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北京pk10有几种技巧:Oxford Arts Blog
TORCH (The Oxford Research Centre in the Humanities)?will welcome?Ms Nur Laiq?as its Global South-Mellon Visiting Professor 2019-2020.
Nur Laiq is a public policy practitioner. She has sought to investigate the combustible power of identity and politics, based on her ground experience in the political and policy arena. Her research aims at bridging the gap between academia and policy.
Ms Laiq has worked on policy with political parties in India and Britain, as well as?in the Policy Planning Unit of the UN Department of Political Affairs Policy in New York, with a particular focus on sustaining peace – the idea that nations need to continuously invest in the fundamentals of inclusion and equality to keep war at bay. She also served on the UN Advisory Group on Youth, Peace and Security, appointed by the UN Secretary-General.
Ms Laiq has been a senior policy analyst at the International Peace Institute in New York, a stagiaire at the European Commission DG External Relations in Brussels, and holds a visiting fellowship at the Centre for Policy Research in New Delhi. She has an MPhil in Modern Middle Eastern Studies from St Antony's College, Oxford, which included studying Arabic in Damascus and Persian in Tehran.
Her publications include Talking to Arab Youth: Revolution and Counterrevolution in Egypt and Tunisia (New York: International Peace Institute, 2013), based on fieldwork with social movements and political parties across the entire ideological spectrum in Egypt and Tunisia following the 2011 uprisings. She is co-editor of The Search for Peace in the Arab-Israeli Conflict (Oxford: Oxford University Press, 2014), which aims to offer policymakers a toolbox of options for negotiations, based on documentary history and interviews conducted with Arab, Israeli and American stakeholders. Ms Laiq has been a member of the United Nations advisory group for The Missing Peace: Independent Progress Study on Youth and Peace and Security (New York: United Nations, 2018) and the Center for American Progress task force for The United States and India: Forging an Indispensable Democratic Partnership (Washington, DC: Centre for American Progress, 2018).
Drawing on her experiences, Ms Laiq is working on a book project on the new varieties of liberal responses to new strands of populism and the politics of identity. She seeks to explore the flammable properties of grievance, aspiration and insecurity and the power of narratives in these situations, based on her work on the ground. She sifts through the changing discourse around inequality and identity as the idea of civic nationalism faces grave challenges in both the Global North and South. Her?study of shifting political assumptions and practices necessarily takes an interdisciplinary approach.
TORCH welcomes Ms Laiq's knowledge and expertise, which will provide a?timely contribution to ongoing work to bring together researchers and policymakers interested in the future of identity, and consequently the future of democracy, peace and security. This is a theme explored in the TORCH headline series 'Humanities and Identities'.
Ms Laiq said: 'I am pleased to be joining TORCH and working with Professor Rana Mitter, the History Faculty and the Blavatnik School of Government. I look forward to engaging with students and academics on the navigation of identity and politics in contemporary politics, which is a work in progress. I am excited to be part of a forum for the exchange of ideas between policy experts, politicians, and the Oxford academic community.'
Rana Mitter, Professor of the History and Politics of Modern China at Oxford University, said: 'I am delighted to be Ms Laiq's academic host during her permanence in Oxford. We are working on an exciting schedule of events to allow Nur to engage with students and academics from the University. Discussions on populist politics and the Indian elections, as well as graduate workshops on policy, will feature in it.'
Nur Laiq is based in TORCH from Trinity Term 2019 through 2020.
The TORCH Global South Visiting Professorships Programme is designed to bring world-leading figures to the University of Oxford for at least one term and be included in the teaching and research environment, hosted by leading academics in the humanities. Funded by the Andrew W. Mellon Foundation, the Programme is a collaboration between the Faculties of the Humanities Division and Colleges of the University of Oxford.
In his new book, The Murderer of Warren Street, Professor Marc Mulholland, a professor of modern history at St Catherine's College, Oxford, reveals the true story of the notorious 19th-century revolutionary Emmanuel Barthélemy. This article, first published in the Irish Times, focuses on the last fatal duel held in England...
By Marc Mulholland
On a foggy morning in October 1852, two French men stopped at one of England's great beauty spots, Priest Hill, a viewpoint near Windsor rising above the Vale of the Thames. Both were revolutionary republicans, socialists, and refugees from their home country. They took off their coats, received duelling pistols from their seconds and stood opposite each other. At signal, Frédéric Cournet advanced, took aim, and pulled the trigger.
Frédéric Cournet, was a large man, in his forties, who carried himself with the confidence of a former naval war-hero. He had led courageous resistance on the streets of Paris against the recent coup d'état against the constitution launched by President Louis Napoleon. Cournet had killed a guard to escape his captors and fled to London a wanted man.
Cournet's duel was with Emmanuel Barthélemy, still in his twenties but with a lifetime's experiences. Born of the working classes, Barthélemy had been a revolutionary conspirator since the age of sixteen. He had served nine years as a galley-slave after attempting to assassinate a police man. Little daunted, after release he fought as a barricade commander in a major workers' insurrection against the bourgeois government. Arrested again, Barthélemy made international headlines by his daring escape from the notorious military prison Cherche-Midi in central Paris. Disguised as a priest, he slipped out of the country and made for England.
Why were these comrades of revolution meeting in mortal combat? Fundamentally, they were very different types. Victor Hugo, in his great novel Les Miserables, painted a pen-portrait. Cournet was "a burly broad-shouldered man, red-faced, heavy-fisted, daring and loyal". He was "intrepid, energetic, irascible and temperamental." Barthélemy was "thin and puny, sallow-faced and taciturn, a sort of tragic outcast." Cournet was something of a blowhard. He was well-known as a bully and an inveterate duellist. Barthélemy was a fanatic: disciplined, ruthless, and filled with a cold rage against society.
