nicely and is held closed with a wired trim, adorned with a flower embellishment.
***You can start at the Sizzix blog and hop your way through all the sites to see ideas, or here at my blog by clicking the word "forward" on the Sizzix button just to the right.
oh so wonderful... such a great project! wow... so much great inspiration on this blog hop.. I saw a few earlier.. wow!!!!!!!
This is amazing! Wow! I love that you combined both the cube and accordion album. Love it!
Very cute and pretty! Great job, Madeline!
This is absolutely gorgeous, and so meaningful!
Madeline, this is just wonderful. How smart to put it into an accordion album. What a wonderful keepsake you've created!
This is very cool! Love the photo album/twist box.
Madeline, I am sorry that my comment didn't show up on Thursday. This is amazing! I love the entire album and the fun family photos. Having that little pop-up twist title at the end is the perfect touch! Thank you for using my die so spectacularly!
As always-a great project Madeline!
Thanks all for the wonderful comments. I enjoy these weekly challenges and seeing all the inspiring designs by everyone.
Love the family theme for this!
Ah Ha! How did you think of an accordion out of this cube? Amazing album of a memorable occasion! Mahalo for sharing.


Modelmakers is a long established model making company with a reputation for high quality and excellent service. Click here to see testimonials from our satisfied customers.
We specialise in architectural models, but we also create industrial models, exhibition models, display models, fibreglass models, and topographical models. We even offer a laser cutting and laser engraving service.
Regardless of your requirements, our expert team of model makers can help. From a simple concept model to a fully detailed presentation model, from a giant snowball to a purple dragon, we can turn two-dimensional ideas into three-dimensional reality. We can even add sound, light and movement to give your project that extra dimension.
The Modelmakers team are used to dealing with unusual requests. If you need something built that's a bit out of the ordinary, we'll find a way to do it. Our broad knowledge of model making techniques – together with our outstanding technical skill – means that we can handle just about any brief you give us. We love a challenge here at Modelmakers! Don't be afraid to get in touch – we are always happy to advise! For many of our customers, commissioning a model is a new experience and the first thing they need is basic information about the model making process. Even if you're at the very earliest stages of considering a model, we'll be happy to give you straightforward, jargon-free advice about the options most suited to your project (as well as a rough idea of what they will cost). Contact us now or call 029 2048 6497 for a quick, informal chat.
Model Making: Frequently Asked Questions As a quick guide to our model making service, we've put together a Frequently Asked Questions page. Below, you'll find an abbreviated selection of some of the questions we've answered there.
There is no definitive answer to this question – every model is a unique project, and our prices range from less than £100 to many thousands of pounds.
I'm not based in South Wales. Is that a problem?
Not at all. We manufacture models for clients all over Britain and beyond, keeping in touch via email and/or telephone and sending regular photographs and progress updates.
How long will my model take to build?
Just as there is no fixed price structure for a model, nor is there a standard construction time. Some simple concepts take just a few days, while more complex projects can take as much as 5-6 weeks.
What information do you need to provide a quotation?
To provide a fixed price quotation for your model, we ideally need a fairly comprehensive set of drawings. Still, we appreciate that this isn't always possible, so we aim to be as flexible as we can.


Since her appointment as the first female Artistic Director of Christian Dior in July 2016, Maria Grazia Chiuri has been writing a new chapter in the storied house's history and using it as a platform for political ends. For her, Dior is not about activism but femininity and female empowerment. The "We Should All Be Feminist" T-shirts, inspired by Chimamanda Ngozi Adichie's political essay, from her debut spring/summer 2017 collection, have gone down in fashion history, and under her watch the slogan has become as much of a Dior trope as the full skirt is.
Chiuri's strong connection with the arts is linked to this connection with youth. "It's not easy for a girl in Italy to think, 'I want to become a Caravaggio' – we have many stereotypes in our minds! I hope that a next generation can become a Caravaggio!" And with Chiuri's influence, they will have the power of Dior behind them.


