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Rings & Circles
Flex Ring Toner®
The Flex Ring Toner® is an updated version of Joseph Pilates' Magic Circle. Completely encased in a non-slip rubberized coating, the Flex Ring Toner is soft and comfortable to use. A slender handle design makes the overall width slightly narrower than other Circle products, so it fits more body types while maintaining similar deflection and resistance.
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Find the best Balanced Body® product for your needs. The chart on this page compares how much resistance is generated during compression testing of our rings and circles.
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U.S. Patents No. 5807217
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Pads are recommended for those with sensitive skin.
These beautiful manuals include detailed exercise descriptions.


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Double CD set from The Blasters, one of the most important American Rockabilly and Roots Rock bands of recent years.Disc One, American Music, features their classic original recordings.Disc Two presents a fantastic live show.
Raucous Records is the longest establisted 1950s Rock 'n' Roll, Rockabilly and Psychobilly CD, DVD and vinyl specialist on the internet.A world of Rockabilly, Psychobilly, Surf, Swing and 1950s Rock 'n' Roll delivered to your door.
© Raucous Records 2019 All Rights Reserved

subset: commoncrawl


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They call me the NetRiD3r. My life's mission is to surf the net, from coast to coast and discover every interesting story, video and image there is to uncover. My blood brother QQQ has kindly given me the oppurchoonitay to post some of my most astonishing discoveries right here on the Catch blog. Denizens of the internet, enjoy (imagine the sound of Blasting Trumpet's Mixed with 8-bit atari gurgles):
The Adventures of NetRiD3r
Our journey today starts with "iPhone". I find so many stories about this little gadget from Apple, its starting to get quite tiresome. Touchscreen? MP3 Player? Video? Aren't these all things we've seen before. Just because the CEO wears a turtle neck and the products are named after fruit doesn't make it any more attractive or hype worthy. Millions disagree.
During my travels I finally found a group of people who have found a unique use for the iPhone, I must say, its very useful for this:
In other exciting news, Gran Turismo Prologue has been "Priced and Dated". Wow – congratulations SONY, its only 69 years late. Story and Trailer Video Here.
That pretty much settles it, my XBOX360 is now for sale. Now to wrap things up, probably the most interesting article i've read all day. (I read a lot of articles). The Minimalists Guide to Simple Housework


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|October 03
Come the way is open Reference Page
The doors have been flung open, the gates are open wide, the veil has been rent and the way opened for all mankind to Come to the Father.
The Lamb of God, Jesus, has prevailed to break the seals of the Book of Life for us.
He has made straight the pathway to Heaven's throne.
Nothing prevents us from Coming to God.
The Father beckons us to Come.
Jesus said "Come unto Me."
The Spirit and the Bride sayth Come.
Let all, that have ears, Come.


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The GRANTHAM URBAN RIVER AND WETLANDS PLAN is an overview of Water Framework Directive related issues and opportunities in the River Witham corridor through Grantham. It brings together the plans, ideas and aspirations of a diverse range of groups and organisations with an interest in the River Witham and the riverside. It is not an Environment Agency Plan, instead it is intended to be a catalyst for the development of new partnerships to deliver mutually beneficial projects and encourage the pooling of resources to achieve greater results. Delivery is ongoing and groups and organisations are welcome to bring forward new projects at any time.
The GRANTHAM URBAN RIVER PLAN is underpinned by 5 overarching objectives which apply throughout the length of the river.
Objective 1
River Habitat Enhancement and Restoration There is huge potential for instream and marginal habitat improvements. New gravel riffles, woody habitat and marginal wetlands will greatly benefit wetland biodiversity and improve the Ecological Status of river, a requirement of the Water Framework Directive. Particular emphasis should be placed on Safeguarding Protected and Notable Species, e.g. white-clawed crayfish, water voles, otters, brown trout and bats, aided by the production of distribution maps. Some outline opportunities have been identified on the Plan Map, although further, more detailed, survey work will be required to determine the full range of opportunities. Some improvements could be implemented in the short term, but if it is feasible to remove some of the structures, e.g. the low weirs (see Objective 2), then in-stream habitat should be planned in conjunction with these schemes to ensure that they function under the new hydrological conditions. Habitat enhancement schemes must be carefully designed to ensure that they do not increase flood risk.
Objective 2
Improving Hydromorphology and Fish Passage There are numerous weirs and sluices along the river that, to varying extents, impound the watercourse, limiting the morphological and ecological potential of the river and obstructing fish movement. Fish passage issues need to be addressed at all these structures. Fish passes can be retrofitted to some structures, but where possible structures should be removed altogether which would not only allow fish movements, but also restore the natural bed gradient. Coupled with in-stream habitat enhancements, e.g. channel narrowing and gravel introduction (see Objective 1), this would greatly increase the ecological value of the river, with the added benefit of reducing flood risk by increasing floodplain capacity.
Objective 3
Improving Water Quality by Tackling Potential Pollution Sources Good water quality is essential to the health of the river environment. Issues associated with road run-off (either directly in to the river or via tributary streams e.g. the Mow and Barrow Becks), foul and combined sewer discharges and contaminated land must be addressed to ensure the success of Objectives 1 and 2.
Objective 4
Tackling Invasive Non-Native Species Invasive Non-Native Species (INNS), e.g. Himalayan balsam, knotweed species and giant hogweed, are degrading the quality of riverside habitats, and species, such non-native North American Signal Crayfish, could adversely affect native species populations in the future. A survey and mapping exercise should be undertaken to identify the extent and locations of INNS, followed by the development and implementation of a strategic plan to tackle the identified issues. Anglers and contractors undertaking in-river works should be encouraged to exercise appropriate biosecurity measures to prevent the introduction of non-native species must be addressed There is an opportunity for volunteers, e.g. RiverCare and angling clubs, to participate in the survey work and the practical management of some species e.g. Himalayan balsam.
Objective 5
Developing Riverbank Management Plans Public open spaces linked by riverside paths make the River Witham through Grantham unusually accessible and this experience is enjoyed by many people. The successful RiverCare Group shows how much local people value the river. However, initial consultation on this plan identified lack of bank management, littering and graffiti to be ongoing issues and a lack of riverside seating was also highlighted. There is particular concern about how the river banks are being managed adjacent to public paths, in particular the amount of bramble encroachment. Riverside trees are also an issue. The costs of regular management/maintenance can be high so it is recommended that South Kesteven District Council, RiverCare and Environment Agency explore the issues and develop a prioritised Riverbank Management Plan which, in addition to bramble management, addresses tree protection, maintenance and planting, and measures for tackling invasive non-native species (see Objective 4). This would also be an opportunity to explore the littering, graffiti issues and need for more seating.
Lincolnshire Rivers Trust
Registered in England
Registered Charity No: 1157922
© 2019 Lincolshire Rivers Trust


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Video : Ellyman ft. Davido - Cover Me 3gp Mp4
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Uploaded: Jan 11, 2018
Fast Video Ellyman ft. Davido Save From Net
The favorite boy Ellyman joins forces with the DMW Boss Davido to release the official video of Cover Me. Davido AKA OBO is back on the wheels for 2018 Campaign the HKN front liner anticipates new hit jam titled Flora My Flower as a new award-winning track. OBO has a great year in 2017 with multiple awards which counts MOBO Awards.
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The biggest problem I see for the GOP transcends the different issues and can be summed up in one word: complacency. Karl Rove, et al., are watching the Democrats' orgy of self-destruction (e.g., moonbat ranting from Dean and Hitlery) and instead of offering a real viable alternative plan, are doing mostly nothing. When they do actually do something, it's crap like expanding the PATRIOT Act or kow-towing to Vicente Fox.
How is the GOP working to slim the Fedgov? How is the GOP working to secure our borders? How is the GOP working to get past the gridlock in the Senate and get some more judges confirmed?
Just WTF is the GOP doing???