It was an Irish man and graduate of Trinity College Dublin, Arthur Reeves, who explained the affair to a fascinated public. Reeves, who had spent 22 years living in France as a language tutor, kept company with the French political émigrés in London. The "boiling nature" of French blood, he reported, made them ultra-sensitive "upon the point of honour". Cournet had spread rumours about Barthélemy's girlfriend, suggesting she was a prostitute. Most men, knowing Cournet's reputation, might have turned a deaf ear. For Barthélemy, however, the slight was not just personal. The dignity of his class and his revolutionary enterprise was at stake. Cournet refused to apologise and a duel was inevitable.
Cournet confidently let loose his fire, but missed his aim. Now it was Barthélemy's turn. He pulled the trigger, but the gun misfired. He tried again, it misfired again. In a growing frustration of terror, Cournet threw his weapon at Barthélemy's head. "Use mine!" Barthélemy picked it up, took aim and fired. Cournet fell to the ground, mortally wounded. He died later that night in the nearby Barley Mow Inn. For years afterwards his ghost was reputed to haunt the place.
Barthélemy and the duelling 'seconds' - friends and assistants to the 'principals' - fled the scene, but the new electric telegraph system sent news ahead, and police arrested them at Waterloo station. They were charged with murder.
Duelling had been a common social practice. Prime Minister William Pitt, the Duke of York, even Daniel O'Connell, the Irish Liberator, had all defended their honour on the field. Though technically a grievous criminal offence, duelling was in effect permitted for aristocrats, officers and gentlemen. It was only denied to the common people. The normal practice was for suspects to be released on bail before being found 'not guilty'. This had been a republican duel, however, and Barthélemy and his seconds were working class. They were flung in jail to await trial.
Once more a curious Irish connection comes into play. Just a few months before the duel, in July 1852, British soldiers had fired upon a crowd in the small manufacturing town of Sixmilebridge in County Clare, killing six peasants. The occasion had been a tumultuous election assembly, with locals under the leadership of their priests shouting against landlord influence, but there is little evidence that soldiers had been seriously provoked or threatened. British opinion was shocked not by the massacre, however, but by the jury of the coroner's court bringing in a verdict of 'wilful murder' against the soldiers and the magistrate. This should have meant imprisonment of the accused until their criminal trial. Instead the Government-appointed Attorney General intervened to order their release on bail. Shortly afterwards he struck down the coroner's court verdict.
At the Windsor Assizes, the lawyers defending Barthélemy and the others seized upon this legal chicanery. If soldiers could be released on bail as men of good reputation, they asked, why not these honourable duellists? It was an embarrassing moment for British justice, and a special appeal court had to be convened to adjudicate the point of law.
Unsurprisingly, the defence motion was denied, but in so doing the judges had to state with unprecedented firmness that duelling, in fact, was not a crime to be mitigated by honour. It could no longer be winked at as a suitable affair for gentlemen. An important principle had been established. This, as it turned out, would be the last fatal duel ever to be fought on these islands.
Barthélemy and the others were held on bail, went to trial, and were found guilty. The jury, however, brought in a verdict of manslaughter and the sentence was a mere six months. Barthelemy's extraordinary career was far from over. Upon release, he planned the crime of the century - to assassinate Louis Napoleon, now Napoleon III, Emperor of the French. His furious temper got the better of him, however, and when his employer resisted Barthelemy's attempt to extort revolutionary funds, a fatal fight ensued. In January 1855, in the falling snow, Barthelemy was hanged for murder outside Debtors' Gate at Newgate prison.
The Murderer of Warren Street by Marc Mulholland is published in paperback by Windmill.
TORCH (The Oxford Research Centre in the Humanities) will welcome Professor Joy Owen as its Global South-Mellon Visiting Professor 2018-2019.
Professor Owen is Head of Department and Associate Professor of Anthropology at the University of the Free State, Bloemfontein in South Africa. Prior to her employment at the UFS, she was Head of Department (Anthropology) and Deputy Dean of Humanities at Rhodes University, Grahamstown.
Professor Owen's research currently explores the social networks of South African transnational migrants who have migrated to Germany, Australia and New Zealand. In the process of doing so she is considering the importance of social and cultural capitals to the 'successful' migration of South Africans to these three countries. Her sojourn in Germany in 2016 gave her first-hand experience of transnational migration and the difficulties inherent in 'connecting' with those who are nationally different. Over the next few years, she will explore these three sites more specifically through direct participation and observation.
During the period of her visiting fellowship at Oxford, Professor Owen plans to focus on two strands of research that are related to each other. The first originates within her doctoral research on Congolese transmigrants in Cape Town, South Africa. The second arises from her interest in the South African 'diaspora' present in New Zealand and Australia.?Her knowledge and expertise are a timely contribution to work that is ongoing to make curricula and conversations at Oxford more inclusive.
Professor Owen said: 'I am pleased to be joining TORCH and working with both Wale Adebanwi and the African Studies Centre at this exciting time, and for my research to be so warmly received by colleagues in the humanities at Oxford. I am looking forward to teaching and engaging with students and sharing ideas and perspectives on research, racialised identities and migration.'
Professor Wale Adebanwi, Director of the African Studies Centre and Rhodes Professor of Race Relations at the University of Oxford, said: 'Joy is a wonderful addition to TORCH and the Faculty of Anthropology. Her research has been influential and pioneering and throws light on important topics such as transnational migrations. Joy will mentor students, lead open events in collaboration with the African Studies Centre and the Africa-Oxford Initiative, and contribute to Oxford in a number of other ways while she is with us.'