text:
Q: Custom statusText not sent to client after enabling SSL I observed a weird behaviour after enabling SSL in my ASP.NET MVC4 Web Application. First off, here a little explanation of what I'm trying to do: Send a request to the server and display an error message if the model validation fails. Here is the Action-filter I use for this purpose:
 public class ValidateModelAttribute : ActionFilterAttribute
  {
    public override void OnActionExecuting(ActionExecutingContext pFilterContext)
    {
      if (!pFilterContext.Controller.ViewData.ModelState.IsValid)
      {
        var msg = «Custom errormessage»
        pFilterContext.Result = new HttpStatusCodeResult(HttpStatusCode.BadRequest, msg);
      }
    }
  }

On the clientside ($.ajax()) I do nothing more than this:
alert(jqXhr.statusText);

This all worked perfectly fine until I set up the application in order to  support SSL-Encryption. This is where the strange part comes up. On my local working-machine instead of the custom errormessage I get an alert containing the string («error»), which I assume is the default text set by the jQuery library. If a publish the app to the remote webserver, however (Windows Azure in my case), I get the custom text.
According to Chrome's console I get nothing back from the server, when I run the app on my local host
jquery.js:8706 POST https://localhost:44300/my/url  400 ()

This is what it looks like on the remote server
jquery.js:8706 POST https://myurl.azurewebsites.net/my/url  400 (Custom errormessage)

Here some Configuration code I used to set up HTTPS.
In the web.config:
  <system.web>
    <httpCookies httpOnlyCookies="true" requireSSL="true"/>
    <authentication mode="Forms">
      <forms loginUrl="Account/Login" timeout="1440" slidingExpiration="true" requireSSL="true"></forms>
    </authentication>
  </system.web>
  <system.webServer>
    <httpProtocol>
      <customHeaders>
        <add name="Strict-Transport-Security" value="max-age=16070400; includeSubDomains" />
      </customHeaders>
    </httpProtocol>
  </system.webServer>

WebApiConfig.cs:
    public static void Register(HttpConfiguration pConfig)
    {
      pConfig.MessageHandlers.Add(new RequireHttpsHandler());
      //...
    }

RequireHttpsHandler.cs:
  public class RequireHttpsHandler : DelegatingHandler
  {
    protected override Task<HttpResponseMessage> SendAsync(HttpRequestMessage pRequest, CancellationToken pCancellationToken)
    {
      if (pRequest.RequestUri.Scheme != Uri.UriSchemeHttps)
      {
        return Task<HttpResponseMessage>.Factory.StartNew(() =>
          {
            var response = new HttpResponseMessage(HttpStatusCode.Forbidden)
            {
              Content = new StringContent("HTTPS required!")
            };
            return response;
          }, pCancellationToken);
      }
      return base.SendAsync(pRequest, pCancellationToken);
    }
  }
}

FilterConfig.cs
public static void RegisterGlobalFilters(GlobalFilterCollection pFilters)
{
  pFilters.Add(new RequireHttpsAttribute());
}

Does anyone know what could be the source of my issue and how to fix it? Google could not help me this time.

redpajama_set_name: RedPajamaStackExchange


text:
from itertools import chain

import resource
from colors import *

class Theme(object):
    """A theme is a hierarchical set of view style attributes.

    Each view may have a set of attributes that control its
    visual style when rendered.  These style attributes are stored
    in a Theme.

    Style attributes are hierarchical in that a view class
    may override the style attribute of a parent view class.
    Also, a view class need not override all style attributes
    of a parent view class.

    For instance, let's say we define the default view background
    color to be gray and the border color to be black.

        a_theme.set(class_name='View',
                    state='normal',
                    key='background_color',
                    value=(128, 128, 128))

        a_theme.set(class_name='View',
                    state='normal',
                    key='border_color',
                    value=(0, 0, 0))

    Let's assume this is the only style information defined for View.
    Now, let's override the background color for a Button, add a
    style attribute for the text color, and leave the border color.

        a_theme.set(class_name='Button',
                    state='normal',
                    key='background_color',
                    value=(64, 64, 64))

        a_theme.set(class_name='Button',
                    state='normal',
                    key='text_color',
                    value=(128, 0, 0))