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Introduction: Skin, Surface, Sensorium | Uri McMillan (28.1)
This special issue of Women & Performance is dedicated to thinking about the surface. The etymology of the word "surface" is derived from the Latin noun superficies to refer to a continuous extent that possesses only two dimensions: something with length and depth, but lacking thickness. This original idea of surface undoubtedly informs more modern understandings of it as the upper layer of a structure distinct from its subterraneous workings. Surface, in short, refers to the outermost boundary of an object. In what follows, we will explore a more expansive and integrated vision of this term–what art historical discourses have recently termed "surfacism" or "surface aesthetics" – as an artistic medium, as a performance practice, and as a form of embodied perception for pondering alternative visions of the social.1
Traditionally, in line with the meanings of surface noted above, scholars in the humanities have been trained to plumb objects of study for deeper meanings, to look beyond the mere surface and probe deeper in order to reveal what they really mean. Yet, as key critics have affirmed and the essays in this special issue assert, an opposite approach is necessary. Surface is a key term in a Gilles Deleuze-derived version of affect studies, as José Esteban Muñoz (2009) has noted, and in literary studies, as what Stephen Best and Sharon Marcus (2009) delineate as "surface reading." These recent schools of thought all challenge our conventional perspective, and in particular our psychoanalytic understandings of surface versus depth, which privilege the latter through a focus on interiority and its attendant metaphor of essence. The surface, this perspective tells us, is useful only insofar as clues or symptoms of hidden and unconscious psychic depths register on the surface and, hence, must be deciphered in order to elicit meaning. As a result, as Best and Marcus suggest, more often than not the surface possesses a negative connotation. Surface is viewed with suspicion: as superficial, or as deceptive, or as unable to hold up to rigorous scrutiny. In short, truth resides in deep insights gleaned through rigorous "symptomatic reading" (Best and Marcus 2009, 3). Surfaces, conversely, are "false" and opaque, since the most significant truths are understood not to be visible and immediately discernable. Yet, as Muñoz suggests, an attention to Gilles Deleuze's examination of surface–through the concept of the fold–counters such logics. If we understand the body and matter, Deleuze (1991) argues, as a series of "curved movements" (231) and folds, rather than straight lines or points, then we can start to see any and all embodiment as elastic and flexible yet still cohesive, as a "labyrinth of continuity" (231) composed of infinitely smaller folds. The fold, Muñoz (2009) argues, disrupts prototypical accounts of subject-formation, since it "permits one to see the inside as merely the other side of the outside or surface" (124). Adopting this perspective enables a more liquid and relational sense of how surfaces, or bodies, interact. Meanwhile, Best and Marcus position "surface reading" as an array of interpretative strategies for reading texts. Surface reading, they explain, privileges what these objects of study say about themselves, on the surface, in lieu of the archeologist-turned-critic who seeks to excavate the text's buried secrets. Surface is evident and apprehensible; it conceals nothing. As Best and Marcus (2009) insist: "A surface is what insists on being looked at rather than what we must train ourselves to see through" (9). By theorizing surface as depth and as relational, I join Muñoz, Marcus, and Best, who propel us to consider the fecund potentialities inherent in a more robust and cogent theory of the surface, particularly as an instrument of multisensory perception.
These emerging revaluations of surface become even more potent when we bear in mind how the historical events of slavery, imperialism, and colonialism also inform our typical understanding of surface versus depth. That necessary revaluation is embodied by the emerging concept of surface aesthetics, or "surfacism." This term, as delineated by Christopher Pinney (2003), describes local photographic practices in South Asia and Western Africa that reject narrative, perspective, and detachment in favor of "a world of surfaces and materiality that reach out to their embodied viewers" (218). Surfacist strategies build on Baroque pictorial traditions emphasizing the texture, tangibility, and shine of the world depicted. These practices counter the Cartesian perspectivalism characteristic of European modernity, especially as seen in the pernicious historical linkage between early photography and European travel, that favored a detached observation of the world-as-picture and hence reaffirmed European superiority. In contrast, contemporary photographers in South Asia and Western Africa employ surfacist strategies–the use of backdrops, shallow picture planes, collage and montage, and props, costumes, and gesture–as tools of self-presentation for postcolonial subjects. Thus, the closeness of the surface in these photographic portraits, in contrast to the height and distance favored by colonial European practitioners, urges a sensual immediacy. This reframes the focus of photographic images "from the space between the image's window and its referents to the space between the images' surface and their beholders" (219). Krista Thompson (2015) deepens this conversation by underlining the taut relationship between slavery and surface aesthetics. Contemporary African diasporic artists' insertion of black subjects into re-creations of paintings from the history of Western art, for instance, "underscore how the representation of black figures and modern slavery at times literally provided the background and formed the flesh against which the surfacist aesthetics could be staged" (38).2 Thompson, then, urges us to consider surface aesthetics in historical and racial terms, indexing the "historical relation between the surface in modern art and blackness" (ibid).
Recent interdisciplinary interventions–particularly in psychoanalysis, black cultural studies, sensation and affect studies, and aesthetic theory–have augmented this critical dialogue, while also shifting it to consider the black epidermal surface–the skin–as an overlooked site of our newly expanded sensorium. These scholars share a desire to more rigorously attune us to the different scripts that skin, particularly black skin, can enact when it is not simply seen as the visual ur-text of epidermal difference. Skin, Michelle Stephens (2014) argues, is not a hard or impermeable container but rather a sensual form of relationality, a "threshold, a point of contact, a site of intersubjective encounter, between the inner and outer self and between the self and the other" (2–3). This critical reframing invigorates us to reimagine skin as a porous fleshy interface, a "cutaneous medium" accessible through touch that circulates in a multi-sensory world, instead of simply an optical phenomenon (4). Skin is not simply seen, but exquisitely felt.3 An attention to surface, Stephens and others imply, vertiginously confounds our all too simple binary logics–between interior and exterior, essence versus covering, a superficial surface and a fleshy invisible depth–while also gesturing toward the emergence of alternative, even illegible, forms of representation and personhood.
Here, we will push these dizzying possibilities further, through a series of essays that all reckon with black surfaces in art, performance, and popular practice. The emphasis on surface in many of these pieces owes much of its conceptual logic to Krista Thompson's (2015) robust efforts to "visualize another history of art, one that brings the black body (and other ethnicities) literally and figuratively to the surface" (220). Thompson details the unique uses of shine, glow, and bling in contemporary African diasporic artistic practices, specifically photographic media and videography, as emerging forms of image and art-making that counter traditional ideas of legibility and visibility. In so doing, these aesthetic strategies challenge the supposed transparency of photography by privileging visual effects, rather than the document of the photograph itself; in addition, they also call attention to other "notions of surface–the embellished surface, the reflective screen, the surface of the body, the surface of the photograph or screen, the backdrop and green screen" (35). In this way, in contrast to the flat surface of a sculpture or a canvas, these dynamic artistic approaches point toward what Thompson describes as "the surface of the surface–the effect of light reflecting off of surfaces–as the representational space for figuring black subjects" (ibid.). Mirroring Thompson's focus on the skins, screens, and surfaces traversed by black cultural producers in the contemporary moment, the essays gathered in this special issue reveal various agile forms of representational becoming.
Building on these theoretical insights, several of the essays in this issue examine the ways that certain artists and performers "play" with surface; that is, the way they utilize the slippery, and often opaque, qualities of skin and surface to produce excess meanings and mobilize multiple selves. The realm of the aesthetic, these authors argue, functions as a vital resource for these minoritarian performers as they manipulate corporeal and technological surfaces in order to refuse the interpretative demands of readability, certitude, and transparency so often expected of artists of color. As Kobena Mercer (2016), Darby English (2010), Jennifer Doyle (2013), and others have discussed, this insistence on the part of critics produces a skewed focus on the identities of queer artists and artists of color at the expense of a rigorous engagement with the formal qualities of their work. This dilemma–the overdetermined reading of artworks–is particularly acute when it comes to the aesthetic production of artists of color, Doyle (2013) argues, because "questions of form and politics are frequently subsumed in criticism by racial metaphor" (95). I underscore this point here to position this special issue alongside other recent work that considers the interplay of aesthetics, form, and racial embodiment. Here I am thinking specifically of ASAP/Journal's recent special issue on "Queer Form," edited by Kadji Amin, Amber Jamilla Musser, and Roy Pérez (2017). Aesthetic form, these authors write, offers conditions of possibility for resisting "the violences of interpretation that prematurely fix the meaning of minority artistic production within pre-fabricated narratives" (227). In focusing on aesthetic techniques of opacity, indirection, and withholding, "Queer Form" draws attention to the aesthetic as a mode of knowledge production and world-making. The aesthetic, they exhort, has the capacity to offer new, and overlooked, ways of knowing, seeing, and desiring that surface in means other than the immediately transparent. This special issue's collective conversation on surface, the senses, and aesthetic form neatly aligns with, and echoes, the mutual interests of Amin, Musser, and Pérez (2017) in tracking "the ways in which form often operates beneath the surface of the visual, trafficking in affective and sensuous modes of meaning-making" (228).
Likewise, our shared attempts in this special issue–to theorize the sensuous ways of knowing marshaled by racialized subjects–is in direct dialogue with recent touchstones in black feminist theory, African diaspora studies, and performance studies. Recent work from these fields has highlighted haptic and affective analytical approaches, particularly for elucidating quotidian practices and styles of being that are enacted by black cultural workers. Nicole Fleetwood (2011, 2015) and Tina Campt (2017), for instance, push beyond vision as the predominant mode of analysis for studying black visuality and performance. Instead, both ask us to engage other sensorial optics when attending to the affective frequencies through which the black body and visual iconography register. Fleetwood (2015) urges us to consider vernacular prison photographs as "important visual and haptic objects of love and belonging"; when we pay attention to their emotive and haptic features, she contends, we are able to perceive "feelings of intimacy, kinship, and futurity that circulate between imprisoned people and their loved ones and through the porous boundaries of the US carceral system" (490, 491). In her discussion of black diasporic photography, Campt (2017) describes sound as a "profoundly haptic form of sensory contact" that is not simply heard, but also felt via vibration; hence, sound "registers at multiple levels of the human sensorium" (6). Similarly, in her introduction to the Women & Performance special issue "The Haptic," Rizvana Bradley (2014) stresses that the collection of essays considers how "touching, folding, fingering, or tracing the texture of an object, offer themselves as techniques of knowing in art and performance" (130). The haptic, Bradley maintains, is the "abstract convergence of touch, feeling, and relation" (130), ultimately experienced in an "otherwise dimension" (131) that eludes our full understanding. In short, touch is our access point into the relational.4
This attention to the relational and haptic, in this special issue's focus on surface, also prompts a consideration of affect. Here we join a growing number of scholars in affect and sensation studies urging us to recognize feeling and sensation as indispensable, though often overlooked, analytics for apprehending historical processes, especially those that operate at the granular level of everyday life. The utility of affect, as a methodological approach, is its ability to track, in Lauren Berlant's (2011) words, "the conditions of life that move across persons and worlds, play out in lived time, and energize attachments" (16). Affect is, in other words, a "poetics, a theory-in-practice of a how a world works" (16). This affective mapping is especially important for delineating the contours of what Muñoz (2006) called feeling brown. For minority subjects unable, or refusing, the mandate to accede to "the protocols of normative affect and comportment" (676), feeling brown describes the "antinormative feelings that correspond to minoritarian becoming" (679). Surface, this issue argues, functions in similar terms. It is a lively interface that, akin to how LaMonda Horton Stallings (2015) theorizes funk, produces "alternative orders of knowledge about the body and imagination" (6) as well as "new sensoriums and ways of being" (11). The artists and performers featured in this volume, from Eartha Kitt to Mickalene Thomas to Lyle Ashton Harris, deploy numerous surface techniques in efforts to create possibilities for the emergence of what cinema and media scholar Kara Keeling (2007) calls "subaltern common senses," or ways of knowing that subvert and evade what we might call hegemonic common sense (7). This collective embrace of sensuous forms of knowing and desiring upends the habitual analytics of black diaspora studies–be it authenticity, objectification, or visibility as a political goal–and the dangerous assumption that other analytical lenses are theoretically insignificant and/or of little historical value. When we remain open to these other, more sensuous possibilities, as we will see, we occasion a sophisticated and serious theory of the surface as feeling and fleshy matter.
A cogent conceptualization of the surface, especially one that acknowledges perception as a bodily experience as much as an intellectual one, necessitates a dialogue with artists and their inventive uses of the surface. This is largely because these artists' manipulation of surfaces in their artworks acknowledges the viewer's bodily presence by appealing to haptic, even erotic, senses. In accordance with this special issue's desire to converse with scholars and artists, I very briefly direct us to an aesthetic dialogue on surface occurring amongst black diasporic artists in the United States, one that strikingly overlaps with the themes I have discussed thus far in this introduction. These cultural workers' engagement in playful and preternatural experimentations with surfaces and skins suggest a similar desire to reformulate prototypical assumptions of surface versus depth. Nigerian-born Toyin Ojih Odutola's multimedia drawings, for instance, are noteworthy in their thoughtful probing of the surface (and colors) of racialized skin and their concomitant racial discourses. Her explorations of the sociopolitical construction of skin color through her black ballpoint pen and acrylic ink drawings produce black skin as a tactile topography. Odutola's luminescent portraits–in their subtle gradations of blackness that emerge as textured surface and depth–prompt viewers to reconsider their own ideas about what constitutes blackness. Meanwhile, the Studio Museum of Harlem's exhibition Surface Area: Selections from the Permanent Collection (2016) temporarily captured a loose intergenerational group of artists–including David Hammons, Howardena Pindell, and Titus Kaphar, among others–using surface, as curators noted, to explore "volume and texture within surfaces" and the "possibilities of surface as an expanded space that allows for material depth."5 Howardena Pindell's intricate Postminimalist abstract pieces, usually labeled Untitled and begun in the early 1970s, are an example of this surface play at work. As I have written elsewhere, Pindell's Untitled pieces–"dense system[s] of meticulously numbered hole-punched holes," usually set against a grid–often resemble "an almost undulating" landscape that jar the viewer's expectations of surface (McMillan 2015, 159). Moreover, as exemplars of black abstraction, they also foil presumptions of what the ostensibly proper medium is for black artists (see Jones [2006]; Harper [2015]). Yet, to return to surface, perhaps what we perceive in the work of black abstractionists is the ability of surface to act of its own accord.
I hope that you have occasion to linger in the multitudinous meanings surfaces summon in the pages that follow. The three essays featured in this special issue share an emphasis on attuning to the sensual and slippery performance work that surface play enables. In her essay "Yella Gal: Eartha Kitt's Racial Modulation," Colleen Kim Daniher constructs a theory of what she calls racial modulation to powerfully re-situate Cold War entertainer Eartha Kitt, and her racially mutable self-stagings, squarely within black feminist performance theory. As Daniher suggests, if Kitt's obscurity within black feminist theory and praxis is in part due to her focus on personality, as opposed to vocal virtuosity, her erasure is largely due to her ambiguous racial aesthetics–both as a biracial "yella gal" and her eclectic repertoire, which includes Turkish folk songs, Orientalist novelty songs, and flamenco and rumba-inflected pop. As a result, Kitt's black radical protest later in her career is largely forgotten, as it fails to align neatly with the polyglot personalities and ambiguous internationalism that defines her shape-shifting career. Building on the scholarship of Shane Vogel and Daphne Brooks, and their respective concepts of "impersona" and "afro-alienation," Daniher proposes racial modulation as an "aesthetic surface strategy," one continually and playfully employed by Kitt to transform, or modulate, herself from the shameful product of miscegenation into an exotic, often Asiatic, global citizen. Racial modulation reveals how the seductive persona of Eartha Kitt is repeatedly and strategically produced, rather than seeking to uncover the "real" Eartha Kitt. In sum, Daniher's essay powerfully illustrates how an emphasis on the mechanics of style and surface–as opposed to authenticity, "soul," or transparency–re-positions the elastic performance work of "pop's first world music figure" squarely within historiographies of black feminist self-alienating performances in the Cold War and Civil Rights eras.
Meanwhile, in her essay "Surface-Becoming: Lyle Ashton Harris and Brown Jouissance," Amber Jamilla Musser zeroes in on the manifold surface tensions and plural selves inherent in the work of Lyle Ashton Harris, a black American artist. Musser focuses on Billie #21 (2002), a performative self-portrait of himself as musical icon Billie Holiday, replete with fur stole, pearl earrings, makeup, and surgical tape. Deftly moving through psychoanalytic theory, black feminist theory, performance studies, and art history–including the work of Hortense Spillers, Judith Butler, and Krista Thompson–Musser argues that Harris's portrait gestures toward the pleasures of opacity and surface in its refusal of the intimacy and transparency so often desired of black artists and their respective work. In contrast to the typical interpretation–that Harris becomes Holiday in this performance piece–Musser suggests that his citation of Holiday does not produce a coherent subject with psychic interiority, nor is it a sincere performance of Holiday, since it lacks depth. Instead, his performance is a role-play, what Musser calls "citation as a mode of inhabitation that shifts the dimension of selfhood. One does not become, but rather sits alongside, the other in citation." In Harris's reimaging of himself-as-Billie, Musser suggests, we begin to sense Harris's own brown jouissance in this temporary inhabitation, a deliberate reveling in the pleasurable possibilities of multiple mobile selves. In doing so, Billie #21′s engagement with shine, ornamentation, and glamour indexes a trans-generational relationship between Harris and Holiday that relies on surface and fleshiness to resist legibility and deprioritize a singular sovereign subject; in the process, he is able to explore the shifting possibilities of selfhood.
Similarly, Sarah Stefana Smith foregrounds black artists' manipulation of surface strategies as a part of a larger effort to reconfigure representation and incite alternative modes of perception. In her essay, "Surface Play: Rewriting Black Interiorities through Camouflage and Abstraction in Mickalene Thomas's Oeuvre," Smith suggests that Mickalene Thomas's use of camouflage and artifice–such as textiles, rhinestones, and glitter–in her paintings, collages, and installations function as techniques of deception, partially obscuring subjectivities and thwarting clear-cut interpretations. Drawing on a Deleuzian framework, Smith argues that the surface play in Thomas's art frustrates sharply defined borders between the surface and depth, since her black interiorities, paradoxically, rest on the surface of the canvas or photograph. Yet, if surface play examines that which is in plain view, it also delimits that which is hidden from view as well. Abstraction, especially for African American artists, Smith suggests, becomes a mode to enact this surface play, and hence vacillate between the legible and illegible. Smith's essay, then, dovetails with Musser and Daniher's in her counterintuitive consideration of the surface as a sticky or gelatinous threshold through which profound depths of meaning can emerge.
Finally, in this issue's "Ampersand" section, Jillian Hernandez's deeply poetic photoessay "Beauty Marks: The Latinx Surfaces of Loving, Becoming, and Mourning," juxtaposes the lush Instagram posts of Latinx artists with family photographs of her Cuban and Puerto Rican grandmothers as a sensitive and sensuous praxis of memory, longing, and mourning. Focusing on a different type of surface play–the beauty marks and mask-like made-up visages shared by her grandmothers, Instagrammers, and Latinx musical and artistic figures like Mario Montez and Selena–Hernandez argues that a "knowledge of our racialized gendered Latinx surfaces" can lead to a reconsideration of these beauty practices (and the digital and photographic platforms they circulate in) as a form of healing work that affirm, and mirror, Latinx embodiments while offering new performance possibilities. Arguing that the aesthetic innovations of these cultural actors too often go unremarked, except to serve as a fulcrum for white male artistic genius, Hernandez persuades us to re-envision the armor-like makeup of these artists, family members, and cultural icons as a form of surface aesthetics that index queer Latinx identities, genealogies, and intimacies. In doing so, Hernandez crafts a "poetics about the relationalities, recognitions, and femme generations that these surfaces engender" while gesturing toward spiritual, mujerista, non-Western ways of knowing. Ultimately, she suggests, the vibrant objects and surfaces of drugstore hair dye, Wet n' Wild cosmetics, and India-ink-colored moles are world-making practices that bind us together in memory and loving relation.
Likewise, the punchy, playful, and polyglot work of Nuyorican artists Antonio Lopez (b. 1943) and Juan Ramos (b. 1942) under the signature of "Antonio," featured prominently in this special issue, mirror this immersive world-making approach, albeit the neon-like energy (and surfaces) of fashion, art, street culture, and queer nightlife in 1970s and 1980s New York City.6 Born in Puerto Rico and raised in East Harlem, similar to his eventual partner and collaborator Ramos, Lopez injected the staid Eurocentric form of fashion illustration with the propulsive force of hip-hop and the decadent sheen of disco; Lopez's bold flashy graphics redefined and electrified the form with sass, swagger, and unabashed sex appeal. Lopez's career as the doyen of fashion illustration included his tenure as the in-house illustrator for Andy Warhol's Interview magazine, commissioned portraits of Diana Ross for British Vogue in 1979 and Tina Turner and Patti Labelle for Playboy magazine in 1985, and album covers for funk siren Betty Davis. The Kodak Instamatic prints and Polaroid portraits of black models featured in, and on, this special issue underscore Lopez and Ramos's acute awareness of women of color as palpable absences in the milieu of high fashion and hence their commitment to both advancing the careers of, and creating unique forms of representation for, models including Pat Cleveland, Tina Chow, Amina Warsuma, and Grace Jones. Yet, I also highlight Lopez here as an under-recognized and under-theorized exemplar of surface aesthetics whose drawings and photographs revel in luminous, effervescent, and polished surfaces–be it skin, water, or burl wood–while indexing women of color as iconoclastic figures of glamour, shine, and exquisite potentiality. In doing so, his artworks generate new geometries of being while remaining, paradoxically, on the surface.
I close this introduction, and its extended meditation on skin, surface, and sensation, by slinking toward the sumptuous surface play enacted by one of the most striking, and perpetually forward-thinking, artists of the twenty-first century: Grace Jones. I want to consider other ways of sensing this Jamaica-born performer, singer, model, and avowed art groupie, whose singular career–she was described by The New York Times as a "style icon, disco queen, avant garde rocker, Bond girl, provocateur, and sphinx "–has spanned four decades (Shulman 2015). Jones's consistent pursuit of the "new in style and practice," an inclination shared by Los Angeles-based black artists of the 1960s and 1970s as Kellie Jones argues (2017, 3), is rendered in her working relationships with avant-garde artists in New York City's 1970s underground scene as well as prominent photographers and fashion designers in Europe and the often category-defying products of these collaborations.7 These performances, music recordings, and often-erotic visual art traversed the borders between queer nightlife, haute couture, pop performance, fine art, and African diasporic performance practices. Aptly described by Francesca Royster (2009)as a "heady cocktail of glitter, camp, androgyny and fear" (78), Jones's multimodal aesthetic praxis merged "disco and punk, art and fashion, male and female, animal and human, and human and machine to create new notions of black sexuality" (78–79). Rendering both blackness and gender otherwise, Jones's astute ability to shock, excite, alarm, and even arouse her audiences was neatly (and presciently) summed up by Ebony magazine in 1979: "Grace Jones is a question mark followed by an exclamation point."8 I continue our rumination on surfaces–as depth and relational, as flexible forms of representational becoming, and as corporeal and technological mediums–by thinking-with the figure of Grace Jones and her cutting-edge video work.9 Specifically, Jones's spellbinding black and white digital video for the 2008 single "Corporate Cannibal," directed by Nick Hooker and featured on her tenth studio album, Hurricane, will be our focus here–as opposed to Jones's other equally mesmerizing and disorienting video work–because it inches us the closest to a surface-oriented notion of embodiment that embraces liquidity and plural selves, while refusing to reveal Jones's inner psychic depths. She becomes force, energy, and presence. Put simply, in her own words: "I am not decoration; I am pure signal. I transmit" (2015, 305). Surface, specifically the oil-spill-like unfolding of black skin, emerges below as a sensuous site of relationality and the grounds for alternative modalities of being.
During the ominous opening sonic notes of "Corporate Cannibal," instead of viewing an entity akin to a person, we perceive a mysterious black diagonal strip that resembles a pulsating electrical current. Slowly, this shape unfurls itself to reveal an eye and then eventually a mercurial morphology with a visage resembling Grace Jones's. Dressed in an open black jacket with pointed exaggerated shoulder pads, an ever-morphing Jones states: "Pleased to meet you. Pleased to have you on my plate. Your meat is sweet to me. Your destiny, your fate. You're my life support. Your life is my sport." As the video progresses in one fluid take, with Jones mouthing the lyrics and proclaiming herself a "corporate cannibal/digital criminal" that "consume[s] my consumers with no sense of humor," this liquid-like approximation of Jones stretches and contracts. It slowly dissolves and reforms itself into black molten matter. Alessandra Raengo (2012) concurs: "This shape-changing blackness is haptically rich. It is sticky, viscous, wet, slippery, thick" (4). Occasionally, this liquefied blackness duplicates itself into multiple versions of Jones, albeit deformed alienesque avatars. Throughout, Jones's shiny skin is manipulated, flattened out, and elongated into a seemingly limitless two-dimensional screen, an effect visually heightened by the sharp contrast between the blank white background and the sheen of Jones's charcoal-like skin. Jones becomes one of the fantastical larger-than-life doubles, or "impossible Graces," that saturate her visual archive, particularly her work with French graphic designer Jean-Paul Goude (Jones 2015, 307). In her recently published memoirs, Jones underlines her intentionality as an artist, emphasizing the distinction between herself (the person) and the "stretched, fractured, crushed, expanded, liquefied" (371) image of herself that was constructed as a visual effect. Identity and representation, however, are not the raison d'être of her aesthetic praxis. Instead, she repeatedly identifies herself in more amorphous terms. Specifically, she defines herself as an "artist-creature-object," a theatrical effect or presence that enhances an artistic atmosphere, and a form of kinetic energy (300). Put simply: "I was outside race and gender: I considered myself an energy that had not been classified" (259). In line with this logic, Jones repeatedly uses the phrase "surface energy" to describe her work; it seems to be the perfect description of the performance strategy she employs in this video.
Instead of viewing a body that resembles a hard container, with the borders around it clearly delineated, we perceive a digital approximation of one that is in a state of sustained mutation, a polymorphous corporeality. Black skin becomes an endlessly pliable surface, rather than a finite one, as we witness a body seemingly without depth, pure surface. Jones's skin here, Raengo (2012) argues, resembles a "reflecting metal surface. Blackness is something fluid yet dense, an ever changing surface, and yet never simply just that: it cannot hold an identifiable shape and does not have a distinguishable inside." (11). Surface is not inert, but vibrant, pulsating, and constantly in motion, undulating, like a wall of water. "Matter thus offers a texture that is infinitely porous, that is spongy or cavernous without empty parts" (230), to quote Gilles Deleuze (1991), a curvilinear and elastic body of infinite coils, "curved movements" and of subterraneous folds, that threaten–but do not obliterate–coherence (231). And in doing so, we perceive a challenge to subjectivity. Instead of an inner depth versus outer surface, we apprehend something else, a "relay between epidermal certitude and stylistic vicissitude," as Anne Anlin Cheng (2009) elegantly puts it, a body seemingly without organs (114). The terms that racial legibility are based on–that which is naked and visible as opposed to that which is veiled and hidden–are foiled. The body becomes plastic-like, stretchable, and seemingly two-dimensional, nothing but black surface. We perceive what Tina Post (2015) terms the "agency of surface," its athletic abilities to act on its own behalf (87). Within "the aesthetic of black shininess lay cultural possibilities for a performer" (97) like Grace Jones, who offers to us the sensual pleasures of surface and shine, via skin, and a spectacular opacity in lieu of transparency.
To perceive, or re-sense, an elusive object (like "Corporate Cannibal") in this way is to move closer to the more embodied perception I have been alluding to throughout this introduction–an experience that is multi-sensory, rather than strictly ocular-centric. Perhaps the surface is how and where we can best sense Jones, and thus the synthetic, the stylized, and the superficial, rather than the reliably organic and "authentic." In doing so, we not only get closer to the surface rather than the body of Jones; we also yield to the other sensuous surfaces inhabiting Jones' performances, such as the leather, plush fur, and the shimmer of purple lipstick perceived in Andy Warhol's 1984 Polaroid portrait of her, commissioned by American Vogue. Sensing the surface, rather than searching for the interior life, paradoxically, inches us closer to the mysteries of the black artist.
In this special issue on surface aesthetics, I urge you to remain open to the profundities of the surface, allowing it to beckon you with its plastic possibilities, especially its adept abilities to reconfigure our expectations on the mechanics of performing race, gender, and sexuality. By theorizing the surface as a dynamic object of knowledge in its own right and rejecting a priori notions of it as lacking sufficient depth or rigor, we release it from a set of constrained and fixed meanings. Surface is not a hard edge of division, but a porous economy of contact. We sense the surface through tactile, aural, olfactory, physical, spatial, and other sensations and ways of knowing. Surfaces, in turn, register and sense our presence as well. The essays in this issue suggest surface aesthetics as a heretofore under-considered analytic for considering how artists circumnavigate corporeal limitations and resist over determined interpretations of their work. Embracing abstraction, ambiguity, alienation, camouflage, ornamentation, opacity, and–in Grace Jones's case–distortion, these cultural actors wield surface aesthetics as an apparatus not only for partially obscuring viewership, or confounding the borders between the self and the other, but also for doing their bodies differently. Rearticulating "race and gender as aesthetic strategies of value rather than locations of social difference," to paraphrase Minh-Ha Pham (2015), these artists make use of surface aesthetics to render the racial and gendered body pliable and multiple as well as ambivalent and ultimately unknowable (4–5). Imagination is key here, as artists (especially black diasporic ones) deploy surface approaches as powerful pathways to imagine an elsewhere and to exceed the containment of the body into legible parts (see Ellis 2015; Gaines 2017). In short, the authors and artists featured here prompt us to ask: how have we failed to perceive the liminal, luscious, and dark points of possibility summoned by the surface?
I greatly thank Managing Editor Olivia Michiko Gagnon for her unwavering commitment, expertise, and enthusiasm in the preparation of this issue and introduction, the editorial collective and anonymous readers for their nuanced and generous readings of the contributor's essays, and the whip-smart insights of the contributors who I am honored to be in conversation with here and elsewhere. Finally, muchísimas gracias to The Estate of Antonio Lopez and Juan Ramos for their permission to reproduce the artwork that appears in this issue.
About the Author
Uri McMillan is Associate Professor of Performance Studies in the Departments of English, African American Studies, and Gender Studies at the University of California, Los Angeles. He has published essays in Women & Performance: a journal of feminist theory and GLQ: a Journal of Lesbian and Gay Studies; artist interviews in ASAP/Journal and Aperture; and contributed essays to museum publications, including the Brooklyn Museum and the Studio Museum in Harlem. He is the author of Embodied Avatars: Genealogies of Black Feminist Art and Performance (NYU Press, 2015), the winner of the William Sanders Scarborough Prize from the Modern Language Association (MLA), the Barnard Hewitt Award for Outstanding Research in Theatre History, and the Errol Hill Award for Outstanding Scholarship in African American performance, both from the American Society for Theater Research (ASTR).
1. For more on embodied perception, see Marks (2000).
2.This approach dovetails with what Kobena Mercer (2016) named "cut-and-mix aesthetics," or call and response in visual art by African American and Black British artists, as paradigmatic of post-1980s black diaspora aesthetic practice.
3. Anne Cheng (2011) concurs in her exegesis of Josephine Baker, Modernism, and the modern surface; she questions what other racial schemas become available when we move away from our longstanding assumptions about skin–namely, a Frantz Fanon-derived understanding of race (presented primarily in Black Skin, White Masks [1952]) as an "epidermal schema" (7) tethered to the visible. An attention to the "surfacism of black skin" (110), Cheng suggests, illustrates how Baker's nudity never stands alone; rather, her theatricalized nakedness often relies on its idiosyncratic intimacy with other layered, synthetic, and often feminized and racialized surfaces–banana skins, feathers, gold drapery, and animal fur (110).
4. See Amber Musser, Brown Jouissance: Inhabitations of the Pornotrope (forthcoming).
5. Surface Area: Selections from the Permanent Collection was exhibited from March 24–June 26, 2016 and organized by Doris Zhao. Quotes are taken from the exhibition wall text.
6. For more on Lopez and Ramos, see Malagamba-Ansótegui and Rivera-Servera, (2016).
7. These tastemakers and artistic peers include Andy Warhol, Issey Miyake, Helmut Newton, Kenzo Takada, Antonio Lopez, Keith Haring, Azzedine Alaia, Robert Mapplethorpe, Yves Saint Laurent, Tse Kwong Chi, and her frequent collaborator Jean-Paul Goude, among others. As Jones (2015) herself notes: "I was always looking for the new, even if it makes life difficult for me. The new or nothing" (311).
8. I am reminded here of Jennifer Brody's (2008) contention that punctuation marks choreograph thought. I borrow the language of thinking blackness otherwise, and thinking gender otherwise, from Christina Sharpe and Alex Weheliye respectively.
9. I follow the lead of José Esteban Muñoz (2013) here in his distinguishing between the work of music historians, specifically their reconstruction of biographical events, versus the charge of the performance theorist–considering the performativity of icons like Jones and their role as "figures that represent a certain way of feeling and being in the world" (99)
Amin, Kadji, Amber Jamilla Musser, and Roy Pérez. 2017. "Queer Form: Aesthetics, Race, and the Violences of the Social." ASAP/Journal 2 (2): 227–239.
Berlant, Lauren. 2011. Cruel Optimism. Durham: Duke University Press.
Best, Stephen, and Sharon Marcus. 2009. "Surface Reading: An Introduction." Representations 108 (1): 1–21.
Bradley, Rizvana. 2014. "Introduction: Other Sensualities." Women & Performance: a journal of feminist theory. Special Issue: The Haptic: Textures of Performance 24 (2–3): 129–133.
Brody, Jennifer DeVere. 2008. Punctuation: Art, Politics, and Play. Durham: Duke University Press.
Campt, Tina M. 2017. Listening to Images. Durham, NC: Duke University Press.
Cheng, Anne Anlin. 2009. "Skin, Tattoos, and Susceptibility." Representations 108 (1): 98–119.
Cheng, Anne Anlin. 2011. Second Skin: Josephine Baker & the Modern Surface. New York: Oxford University Press.
Deleuze, Gilles. 1991. "The Fold." Yale French Studies 80: 227–247.
Doyle, Jennifer. 2013. Hold it Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press.
Ellis, Nadia. 2015. Territories of the Soul: Queered Belonging in the Black Diaspora. Durham: Duke University Press.
English, Darby. 2010. How to See a Work of Art in Total Darkness. Cambridge: MIT Press.
Fanon, Frantz. 1952. Black Skin, White Masks.
Fleetwood, Nicole R. 2011. Troubling Vision: Performance, Visuality, and Blackness. Chicago: University of Chicago Press.
Fleetwood, Nicole R. 2015. "Posing in Prison: Family Photographs, Emotional Labor, and Carceral Intimacy." Public Culture 27 (3): 487–511.
Gaines, Malik. 2017. Black Performance on the Outskirts of the Left. New York: NYU Press.
Harper, Phillp Brian. 2015. Abstractionist Aesthetics: Artistic Form and Social Critique in African American Culture. New York: NYU Press.
Jones, Grace. 2015. I'll Never Write My Memoirs. New York: Gallery Books.
Jones, Kellie. 2017. South of Pico: African American Artists in Los Angeles in the 1960s and 1970s. Durham: Duke University Press.
Jones, Kellie. 2006. "To the Max: Energy and Experimentation." In Energy/Experimentation: Black Artists and Abstraction, 1964–1980. New York: The Studio Museum in Harlem.
Keeling, Kara. 2007. The Witch's Flight: The Cinematic, the Black Femme, and the Image of Common Sense. Durham: Duke University Press.
Malagamba-Ansótegui, Amelia, and Ramón Rivera-Servera. 2016. "Critical Desires: Race and Sexuality in the Work of Antonio." Reproduced for the exhibition Antonio Lopez: Future Funk Fashion. Courtesy of El Museo del Barrio, New York, NY.
Marks, Laura. 2000. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press.
Mercer, Kobena. 2016. "Diaspora Aesthetics and Visual Culture." In Travel and See: Black Diaspora Practices Since the 1980s, 227–247. Durham: Duke University Press.
McMillan, Uri. 2015. Embodied Avatars: Genealogies of Black Feminist Art and Performance. New York: NYU Press.
Muñoz, José Esteban. 2009. "Introduction: From Surface to Depth, Between Psychoanalysis and Affect." Women & Performance: a journal of feminist theory 19 (2): 123–129.
Muñoz, José Esteban. 2013. "'Gimme Gimme This...Gimme Gimme That': Annihilation and Innovation in the Punk Rock Commons." Social Text 116 (31), no. 3: 95–110.
Muñoz, José Esteban. 2006, "Feeling Brown, Feeling Down: Latina Affect, the Performativity of Race, and the Depressive Position." Signs 31 (3): 675–688.
Pham, Minh-Ha. 2015. Asians Wear Clothes on the Internet: Race, Gender, and the Work of Personal Style Blogging. Durham: Duke University Press.
Pinney, Christopher. 2003. "Notes from the Surface of the Image: Photography, Postcolonialism, and Vernacular Modernism." In Photography's Other Histories, edited by Christopher Pinney and Nicolas Peterson, 202–220. Durham: Duke University Press.
Post, Tina. 2015. "Williams, Walker, and Shine: Blackbody Blackface, or the Importance of Being Surface." TDR: The Drama Review 59 (4): 83–100.
Raengo, Alessandra. 2012. "Reification, Reanimation, and the Money of the Real." World Picture 7: 1–17.
Royster, Francesca. 2009. "'Feeling like a woman, looking like a man, sounding like a no-no': Grace Jones and the performance of Strangé in the Post-Soul Moment." Distance, 19 (1): 77–94.
Shulman, Michael. 2015. "The Power of Grace Jones." New York Times, September 18, 2015.
Stallings, L.H. 2015. Funk the Erotic: Transaesthetics and Black Sexual Cultures. Chicago: University of Illinois Press.
Stephens, Michelle Ann. 2014. Skin Acts: Race, Psychoanalysis, and the Black Male Performer. Durham, NC: Duke University Press.
Thompson, Krista. 2015. Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. Durham, NC: Duke University Press.