Professor Owen will be based at TORCH and St Anne's College during Trinity Term. Her?works include the monograph Congolese Social Networks: Living on the Margins in Muizenberg, Cape Town (Lexington Books: 2015), and articles such as "Xenophilia in Cape Town, South Africa: New Potentials for Race Relations?" in?City and Society Vol 28.3 (2016), "Transnationalism as Process, Diaspora as Condition" in Journal of Social Development in Africa Vol 30.1 (2015). Her most recent publications are "Humanising the Congolese Other: Love, Research and Reflexivity in Muizenberg, South Africa", published in R. Boswell and F. Nyamnjoh (eds.), Postocolonial South-African Anthropologies, in 2017, and "Sade – By your Side" published in Suomen Antropologi: Journal of the Finnish Anthropological Society Vol 43.2 (2018).
The TORCH Global South Visiting Professorships Programme is designed to bring world-leading figures to the University of Oxford for at least one term and to be included in the teaching and research environment, hosted by leading academics in the humanities. Funded by the Andrew W. Mellon Foundation, the programme is a collaboration between the faculties of Oxford's Humanities Division and the colleges of the University of Oxford.
By Dr Cayenna Ponchione-Bailey,?junior research fellow at Somerville College; college lecturer in music at St Catherine's College; postdoctoral researcher on the Transforming 19th-Century Historically Informed Practice project;?associate conductor, Orchestra of St John's.
In Afghanistan, young women making music in public is a bold political act. To been seen, to be heard — particularly through musical expression — is radical for women living in Afghanistan today. Yet there is a group of young women defying all the odds to assert their right to make music — they form Ensemble Zohra, the first all-female orchestra in Afghanistan. Through their courage they are pushing back 40 years of repression and inspiring a whole new generation of young men and women. In March, these young women will be in residence in Oxford for a week in a historic visit which promises to be the beginning of an exciting and enduring relationship between the Afghanistan National Institute of Music and the city of Oxford.
Following the Soviet invasion of Afghanistan in 1979 and the rise of the Taliban, a rich musical culture was silenced for decades with women's access to musical participation completely forbidden. Despite the political and security changes after 2001, there are still large portions of the Afghan population that do not approve of music-making, especially for women and even more particularly in mixed groups of men and women. Pushing these social boundaries, Dr Ahmad Sarmast founded the Afghanistan National Institute of Music (ANIM) in 2010. ANIM is co-educational and teaches the national curriculum alongside a full music programme including history, theory and practical performance on both traditional Afghan and Western classical instruments.
Based in Kabul, ANIM is dedicated to providing access to music education across all sectors of Afghan society, ensuring that street children and orphans have as much access as more middle-class families. Students from the outlying provinces often move to Kabul to live in orphanages as much to be in proximity as to be safe from family members who disapprove of their musical activities.
The school is a 'safe space' for the girls (from age a very young age through to their early 20s) where they are equal to their male peers in all ways. While girls participate in all aspects of musical performance alongside the boys, in 2015, Meena, a young trumpet player approached Dr Sarmast because she wanted the girls to have their own group, to take ownership of their performance and repertoire and form an all-female orchestra—Ensemble Zohra.?
I first became aware of Ensemble Zohra through an online news article about Negin Khpalwak, the first Afghan female orchestra conductor, with whom I felt immediate sympathies as my own youth was spent trying to become an orchestra conductor in the middle of Alaska. Negin had to move from her traditional Pashtun community in rural Afghanistan to Kabul when her uncle threatened to kill her if she pursued her musical ambitions. Let's not pretend for an instant that growing up in Alaska and living in an orphanage in Kabul are the same things, but what they do have in common is a remoteness from the rich orchestral landscape that is taken for granted in the UK and throughout much of Europe. Throughout the rocky and unpredictable journey that is any conducting career, there is no replacement for the multitude of experiences and knowledge gained by having access to such a wide range of orchestral practices and musicians. I was instantly inspired by her story and began to lobby my orchestra to bring her to the UK for a two-week professional development programme. Very quickly the conversation turned towards bringing the entire group here and thus began a life-changing journey…
It didn't feel right to invite the young women here without going to meet them first, so within a few months I had booked a flight to Kabul and spent a week visiting the music school. I was fortunate to have local hosts who helped me navigate the city safely, but even in Kabul which is under the control of the Afghan Government, I only entered buildings with armed guards and frequently underwent pat-downs and bag searches, even to enter malls or restaurants. Students are not able to take instruments home with them to practice as the risk of violence and theft is too high. In 2014 a public performance was attacked by a suicide bomber where one audience member died and the school's director nearly lost his life. Fortunately, no students were killed in the blast. A week after I left, a school in another district of Kabul was attacked killing 48 pupils and teachers. But that is the reality for those pushing forward on the ground in Afghanistan.
As an orchestra conductor and academic with a specialism in the social psychology of orchestral music-making, I found the situation at the school fascinating. Unlike El Sistema's project of cultivating primarily Western orchestral practices, all of the orchestras at the school combine traditional Afghan and Western classical instruments, performing arrangements of traditional and popular Afghan and Western classical music. In doing so the practice re-signifies orchestral music-making, creating a uniquely Afghan sound and musical culture. Naturally, it is not as simple as that, and coming in from the outside I immediately saw tensions between a variety of potential objectives. One such tension lies in how one balances the development of individual musicians, such as those with orchestral aspirations and potential on an international stage, with the desire to promote an authentically Afghan musical practice when there is yet to be a professional (or even amateur, for that matter) orchestral music scene in Afghanistan.
Becoming a musician in Afghanistan is not straightforward — especially if you are female. There are no orchestras to audition for or regular chamber music series in concert halls, nor are there acres of budding pianists whose parents will bring them to your studio for weekly lessons. Public performances are risky. A life in music for these young people will require an incredible amount of innovation, creativity, risk-taking and perseverance. They will become cultural leaders in the process.
Inviting them to Oxford for a week-long residency is one way that we can support this journey, and in exchange we will be opened to a whole new way to be an orchestra, new musical landscapes and new friendships. In residence at Somerville College, the young women will be embedded in an environment that has spearheaded the education and empowerment of women for over a hundred years. Ensemble Zohra will rehearse and perform with Oxford University students, young musicians from the Oxfordshire County Music Service, and the professional musicians of the Orchestra of St John's.
