The Crackling is the headed by Kenton Loewen, the drummer for Dan Mangan and The Gord Grdina Trio, formerly the drummer of Mother Mother. He comes together with other members of the Dan Mangan group to form this richly dark and beautifully smokey ensemble. The Crackling is Kenton's first project as composer and singer. He is a trained jazz drummer. Kenton has worked extensively with Gord Grdina, and has played with such jazz notables as Mats Gustafsson, Ingebrigt Haker-Flaten, Fredrik Lundqvist, Jeb Bishop, Kent Kessler, Simon Fisk, Jerry Granelli, Michael Moore, Mark Helias, Mark Destrube and Francois Houle.


Samsung Galaxy Note 8 Dex OverviewEBPMAN Tech Reviews
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The Note 8 is a great phone for Dex. It works really well and with the 2 extra gig it has it performs really well. If you dont have to buy a keyboard or monitor this may work for you. Its fast easy to use and looks like windows. All your apps work some have been optimized to look even like desktop apps.
The Samsung DeX Station enables you to turn your Samsung Galaxy Note8 and Galaxy S8 / S8+ into a true desktop PC experience. By docking the phone into the DeX Station, your phone will launch a special DeX mode on the connected external monitor and applications can be opened in multiple separate windows. Connect a mouse, keyboard, and Ethernet cable for added productivity.
SUBSCRIBE here, it's FREE! : https://goo.gl/kNbs3J
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Convert your smartphone into a desktop computer
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text:
Environmentally Persistent Free Radicals Increase Post Ischemic Dysfunction
Jun 4th, 2015 by ajphearteditor
What is the role of environmentally persistent free radicals (EPFRs) in increasing cardiac vulnerability to subsequent myocardial infarction ischemia/reperfusion injury? Guest Editor Loren Wold (The Ohio State University) interviews lead author Kurt Varner (Louisiana State University Health Sciences Center New Orleans) and content expert Kevin Lord (University of the Incarnate Word) in this lively and engaging podcast which explores the work by Burn et al. Using a nose-only inhalation technique, Burn and Varner sought to mimic “real world” air pollution exposure to EPRFs and reduce any potential inflammation response from intratracheal installation of particulate matter. Which components of particulate matter contribute most to oxidative stress? How does the work by Burn and Varner fit into next-generation tobacco products, such as e-cigarettes? Listen to find out.
Brendan R. Burn , Kurt J. Varner Environmentally persistent free radicals compromise left ventricular function during ischemia/reperfusion injury Am J Physiol Heart Circ Physiol, published May 1, 2015, DOI: 10.1152/ajpheart.00891.2014.

domain: chemistry


text:
Today I was picking up a CD with digital copies of historic photos from the Center for Southwest Research at the University of New Mexico in Zimmerman Library. I also wanted a scan of a clipping from the Bernard S. Rodey scrapbook, so I had to wait for the box to be brought out of storage.
While I waited, I perused the books in the Anderson Reading Room and found that they have a nearly complete set of the Albuquerque City Directories, starting from 1896. I started looking for Charles Bottger.
It’s interesting that Charles Bottger didn’t start showing up in the City Directory until 1907, and even then it only listed that his residence was in Old Town. He never did have a listing for the Sunnyside Club. Maybe he figured that everyone knew where the Sunnyside Club was, so why should he pay for a listing in the directory?
I was stunned, however, to find a listing for a “Miss Adolfa Bottger” living at the residence of Charles Bottger in the 1909-1910 directory. Who in the world is that? And it’s the only directory in which she is listed.
I have been told, but not yet been able to verify, that Charles Bottger had a brother who may have lived in Albuquerque for a time. In the obituary for Charles Bottger’s mother in 1909, it states that she had a son, Charles, and two brothers in New York.
It’s quite likely that I may never find another reference to Miss Adolfa Bottger, but I can indulge in a little speculation here. It’s quite possible that Miss Adolfa was the daughter or granddaughter of one of Julia L. Bottger’s brothers and she came to New Mexico in February of 1909 to attend the funeral and ended up staying for a while. Especially if she was a young woman, she may have been sent to stay with Charles Bottger for a time to put some distance between herself and an unsuitable suitor. That strategy seems to have been used quite a bit more at the turn of the last century than it is now.
I wonder what I might find in the 1900 and 1910 census for Adolfa Bottger in New York? She certainly was not included in the Charles Bottger household in the 1910 census.
I’m having fun–come on along!

domain: library


text:
Bulgarian Refugee Shelters Exceeding Capacity
Over the past three days, 244 foreign nationals have illegally crossed the border into Bulgaria.
177 of them are Syrian nationals, and 67 come from other countries.
The capacity of the regional refugee shelters under the authority of the State Agency for Refugees and those of the Interior Ministry is currently exceeded by 514 beds, reported BGNES agency. The overall limit is 1 930 persons.
The shelter for temporary accommodation in Elhovo has housed 166 asylum seekers.
A key problem for the Regional Directorate of the Elhovo Border Police is the inability to timely accommodate persons with expired detention warrants.
These warrants are issued by the transit centers of the State Agency for Refugees and specialized homes of the Migration Directorate under the Ministry of Interior.
- » The Prosecutor's Office is Investigating the Admission of Foreign Students at Medical University Sofia
- » Thousands of Romanians Protested in Bucharest
- » Meteorologists have Warned of Strong Winds and Heavy Rainfalls
- » The Kindergartens in Varna Offer Free Training in all Kinds of Sports
- » Delays in Distributing Food to Socially Disadvantaged People
- » Incident with Bulgaria's Only "Spartan"

domain: politics


text:
These costs are particularly galling because of the obvious double standard. Most private schools remain open. Other parents with means have opted for homeschooling or private tutors. California Governor Gavin Newsom has been rightfully pilloried for keeping his kids in a private school while most California public schools remain closed. But Newsom is merely a high-profile parent in the pandemic’s two-tier educational system. Few affluent families are subjecting their children to the indignity of hour-long Zoom sessions. Many other families don’t have a choice.
If affluent and engaged parents withdraw from public schools, the pace of left-wing activism will likely accelerate. It is no accident that school closures have coincided with the end of admissions tests for elite public high schools in San Francisco and the suburbs of Washington, D.C., a renewed push to end public school admissions exams in New York City, and the absurd spectacle of San Francisco renaming its shuttered schools instead of reopening them. Engaged public school parents are a check on institutional radicalism because they demand accountability. If the lockdowns and school closures prompt more parents to flee the system for private alternatives, public schools will become more radical, more fixated on left-wing grievances, and more academically deficient. Oregon’s Department of Education is now matter-of-factly promoting the idea that asking students to “show their work” in math class is a form of white supremacy. Fewer engaged public school parents means fewer brakes on this type of institutional radicalism.
Last December, a California public school teacher wrote a provocative piece for the Bellows arguing that the Covid lockdown was not just an overreaction, but a deliberate transfer of wealth engineered by political and economic elites.

domain: news


text:
Perquetry - Elegant Flooring Company Multipage HTML
TemplateMonster is a marketplace where you as a designer or developer may sell your Web Design Software, Website Templates, Design Elements, Plugins and Extensions. Become a digital products vendor and earn up to 70% from each sale.
This is a Bootstrap 4 Architecture Portfolio website design template
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Bootstrap 4 lets building responsive sites with great mobile user experience.
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This is a Parallax Creative Design Agency website design
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Parallax is a scrolling technique where front image files move around in a different speed capacity than the background ones.
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A web page with parallax scrolling instantly grabs the interest of a viewer and increases brand recognition because of the appealing looks.
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With the increasing fascination with smartphones, the amount of users who log on to the websites from devices has grown considerably. This sort of feature lets you change websites to smartphones and various screen extensions, finally offering mobile device consumers with improved alternatives.
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Features: Bootstrap, Extra Pages Layouts, Premium, Pro, Responsive, Search Engine Friendly
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domain: design


text:
Farming and land management business Farmcare has appointed Andrew Lazenby as operations director.
Lazenby joins from Waitrose Farm, where he was head of commercial for a 4,000-acre Hampshire estate that also includes a farm shop and nursery.
He has 20 years’ experience in the food and farming sector, with roles in Europe, the US, Africa and Australia.
His new job will involve ensuring information is shared across Farmcare’s business.
The organisation grows arable crops, fruit & vegetables on more than 40,000 acres that spread from Kent to Aberdeenshire.
Lazenby said there were huge opportunities for the business, especially with its proactive use of technology to improve efficiency.
“Growing up in North Lincolnshire I was aware of Farmcare from a young age,” he said. “Its constant evolution is fascinating and I now see the organisation as the biggest and best business in agriculture.
“The opportunity to help shape Farmcare, which is unique in its structure and mix of primary agriculture and corporate elements, was too good to miss.”
Farmcare was set up by the Co-op in 1896 and sold to the Wellcome Trust for £249m last year.
It unveiled a 10-year plan this spring, which included £10m of investment in buildings, equipment and drainage. Grassland and cattle will also be introduced.
Farmcare already employs more than 250 full-time staff and the plan includes raising the profile of jobs in supply chain, packing and farming.
“The appointment of an operations manager of this calibre is an important step to ensure we stay on target to hit the objectives we’ve laid out,” said Farmcare chief executive officer Richard Quinn.