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need your help guys to fix my minix notebook. The problem is…at first my PC is unabe to get certificate on the network
we just retart it and it it shows connected but when I open my explorer I still cannot access internet.
My second move is, I try to re-input the key but after I input, it shows "The network password needs to be 40bits or 104bits configuration.
depending on your network . This can be entered as 5 or 13 ascii characters or 10 or 26 hexadecimal characters."...pls help..thank you
What make/model of wireless router do you have?
I think we are talking about wireless network encryption.
When you configured your network for encryption you might have used a passphrase to generate a group of characters
You'd need to know that.
Could be that you are trying to access a neighbors wireless or companies instead of your own..
Playing to the angels
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text: Home Generators in Fort Wayne by Rolf Griffin Service Experts Heating & Air Conditioning Imagine: a storm is right over your house and you're watching the local news trying to determine if you should take cover in a closet. Right as the update is coming through, everything goes pitch-black. The newsman flashes off, your lamps go out, and now you're using your flashlight to finish up on some work or light up the Candyland board while you try to keep your family calm. Did you know it could be different? No more lanterns you can never find the right size batteries for, no more candles, no more flashlights – instead, what if your HVAC system kept blowing, your lights stayed on, and your access to the outside world wasn't terminated? It's entirely possible with a whole-house generator. Yes, we're serious – a whole-house generator from Rolf Griffin Service Experts Heating & Air Conditioning can remove the stress of incoming storms, flooding, accidents affecting electricity lines, and whatever else that causes an electricity outage. And it's all automatic! No need to stagger around in the dark to find your back-up power – with a whole-home generator from Rolf Griffin Service Experts Heating & Air Conditioning your power will come back on within a few seconds on its own. That's right, even if you aren't home, the generator will kick on and your HVAC system will keep running to keep anyone in the house, even Fido, cool or warm. Additional reasons to contemplate investing in a whole-home generator: You will still have access to all sources of communication during a storm or an emergency. You cannot legally connect a generator to an electric system utilizing a transfer switch. It can be hazardous storing gas – with a home backup generator you will use your current natural gas or LP fuel. Bye-bye cans! If you work out of your home and your power goes out, you could have to use your paid time off or take a day with no pay due to your inability to get work done. Extension cords can be pesky and even hazardous, especially in a flood. A backup home generator from Rolf Griffin Service Experts Heating & Air Conditioning safely operates using your home's electrical panel. It's not just convenient to have instant electricity in an electricity outage; oxygen machines, refrigerated medications, and lift chairs without access to power can cause severe health risks and can be dangerous. As always, Rolf Griffin Service Experts Heating & Air Conditioning is answering calls day and night, since most power outages don't take place at convenient times. To discover more about whole-home generators and how they can benefit your home, call Rolf Griffin Service Experts Heating & Air Conditioning today at 260-557-1275.