    When a view is stylized (see View.stylize), style attributes and
    values are queried in the current Theme and set on the view instance.

        b = Button()
        b.state = 'normal'
        b.stylize()

    The style attributes set on 'b' would be:

        background_color: (64, 64, 64)  from Button
        border_color: (0, 0, 0)         from View
        text_color: (128, 0, 0)         from Button

    Note that the 'key' is really a 'key path' which would allow you
    to style views contained in other views. For instance, an AlertView
    has a `title_label` which is a Label.  You may wish to style
    AlertView titles differently than other labels, and you can.  See
    the `light_theme` entry for `title_label`. Also see the `kvc` module
    for a simple form of Apple's Key-Value Coding for Python.

    """

    def __init__(self):
        self._styles = {}

    def set(self, class_name, state, key, value):
        """Set a single style value for a view class and state.

        class_name

            The name of the class to be styled; do not
            include the package name; e.g. 'Button'.

        state

            The name of the state to be stylized. One of the
            following: 'normal', 'focused', 'selected', 'disabled'
            is common.

        key

            The style attribute name; e.g. 'background_color'.

        value

            The value of the style attribute; colors are either
            a 3-tuple for RGB, a 4-tuple for RGBA, or a pair
            thereof for a linear gradient.

        """
        self._styles.setdefault(class_name, {}).setdefault(state, {})
        self._styles[class_name][state][key] = value

    def get_dict_for_class(self, class_name, state=None, base_name='View'):
        """The style dict for a given class and state.

        This collects the style attributes from parent classes
        and the class of the given object and gives precedence
        to values thereof to the children.

        The state attribute of the view instance is taken as
        the current state if state is None.

        If the state is not 'normal' then the style definitions
        for the 'normal' state are mixed-in from the given state
        style definitions, giving precedence to the non-'normal'
        style definitions.

        """
        classes = []
        klass = class_name

        while True:
            classes.append(klass)
            if klass.__name__ == base_name:
                break
            klass = klass.__bases__[0]

        if state is None:
            state = 'normal'

        style = {}

        for klass in classes:
            class_name = klass.__name__

            try:
                state_styles = self._styles[class_name][state]
            except KeyError:
                state_styles = {}

            if state != 'normal':
                try:
                    normal_styles = self._styles[class_name]['normal']
                except KeyError:
                    normal_styles = {}

                state_styles = dict(chain(normal_styles.iteritems(),
                                          state_styles.iteritems()))

            style = dict(chain(state_styles.iteritems(),
                               style.iteritems()))

        return style

    def get_dict(self, obj, state=None, base_name='View'):
        """The style dict for a view instance.

        """
        return self.get_dict_for_class(class_name=obj.__class__,
                                       state=obj.state,
                                       base_name=base_name)

    def get_value(self, class_name, attr, default_value=None,
                  state='normal', base_name='View'):
        """Get a single style attribute value for the given class.

        """
        styles = self.get_dict_for_class(class_name, state, base_name)
        try:
            return styles[attr]
        except KeyError:
            return default_value

current = None
light_theme = Theme()
dark_theme = Theme()

def use_theme(theme):
    """Make the given theme current.

    There are two included themes: light_theme, dark_theme.
    """
    global current
    current = theme
    import scene
    if scene.current is not None:
        scene.current.stylize()

def init_light_theme():
    color1 = (227, 227, 159)    # a light yellow
    color2 = (173, 222, 78)     # a light green
    color3 = (77, 148, 83)      # a dark green
    color4 = white_color
    color5 = near_white_color
    color6 = light_gray_color
    color7 = gray_color
    color8 = dark_gray_color
    color9 = black_color

    light_theme.set(class_name='View',
                    state='normal',
                    key='background_color',
                    value=(color4, color5))
    light_theme.set(class_name='View',
                    state='focused',
                    key='background_color',
                    value=(color1, color2))
    light_theme.set(class_name='View',
                    state='selected',
                    key='background_color',
                    value=(color1, color2))
    light_theme.set(class_name='View',
                    state='normal',
                    key='border_color',
                    value=color6)
    light_theme.set(class_name='View',
                    state='normal',
                    key='border_widths',
                    value=0)
    light_theme.set(class_name='View',
                    state='normal',
                    key='margin',
                    value=(6, 6))
    light_theme.set(class_name='View',
                    state='normal',
                    key='padding',
                    value=(0, 0))
    light_theme.set(class_name='View',
                    state='normal',
                    key='shadowed',
                    value=False)