Ensemble Zohra will be giving public performances at the British Museum on 15 March; Harrow Arts Centre on 16 March; and Sheldonian Theatre on 17 March. The traditional section of the orchestra will also be performing on a special programme led by musicologists Professor John Bailey (Goldsmiths) and Veronica Doubleday at the Holywell Music Room on 13 March. A panel discussion on women's education in Afghanistan will take place at Somerville College on 14 March. More information about these events and information on how to buy tickets can be found at www.osj.org.uk.
Babel: Adventures in Translation, a new exhibition at the Bodleian Libraries opening on 15 February, explores the power of translation from the ancient myth of the Tower of Babel to the challenges of modern-day multicultural Britain in light of Brexit. Featuring a stunning range of objects from the Libraries' collections, the exhibition shows how ideas and stories have travelled across time and territory, language and medium.
Babel explodes the notion that translation is merely about word-for-word rendering into another language, or that it is obsolete in the era of global English and Google Translate. It shows how translation is an act of creation and interpretation, and has been part of our daily lives since time began.
Katrin Kohl, Professor of German Literature at the University of Oxford, and co-curator of the exhibition said: "Babel explores the tension between the age-old quest for a universal language, like Latin, Esperanto or global English today, and the fact that communities continue to nurture and retain their own languages and dialects as part of their cultural identity. The exhibition illuminates how translation builds bridges between languages and how the borderlands between languages can be fertile ground for resistance, comedy and creativity."
Ancient treasures – such as a second-century papyrus roll of Homer's Iliad, a mathematical textbook from ninth-century Byzantium, and a beautiful illuminated manuscript of Aesop's Fables – will be shown alongside contemporary objects such as signage, branding and leaflets that draw on multiple languages to speak to a global audience. Exploring fantasy and fairy tales, the translation of divine texts and the endeavour to create a universal scientific language, the exhibition will appeal to adults and young people alike and anyone interested in language, science, religion and the power of stories.?
Exploring themes of multiculturalism and identity, the exhibition considers issues that are more relevant than ever as Britain approaches Brexit. Iconic ancient texts and modern ephemera remind us that the British Isles always have been, and still are, multilingual. Looking ahead – to the very distant future – the exhibition also considers the thorny problem of how to mark the sites where nuclear waste is buried so that the warning will still be intelligible many thousands of years from now.
Highlights of the exhibition include:
- The spectacular Codex Mendoza, a unique manuscript from around 1541 which uses picture writing alongside the Mexica language, Nahuatl and Spanish in order to brief Spanish imperial rulers on their new lands in Mexico
- A 3,500-year-old bowl inscribed with a mysterious script that still resists deciphering
- An unpublished notebook kept by JRR Tolkien revealing how he created his own 'Private Scout Code' at the age of 17 while studying Esperanto. This is the first known example of him inventing an alphabet, and foreshadows his fictional Elvish alphabet and languages
- Matisse's illustrations from a rare edition of James Joyce's Ulysses in which the artist sketched scenes from Homer's Odyssey rather than Joyce's novel, which he had not read
- Different versions of Cinderella – by Charles Perrault, the Grimm brothers, Shirley Hughes, and in pantomime and film – showing how stories have been transferred across cultures, resulting in new interpretations across time, space and different media
- Iconic medieval texts that speak of Britain's rich linguistic heritage, including The Red Book of Hergest, one of the four Ancient Books of Wales, and The Annals of Inisfallen, which chronicles the medieval history of Ireland
- An experimental 1950s computer programme designed by Christopher Strachey to generate convincing love letters
- Dans le Chip Shop, a humorous sketch from Miles Kingston's book Let's Parler Franglais!, which mixes English and school-child French to comic effect and celebrates its 40th anniversary this year
- A mathematical textbook from 1557, The Whetstone of Witte, containing the first recorded use of the equals sign
Richard Ovenden, Bodley's Librarian, said: "Babel is a fascinating exhibition that shows us how translation has shaped our modern lives – in religion and science, politics and literature, food and health. The Bodleian Libraries is an incredible treasure-house of great works that have grown out of the transfer processes between languages, and the exhibition showcases some of these extraordinary items with great effect, changing the way we think about translation today."?
The exhibition was curated by the following co-curators at the University of Oxford alongside Professor Kohl: Dennis Duncan, a writer and translator, and Visiting Fellow at St Peter's College; Stephen Harrison, Professor of Latin Literature and Fellow and Tutor in Classics at Corpus Christi College; and Matthew Reynolds, Professor of English and Comparative Criticism and Fellow and Tutor in English at St Anne's College.
The exhibition team is collaborating with Creative Multilingualism, a four-year research programme led by Professor Kohl, which is funded by the Arts and Humanities Research Council as part of the Open World Research Initiative. The project is investigating the interconnection between linguistic diversity and creativity, with Professor Reynolds leading a research strand on Prismatic Translation.
In the Bodleian's Babel exhibition, visitors will be able to explore digital interactives including the opportunity to listen to texts from the exhibition read in their original languages, ranging from Tibetan and Sanskrit to Italian and German.
Babel will be accompanied by an engaging programme of free talks and events at the Bodleian's Weston Library, including a Library Late event on 8 March, which will be an interactive evening celebrating languages and cultures. For more information visit www.bodleian.ox.ac.uk/whatson.
An accompanying publication to the exhibition, Babel: Adventures in Translation, will be released by Bodleian Library Publishing on 15 February, and is available for pre-order from www.bodleianshop.co.uk. The book is authored by Dennis Duncan, Stephen Harrison, Katrin Kohl and Matthew Reynolds.?