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PEFA Validation Workshops in Six Counties
KIPPRA in collaboration with the World Bank is undertaking validation workshops for the first sub-national Public Expenditure and Financial Accountability (PEFA) assessment done in six counties: Nakuru, Kajiado, Baringo, Makueni, West Pokot and Kakamega.
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Although several participants indicated that the state of most of the findings had since changed, they got to learn that the PEFA assessment focused on a specific period, which in this case is the first three financial years of devolution – 2013/2014, 2014/2015 and 2015/2016. Participants also got to learn that the process was strictly evidence-based, meaning everything reported to be done had to be backed by requisite documentation. And since PEFA is an internationally-recognized standard, the participants learnt that the counties could use the findings to seek partnerships and donor funding.
KIPPRA facilitators also raised concern on the absence of adequate data for analysis and urged counties to invest in statisticians to gather and organize a wide base of data. Both KIPPRA and the World Bank pledged support to the counties, especially through capacity building, to address the challenges identified during the PEFA study.
The PEFA assessment framework is based on seven (7) pillars, namely: (i) budget reliability; (ii) comprehensiveness and transparency; (iii) management of assets and liabilities; (iv) policy-based fiscal strategy and budgeting; (v) predictability and control in budget execution; (vi) accounting and reporting; and (vii) external scrutiny and audit. The assessment was carried out for three fiscal years: 2013/14, 2014/15 and 2015/16 financial years. The workshops, which began on 16th October 2018, will end on 23rd October 2018 with two counties: Nakuru and Baringo.