text:
One of my obsessions as a child of the 70s was the mysterious world of cryptozoology. Raintree Children's Books published an extensive series of non-fiction books on the unknown and the supernatural, with titles covering a wide range of topics from Atlantis to UFOS, as well as my old favorites, Bigfoot, the Loch Ness Monster, and the Abominable (thank you, spell-check!) Snowman.
The text of these books is aimed at very young readers, and to describe the illustrations as amateurish would be generous, but they seem to adequately cover the basics of their respective topics. Here are a few scans.
From Bigfoot: Man, Monster, or Myth? (Carrie Carmichael, 1977)
Next up, Monster at Loch Ness (Sally Berke, 1977)
The Loch Ness Monster has been described by various witnesses as resembling a frog, a horse, a camel and a dragon. They can't all be right...
Below is a photo of Tom Dinsdale, creator of a composite Loch Ness Monster model that attempts to integrate the description from several sightings. He and his model also appear in the 1973 Disney short film Man, Monsters and Mysteries.
This next illustration depicts a tongue-in-cheek attempt in 1976 to lure Nessie to the surface with a decoy "lady" monster, complete with comically large eyelashes.
Finally, The Abominable Snowman (Barbara Antonopulos, 1977)
This page depicts the three types of yeti the Himalayan sherpas claim to have seen, along with the names they've given to each. (Thelma?)
1 year ago


text:
Born in Dhaka, Bangladesh
Educational Background: 1977 S.S.C. Exam in Dhaka, Bangladesh 1983 Bachelor of Fine Art, Institute of Fine Arts, University of Dhaka, Bangladesh 1988 Master of Fine Art, guided by Prof. K. G. Subramanian, Visva-Bharati University, Santiniketan, India 1997 Bachelor of Experimental Art in the context of Contemporary Art, by Prof. Karl Horst Hödicke, Hochschule der Künste, currently UdK- Universität der Künste Berlin, Germany 1997 - 98 Master of Experimental Art, by Prof. Karl Horst Hödick, HdK, currently UdK Universität der Künste, Berlin
Commission work (selected): 1983 - 93 received commission work on oil painting for the national and international portrait gallery at the national Museum of Bangladesh, and Ahsan Manjeel Museum in Dhaka 1994 - 99 Commissioned in Silk Screen Print for twice by Griffle Kunst in Hamburg, Germany 2001 Commissioned in Silkscreen print, by CECMG for Expo 2001 in Hannover, Germany
Scholarships/Residency: 1986 - 88 I.C.C.R. Scholarship, India 1993 - 95 DAAD Scholarship Berlin, Germany 2010 Artist Residency “Meet Factory”, Prague, Czech
Awards/Honours (selected): Since 1979 has received several international and national awards in Paintings, Prints, and Drawings, among them Best Overseas Artist Award in London, ROSL ARTS, U.K.; All media’s. best work in Oil; Best work in oil; 2nd award in Miniature Art in Toronto, Diploma of Excellence Award, Art Now3 in London.
2006 She received Best Artist Award in Bangladesh, etc. inclusive more. 2010 She was invited to join being personally introduced to her Majesty the Queen Elisabeth at the 100 year’s celebration of culture (Centenary), as a distinguished artist, London. 2013 Her work got recognition as Masterpiece amongst 512 artists around in world, in a book “Women in Art”, by the Author Reinhard Fuchs in Austria.
Exhibitions: She held above 30 solo and have taken part into approx.90 group shows in museums, galleries, international art fair in Europe, U.S.A, Africa and Asia.
Collections: Her work of art has been collected in Museums, in different countries around in world.
Professional experiences and others: 1989 - 92 Illustrator/Artist in Bangladesh National Herbarium, Dhaka 1992 - 93 Lecturer of the Institute of Fine Art, University of Dhaka 2006 visiting teacher at Fashion Design Dept. at S.M.U.C.T, Dhaka
Since 2005 she has been teaching the Master Degree students, at the University of Development and Alternative (UODA), Dhaka, Bangladesh
Enlisted Classical/Nazrul’s songs singer (classical music in Bangladesh, Pakistan and India) of Bangladesh Television and Radio Bangladesh Dhaka, since 1973. Received several awards in music.
Fond of writing poetry and short stories for her own.--"An eye for the world" For twelve years now, Murshida Arzu Alpana has lived in Berlin, organizing her work between this Western metropolis and her home city, Dhaka, in Bangladesh. To overcome the distance between these two very different worlds was a challenge for Alpana, but it must be said that she has truly mastered this task by painting in a most expressive way, through which she presents dialogue, conflict, her origin and her dedication.
What Alpana brought to Germany and is to be regarded as her heritage is an eye for colour, which is the essence of her paintings. She places colours in juxtaposition and shows the relationships between colours. From the very beginning, her works have revealed a great self confidence in working with a palette, which may appear as exotic in Germany. The first works I had the opportunity to view in her studio back then were always characterised by light.
The narration of her paintings is arranged in a way that there is an overlapping of scenes, which can be seen in visual illustrations in all cultures.
In frieze-like depictions, figures appeared in a way to the Western viewer that is comparable to the familiar ‘genre of comics’. But more generally, the origin of the figures could be seen to be in archaic sgraffito drawings, whereby within the work of Alpana, colours within the contours overcome the archaic impression, appearing more typical of an ever-contemporary Expressionism. Essential, at any rate, is the simultaneity of various different moments. The figures can be seen like pictograms, reduced to their emblematic existence. Standing, lying, turning or fragmented, the figures dominate the canvas within a space of colour, which does not reveal any spatial perspective.
Over the years, Murshida Arzu Alpana has changed her approach towards the depiction of the representation of figures. It is now reduced to the presentation of heads, which show a certain monumentality in the pictures. But these heads, which, by their titles, are assigned the function of portraits, do not depict any physiognomy or mimetic reproduction. Alpana develops the individuality of the depiction solely out of gesture; out of what is characteristic in contour and motion, using colour to amplify this into a mood. The actual representation of a figure remains anonymous, as if Alpana wanted to protect its feelings, which is expressed in the colour. Herein lied the contradiction and also the fascination of Alpana’s pictures; they directly depict emotions, only to protect them from being in too direct contact. There is an inner distance, which portrays the distance in Murshida Arzu Alpana’s life. The emotionality and expressive power in Alpana’s works is achieved exclusively through the effect of the colour in which all the motives are embedded.
In her paintings, backgrounds are interwoven with the clothing of the figures and the ornamental structures are also being seen as structures of space. This artistic concept now allows more for a sense of spatiality than in her earlier works. Alpana’s works today are perhaps more an approach to perspective, which can be regarded as a “Western” influence; but they are still dominated by colour and the flatness of the figures in it, which can be seen as a typical eastern impact. The tension between these two very different cultures, which Alpana is dealing with, has intensified her observation, her existence and her artistic views, which all have contributed to Alpana’s amazing eye for the world.
Dr. Friedrich Meschede, Head of the Department of Visual Arts, Artists-in-Berlin Programme, DAAD, Translated by Mitch Cohen and Emma Watson