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What We've Been Up To
Ron Mahoney turned countless Iron City drinkers into lifelong can collectors with his head-turning illustrations in the 1960s. Top Hat reunited the pair to pick up right where they left off.
Ever get the feeling you're not seeing the whole picture? Life on Mars is yet another very special brew from our friends at Reuben's. It's hard to keep up, so head over to the case study to see them all.
The only beverage brand with the same Pittsburgh street cred as Iron City could only hire one agency for a website as fresh as its products.
All-over illustration transformed the most heavily-trafficked bar in PPG Paints arena into a show-stopping, high-impact work of art.
Sleek animations and an understated, yet extremely distinctive color palette join some of the handsomest tabular data & bar graphs you've ever seen to make Twin Capital's site stand alone in its industry.
Iron City is shorthand for Pittsburgh – the blue collar worker of its heritage and its vibrant, creative future. We set up to capture an Iron for everyone.
Sherpa Software needed a site and identity that speaks to all of their audiences effectively. A compelling visual overhaul was just the first step to a totally re-imagined content strategy.
Our friends at Pittsburgh Moto Magazine began organizing one hell of a motorcyle show at historic Carrie Blast Furnace. The only thing that could make it better? "Presented by Iron City Beer."

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02 Mar 2019
A British Airways Concorde lifts off from London's Heathrow airport on its first transatlantic test flight after modifications were made to improve safety, October 22, 2001. Concorde's reputation never truly recovered after a crash in 2000 in France that killed all 109 people on board and four people on the ground.
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I need to store two 32-bit numbers in a way that is quickly accessible and as storage space efficient as possible. My keys are a combination of the following two
port: 0 - 29
vlan: 1 - 4095
struct Dat_s{
int id;
int val;
} Dat_t;
Also I need to pre-allocate all the storage that could be taken up in a worst case.
Is the best way to store it in a two dimensional array
Dat_t Content[29][4094]? Or is there a better way?


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She may date famous men by the truckload, but don't go to Jessica Simpson for advice about love.
Asked by Allure magazine what she has learned from her boldface-named relationships with ex-hubby Nick Lachey, musician John Mayer and NFL star Tony Romo, Simpson says, "Nothing."
Despite her professed cluelessness about relationships, the 29-year-old star insists that none of her loves ended bitterly - not even with Romo, who famously dumped her the day before her birthday.
"I talked to Tony today," she told the mag. "I'm still a fan [of the Dallas Cowboys]. I'm a huge fan. I wear my gear, and I cheer Tony on."
Simpson also cleared up a rumor about ex Mayer.
"He didn't make me go brunette," she says of the darker hairdo she sported in 2006 and 2007. "John doesn't get credit for making me brunette. He'd like to think so, but he doesn't deserve the credit."
Allure had conducted its interview with Simpson before Playboy published its explosive talk with Mayer in which he spewed racial epithets and said that Simpson was crazy in bed.
The singer also denied that she has aligned with Smashing Pumpkin head Billy Corgan.
"I'm on my own, and it's nice," says Simpson, whose new VH1 show, "Price of Beauty," debuts in March.
Still, Simpson foresees that her next husband will be as artistic as Corgan. "It will show you the colors of my character, the person that I fall in love with next," she explains. "I don't even have a type! I don't have a physical type. I have an emotional type."
Simpson got emotional herself when discussing the razzing she endured for her weight and the "mom jeans" she sported at an early 2009 concert.
"I would not wish on my worst enemy what I went through," she says.
Despite Simpson's growing comfort in her body, she says she'll never show it for the camera.
"I will never do nudity," she declares. "I don't care how dark and intellectual the role could be, you know. I don't care if I frickin' could get an Oscar for it, I'm not going to do it. Those accolades mean nothing to me. I don't think people deserve to see what's under my clothing. That's only for my next husband. Ha ha ha."
Now nearing the age of 30, Simpson finds herself less sure of her future than she once was.
"I just kind of thought I had it figured out: I'm going to be this great pop star, have my songs on the radio, be married, and have babies," she said. "But things can be taken away from you. A song can not be played on the radio. An album can not work."


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The issue of Japanese schools forcing students to dye their hair black came to the forefront of both domestic and worldwide media in 2017.
That fall, a high school student in Osaka was forced to dye her naturally brown hair to fit the strict and widespread rule that all students' hair must be black. This news story, covered by the likes of Time and Teen Vogue, sparked debate online about dress codes in Japanese schools, and the issues around assuming that all natural hair is black and straight. Through the Osaka student's example, it's clear that this is not true and can be seen as a form of discrimination, especially with more foreign and biracial students attending schools in Japan.
This debate snowballed into a movement called #What's Wrong With My Hair? Stop Telling Students To Dye Their Hair Black (or in Japanese: #この髪どうしてダメですか? 地毛の黒染め指導はやめてください, a hashtag originally coined by P&G's hair care brand Pantene who conducted surveys on the subject and created the following viral video about it.
This video has reached almost 10 million views and was posted on April 2019, just before the start of the new school year. It shows several Japanese students and teachers taking questionnaires about the issue of forced hair dyeing in schools. According to the video, 60% of Japanese public schools require that students submit a "Natural Hair Certificate" documenting their natural hair color and curliness — but still sometimes force students to cut or dye their hair.
The video also shows a dialogue between teachers and students discussing the issue, with one student expressing annoyance by saying, "I think it's so contradictory. Dyeing our hair brown is bad, but dying it black is good?"
The message is certainly confusing, which is why so many are speaking up against it.
A month later in May, a Change.org petition was created with the goal to take the signatures to the mayor of Tokyo. At the time of writing the petition has reached 17,730 signatures out of their goal of 25,000.
Comments on the Change.org petition generally show contempt for the status quo, including a comment written by someone named Suzuki explaining, "What's so great about black hair in the first place? These rules are an affront to diversity, they force conformity, and are downright controlling."