    light_theme.set(class_name='Scene',
                    state='normal',
                    key='background_color',
                    value=(color5, color4))

    light_theme.set(class_name='Label',
                    state='normal',
                    key='text_color',
                    value=color8)
    light_theme.set(class_name='Label',
                    state='selected',
                    key='text_color',
                    value=color3)
    light_theme.set(class_name='Label',
                    state='normal',
                    key='text_shadow_color',
                    value=color4)
    light_theme.set(class_name='Label',
                    state='normal',
                    key='text_shadow_offset',
                    value=(0, 1))
    light_theme.set(class_name='Label',
                    state='normal',
                    key='padding',
                    value=(6, 6))
    light_theme.set(class_name='Label',
                    state='normal',
                    key='border_widths',
                    value=None)
    light_theme.set(class_name='Label',
                    state='normal',
                    key='font',
                    value=resource.get_font(16))

    light_theme.label_height = 16 + 6 * 2  # font size + padding above/below

    light_theme.set(class_name='Button',
                    state='normal',
                    key='background_color',
                    value=(color4, color6))
    light_theme.set(class_name='Button',
                    state='focused',
                    key='background_color',
                    value=color1)
    light_theme.set(class_name='Button',
                    state='normal',
                    key='text_color',
                    value=color8)
    light_theme.set(class_name='Button',
                    state='normal',
                    key='font',
                    value=resource.get_font(16, use_bold=True))
    light_theme.set(class_name='Button',
                    state='normal',
                    key='border_widths',
                    value=1)
    light_theme.set(class_name='Button',
                    state='normal',
                    key='border_color',
                    value=color6)

    light_theme.button_height = 16 + 6 * 2  # font size + padding above/below

    light_theme.set(class_name='ImageButton',
                    state='normal',
                    key='background_color',
                    value=(color4, color6))
    light_theme.set(class_name='ImageButton',
                    state='focused',
                    key='background_color',
                    value=color1)
    light_theme.set(class_name='ImageButton',
                    state='normal',
                    key='border_color',
                    value=color6)
    light_theme.set(class_name='ImageButton',
                    state='normal',
                    key='border_widths',
                    value=1)
    light_theme.set(class_name='ImageButton',
                    state='normal',
                    key='padding',
                    value=(6, 6))

    light_theme.set(class_name='ScrollbarThumbView',
                    state='normal',
                    key='background_color',
                    value=(color4, color6))
    light_theme.set(class_name='ScrollbarThumbView',
                    state='focused',
                    key='background_color',
                    value=(color1, color2))
    light_theme.set(class_name='ScrollbarThumbView',
                    state='normal',
                    key='border_widths',
                    value=1)

    light_theme.set(class_name='ScrollbarView',
                    state='normal',
                    key='background_color',
                    value=color5)
    light_theme.set(class_name='ScrollbarView',
                    state='normal',
                    key='border_widths',
                    value=(1, 1, 0, 0))   # t l b r

    light_theme.set(class_name='ScrollView',
                    state='normal',
                    key='hole_color',
                    value=whites_twin_color)
    light_theme.set(class_name='ScrollView',
                    state='normal',
                    key='border_widths',
                    value=1)

    light_theme.set(class_name='SliderTrackView',
                    state='normal',
                    key='background_color',
                    value=(color5, color4))
    light_theme.set(class_name='SliderTrackView',
                    state='normal',
                    key='value_color',
                    value=(color1, color2))
    light_theme.set(class_name='SliderTrackView',
                    state='normal',
                    key='border_widths',
                    value=1)

    light_theme.set(class_name='SliderView',
                    state='normal',
                    key='background_color',
                    value=clear_color)
    light_theme.set(class_name='SliderView',
                    state='normal',
                    key='border_widths',
                    value=None)