domain: artistic


text:
Growing up on a Cold War air base in the shadow of the big one
“Do you realize there are fifteen hundred babies born a month in SAC?” says Jimmy Stewart, playing a B-36 pilot in the 1954 film Strategic Air Command . I was raised among those babies. I grew up near Eglin Air Force Base in Florida, during the Cold War, amid the presence of the Strategic Air Command and the eagle vision of Curtis E. Lemay. I spent the first few years of my life with great silver B-36 Peacemakers flying overhead. “Silver overcast,” they were wryly called. I went to kindergarten on the base, where each morning one student was designated officer of the day, and I attended air shows where the latest planes were on display, like the F-106A Delta Dart. I was surprised that the edge of the F-106's wing didn’t cut my finger when I furtively touched it. We were carried up in helicopters with open doors and, hovering, looked down on the planes laid out on the tarmac, huge crosses and arrowheads. We passed the “clima,tic” hangar that could reproduce the conditions of bases in Greenland or the steamy tropics.
Half a century later we have somehow mostly forgotten that SAC (pronounced sack ) once occupied the same place in our national consciousness as did the Royal Navy in the British one —and perhaps the same as the imperial legions occupied in that of ancient Rome. Just a few years after military restructuring rolled SAC into the Air Combat Command, we have forgotten what the Strategic Air Command meant.
In the beginning SAC was staffed by a mixture of callow youths and seasoned World War II bomber vets who had pounded Germany and Japan from Flying Fortresses and Superfortresses and gotten the nod in 1948 to deliver the big ones. SAC’s job was to routinize doomsday, to bureaucratize Armageddon. Its planes stayed airborne twenty-four hours a day.
The B-36s flew over our house. In kindergarten I modeled B-36s from red and green clay. Often I gave them eight or even ten engines rather than the six props and dual jets podded at the ends of the wings. The specific number was inconsequential to a fouryear-old. There just sure were a lot of engines on that wing. The big bombers seemed one with the suburban tract houses and the bulldozers that came to strip out the thin pines and pile them up for burning. The smoke was often heavy and tangy with the pine sap.
SAC was the keeper of blue skies, the shield and umbrella under which the normal life of America in the fifties, of Elvis and Hula Hoops and college football and strip malls and tail fins, could proceed without dark seriousness. SAC’s bombers cruising above the earth without pause were aerial versions of the battleships their predecessors had helped make obsolete, back in the twenties, when Billy Mitchell sank the old German Ostfriesland .
Careful press relations shaped SAC’s image. A 1956 celebration book that captures the tone of the time, The Air Force , by Arnold Brophy, describes how LeMay improved barracks to keep SAC airmen happy and how fliers were trained in hand-to-hand combat in case they were shot down. Each SAC bomber, Brophy assures the reader, “can drop more firepower than all the Allied aircraft dropped on Germany and Japan during World War II,” the kind of boast LeMay himself always liked to make. “Manned by the most dedicated and single-minded men the U.S. has ever produced, SAC planes, with long, white vapor trails marking their lonely courses, head for specific enemy targets.”
The film Strategic Air Command was a virtual Pentagon tract. As the star, Jimmy Stewart seems Lindbergh grown up, or Mr. Smith gone to Armageddon—or at least to Omaha. He suffers under a LeMay-like general: “Don’t tell me your little problems, son. All I’m interested in is results.” Even so, even under the threat of the bomb, it’s a wonderful life. A good family man, out there defending “our way of life,” he’s loyal to his pregnant wife, played by June Allyson, until SAC calls. The message is clear: Constant vigilance was the price of the prosperity.
SAC was embodied by its commander, Curtis LeMay. Invariably referred to as “cigar-chomping,” LeMay had been the lead navigator on a crucial 1938 demonstration flight in which bombers took on Navy battleships and won the day, and the episode had shaped his thinking forever. LeMay felt the Navy had cheated in the tests, and he became a brutal practitioner of interservice rivalry, cutting down the competition first on behalf of the Air Force, then on behalf of SAC. Like the generals in Beetle Bailey , he knew that the real enemy was the Navy.
LeMay took command of SAC in October of 1948, two years after it had been formed, and declared it a shambles, with untrained crews who couldn’t hit their targets. He staged a mock bombing attack on Wright Field in Dayton, Ohio, and it was a dismal failure: Not a single bomber completed the mission successfully. LeMay called it “just about the darkest night in American aviation history.” He proceeded to get SAC in shape.
SAC’s motto would become “Peace is our profession.” Its seal was a shield bearing an armored hand glinting against a blue sky, an image like a knight painted by Piero della Francesca. But it had three lightning bolts and only one olive branch.
LeMay’s premise was: We are at war already. Since the next war would be a war of deterrence, won or lost before it started, we were in effect already fighting World War III. So LeMay kept some of his planes in the air at all times. Some had pushbutton starters so they could scramble quickly.
To LeMay it was clear that when World War III came—and he almost longed for it—there would be no chance for the big comeback America had staged in World War II. A Pearl Harbor would be fatal. So he had no hesitancy about striking first if attack seemed imminent. With every passing year the margin of advantage for the United States was growing smaller. SAC’s advantage, LeMay said, was a “wasting asset.” It seemed crazy to him to let the other guys strike first. “Catch ‘em with their pants down,” as George C. Scott urges, playing the general modeled after LeMay in Dr. Strangelove .
In June of 1950 SAC staged an exercise involving dozens of bombers targeting Eglin Air Force Base. In Mission With LeMay , a 1965 autobiography he wrote with MacKinlay Kantor, he described the constant practice of which the Eglin run was a good part: “We attacked every good-sized city in the United States. People were down there in their beds, and they didn’t know what was going on upstairs. By the time I left SAC . . . every city in the United States of twenty-five thousand population or more had been bombed on innumerable occasions. San Francisco had been bombed over six hundred times in a month.”
In the spring of 1953 a top-secret CIA report revealed the vulnerability of the United States to a surprise attack by Soviet long-range bombers. That August, just nine months after the first American H-bomb blast, the Russians tested their first hydrogen bomb. LeMay thought they would be ready to attack by 1954, the year of “maximum danger.”
Beyond the danger of attack from the air, LeMay developed an obsession with security and sabotage on the ground. He gained national publicity when he staged a surprise visit to a SAC hangar and found the security guy eating lunch. “I found a sergeant guarding a hangar with a ham sandwich,” he said. He had crack Air Police patrolling SAC bases, like the commando units in Dr. Strangelove . He dispatched trained “penetrators” to plant notes that said things like, “This is a simulated bomb that will explode in five minutes.”
Sometimes his agents would paste a baby picture or an animal picture on their I.D. badges just to test the security guards. Once LeMay himself found soldiers entering his office to repair phone lines. It took him several minutes to remember that the Air Force used outside repair people. He drew his automatic before the intruders had time to deposit the slip of paper that read, “You will be blown up at 1030.” LeMay even had his wife tested by a security guard, who demanded that she produce identification while she was working in her back yard. She had to get up and go into the house for it.
SAC’s headquarters was at Offutt Air Force Base in Omaha, formerly a dreary Army post. The location had been chosen carefully: It was especially far from the bases of Soviet bombers. Offutt and the other distant SAC bases at Rapid City and Minot quickly turned into isolated Americandream towns. Most of them were in the middle of nowhere, so LeMay made SAC into a housing developer, creating whole new developments, green-grass Levittowns under blue skies. He set up hobby shops to improve base morale. The hot rods built there raced on the runways. It was Pax Atomica, as LeMay liked to call it.
Growing up in the shadow of the B-36 meant growing up amid the lore and legend of airpower, the belief that wars would now be won or lost by great silver bombers, raining destruction on distant cities. The last war airpower had won was less than a decade behind us.
Living near Eglin I was raised in the religion of airpower. I must have been but three or four when my mother brought home a model of the B-29 on which my father had flown, all silver with burgundy prop and tail tips, and I was taught that the airpower that had won the last war was there to prevent the next. I “imprinted” on these aircraft the way Konrad Lorenz described goslings imprinting. The B-36s overhead were just a larger version of the B-29; the B-52s and B-47s and B-58s would continue the evolution.