Another commenter named Hakamata further expanded on the issue, writing: "[Hair color] has nothing to do with education." This is a great point, why should the schools care about the shade of students' hair?"
Another person who signed the petition, called Higashi, also wrote in the comments that "it's immoral for an education system to not respect everyone's natural differences. We need to come to the realization that this is a violation of human rights."
To support the petition, sign here.


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New Photos Reveal Joker, Robin, and More From THE LEGO BATMAN MOVIE
We've already seen a couple of great teaser trailers for The LEGO Batman Movie, and now we're finally getting our first look (via USA Today) at the supporting characters that will surround Will Arnett's blocky version of The Dark Knight. He's reprising his role from 2014's The LEGO Movie, and in his solo adventure that's directed by Chris McKay, he's joined by Rosario Dawson as Batgirl, Ralph Fiennes as Alfred Pennyworth, Michael Cera as Robin, Zach Galifianakis as The Joker, and Mariah Carey as Mayor Marion Grange.
While another trailer will debut this week during Comic-Con, the outlet has revealed a bit about the plot of the film: Batman doesn't think the Joker is a worthy opponent, and this causes the Joker to lash out:
"The Joker sees himself on the same level as Batman, a peer, at the top of the game," director Chris McKay says. "But Batman says that's not the case, which sends Joker into a spiral trying to prove to Batman that he is indeed the greatest enemy."
After describing Cera's take on Robin as "a super-positive kid who always sees the glass half-full," McKay also dropped some good news for fans of Easter eggs:
"We're going deep in Batman lore and DC Comics lore," McKay says. "Batman's Rogues Gallery is going to be completely filled out in Lego."
Check out the new photos below, and stay tuned for that trailer later this week. The LEGO Batman Movie hits theaters on February 10, 2017.
In the irreverent spirit of fun that made "The LEGO® Movie" a worldwide phenomenon, the self-described leading man of that ensemble – LEGO Batman – stars in his own big-screen adventure. But there are big changes brewing in Gotham, and if he wants to save the city from The Joker's hostile takeover, Batman may have to drop the lone vigilante thing, try to work with others and maybe, just maybe, learn to lighten up.


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I've just been on my first outing as a local OAP. I've joined Lou Rossignol club des ainés and yesterday we went on a coach trip to Albi, site of one of the most magnificent cathedrals in France.
Photos of the Albi 2015 outing
Up before dawn, we set off in the dark on the three and a half hour coach trip . (Trips like this remind one how big France is, in width as much as length.) I really should get up earlier; it is so wonderful watching the sun gradually light up the hills, though as we passed from the department du Gard into first Aveyron and then Tarn, the sunny dawn turned into a grey, cold day – what a contrast to the day before (and today).
But still, it is a beautiful journey, with the steep hills of the Cévennes giving way to a richer, more rolling countryside, with the odd glimpse of a chateau or manoir. We were a friendly bunch of about two dozen (more animated than this photo suggests!).
Easy-going conversation occasionally slipped into song, usually led by Jacqueline Ruer, an old friend from choir days.
I passed through Albi three years ago. in glorious blue sunshine. Yet despite yesterday's grey skies, the cathedral still took my breath away. Built in the 13th-15th centuries, it is an immense brick edifice, its exterior resembling a fortress rather than a cathedral. All the might and power of the Catholic church, recently victorious against the Cathars, is displayed in this gigantic, deceptively simple, magnificent exterior, all of it in lovely red brick.
Then you climb up the steps to the entrance and inside your visual mind is blown away by an extraordinary single, high nave (there are no side aisles or transepts). Literally every inch is decorated. There are, as you might expect, some religious scenes, such as the splendid and scary Last Judgement, a huge mural by Flemish craftsmen, painted on the curved walls of the bell tower. Even more spectacular are the roof vaulting's Renaissance frescoes on a blue background. Painted by Italians from Bologne in the early 16th centur, amazingly they have so far not needed restoring.
I was not so keen on the large collection of statues, but I was much taken by the extraordinary non-religious patterns on the walls, surrounding for example, the tall windows. Their most unusual, geometric motifs are the sort of decoration you might find in a mosque. I wondered if there had been a Moorish or Arab influence but surprisingly the guidebooks say almost nothing about them.
This is the Cathedral Sainte Cécile and, as you might expect of a building dedicated to the patron saint of music, it has one of the largest and best organs in France.
After this visual feast it was time to eat, in a restaurant near the cathedral. This was an excellent meal, beautifully presented, reminding us that the Gard is not exactly tops on the French gastronomic map.
In the afternoon we visited the Palais de la Berbie, home to the Toulouse Lautrec museum. Again, resembling a fortress rather than a palace, it was the home of the bishops and is as splendid as the cathedral, which it predates.
These days it is a museum, housing in particular, the Toulouse-Lautrec museum. I have to confess that I was ignorant of the quantity, quality and range of Toulouse Lautrec's work, aware only of the paintings and posters from the last part of his life in Paris. What was so great about this museum – the largest single collection of his works – was starting with the excellent pictures of his teens – pictures of horses and portraits of family, friends and servants – then seeing the lively and stylish portraits of his twenties, and then the already familiar depictions of the sub-life of brothels in Paris.
I have been converted into a huge Toulouse-Lautrec fan and retain in particular memories of, for example, the energetic horse pictures of his adolescence, the touching picture of two women friends (les Deux Amies), a youthful bacchanalian scene which made me think in its shock factor of Manet's Déjeuner sur L'Herbe, the abstract back view of a redhead (quite a lot of effective back views).
The museum is enhanced by its superb setting, with the red brick walls and vaulting of the palace forming a stylish backcloth.
Inevitably exhaustion set in; I had not the energy to look at the other exhibitions in the palace – another, more leisurely overnight visit is required – and only managed to totter round a little of the old city centre, but enough to appreciate that this city enjoyed centuries of comfortable living producing stylish houses.