    light_theme.set(class_name='ImageView',
                    state='normal',
                    key='background_color',
                    value=None)
    light_theme.set(class_name='ImageView',
                    state='normal',
                    key='padding',
                    value=(0, 0))

    light_theme.set(class_name='Checkbox',
                    state='normal',
                    key='background_color',
                    value=clear_color)
    light_theme.set(class_name='Checkbox',
                    state='normal',
                    key='padding',
                    value=(0, 0))

    light_theme.set(class_name='Checkbox',
                    state='focused',
                    key='check_label.background_color',
                    value=(color1, color2))
    light_theme.set(class_name='Checkbox',
                    state='normal',
                    key='check_label.border_widths',
                    value=1)

    light_theme.set(class_name='Checkbox',
                    state='normal',
                    key='label.background_color',
                    value=clear_color)

    light_theme.set(class_name='SpinnerView',
                    state='normal',
                    key='border_widths',
                    value=None)

    light_theme.set(class_name='DialogView',
                    state='normal',
                    key='background_color',
                    value=(color4, color6))
    light_theme.set(class_name='DialogView',
                    state='normal',
                    key='shadowed',
                    value=True)

    light_theme.shadow_size = 140

    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='title_label.background_color',
                    value=color7)
    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='title_label.text_color',
                    value=color4)
    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='title_label.text_shadow_offset',
                    value=None)
    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='message_label.background_color',
                    value=clear_color)
    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='font',
                    value=resource.get_font(16))
    light_theme.set(class_name='AlertView',
                    state='normal',
                    key='padding',
                    value=(6, 6))

    light_theme.set(class_name='NotificationView',
                    state='normal',
                    key='background_color',
                    value=(color1, color2))
    light_theme.set(class_name='NotificationView',
                    state='normal',
                    key='border_color',
                    value=color3)
    light_theme.set(class_name='NotificationView',
                    state='normal',
                    key='border_widths',
                    value=(0, 2, 2, 2))
    light_theme.set(class_name='NotificationView',
                    state='normal',
                    key='padding',
                    value=(0, 0))
    light_theme.set(class_name='NotificationView',
                    state='normal',
                    key='message_label.background_color',
                    value=clear_color)

    light_theme.set(class_name='SelectView',
                    state='normal',
                    key='disclosure_triangle_color',
                    value=color8)
    light_theme.set(class_name='SelectView',
                    state='normal',
                    key='border_widths',
                    value=1)
    light_theme.set(class_name='SelectView',
                    state='normal',
                    key='top_label.focusable',
                    value=False)

    light_theme.set(class_name='TextField',
                    state='focused',
                    key='label.background_color',
                    value=(color1, color2))
    light_theme.set(class_name='TextField',
                    state='normal',
                    key='placeholder_text_color',
                    value=color6)
    light_theme.set(class_name='TextField',
                    state='normal',
                    key='border_widths',
                    value=1)
    light_theme.set(class_name='TextField',
                    state='normal',
                    key='text_color',
                    value=color9)
    light_theme.set(class_name='TextField',
                    state='disabled',
                    key='text_color',
                    value=color6)
    light_theme.set(class_name='TextField',
                    state='normal',
                    key='blink_cursor',
                    value=True)
    light_theme.set(class_name='TextField',
                    state='normal',
                    key='cursor_blink_duration',
                    value=450)

    light_theme.set(class_name='GridView',
                    state='normal',
                    key='background_color',
                    value=color4)
    light_theme.set(class_name='GridView',
                    state='normal',
                    key='line_color',
                    value=color6)

def init_dark_theme():
    # TODO
    pass

def init():
    """Initialize theme support."""
    init_light_theme()
    init_dark_theme()
    use_theme(light_theme)