text:
Posted May 23, 2012
Back to Blog Index
At last Microsoft has also dived in with its own version of a social networking site, So.cl (read as Social). Earlier this year, the So.cl network was accidentally leaked in July last year by Fusible. By that time, it was called Tulalip instead of Socl but very soon the name changed to So.cl. But then in November, 2011, it was officially announced by Microsoft that they will be launching the So.cl project very soon.
And now is the time when So.cl has been officially launched rather quietly by Microsoft. If you go to the So.cl page, you will see that you can register and login to socl by using your Windows Live ID or your Facebook account. Previously, Twitter was also there but it has been removed from the final version of socl.
So what is Socl? Is it meant to compete with other social networks like Facebook, Twitter or Pinterest? In my opinion the answer is no. This is because Social is a project by Microsoft FUSE labs and it has been created mainly for students. Socl will give students a new way to learn and will make researching easier. You can read more about how Socl can help student be more productive. Basically the main purpose of Socl is to combine the power of social network along with search so that people may be able to find what they are looking for in an intuitive way and all in one place.
If you look at the FAQ page of Socl, Microsoft says that they are partnering with schools and universities in order to participate in their Socl experiment but everyone is free to join the network. If you want to join Socl, you just have to sign in with your Windows Live account or Facebook ID in order to register with Socl.
Socl works by creating a montage and assembling links, text, images videos etc to create a visually attractive and rich in multimedia webpage. Socl also provides a bookmarklet which makes it easier to publish content from any webpage to your Socl account directly. You can get the Socl bookmarklet here.
The friends feature is very similar to Facebook and Twitter. You can follow your friends. Following friends will make their posts available in your feeds. If you like any post, you can like it, share it or comment on it.
You can create new pages by entering a topic and then building the page with links, text, photos and videos.
What are your thoughts about this new social network? Will you be using it or at least trying it? Will you be using Socl in favor of Facebook, Twitter or Google+? I think Socl will grow bigger if it integrates all the other popular social networking platforms like Facebook, Twitter, Google+ and LinkedIn. Otherwise, it will get a tough treatment like the social networking experimentation failures from Google.
Related posts:
You just finished reading So.cl Social Network By Microsoft. Is It For You? by Usman Khurshid. You may want to leave a comment.
© Usman Khurshid. Reproduced with permission of the copyright owner.
Email Usman at usman {at} technize {dot} com
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Lukasz Gumowski (Blue balls),
Marcin Bania (Smiling and naked),
Lautaro Gonda (Milan station),
Jan Abt (Girl taking a picture),
Daniel Tang (Hot switch),
Barbara Henry (Moriah reading),
Ralf Herrmann (Checkmate II),
Marko Roeper (Led #4),
Ian Russell (Girl in downtown LA).
Note: Animated GIF graphics and clipart obtained from
amazing-animations.com, gifs.net, findicons.com, clker.com and sevenoaksart.co.uk.
Sketches, cartoons and other handdrawings courtesy of Alice-the-Artist.
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This new section contains some interesting
statistics in bribe and corruption, please check back for more
as we pile up our numbers!
I am honored
to have obtained Professor Sidney Gluck's (right) permission
to allow me to repost here some of his work and interview
related to China and socialism.
Professor Gluck is professor emertius at the New School University in New York.
A classical Marxist, Gluck has been studying China for 60 years
in history and modern development. He has lectured all over
the U.S. and still welcomes engagement at the age of 94 – photo © Sandi Bachom
Oh, please do not get me wrong.
This new section is not about computers, electronics or
any engineering stuff, but rather I am currently constructing
a new corpus based on Spectrum, the monthly publication
from the Institute of Electrical and Electronics Engineers USA,
from July 2007 to date. Having been a member for
over 20 years since 1992, I am always fascinated by
some of the terms scientists use when they talk about or
envision their new inventions or methodologies. How many of
them eventually come into practice? Could there be
some insights we could possibly derive, from
the linguistics perspective?