My father figured as a heroic warrior of airpower. Family myth fitted neatly into the national myth that arrived on our primitive black-and-white television set via Walter Cronkite and the program “The Twentieth Century": Eager American youths from small towns across the country were being sent for training to the new bases set up far from the vulnerable coasts.
In these bases my father had learned bombing and radar and navigation and gunnery so he could help win World War II. He had been sent to San Angelo, Texas, and Wichita, Kansas. The strains of Bob Wills and the Texas Playboys had drifted through his barracks at Clovis, New Mexico. He had learned gunnery in Boca Raton, Florida, where the luxury Boca Raton Hotel had been requisitioned by the military and the nude statues out front had been boxed in plywood for the duration.
Then airpower compounded the trainees into ethnically mixed Hollywood all-American crews—the kid from Brooklyn, the guy from Texas, the farm boy and the city boy—that would fly from Wichita to Khartoum and Bombay, to China and Guam, and eventually over the Imperial Palace in Tokyo. My father had bombed Tokyo in LeMay’s great firestorm and then been shot up over Osaka and left blind, a disabled veteran, with his right arm crooked and bent. His left arm compensated; from my earliest days I thought it looked like the arm on the baking soda box. Decades later bits of shrapnel were still working their way out of his skin.
The Bible of airpower was Victory Through Air Power , written in 1942 by Maj. Alexander P. de Seversky. Its cover showed a lowering gray cloud on a blue sky. Inside was laid out the ideology on which SAC would be built and which would send my father and thousands of other young men from small American towns and farms to war over the Himalayas, over Rangoon, over Osaka and Tokyo.
Seversky was a charismatic White Russian émigré who had distinguished himself as a naval aviator in World War I, during which he lost a leg. He allied himself with Billy Mitchell, the maverick general, and after Mitchell died, in 1936, he became the leading exponent of the faith that strategic bombing would be the dominant force in all modern wars.
The major founded Seversky Aircraft, which later became Republic Aviation, and his book was a huge bestseller and Book-of-the-Month Club selection. It warned Americans that they could no longer rely on the oceans but they could win World War II with superior airpower. They were no longer safe in Kansas City or Chicago. However, if Americans built a massive force of bombers and destroyed the distant cities of their enemies, they could return to their comfortable isolation.
Seversky laid out the rationale for fighting wars with the bombs that would lead to the A-bomb. Walt Disney, one of Seversky’s fans, made a film of the book at his own expense, as a contribution to the war effort. The 1943 movie, Victory Through Air Power , was a powerful piece of propaganda, offering a neat solution to the muddles of war with fantastic machines to keep the distant enemies at bay.
Seversky, nicknamed “Sasha,” narrated the film in his exotic and authoritative Russian accent. The movie blended newsreels of Mitchell and his famous demonstration of how to bomb battleships with cartoon explanations of the development of military aviation. Animated maps used shields and arrows and eagles to explain the situation, with the eagle of airpower fighting the Japanese octopus and destroying its head as the tentacles slowly released their hold. The film featured six-engine pusher-prop bombers, with streamlines running off their edges, foreshadowing the B-36.
James Agee, then the film critic for Time magazine, found the movie a skillful piece of propaganda and noted that it never showed civilians on the ground, never showed the target. The climactic battle of the eagle and the octopus, he said, perfected the abstracting of war. The movie offered, he wrote, “gay dreams of holocaust.”
Richard Schickel argues in his history of the Disney studios that Disney liked airpower because it made for efficient, clean warfare in which corpses are never seen. Airpower seemed to appeal especially to Midwesterners like Disney, LeMay, and Dwight Eisenhower. It was in a way the flip side of the region’s traditional isolationism, a way to play world power without sending soldiers overseas.
It was not long before Seversky and Disney’s dreams of holocaust would be realized. The B-29 long-range bomber was being developed in top secrecy at Boeing in Seattle even as the film was being made. And Curtis LeMay, then training at Muroc, California, would follow the B-29 from bases in India to China and then the Marianas, from which at last the bombers could effectively reach Japan, Disney’s eagle attacking the octopus.
When the first raids aimed at precision bombing failed to strike their intended targets, because of bad weather and bad bombing, LeMay was put in command, and he tried something new—gambling the lives of his crews. He turned to terror bombing, firebombing whole cities. Now his target problem was simpler: Find the areas of cities that were the oldest and had the largest proportion of wooden buildings. The first target was Tokyo’s Shitamchi district.
Stripping the bombers of most of their guns and sending them in low and at night, LeMay dispatched 334 bombers from bases in the Marianas on March 9, 1945, each carrying about six tons of incendiary bombs. The bombs burned more than the sixteen square miles targeted and killed between eighty and one hundred thousand people. In no other six-hour period of human history had so many people died. The firestorm was so powerful it sent updrafts that tossed the bombers about as their crews breathed the smoke of houses and flesh.
To those on the ground the thousand or so bombers silhouetted against the sky looked like black knife-blades or, when the flames lit them from below, like silver moths trapped in amber. The bombs themselves were more a liquid silver rain than a series of objects. Women fleeing, carrying babies on their backs, continued to run, unaware that the bundles had burst into flame. Bodies twisted and turned into the pumice of Pompeii. Those who jumped into canals or pools were boiled to death.
The fires died down fairly quickly, after which processions of silent refugees moved under the moonlight amid the ruins. One man paused to light a cigar from a still-burning telephone pole.
Time called the raid “a dream come true.” It showed that “properly kindled, Japanese cities will burn like autumn leaves.” In the first great triumph of airpower, approximately as many people died that night as in the Hiroshima or Nagasaki atomic bombings. The step to the atomic bomb was only a technical one.
Whether or not airpower really won World War II—its bad report cards in postwar analyses were overlooked by the public—it won its own war. The Air Force became an independent service and quickly grabbed the lion’s share of the budget from the Navy and the Army. Moreover, the atomic bomb meant that accurate bombing would no longer be an issue. The cult of airpower would grow as strong in the 1940s and 1950s as the cult of the battleship that LeMay and the others had fought in the 1920s and 1930s.
Eisenhower went for airpower, despite being an Army man. He saw it as a way to keep from becoming bogged down in another conventional war like Korea, and an inexpensive way at that. He adopted strategic airpower as part of his “New Look” defense policy (the phrase came from Christian Dior’s fashions of the time), the heart of the policy being that we would no longer fight messy conventional wars like Korea; we would prevent them by threatening direct nuclear retaliation against any Soviet or Chinese aggression.
Only time and the mounting strength of a counterdeterrent, the crises of brinksmanship and confrontation, would show that the policy of massive retaliation was unrealistic. No one would trade Washington or New York to defend Saigon or even Berlin.
Serious as the mission was, the tone of life around SAC was always business as usual. There was never the World War II sense of making a “big push.” My father, for instance, was neither an especial enthusiast nor a skeptic about the new kind of constant war. Once I heard him describe a reunion of his World War II bombing unit as an occasion “for telling old war lies,” but he went nonetheless and enjoyed the camaraderie of those far more militant than he. Like many Americans, I suspect, he was so happy to have made it through the hot war that he considered the requirements of living in the cold one a small price. Toward the physical price he had paid for his own survival, he never showed bitterness, and he wisely foresaw that I would outgrow my affection for the big bombers before there was any risk of my following him into their service. Later, looking back, he would laugh at what he, like most Americans, saw as LeMay’s rhetorical excesses, but during the years of Eisenhower he was determined to live deeply in the long-awaited peace, even if it could be ended at any moment by a klaxon calling SAC’s crews to scramble.
The B-36 that seemed so grand to me as a child, the flagship of SAC during the 1950s, was actually something of a turkey. Originally designed in 1941 to reach Germany from the United States in case England fell, it first flew in 1946. A mechanically ragged airplane, it was saved by its abundance of engines. There was a joke about it: Pilot: “Feather four.” Engineer: “Which four?” The bomber’s big, slow propellers emitted a distinctive whumpwhump sound. One pilot recalls its sounding like a streetcar as it rumbled toward takeoff.