By the time we returned to the bus, it was raining lightly. As we left Albi, the bus heating system seemed to go into overdrive, misting up the driver's windows and making us wilt. Then disaster, the windscreen wipers packed up, no doubt related to the electrical misbehaviour. Not only was it raining but we soon passed into thick fog or cloud. Bernard, the poor driver, braked to a sudden halt every ten minutes or so and wiped the windows down with newspaper and towels. I noticed several nervous passengers quietly fastened their safety belts. Bernard struggled along for an hour until miraculously we passed a garage which was still open and whose mechanic managed to fix the electrical fault, to much cheering from the passengers. (Apparently bus breakdowns are a known feature of past pensioner expeditions.)
Lina Passport, the club president, joked cheerfully that this adventure was a little bonus offered by the club. She and the other committee members were impressively efficient. I look forward to me next oap outing.


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Shutter and aperture relationship
ShortCourses-Using Shutter Speed and Aperture Together
Those tools are shutter speed, aperture, and ISO. After I explain what each one does, I'll explain why we need three separate tools to control the brightness or. Jun 25, These are: aperture, shutter speed and ISO. By the end of this tutorial, you should understand what these 3 components are and how they affect. Feb 27, Two controls affect the amount of light that comes into the camera and strikes the image sensor - aperture and shutter speed. The ISO affects.
Next, I set my shutter speed.
I knew that this fast of a shutter speed would prevent any motion blur from the sheep running on the mountain side. Then, I took a picture.
Understanding the Relationship between Aperture and Shutter Speed
I couldn't compromise my shutter speed or aperture, so I knew I needed to use the third player in the exposure triangle—the ISO. I played around with my ISO and found that if I increased it to ISOit made the picture bright enough to take the picture without making it overly grainy.
This combination of shutter speed, aperture, and ISO worked out perfectly. Now can you see why you need to know how to shutter, aperture, AND ISO, and know how to set them independently on your camera?
The Exposure Triangle: aperture, shutter speed and ISO explained | TechRadar
Click the link below to continue reading this totally free photography basics series of articles, but if you're more of a visual person and want to see how to set the camera settings for various situations, you should really check out Photography Start. The stops are arranged so that a change of 1 stop lets in half or twice the light of the next setting. If you make the shutter speed 1 stop slower letting in 1 stop more lightand an aperture 1 full stop smaller letting in 1 stop less lightthe exposure doesn't change.
In all modes other than manual this happens automatically. However, you increase the depth of field slightly and also the possibility of blur from camera or subject movement.
For fast-moving subjects you need a fast shutter speed although the focal length of the lens you are using, the closeness of the subject, and the direction in which it's moving also affect how motion is portrayed.
When photographing moving subjects shutter-priority mode is favored because it gives you direct control over the shutter speed.
The choice of ISO enables you to use the optimum combination of aperture and shutter speed when the amount of light would normally prevent you from doing so. However, increasing the ISO also reduces the quality of your images. Use the exposure triangle to decide how to adjust the exposure: The camera can do this for you in Program, Aperture Priority or Shutter Priority, but it's something you'll need to consider when shooting in Manual mode.Pick the Best Aperture, Shutter Speed and ISO Settings
Get the hang of this relationship, and you'll gain much more control over the look and feel of every image you capture. It's also worth remembering that at one time, shutter speed and aperture were the only exposure variables you could change from one shot to the next as the ISO was set by the type of film you were using, but the introduction of digital cameras has made it possible to change ISO on the fly rather than unloading film or switching bodies.
Photographers now have more control over exposure than ever before. Now, let's take a look at some of the common questions new photographers have about exposure Understanding exposure in photography Exposure - allowing light to hit the camera sensor to record an image - is measured in what's commonly referred to as 'stops', with each stop representing either double or half the level of exposure of the adjacent stop.
Understanding the Relationship between Aperture and Shutter Speed
Increase the exposure by one stop, and the camera sensor receives twice the level of exposure. Decrease it by one stop, and the exposure level is halved. The three camera settings that give you control over the exposure - aperture, shutter speed and ISO - can each be measured in stops.
The relationship between the range of apertures available on a lens is similar, but the numerical sequence is more confusing: What's a correct exposure?


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Basic Drawing Fundamentals
Jonny Hart
Jonny Hart
In stock
This class is designed as an introduction to the basic principles of visual perception; and more specifically, how light describes form. We will cover the most basic aspects of vision: from purely practical considerations to more advanced concepts of shape, value, and edge. Students will begin to develop a form language, and work towards a fluency in communicating visually. Emphasis will be placed on developing a reliable process for picture making. Topics will include the block in, value organization,rendering, and how to simplify visual information into what is essential and personal. During the course of this class, students will receive personalized instruction and individual projects ranging from cast studies, still life and drawing from the live model depending on the class progression.
Drawing pad
Strathmore 400 or any good quality paper suitable for charcoal 16″x20″ or 18″x24″ or whatever size you'd like to use,
Charcoal pencils – whatever brand you'd like- generals, ritmo, etc, but get a full range of hardness and softness- 2H (if you can find it), HB, 2B, 4B, 6B, willow charcoal, cheap bristle brush, round, medium size (i use a #8, but it really doesn't matter)
Drawing board large enough to accommodate your pad
Kneaded eraser
Faber-castell 'perfection' eraser (looks like a pencil)
Soft paper towel or cloth to tone your paper
Charcoal powder if you have it, if not, i'll bring some to class
You can use whatever you'd like to draw, these are just suggestions, and what I think will make things the easiest for you.
Registration and Payment Plans
Students must be paid in full prior to the first day of class when enrolled in an Extension Course or Workshop, except those with a payment plan agreement. Please visit the Main Office at least 30 minutes prior to the start of the class, to complete any pending registration issues.