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Relocation and Retirement
Athens consistently ranks as among the nation's best towns for relocation and retirement. New residents are drawn to Athens by its moderate climate; convenience to Atlanta; median housing cost; top hospitals and medical care; plus the culture, opportunity, and the culture and excitement a college town provides.
National media attention for Athens as a Best Place to Retire includes:
- "25 Best Places to Retire in 2019" (fifth consecutive year) Forbes, city profile and article
- "8 Tax-Friendly Cities," Where to Retire magazine, January 2018
- "2017's List of Best Places to Retire" - AARP
- "Best Places to Retire" - MONEY magazine
- "Best Place to Recapture Your Youth" - FORTUNE magazine
- #1 Small Metro Area for Relocating Families" - Primacy Relocation
- "Seven Cool Cities" - Kiplinger's Personal Finance
The Athens Area Newcomers Club meets the second Thursday of each month from September through May. Club meetings and numerous activities promote friendships and ties to the community. For more information, please call 706.769.7401.
About Athens


text:
Historic District and Properties Commission
Harwinton Links Page
The school life
of a student was very different in the days of the one
room schoolhouses compared to today. Sometimes an older
student would be paid from 6 to 15 cents to go to the
schoolhouse early and start a fire in the stove, usually
located in the center of the room. Children would put
their mittens on the hot area on top of the stove to
dry them and sometimes scorch them as well. I would
guess that the smell of wet wool on a hot pipe was pretty
Kids in those days
would walk to school, and it didn't seem to matter
the conditions one had to trudge through. Be it rain,
snow or sunshine, the daily trek was the same. The teacher
was simply expected to get through no matter what. The
bathroom facilities were located outside and most were
of the "two-holer" variety. In –as
– much as multiple age groups were represented
in the student body, numbering probably 15 or less,
the older kids would be expected to help the younger
ones, if required. In the wintertime, I'm sure
gloves, boots and coats were required equipment in making
the trip to the "restrooms".
There were daily
chores that had to be done such as dusting the erasers,
erasing the chalk board at the end of the day, Taking
out the ashes, emptying the waste baskets etc.
Usually water was provided
via a large water jug kept near the entranceway. This
may have come from a nearby spring or a home. Students
probably drank from the same cup.
A students writing instrument
was a pen and desks had individual inkwells usually
located in the upper right hand corner of the work surface.
Ink was provided in powdered form and students simply
added water for their daily supply. Using these must
have been an art in itself. Using the correct pressure
was important as the ink would tend to flow out of the
pen rapidly and the pen would even puncture the paper
quite easily.
Mrs. Florence Smith,
one of the town's long time and most loved teachers
recalled that parents were very involved and interested
in what their children were doing at school and sometimes
would even accompany them and help out as required.
The first school
was built in 1747 and it was located on the town green
next to the first church and possibly physically connected
to that meeting house.
Around 1750 a second
school was opened on the east side of town.
About two years
later another opened on the west side of town.
Raymond Bentley
reported that there was no record of where those additional
schools were located but he believed they were actually
in private homes.
Next Page