It was huge, with six pusher-prop turbojets set along its wings; jets were added later. The dome and the bulbous nose gave the plane a stupid, brontosaurian look. The frame of its Plexiglas canopy suggested a transparent view of the globe itself, crisscrossed with latitude and longitude lines. SAC’s heraldry was filled with images of the globe.
In flight the turtleback canopy atop the bomber was often filled with blue smoke from the cigars the pilots felt free to enjoy on long flights because LeMay was rarely without his own. In SAC the stogie was a symbol of jaunty esprit, a accent of »lan on the way to the final calamity. One year the winning crew in a SAC competition was awarded ashtrays with a B-36 mounted on the rim.
After the B-36 came the jet B-47 (chosen over the flying wing, the dream of the aviation executive John Northrop, which would later be realized in the shape of the B-2 stealth bomber) and the only airplane that can steal Jimmy Stewart’s heart from his wife. “She’s the most beautiful thing I’ve ever seen,” he gushes when he first sees one.
There were other bombers planned. SAC poured money into an atomic-powered bomber, which would have used only crew members who had already sired all their intended offspring. But the nuclear-powered bomber never worked. The B-36 was succeeded by the swept-wing jet B-47 and the B-52 and the B-58. LeMay planned the grandest of them all, the B-70, the Valkyrie, but Pentagon civilians argued that it would be obsolete before it was built. The bomber had been succeeded by the missile.
I put together plastic models of them all. And if my father’s injuries, the knowledge of the carnage of airpower past and future, might have given pause to the enthusiasm of a SAC child, it could also strengthen it. I spent my first decade in blind love for the shapes of the bombers.
For my ninth birthday I received a sleek plastic toy B-58 Hustler, SAC’s latest bomber then and LeMay’s delight in the late fifties, even while he was planning the larger B-70. Four jets hung from the B-58's delta wings, but the most noticeable feature lay beneath the fuselage: the “weapons pod,” a silvery torpedo shape containing the nuclear bombs. It was designed to dash in at treetop level and drop its payload. The B-58 never worked very well—its speed limited its range—but it was lovely. In his autobiography LeMay would wax positively effusive about its “ventral pod.”
LeMay had always counted on targets. Once while he was commanding the 20th Air Force B-29 group bomb- ing Japan in 1945, he was asked when the war would end. He motioned an aide over and asked him for a list. “How many targets do we have left?” he asked. The war would be over, he said, when he ran out of targets.
Even though SAC’s Cold War was a new kind of struggle, LeMay still needed targets. He needed them to etch into three-dimensional Lucite templates for the radar bombsights of his bombers. He needed them to shape the SIOP (single integrated operations plan), the blueprint for nuclear war.
And LeMay controlled the targets. Until the early sixties neither the Joint Chiefs nor the President knew what they’d be attacking if nuclear war broke out. Moreover, since there were no locks, no presidential codes for the weapons, LeMay’s bombers could have launched a nuclear war on his authority. LeMay feared dilly-dallying politicians; he wanted to “hit ‘em with everything we’ve got” at the first signs of any massing of the bombers he was sure the Soviets were rapidly building. He wanted to be sure he could launch Armageddon even if the White House was gone—indeed, if the White House hesitated.
When Elsenhower, in his 1955 Open Skies proposal, suggested that the United States and the U.S.S.R. allow each other free reconnaissance overflights, the Soviets were suspicious. They rejected the proposal immediately. So LeMay opened up the Soviet skies in his own way to find targets.
At the height of Cold War tensions, in the 1950s, LeMay sent a fleet of RB-47s over Vladivostok at noon one day. The crews took pictures boldly, and though two of the planes spotted MiGs, no interceptions were made. He could easily have started a war with such a flight. In fact there is evidence that he regretted not having done so. After all, he was always tormented by that wasting asset incarnated in SAC’s head start: Use it now, before you lose it, he thought. When he called in an RB-47 crew that had taken MiG damage on another mission, he actually joked that “maybe if we do this overflight right, we can get World War III started.”
Moved up to head the Air Force in 1961, LeMay demanded ICBMs as soon as they arrived. He wanted to get his hands on all three legs of the retaliatory “triad.” He kept in his office a model of a Polaris submarine, with its nuclear missiles, painted up in the SAC livery.
In the 1962 Cuban missile crisis LeMay was a hawk. He added bombers to the dozen or so that circled constantly on alert, and he urged President Kennedy to launch air strikes. When the crisis was over, he made it clear he thought we had lost. He told Kennedy that he should have forced out not only the Soviet missiles but the Soviets and Castro as well. We’ve got the Russian bear in a trap, he said, so “let’s take off his leg right up to his testicles. On second thought, let’s take off his testicles, too.”
But the missile crisis had in some way broken the fever of the Cold War. The sense of tension would never again be so great. SAC began to fade in the mid-1960s. Defense Secretary Robert McNamara put an end to LeMay’s beloved B-70 program. The plane had been called Valkyrie. Twilight of the gods! The prototypes were put to work for research until, in the summer of 1967, a chase plane struck the tail of one, killing the test pilot, Joe Walker, and providing a dramatic frame-byframe spread for Life magazine.
By 1964, when Stanley Kubrick’s Dr. Strangelove came out, the idea of SAC as protector of “our way of life” had come to seem dark comedy. George C. Scott’s version of LeMay rang true in every way except for the womanizing, which LeMay didn’t do. The World War II-style ethnically balanced crew of the bomber now featured a black man, James Earl Jones, as the bombadier and Slim Pickens, in his greatest role, as Major Kong, who, when the go code comes, swaps his helmet for a cowboy hat and solemnly announces to the crew that it is time to go into “nuclear combat toe to toe with the Rooskies.” The real question, never answered, was, Could anyone go through with it? “Heck, I reckon you wouldn’t even be human beings,” says Pickens, “if you didn’t have some pretty strong personal feelings about nuclear combat.”
Perhaps my father’s injuries should have made me sense that airpower was not as clean and neat as its proponents depicted it, but the bombers that arrived each year seduced me with their beauty and kept me from doubts. Until we moved away from the base, I put together my models and we kids played out bombing roles in the limbs of a crepe myrtle tree.
I outgrew the bombers, of course, as other children outgrow fire engines or trains, but I still sat baffled in the theater at the end of Dr. Strangelove , a first exposure to black humor, when Slim Pickens rode the bomb to target rodeo style. I was twelve; only with years of maturity would I realize that this was the moment that ended the Cold War for me.
By 1965 Curtis LeMay had retired, impatient with progress in Vietnam. Unmuzzled at last, he used in his autobiography such terms as yellow twerp for a bomber pilot he deemed cowardly and parlor pink to describe a journalist. On page 565 he enunciated his famous recommendation for U.S. policy in Vietnam: “tell them frankly that they’ve got to draw in their horns and stop their aggression, or we’re going to bomb them back into the Stone Age.” In 1968 George Wallace picked LeMay as his running mate.
It had all been far from fail-safe, we would learn much later. There were numerous failures in the primitive electronics of the time—mistakenly played exercise-alert tapes, radar artifacts that looked like attacking bombers, many close calls the public never learned of. Col. Jack D. Ripper was not an impossible nightmare; before 1960 a local commander could have launched bomber attacks.
The B-52 flew on. Formally the Stratofortress, it was known to its crews as the BUFF, a phrase the Pentagon euphemistically insisted stood for “big ugly fat fellow.” In Vietnam the BUFFs’ silver skins were painted in camouflage. They were again pressed into service in the Gulf War. “Planes older than the men who fly them,” the generals grumbled, but their successors, the highly politicized B-I and the billion-dollar-apiece B-2 stealth bomber, were held out of that war, too expensive and unreliable to use.
Missiles had long since supplanted the bomber as the tools of nuclear deterrence; the maintenance of a bomber force as a leg of the triad was more a concession to old-line generals than a realistic attempt at defense. Still, airpower’s advocates had their day once more in a new form when the F-117 stealth, called a fighter but in reality a bomber for precision-guided weapons, starred in the Gulf War.
LeMay in old age dwelt on his World War II career, not his leadership of SAC or the Air Force. Interviewed late in his life by the historian Michael Sherry, he became taciturn and defensive about only one subject: the carnage of the Tokyo firebomb raid. He died in 1990, just before the Gulf War left a new vision of airpower as clean and bloodless, of smart weapons and stealth airplanes clashing in the green skies of night-vision lenses. Only the enemies were different. “Dad,” my nine-year-old son asked me not long ago, “what was the Soviet Union?”