redpajama_set_name: RedPajamaGithub


The logical AND numerical operator compares two values in respect of their bits. If both bits at a certain position in both values are set, then that bit position is set in the result.
AND compares the bits of the firstvalue against the bits of the secondvalue, the result is stored in the result variable.
If both bits are on (1) then the result is on (1).
All other conditions return 0 (bit is off).
AND is often used to see if a bit is on by comparing a value to an exponent of 2.
Can turn off a bit by subtracting the bit on value from 255 and using that value to AND a byte value.
The 101 bit pattern equals 5 and the 011 bit pattern equals 3, it returns the bit pattern 001 which equals 1. Only the Least Significant Bits (LSB) match. So decimal values 5 AND 3 = 1.
Since 255 is 11111111 in binary, it will represent the first byte completely when compared with AND.
Example 3: Finding the binary bits on in an INTEGER value.
Note: The value of 32767 sets 15 bits. -1 sets all 16 bits. Negative values will all have the highest bit set. Use LONG variables for input values to prevent overflow errors.


Definition: A scheme in which each position in the hash table has a list to handle collisions. Each position may be just a link to the list (direct chaining) or may be an item and a link, essentially, the head of a list. In the latter, one item is in the table, and other colliding items are in the list.
Also known as external chaining.
Francis A. Williams, Handling Identifiers as Internal Symbols in Language Processors, CACM, 2(6):21-24, June 1959. Each location in Williams' table is an item and a list head.


text:
https://www.mysanantonio.com/opinion/columnists/maria_anglin/article/Understandable-but-cheating-on-admissions-oh-so-13692684.php
Understandable, but cheating on admissions oh, so very wrong
By Maria Anglin
Published 12:00 am CDT, Saturday, March 16, 2019
Actress Felicity Huffman, seen inside a Los Angeles courthouse last week, is among those indicted in a nationwide university admissions scam. Getting into college isn't easy — and it isn't meant to be.
Photo: David McNew /Getty Images
Last week, dozens of parents, coaches and experts in facilitating the path to a prestigious place of higher education found themselves accused of participating in a national college admissions scam.
As anybody who has the not-so-unique opportunity of being the first person in their family to go to college could tell you, it's easy to see why they would do it: Getting into college is hard when you don't have access to the side door.
When you're the first, there is a tremendous pressure from those who didn't have the opportunity but worked very hard to see that you do. There is a narrative of sacrifice and perseverance to live up to. There are the dreams of generations past and future to flesh out. More important, there is usually an economic incentive, such as the dream of employment that will bring more money and better position.
And that's before you even pick up the first application. There are entrance exams and practice entrance exams, and courses that can help with those exams — and all of them come with a fee. There are campus visits, if you can afford them. If money or transportation is an issue, your options are limited by how far you can get on the bus.
A prestigious college or university in another state? Dream on.
And then there is the matter of how to pay for the whole thing. Offices of admissions are there to help, but nothing is more intimidating than talking about investing tens of thousands of dollars that you don't have into something that you can't see, even if it is your future. Even if you have the grades, those big schools in faraway places are for other people.
In places such as San Antonio, a lot of young people are the first in their family to apply to a college or university. That's why the city established Café College, a place that advises students in college selection, the application process, staying in school or going back to school and figuring out financial aid. It's funded by the city of San Antonio. Without such a resource, getting into college is impossible for many students who don't know the way. It's just overwhelming.
But even without taxpayer help, many, many first-year students make it to the first day of college at prestigious universities because they take their time making sense of the whole process, reading the fine print and setting long-term goals.
It's hard, but it isn't supposed to be easy.
So it is understandable when people who have other resources — such as lots and lots of money — use them to get into a big-name college.
It's also wrong, which is why dozens of parents, coaches and those so-called experts in bending the rules found themselves in hot water.
What remains to be seen, however, is what will become of the students who got into places such as Yale, Stanford and Northwestern with the help of those now charged with fraud. Maybe they'll just be allowed to flunk out, considering that the scam included falsified test scores and big charitable donations that don't guarantee student success past acceptance.
It's easy to see why and how it's done. And hard-earned wealth does yield advantages. But students who cheat all those who did it the right way — and every taxpayer who chipped in to help — shouldn't be allowed to skate.
mariaanglinwrites@gmail.com


A fugitive in a suspected stolen red sports car is heading east towards the city centre. He is thought to be armed and dangerous and he is refusing to stop. In RoadBlock, you are the chief inspector!
No batteries required, works on brain cells!