text:
Memphis Music Hall of Fame 2015 Induction Ceremony Recap
Nathan Armstrong
Young or old, fast or slow, highs and lows, through it all Memphis is worth celebrating. This is why the Memphis Music Hall of Fame exists - to honor the soul of Memphis and to give praise to the integrity and perseverance of a city that has been tested and tried. A city that, through thick and thin, has stuck to its roots. The delta roots of blues. With a star-filled lineup due for the night, it was only right that the man in charge kicked everything into action. Mayor AC Wharton had some compelling words to say about the city of Memphis as he took the podium.
"Y'all, we are here to celebrate Memphis!... We want you all to feel at home, so kick your shoes off if you have to… The city has been given so much, BB King gave us the blues, Elvis gave us a voice, and Dr. Martin Luther King gave us a conscious… So, without further ado, let the ceremony begin!" With these words the celebration began.
The Hi Rhythm Section, the house band for the night, took the stage, setting the mood for those in attendance. In the middle of the pit, quietly at their table, sat Memphis Grizzlies superstars Mike Conley and Marc Gasol. As if the spotlight could not be any bigger, Memphis' very own, Justin Timberlake, soon joined them, accompanied by his wife, Jessica Biel, and dear friend, Jimmy Fallon. The entourage gazed upon the stage as musicians were honored and inducted one by one.
Somewhere between the strikes of fingers on piano keys and the evident emotions portrayed through the enshrinement of these Memphis music stars, it was like the city had gained a new personality trait. The gritty, tough, Memphis persona is still there, and it always will be, but a crowd of emotions overtook the room as the big screen projected a memorial video to all musicians who passed away this year. The theme through all of this, the one thing that reigned true was, "there ain't nothin sad about the blues, blues is a celebration of life happening."
Throughout the night, one by one, musicians honored their idols by covering their most famous work, and then the man of the night arose from his seat. That's right, Justin Timberlake was in the building and was accepting his induction to the hall of fame, but not before close friend, Jimmy Fallon, could introduce him.
With a quirky opening speech, accompanied by, strangely enough, DJ Paul of Three 6 Mafia, Fallon squeezed everyone's funny bone as he gave his personal take on the beloved singer.
"I specifically remember doing an SNL skit with Justin and he turned to me before we went live and with the most serious look on his face told me, you better not mess up the harmony on this sketch.' And I knew he was for real about it! I felt like Lance Bass!" Obviously, JT's work ethic doesn't stop with his music.
As Timberlake walked on stage, he was greeted by hugs from everyone he came across, and as he took the mic, he took a deep breath.
"This is actually the coolest thing to ever happen to me," Timberlake expressed, "I mean, really, I'm surprised!"
No surprise here, JT. Between being the global face of Memphis; one of the top 100 most influential people in the world; and a multi-threat comedian, actor and singer; of course he is deserving of being inducted! Maybe he is a bit young, but with just a glance at his resume, he has done far more than fit the bill. JT gave thanks to best friends, grandparents, and even elementary school teachers as he accepted his award. Timberlake led the crowd in singing the University of Memphis fight song as he gave heartfelt thanks to Memphis.
"Memphis is the global capital of soul… There's nothing like this city anywhere else in the world! London ain't got no Gus's Fried Chicken… Paris may rendezvous, but they don't have Rendezvous!" Timberlake said as he hoisted his award. "You all, this is Memphis at its best."
And he couldn't be more right. As Sam Moore of Sam and Dave took the stage for the final inductee of the night, he invited Timberlake on stage to give him some help. The two completely contrasted each other, but they had one thing in common, Memphis soul.
With a night full of old school rockers like Keith Richards, Scotty Moore, and Charlie Rich Jr., it was time to make way for the new school. Justin Timberlake embodies new memphis soul and has successfully brought the heart of music back to Memphis. But, no matter who you are, everyone has a little Memphis in them. And no matter where you go, if you've been here before, you'll always miss Memphis soul. There's nothing else in the world like it. With an ambassador like Justin Timberlake, the soul of the city is in good hands and will continue to influence musicians for generations to come.
View all the photos from the event.
All photo credits: @CalebGHall for @901Music


text:
Isle of Man Holidays
Set in the Irish Sea, the Isle of Man is a unique destination with over 10,000 years of history. Its most famous symbols are the Manx cat and the island's emblem, the three legs of Man whose meaning is "whichever way you throw me I stand". The ancient Celts, Vikings and Christians left the island with a legacy of their lifetime and all around the island you will find evidence of these early settlers - Celtic crosses, medieval fortresses and Viking burial grounds.
Blessed with an extensive coastline, outstanding natural landscapes, plenty of sandy beaches and a more relaxed way of life, the Isle of Man has a wealth of things to see and do and places to visit. This sea-bound kingdom is fiercely proud of its diverse culture and fascinating heritage and everywhere you go there are reminders of the island's rich Celtic and Viking past.
Whilst Douglas, the capital of the Isle of Man, is most people's starting point for sightseeing, the island-wide scenery should not be missed. And there are many ways to get around the island, including the steam and electric railways or horse drawn trams which "clip clop" along the two miles of Douglas promenade and are a fascinating reminder of days gone by.
If you are a walker, then an Isle of Man holiday won't disappoint. With 17 national glens, all with no admission charge, and a network of footpaths, the walker, rambler or even just the stroller can enjoy discovering the beauty of Man.
There are numerous vantage points around the island to watch a variety of birds and if marine life appeals to you, make sure you visit the Sound at the island's southern tip where seals are often spotted. There's a wide range of outdoor pursuits including cycling, horse riding, clay pigeon shooting, coasteering, kayaking and golf to name but a few. Whatever your interests the contrasts and character of the Isle of Man make it a perfect choice for a short break or holiday.
- Island-wide scenery
- Great beaches
- Wonderful walks
- Locally produced food and drink
- Heritage railways
- Outdoor pursuits
- Lots to see and do
Why visit Isle of Man?
Book Online
Room 1
Book your trip
Travel Expert
Call a Travel Expert
Call and speak to one of our travel experts who have experienced Isle of Man personally.