domain: history


Tag: Driver Experience
Samuel Zemedkun reflects on his immigrant experience and how his part-time driving through the Uber platform funded his education and inspired his decision to join the company.
Uber Engineering's data science workbench (DSW) is an all-in-one toolbox that leverages aggregate data for interactive analytics and machine learning.
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Above photo: Adam Hill
After opportunities to play their sport professionally, former University of South Carolina student-athletes are coming back to school to graduate through the Athletics Department’s Degree Completion Program.
“Getting that degree means a little more than just saying you went to school there,” said former pitcher Tyler Webb (2010-2013) who was taken in the tenth round of the Major League Baseball draft by the New York Yankees and spent ten years in professional baseball, including five years at the MLB level. He’s now working towards a degree in retail management. “It’s important to finish what you’ve started.”
“It’s just amazing and it speaks to what a great place South Carolina is,” said Adam Hill (2016-2018), a former pitcher who was selected in the fourth round of the 2018 MLB First-Year Player Draft by the New York Mets and is now a volunteer assistant at Lander University in Greenwood, S.C., as part of an internship through South Carolina while he finishes his degree in sport and entertainment management “Even after you’re done playing there, they still look after you and want to take care of you. I’ve always been a die-hard Gamecock fan. My dream was always to play there, so to finally get a degree is just awesome. It was important for me to come back and finish. I love South Carolina, and I always wanted to be a graduate.”
The Carolina Degree Completion Program, which is part of the Gamecock Student-Athlete Promise, is for student-athletes who left the university in good academic standing to pursue a professional career or did not complete their degree due to personal circumstances. The program allows them to apply to be readmitted to come back to campus and finish their degree while eligible to receive funding for room, board, books, and tuition. They also have access to all of the resources offered to current student-athletes, such as tutors, laptops, and use of the Dodie Anderson Academic Enrichment Center. Some may not need all of the assistance as it’s not uncommon to have a return to school written into professional contracts. Either way, it’s a great opportunity.
“I think it’s important because I’m retired and out of sports now, and when athletes leave their sport, they’re ready to join the real world and they’re in a little bit of a vulnerable position,” said Tyler Johnson, who is getting his degree in public health in December. “This degree program gives athletes a chance to get their feet under them and take a step back to see what they really want to do.”
“I didn’t have anything written into my contract, so everything I’m doing is through this program,” Webb said. “I’m doing a foreign language, so I thought I would need a tutor just to be on the safe side and to stay on top of it. Everything I needed from the first time I was in school here has been provided. It’s great to be treated the same now that I’m a former student-athlete as I was when I was participating in a sport.”
“My goal was to play professionally, which I ended up doing,” said former outfielder Alex Destino (2015-2017), who was drafted in the 24th round by the Chicago White Sox in 2017. He’ll earn a degree in services management in December. “Having the opportunity to leave after my junior year to pursue my lifelong dream was great. One thing that professional baseball does well is give you the opportunity to go back to school and negotiate that into your contract. It all worked out well for me. It was always very important for me to be able to come back to school.”
Many of the former student-athletes are taking their courses online while others are taking them in-person.
“It’s been a bit of weird dynamic going back into classes,” said Johnson, who took some online classes and is taking them in person this fall. “It’s not hard to buckle down. It’s a lot easier to focus and sit down to do the work. My grades are better now than they ever have been. The transition has been pretty easy for me.”
“It’s a lot easier when you only have to focus on school and not school and a sport,” Destino said. “It’s been amazing! It was very important for me to get my degree from South Carolina. My mom got her doctorate online, and she always joked with me that if she could do it in her 50s, then I could do it when I’m 27.”
“I think it’s a lot easier because you’re a little more mature and settled,” said Webb who is also doing internships in-person. “You don’t have as many restraints, timewise, with trying to have a social life or anything else. You’re just finishing your degree. It was a little daunting at first, but you’re more settled down compared to when you’re 18 to 21 years old. I jumped into it pretty aggressively in the summer. Those were more accelerated classes. Online classes are great because students now would probably think I’m the professor or something since I’m so much older than them.”
There are nine former Gamecocks currently enrolled in the Degree Completion Program, and they’re thankful for the chance to finish what they started.
“It’s phenomenal. I’ve been going through Maria Hickman, and it’s nice to have a familiar face helping you through the process,” Destino said. “She has been unbelievable in this process for me! It’s intimidating when you’ve been in a professional sport for six years and then it ends very quickly. She has made the entire process much easier and less stressful.”
“It’s extremely generous for the school to do it, and I think it’s necessary,” Johnson said. “I hope other schools out there do something similar. If not, they need to.”

domain: sports


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Blank has a background in gymnastics and cheerleading, and worked as a model for Venus Swimwear and Hawaiian Tropic. Beginning in late , she began participating in more wrestling matches, and unsuccessfully challenged for both the WWE Divas Championship and the WWE Women's Championship on multiple occasions. She left WWE in , but has since returned for occasional appearances and matches. She is a two-time champion in WWE. Blank has also appeared on a number of television shows, and was a main cast member of the reality television program WAGS. She made her film acting debut in Disturbing the Peace , which was released on January 17,
Sign In Sign In. New Customer? Create account. Barbie Blank Actress. John Laurinaitis saw her in a bikini catalog and contacted her modeling agency about hiring her and Victoria Crawford. Even though Barbie was called onto the main roster, she flies back to Louisville, Kentucky to OVW once a week and works at house shows as a ring announcer and referee along with Crawford, going by her ring name Alicia Fox. Nobody won the contest because ODB attacked all the divas. Her first role on ECW was an exhibitionist that did a series of striptease segments for the audience. Then in April , she was drafted to the Smackdown brand. After the brand switches between both shows she was drafted back to Raw in April Following many unsuccessful attempts to win the WWE Divas Championship, she later participated in several tag team matches. In September , she was released from WWE.
In Septembershe was released from WWE. December 12, Digital Spy.
Barbie Blank Coba celebrated Thanksgiving this year as a new mom! The couple welcomed their twins on Sept. In the photo, the proud parents posed for a selfie as they held on to their twins, who wore matching plaid pattern outfits. The WAGS star shared that her family was ready for the holiday season by including a video in her Instagram post that showcased them posing for Christmas photos. They wore matching white and cream-colored attire while posing in front of a Christmas tree and a festive backdrop.
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Also known as Barbie Blank, she became a household name in the coming years and one of the most renowned faces and names in WWE. Even though Kelly Kelly was much loved by the fans and stood out amongst the rest of the WWE Divas at the time, she was released from her contract, leaving many fans confused and concerned about the reason for her departure and current whereabouts. Barbara Jean Blank was fond of professional wrestling ever since she was a child and found the legendary Stone Cold Steve Austin her inspiration and favorite wrestler while growing up. Studying in a Catholic School, she tried her luck out in gymnastics for a decade or so, before an injury forced her to quit and before she spent her high school years cheering for the football team as a cheerleader. Before entering the world of wrestling and living her childhood dream under the ring name of Kelly Kelly, she was a bikini model for Hawaiian Tropic and Venus Swimwear. A post shared by Barbie Blank Coba thebarbieblank. She began participating in more wrestling matches a year after her debut and finally, her perseverance to succeed won her the coveted WWE Divas Championship in June , which she retained for the following four months. Having established herself as more than just another disposable Superstar, her fanbase grew exponentially as she rose to the peak of her career. However, after six or seven years of being in different storylines and feuds, Kelly Kelly was released from her WWE contract in September
Mm2 to awg
People Editorial Guidelines. Article Talk. Use profiles to select personalised content. Retrieved June 20, New England Sports Network. Links to related articles. Trailer [EN]. Staff Picks: What to Watch in March. June 8, Archived from the original on February 25, Archived from the original on July 23, John Laurinaitis saw her in a bikini catalog and contacted her modeling agency about hiring her and Victoria Crawford. They wore matching white and cream-colored attire while posing in front of a Christmas tree and a festive backdrop. Archived from the original on February 13,
The former pro wrestler shares her twin Jaxon and Brooklyn with husband Joe Coba.
The Florida Times-Union. Archived from the original on August 18, Diva Dirt. Retrieved April 2, Archived from the original on August 3, Retrieved September 25, Read View source View history. November 11, Previous Silver Vision. October 8, The Atlanta Journal-Constitution. Afterward, Guerrero fired Kelly in storyline.

domain: entertainment


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Following prior delays due to supply chain issues, Hatten Land announced its first shipment of crypto mining machines with partner Frontier Digital Management on Tuesday (Jan 11).
Before the market opened, the Malaysian property developer stated in a bourse filing that the rigs, which would mine Bitcoin, would begin operations this month following delivery and installation.
Hatten Land noted in response to questions from the Securities Investors Association (Singapore), or Sias, on Dec 30, 2021, that the latest strengthening of border control policies as a result of Covid-19 contributed to the delay in the delivery of the cryptocurrency mining rigs by causing a halt in the deployment of technical staff from Singapore to Malacca.
The business claimed in a recent filing that it sent its technical team from Singapore to Malacca on January 5 to join and manage the ground team there in preparation for the crypto mining machine installation and operation.
The company anticipates that its agreement with Frontier Digital would boost its net assets and financial performance for the fiscal year ending June 30, 2022.
After subtracting corresponding operating and administration fees, the net revenues of the mined cryptocurrency will be split between the two firms.
Frontier Digital is a digital asset management technology firm that manages crypto mining assets for institutions and individual investors.
Frontier will build, operate, manage, and maintain at least 1,000 crypto mining equipment at Hatten Land sites in Malacca, according to the deal’s conditions. The rigs will be operational around the clock, including holidays and weekends. They will mine Bitcoin first, with other currencies being explored in the future.
Hatten Land’s properties will now have a total of 3,000 crypto mining rigs, thanks to the agreement with Frontier Digital.
At 9.32 a.m. on Tuesday, shares of Catalist-listed Hatten Land were trading at 4.9 cents, up 0.2 cents or 4.3 percent, after the news.