text:
2 Bedrooms, 1 Bathrooms, Capacity: 6
|Private Owner
Toronto, Ont
Click here
|Member Since:
|Jun. 9th, 2007
|Other Listings:
|View here
2 Bedrooms, 1 Bathrooms, Capacity: 6
Bedrooms: 2. Bathrooms: 1
Luxurious and spacious 1086 sq ft, 2 Bedroom Suites with Den are available for short term rentals and vacation suites. One queen size bed, one double bed, Double bed in the den. "My Urban Oasis" is tastefully furnished and takes travel and comfort to another level with the added convenience of ensuite laundry, kitchen, bath & bed linens, dining and cook ware, and more. Enjoy the extras including INTERNET hook up, CABLE TV service and local TELEPHONE calling. This home away from home amid 9 ft ceilings, hardwood flooring and a large walk out furnished deck is fabulous for both the tourist and the corporate client. Whether you are touring the Greater Toronto Area, on a temporary job assignment, convention or relocating. This great location is in the Upper Toronto Beach area. Only steps to subway (Metro) and great local area shopping. 15 minutes to downtown Toronto. A parking space is available. Great Suite - Great location. Current special: $170.00* night with three (3) night minimum. Weekly rate $1050..00*; monthly rate $3000.00*. " READ WHAT OUR GUESTS HAVE SAID: Rental Reviews TOP RATE CONDO IN GREAT LOCATION, August 2, 2007 Reviewer: Milda Bee from Boston, MA USA I travel quite a bit around the world and try to stay at vacation rentals when I can. I very highly recommend this rental - it is private, but on a bustling street. The condo is very clean, modern furnishings and appliances andd best of all - COMFORTABLE BEDS!!! The price is right and the subway to EVERYWHERE is across the street as is Bus Stop to "the Beaches" which you can hike to if you like exercise...full grocery store across street makes meals easy. The owner, Sandy, is truly friendly & accomodating and fun to talk to...Again, it gets a AAA start from me!
2 Bedrooms, 1 Bathrooms, Capacity: 6
Beds: 1 Queen, 2 Doubles,
Minimum Stay: 3 - Night Minimum
Nearby Attractions: - Restaurants, banks, grocery stores,dry cleaners, medical clinics, churches are all in our immediate area . Golf course, swimming, boating, hiking, skateboard park,
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text:
How to remove Search.dsearchm3f2.com from the computer and browsers
This is an item about Search.dsearchm3f2.com virus that penetrates users' workstations in many countries. We also made safe guide for Search.dsearchm3f2.com elimination and few advices for virus victims.
What is Search.dsearchm3f2.com. Removal reasons and methods
This item is dedicated to the most effective virus of recent weeks that so far infected thousands of user's devices. We talk about Search.dsearchm3f2.com, and from our article you will learn how it penetrated your PC, how to get rid of it, and how to defend yourself from similar dangerous software in the future. Now you understand that this advertising tool won't steal or erase your information but will annoy you for weeks until you remove it. Most of the times, adware owners aren't its developers - they just bought the completely tuned adware set on illegal auctions and barely know how to use it. Saying this, we mean that such tools are plain, but if they infect the workstation of an inexperienced user, they can pose a great threat. Understanding this, we will reduce our tips to single suggestion: the faster you'll delete Search.dsearchm3f2.com - the better.
Advertising software can infest your computer in a lot of ways, but certain programs prefer the certain ways. For example, Trojan viruses prefer vulnerabilities in software's code, ransomware, most often uses phishing and adware owners most often use bundled installation. Bundling depends on an indirect deception of the user. In fact, this bundle comprises of a single decent tool and 4-5 suspicious programs. The utilities in the package can only be installed simultaneously, so if user doesn't notice the pop-ups that emerge during the installation, he can cheaply let them penetrate the PC. There is a dialogue window that allows user to choose between regular and "for experienced users" ways of installation. The automatic method is checked by default, and if customer doesn't check the other one, he will get all the contents of. We have several easy advices that can assist you avoid getting hacked in this way:
- You should learn to discern malicious websites from common ones one. Theoretically, any webpage can get cracked and used for illegal actions, but actually most of the viral web pages are created for advertising scam, are online casinos or distribute adult content. Viral websites could be simply recognized by an abundance of obtrusive ads, bright design, clickbait headers and strange tabs that appear when clicking on a link.
- You should know that any piece of the pirated content is potentially dangerous. That's how hackers spread viruses, through the ordinary customer's greed. If you want to use the free tool, then download it exclusively from the official developer site, or from another trusted site. By abiding this rule you limit the number of sources of infection.
- Don't neglect the information that's shown in the menus during the installation. This will help you to detect and reject the attempt to infection.
There is a widespread opinion that anti-viral tool software program is capable of totally keeping malware away from the system, but it's not true. The operator's actions are the very frequent cause of infection of the PC, and in order to protect your PC, you better work on adhering the basic principles of Internet security. Do not play against your antivirus, visiting the infected websites, but work with it, making wise choices on the Internet and sticking to the principles, written above.
These instructions written above are pretty simple, but if you'll abide them you will understand how much better your device will do and how much easier the web-browsing will become. Remember that before using these instructions, you should do a complete cleaning of your computer of perilous programs that might be there. The paragraph below can assist you to eliminate any malware from your computer.
Search.dsearchm3f2.com removal tool
AV tools can be categorized from each other in many parameters, from efficiency to other advantages such as system resource consumption, technical support, operation speed, database updates and compatibility with different software. Spyhunter AV tool software that we are proposing you has all necessary functions and even more, for all sorts of work. If you aren't confident about buying it - feel free to download the trial version with scanner. If you don't want to download any software to shield the device against undesired software - just use our guide for by-hand deletion.
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We advise downloading SpyHunter to see, if it can detect malware for you.
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It protects the system against all kinds of threats: Trojans, adware and hijackers
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SpyHunter scanner detects threats and malware for free, but to remove infected elements you need to purchase a full version of program. More information about Spyhunter, EULA and Privacy policy.
Search.dsearchm3f2.com removal instructions
If you use MAC OS, follow our article: MAC adware removal.
If you are Android user, follow this guide: Android virus removal.
Step 1. Uninstall Search.dsearchm3f2.com from the system
Instruction for Windows XP and Windows 7
Step 2. Check browser's shortcut
Step 3. Remove Search.dsearchm3f2.com from browser's settings
Instruction for Mozilla Firefox
Instruction for Internet Explorer
Video instruction how to clean browsers (Google Chrome, Mozilla Firefox, Internet Explorer)
Step 4. Remove elements that stayed after Search.dsearchm3f2.com deletion
Step 1. Remove Search.dsearchm3f2.com from the system
It is an optional step, if you have no installed software with the same name, go to the next step.
Instruction for Windows XP and Windows 7
1. Click Start, click Control Panel, and then double-click Add or Remove Programs.
2. In the Currently installed programs box, click the Search.dsearchm3f2.com, and then click Change or Change/Remove.
3. Follow the instructions that appear on the screen to make the changes that you want.
Instruction for Windows 8
1. Point to the upper-right corner of the screen, move the mouse pointer down, and tap Search.
2. Enter Control panel in the search box, and then click Control Panel.
3. Under View by: select Large Icons, and then click Programs and features.
4. Click the program, and then click Uninstall.
5. Follow the instructions on the screen.
Instruction for Windows 10
1. On the field Search Windows type 'Control Panel'
2. Click Uninstall a program
3. Select Search.dsearchm3f2.com and press Uninstall
Instruction for Mac OS
1. In the Finder sidebar, click Applications
2. Drag the app from the Applications folder to the Trash
3. Choose Finder > Empty Trash
Step 2. Check browser's shortcut
1. Right-click on shortcut
2. Select Properties
3. Check the field Target: there must be only way to your browser, e.g.:
Google Chrome: "C:\Program Files (x86)\Google\Chrome\Application\chrome.exe"
Mozilla Firefox: "C:\Program Files (x86)\Mozilla Firefox\firefox.exe"
Internet Explorer: "C:\Program Files\Internet Explorer\iexplore.exe"
Opera: "C:\Program Files (x86)\Opera\launcher.exe"
Safari: "C:\Program Files (x86)\Safari\"
Step 3. Remove Search.dsearchm3f2.com from browser's settings
Instructions for Google Chrome
1. Launch Google Chrome
2. Click Menu (Customize and control Google Chrome)
3. Select Settings
4. Scroll down and click Show advanced settings...
5. Click Reset settings
Instructions for Mozilla Firefox
1. Launch Mozilla Firefox
2. Click on Help on menu bar
3. Select Troubleshooting information
4. Click Reset Firefox...
Instructions for Internet Explorer
1. Launch Internet Explorer
2. Click Tools (You can press ALT+X on the keyboard)
3. Select Internet Options
4. Select Advanced tab
5. Click Reset... button
6. Put the tick near 'Delete personal settings' and click Reset
Instructions for Opera
1. Start Opera
2. Click Menu (Customize and Control Opera)
3. Select Settings > Browser tab
4. Select On Startup - Open a specific page or set of pages - Press button "Set pages" and change Homepage to your favorite one
Instructions for Safari
1. Open Safari browser
2. Click Menu (Display a menu of General Safari Settings)
3. Select Reset Safari...
4. Click Reset
Video instruction how to clean browsers
Step 4. Delete elements that would stay after Search.dsearchm3f2.com deletion
1. Remove files and folders, if they stayed:
- Type Search.dsearchm3f2.com in the search box
- Scroll to the bottom of the list of search results. Under Search again in, Click Computer
- Wait for the search results
- Delete items found
2. Delete registry keys
- Click the Start button
- Type Regedit.exe and press Enter
- Press Ctrl+F and type 'Search.dsearchm3f2.com'
- Click 'Find Next'
- Delete the entries that were found
Step 5 (Optional). Scan the computer with antimalware scanner
- Download antivirus tool, e.g. Adwcleaner
- Press Scan button
- Press Clean button
Published by KateRealta


text:
Year 2 2019 - 2020
Teacher: Miss K. Dalton
Teaching Assistant : Mrs N. Jones
Learning Support 1:1: Mrs K. Harwood
Christian Value: Thankfulness
Number of pupils:30
Specialist Staff
Music: Mrs Payet
RM Maths: Mrs Booker
Football: Mr Prince
Class Prayers
Lunchtime: For good food and those who prepare it,
For good friends with whom we share it,
We thank you Lord.
Hometime: Watch o'er a little child tonight,
Blessed Saviour from above,
And keep me til the morning light,
Within your arms of love.
UNICEF Rights and Responsibility: Article 28
Every child has the right to an education.
School Council
Our council representatives were chosen by the class in a deocratic vote. Each child performed a speech to persuade the class to vote for them. Well done to everyone who put their names forward. Our winners were: Kye and Kodi.
Golden Apples
We have promised to try our best to gain our 5 leaves for: Service, Community, Justice, Friendship and Creation.
Children's University
At the end of Year 2, we have the opportunity to graduate from Children's University (as long as we have earned enough credits). We gain credits through attending after school clubs, participating in sports teams for the school, jobs we do in school and also by having our Children's University passports stamped at learning destinations for example: museums and clubs outside of school. Passports are available to purchase from the school office.
We are hoping that we will all graduate this year.
Physical Education
You will need: black shorts, red or white T shirt, black pumps (indoor), trainers, (outdoor) optional.
Children will require their PE kit in school at all times.
Online Safety
An Important Note to Parents and Carers.
Please be aware of online safety when our children go on the Internet. The link below offers information and advice about keeping our children safe online. It also has a valuable reminder of the importance of keeping passwords secure.http://www.thinkuknow.co.uk/
Files to Download
Year 2: News items
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Year 2: Blog items
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Year 2: Gallery items
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Year 2: Events items
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text:
Poems were written about John Andre and his captors. This is one example which includes, among other verses:
On the day of execution, he gazed around awhile,
He looked on the spectators, and gave a pleasant smile,
Which filled each heart with horrow, caus'd many hearts to bleed,
For every one wish'd Andre clear, and Arnold in his stead.
John Andre was thirty-one years old on the day he hanged.
Click on the image for a better view.
Image online, courtesy the U.S. Library of Congress.
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text:
Auld Lang Syne
Happy New Year everyone! New Year is one of my favorite holidays, more for the time of reflection and looking back than the parties and heavy drinking associated with it (what can I say, I'm a cheap date). Auld Lang Syne, the traditional song sang at midnight on New Year's eve, roughly translates to "old … Continue reading