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Chinese Local Jewelry Design Strategy in the Context of New Chinese Culture
- 10.2991/978-2-38476-092-3_34How to use a DOI?
- New Chinese style; cultural and creative industry; Chinese native jewelry design; traditional national culture; oriental aesthetics; design concept
A country’s cultural traditions represent its essence. Under the new historical conditions, the birth and growth of the Chinese nation are aided by the richness of Chinese culture. Promoting China’s soft power requires a focus on the country’s cultural and creative industries, of which the fashion sector is a significant subset. The formation of a new Chinese culture within the setting of global culture not only reflects the search and demand of modern customers for humanized and emotionally designed products but also adheres to the historical background of returning to traditional Chinese culture. The new Chinese culture is an expression of national pride and a direct result of China’s progress in the areas of economic, cultural, and technological, which also is a profound reflection of national self-confidence. This study will through interviews with Chinese local jewellery brand designers, explore the design methods and creative concepts of Chinese local jewelry. At the same time, by observing the modeling and materials application of Chinese local jewelry online and offline, analyzing the common elements and materials collocation in the market through questionnaire. This paper will though the design strategy conforms to the characteristics of Chinese localized jewelry by delving into the essential connotation of Chinese native traditional national culture and launching from the perspectives of traditional national cultural symbols, Oriental aesthetics, and technological innovation .
- © 2023 The Author(s)
- Open Access
- Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.
Cite this article
TY - CONF AU - Siyu Yan PY - 2023 DA - 2023/09/09 TI - Chinese Local Jewelry Design Strategy in the Context of New Chinese Culture BT - Proceedings of the 2023 9th International Conference on Humanities and Social Science Research (ICHSSR 2023) PB - Atlantis Press SP - 251 EP - 257 SN - 2352-5398 UR - https://doi.org/10.2991/978-2-38476-092-3_34 DO - 10.2991/978-2-38476-092-3_34 ID - Yan2023 ER -


The National Car Test is mandatory and is often approached with apprehension. But by preparing your vehicle for the test in the Renault network, you can save time and money. Our experts will help you pass it with no problems.
National Car Test
Preparing for your NCT
NCT: When to do it?
If your vehicle weighs less than 3.5 tonnes, you must have it inspected at regular intervals:
- 0 - 3 years - no NCT test required.
- 4 - 9 years - tests are carried out every 2 years
- For vehicles over 10 years old, the test should be carried out annually.
If you are unsure about when your vehicle is due and NCT you can find out at the NCTS website.
What are the points that are inspected during the NCT?
The NCT test consists of inspection of 61 aspects of the vehicle operation. 118 points are inspected, the failure of any is subject to a mandatory return visit. The principle functions concerned are:
- The braking systemTyres and wheelsLighting and signalling
- Suspension components
- Emission and sound level
- SteeringPower train
- The identification of the vehicle
- The bodywork
- Electrical system
Among these functions, three constitute the most common cause of failure to pass the NCT: front suspension, lighting, braking and wheels.
The current failure rate for the NCT is 50%.
The Renault solution
Entrusting us with your vehicle to prepare for your NCT means benefiting from many advantages:
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- An estimate of any potential failure items identified will be provided prior to any work being carried out.
- The estimate is free if repairs are required before the NCT and are carried out at the Renault workshop.


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Sci fi/Fantasy image byJeanne-Marie Richard
I started off with the little dirt dauber fairie and added a familiar flower afterwards. I grew up knowing spring had come when the snowbells, daffodils and paperwhites popped up.
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I have no problem with the fixation on California though. It keeps my favorite places on the west coast relatively sparsely populated.
I'm not bashing Oregon and Washington I'm just saying that California has lots of faults
p/reviewer for Game Industry News
"I used to fence at Bel-Air Academy." "Oh, really? How much do you think we could get for that stereo?"

domain: geography


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Art Pages: Color By Number – is an amazing coloring application which can help you to relax after a hard working day, release the stress and bring you positive emotions!
The App provides a great variety of coloring pictures with fairy-tale animals, picturesque nature and different interesting people!
The game proposes to your attention more than 1000 unique pictures for all ages both for boys and girls. The game is both pleasant and relaxing.
The main coloring rules are very simple : on each picture the numbers are depicted. The colors correspond to the numbers. The palette is changed depending on the picture. The only thing you need to do is to choose the color you wish and color the spot on the layout corresponding to the number. What do I have to do when the pictures finish? The answer to this question is simple! The pictures will never finish! The coloring pages at Art Pages: Color By Number keep updating all the time so you should not worry about the what to do when the game is finished!
Your children will be amused and get much pleasure out of this fascinating game that occupies the minimum amount of memory at your smart-phone with minimized battery consumption. So you need not to worry about charging level.
The game can be played everywhere at any time: at work, at home, at leissure time, in public transport waiting in a line in a traffic jam or while standing in a queue at municipal establishments. The main advantage of Art Pages: Color By Number is off-line access.
Moreover, with wide range of difficulty levels you can discover the potential of an artist at your child has got. Meanwhile, the colorful palette will amaze the imagination of your dearest kid.
While playing you can develop the accuracy of your actions, skills, perseverance and concentration and relax at the same time.
The simple interface allows your children to understand the sense of the game themselves, so you will not need to switch on the game for them all the time. They will do it themselves!
Art Pages: Color By Number – the game which is always at hand and will ever make you bored. Bring colorful images and bright emotions to your life with Art Pages: Color By Number!
Ratings and Reviews
This game is superb
I just installed this art pages coloring game and I am blown away! There is much of a verity and choice of what you can do. I like that they give you tasks to complete and hints. This is a five-star game because it is unique, has a great amount and verity of coloring pages, challenging tasks, and it does not bug you about spending money. This is really a game worth getting. Well done!
Developer Response ,
Hello! Thank you very much for your notes. Glad to hear you like Art Pages. Have fun playing the game!
I saw an add in another App for this which was not even close to what I got when downloaded. I saw an add where there is a house and they used power ups to color it and the goal was to find the last spot? Idk lol... the game it’s self is a coloring app where there a bunch of different shapes and some colors and numbers and you have to paint the picture by following the numbers. What makes this game different than others (in a bad way) is when you get to a color all of the pieces that need to be that color will be highlighted meaning there is literally no challenge. It’s not even satisfying you just tap highlighted shapes you don’t even have control over what color you want them. Overall this is a bad app and it should be illegal for apps to use adds they know don’t have anything to do with what they are trying to sell.
Developer Response ,
Hello! Your feedback is very concerning to us. We're sorry to know you feel this way about the game. We will forward your notes to our game development department for further consideration. Reviews from our players motivate us to make the game better. Thank you!
OMG! This game is awesome! I love that when you color, it has the music. I would so recommend this game to anyone love to color. The only thing that is annoying is that in other games, there are ads for this game but they use power ups to color the pic. Also, at the end of the ad, they “want you to try the game without download” but it says scratch to reveal or something like that, similar to when you are coloring for real but the actual game doesn’t have power ups or anything in that nature. Otherwise, like I said before, this game is amazing.
Developer Response ,
Thank you for taking out the time to send us your suggestions! We've forwarded your feedback to our developers for further consideration. Thank you for staying with us! Have a nice day!
With Family Sharing set up, up to six family members can use this app.


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Here are some of its highlights based on a scientific survey of 900 Oahu residents by QMark, a respected Honolulu firm; the survey has a margin of error of +/- 3.27 percentage points with a 95 percent confidence level:
• A majority (77 percent) of Oahu residents believe the island has a serious traffic congestion problem. Nineteen percent describe traffic as “mild” and two percent say there’s no problem; one percent is unsure. This high level of agreement about the seriousness of the problem was seen in all nine City Council districts, ranging from 73 to 84 percent.
• A two-thirds majority (60 percent) support the Honolulu rail project as it was described to them: “The City & County of Honolulu with approval from the voters of Oahu is moving forward with the development of a 20-mile elevated rail transit line that will connect West Oahu with downtown Honolulu and Ala Moana Center."
A little more than one-third of the respondents – 34 percent – strongly support it and 26 percent somewhat support it. Among the 37 percent who oppose the project, 21 percent strongly oppose and 16 percent somewhat suppose it. Three percent don’t know.
Comparing those who have strong feelings one way or the other, the strongly supportive group is more than half again as large as the strongly opposed group. At least half of the respondents in each City Council district support the project.
• Half of the poll’s respondents (49 percent) believe “rail transit is badly needed and is long overdue.” Another 27 percent believe “there is a need for transit but it is not immediate or pressing.” One in five Oahu residents (20 percent) believe “we do not need rail transit on Oahu.”
• Sixty-nine percent of the respondents believe rail transit is a good investment in the future of Honolulu – either very good (36 percent) or somewhat good (33 percent). Of the remainder, 12 percent say rail is a somewhat poor investment while 16 percent believe it is a very poor investment. Three percent are undecided. A solid majority of respondents in all nine City Council district respondents believe rail is a good investment; the lowest percentage among the districts is 60 percent.
• Nearly half (45 percent) of those polled say they expect to use the rail transit system at some point. Among current car commuters during peak morning or afternoon drive times, 42 percent say they’ll use rail once it is completed. Fifty-eight percent of bus riders who commute during those times say they’ll use rail. Combining car and bus commuters, 45 percent believe they’ll use rail at some point.
The Bottom Line: The poll has revealed strong support among Oahu residents for the Honolulu rail project – support that appears to have increased since 53 percent voted in favor of rail in last November’s election.

domain: sociology


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It's every week with this guy, isn't it?
In Cleveland, he tallied two touchdowns -- one on a speedy slant against Joe Haden -- and nearly broke a third on a winding punt return. Against the Cowboys on Sunday Night Football, Beckham sped off on another slant for a 61-yard touchdown to secure the Big Blue win. Well, this week, he was at it again, locking down another accolade by going back to his bread-and-butter: His sticky mitts.
Odell Beckham's one-handed snag-and-score topped Week 15's Top "Performance Moments of the Week", presented by Bridgestone.
Beckham's athletic superiority is well-established around the league and yet teams still can't find a way to neutralize the multi-faceted wideout. So when Eli Manning is struggling (and this season that is often), he targets OBJ -- on slants, on posts, on screens and even on goal-line out routes.
For most of Sunday's win, New York's offense stalled against the Lions defense, but in the fourth quarter, Manning and Co. finally mustered a productive drive, reaching the red zone in five plays thanks to chunk plays to Beckham and Sterling Shepard. Up four points with a third-and-1 from the Lions' 4-yard line, New York had one more opportunity to extend its lead to double digits. So Ben McAdoo dialed up a play for his one reliable playmaker.
Manning took the snap in shotgun with Odell in the slot to his right. Thanks to a miscommunication in the Lions secondary, no one tracked Beckham when he took a sharp cut toward the sideline. However, Eli's pass drifted wide of Beckham, forcing the wideout to go out of his way to secure the ball.
No matter. OBJ palmed the errant pass with his left hand, corralling it into his stomach as he neared the pylon. With one step before exiting out of bounds, Beckham spun his weight around and fully extended the ball over the goal line with his left -- again -- for the win-securing score.
Also on the countdown: Is anyone better at throwing 60-yard missiles off his back foot than Aaron Rodgers? I'll wait. ... Michael Crabtree can one-two step with the best of 'em. ... Not all is lost in Bearsville! Their receivers are stiff-arming Packers defenders into the unforgiving sod of Soldier Field.


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Sideboards, Antique White Sideboard Buffet Sideboard Buffet Furniture Buffet Sideboard Antique Tiger Oak Sideboard Buffet With Mirror: Cool Antique White Sideboard Ideas
Published at January 03rd, 2018 09:10:24 AM by juliank farr
Marked as how to decorate modern sideboard discussion also antique oak sideboard with beveled mirror object with antique buffet with mirror topic or antique buffet prices area of interest also antique sideboard buffet with marble top object and sideboard decorating ideas area of interest plus Sideboards, So don't forget to check out the main article in Cool Antique White Sideboard Ideas
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domain: literature


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Learn how to make your dusks and dawns more vivid, vibrant, and alive with Lightroom and Photoshop. This short, project-based course walks you through the steps needed to transform a dull sunset image into a beautiful photo worth sharing, using the tools in Lightroom and Photoshop. Leveling, cropping, retouching, and tone and contrast adjustments are par for the course, but Chris Orwig also shows how to take advantage of virtual copies to create different color treatments, and then combine those treatments in Photoshop for a really stunning final effect.
Alright, well next, let's take a look at how we can customize these warmer tones, these oranges and yellows. Well, in order to do that, we'll want to click into the warm layer. Then next, we'll create another adjustment layer. Again, we'll create a color balance adjustment layer. Click on the color balance adjustment layer icon up here in the Adjustments panel. Then, make an exaggerated adjustment, it doesn't really matter what it is. And what you'll notice here is that, as we make this adjustment, it's affecting the entire image.
It's affecting the sunset colors, of course, but it also ruined the blues of the ocean and of the sky. Well, to limit this adjustment, what we can do is create a mask as we've done before and paint it in. Or, we can create what's called a layer clipping mask. A layer clipping mask allows you to apply an adjustment so that it only affects the underlying layer. So let's try that with this one. Here, we'll click into color balance. Then, we'll go ahead and click on the icon here, which allows us to create what's called a layer clipping mask.
And when we do that, you can see that this layer is now only affecting the underlying layer or the sunset color. Now, the amount of the color adjustment is obviously incredibly exaggerated. Yet, sometimes it's helpful to have an exaggerated color shift so you can actually see how it might affect the photograph. After you've seen how it's affecting just that area, then go ahead and customize this. Here, I'll bring up a little bit of red. Maybe even experiment with a touch more yellow and a little bit more vivid red.
And as you make these adjustments, just click the eye icon on and off. And what that will help you to do is to really determine how it's affecting the photograph. Now, one of the things that I noticed that is happening here in the picture is that, this area up here where it changes from orange to blue looks a little too almost purple for my liking. Well, we can mask that out by working with our brush. Again, we have a mask. This one's white, revealing this everywhere on the underlying image.
We can select the color black here to paint on the mask. And perhaps we want to choose a nice big brush, so we'll bring our brush size up to something much larger. So again, just to reiterate what we're going to do here is, on this layer, which is a layered clipping mask, we're going to further customize this by painting on the mask itself. We'll do so by working with our brush tool, by selecting black as a color so we can mask this away. And by using a brush, which is really large and has 0% hardness and which has a relatively high opacity.
That might be too high, now that I think about it. Let me decrease that below 50%. Well, next, we can just go ahead and start to paint over the image where we want to conceal this intense color effect. And here, I'm just going to paint over a few little areas and collapse this Properties panel, so we can get rid of that. And all I'm looking to do is to kind of limit the full intensity of the adjustment down in this area here. I also am going to paint it away from the outer edge. So you notice how that was a little bit too red over there. So I'm just going to get rid of that just a little bit.
Then I will decrease the brush size and make it nice and small. And I'll also decrease the color intensity along the horizon line because it made that horizon line a little bit too purple for my liking. So again, this mask is just allowing us to further customize the way that we're bringing in this intense color. And when it comes to working with masking, it really is all about these subtle yet significant adjustments, which give us precise control over the final result.
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*A segment of MSNBC’s “Melissa Harris-Perry” show on Sunday featured “The Real Housewives of Atlanta” star Kenya Moore among a panel of guests discussing the images of black women on reality television.
Also on the panel, broadcasting live from the Essence Festival experience at the New Orleans Morial Convention center, were theGrio’s managing editor Joy-Ann Reid, Issa Rae, the creator of the groundbreaking web series Awkward Black Girl, and Tonya Lewis Lee, author and wife of filmmaker Spike Lee.
After noting that her show is the number one show on Bravo, Moore added that it is popular among people of all walks of life for a reason.
Women watch the show, Moore said, because, “they identify with the women that they’re seeing.” Describing her co-stars as mothers, wives, and businesswomen, Moore gave a perspective on the show as one that depicts African-American women in a variety of roles that are far from stereotypical.
Watch the segment below.
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domain: celebrity