Payment Plans: A 3% Payment Plan Fee will be assessed, with a maximum charge of $35. The Payment Plan Fee, $20 Registration Fee, plus 50% of the total tuition owing must be paid on or before the first day of class. The remaining 50% of the tuition can be paid with a post-dated check (dated 1 month later) or with a signed Credit Card Authorization Form.
There is a $35.00 fee for all checks returned as N.S.F. (Non-Sufficient Funds).
Course Changes or Cancellations
LAAFA reserves the right to cancel any class, limit class size, change class times or substitute instructors for those listed in the schedule.
If a class is cancelled, students will be issued a full refund or may transfer with no fee to another class.
If an instructor must leave after a term has begun, and no suitable substitute is available, the student will be refunded a pro-rated amount.
Refunds and Transfers
All classes, uninstructed workshops, Visiting Artist Workshops and artist demonstrations are non-refundable. You may request to drop for credit (see next paragraph) or transfer into another class.
You have two weeks to evaluate each class and decide whether you want to drop for credit (a dollar amount calculated based on the receipt of request) or transfer into a new class. Requests must be submitted before the start of the third session, via email to firstname.lastname@example.com. A $25 Drop/Transfer Fee is assessed. Credit will be valid for a full year and is non-refundable. It can be applied toward any Extension Classes or Workshop & Events at LAAFA.
All Visiting Artist Workshops and artist demonstrations are non-refundable and non-transferable.
Absences and Make-Ups
One free make-up session is allowed per quarter, per class. Please email us at firstname.lastname@example.com, at least 3 days in advance, with the course and date you wish to attend as a make-up. Make-up sessions aren't transferable to future quarters.
Classroom Etiquette
Uninstructed Workshop Policy
For students needing extra time during the quarter to pay for their classes, tuition can be paid off in two payments. A 3% Payment Plan Fee is charged on all courses. Not available with online registration, must register in person.
How it works:
50% of the tuition, the 3% Payment Plan Fee and the $20 Non-Refundable Registration Fee is due on or before the first day of class. The remaining 50% of the tuition must be remitted with a post-dated check or with a signed Credit Card Authorization Form. Student will be advised of the date (mid-point of the classes) to put on the check/Credit Card Authorization Form.
Student will be unable to continue their classes if all of the payment requirements are not met.
One of the features of PayPal is a "Bill Me Later" promotion that includes: No Payment + No Interest if paid for within 6 months! Subject to credit approval.
Multi-Course Discount
Receive 15% off the total price of $1,500 or more for on-campus instructed classes. For online registration, use coupon code: multi15
New Student Discount
Students who are new to LAAFA receive up to a $50 off toward one instructed class. Please call (818) 708-9232 to receive your coupon for the class in order to take advantage of this offer.
Senior Discount
For those 65 years and older, receive up to $50 off toward one instructed class per quarter. Please call (818) 708-9232 to receive your coupon for the class in order to take advantage of this offer.
Referral Discount
Refer a new student and once they have completed an instructed class at LAAFA, you are entitled to receive up to $50 off toward one instructed class in the following quarter, of equal or greater value. Please call (818) 708-9232 to receive your coupon for the class in order to take advantage of this offer. Can be combined with the Senior Discount. Exclusions: Workshop & Events.
LAAFA is approved to participate in the 2019-2020 CSATF Vendor-Provided Training Program.
Through the program, members of Local 44, Local 695, Motion Picture Costumers (Local 705), Make-Up Artists and Hair Stylists Guild (Local 706), Local 755, Art Directors Guild (Local 800), The Animation Guild (Local 839), Local 871, The Studio Teachers Union (Local 884), and Costume Designers Guild (Local 892) are able to apply for:
Reimbursement of two-thirds the tuition cost for CSATF-approved classes and workshops. Click on the following link for CSATF's application forms and approved list of classes: https://www.csatf.org/local-multipro_vendor-provided_training_skills_training_application-m21778/.
PLEASE NOTE: Your reimbursement is based on the approved amount from CSATF. If tuition is lower, you will be reimbursed only up to two-thirds of the actual amount paid. If tuition is higher, you will be responsible to pay the difference and only be reimbursed up to two-thirds of the approved amount from CSATF. You must be approved through CSATF before the start of the class.
Discount Restrictions
Discounts cannot be combined. Certain classes may be excluded. Other restrictions may apply.
16926 Saticoy Street
Van Nuys, CA 91406
(818) 708-9232
Phone Hours: Mon-Fri, 9:30 AM-5:30 PM
Main Office: Mon-Fri, 9:30 AM-5:30 PM


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简介 编辑
剧情 编辑
Shelly gets chickenpox, and is rushed to the hospital. Since she is twelve years old, the disease has a short but very risky effect on her health. However, if she was older, she would've been under more critical conditions. After Randy and Sharon discover how dangerous the disease is to older kids, they contact the other parents. The parents decide that the boys should get the disease while they're young.
Kenny gets chickenpox and the parents use this as an opportunity to have the other boys get it as well. Aware of how contagious the disease is, they arrange a sleepover at Kenny's house (as Kenny has the chicken pox at the time), and force the other boys to attend. So Stan, Kyle and Cartman spend the night with Kenny. While at the McCormick's house, Mrs. McCormick reveals that Stuart and Gerald used to be friends, but once Gerald was promoted and eventually became a lawyer, Stuart became poor. They couldn't connect with each other as much, since their lives were so different, and inevitably, they stopped speaking to each other.
After the sleepover, Stan and Cartman come down with chickenpox while Kyle has remained healthy. Kyle's parents organize another sleepover that night for Kyle. Kyle talks to his father about his friendship with Kenny's dad. Sheila hears them and secretly organizes a fishing trip for Stuart and Gerald.
At Kenny's house, Kyle is forced to do many unusual things by Sheila in order for him to get chickenpox. After he comes down with it he overhears his mother on the phone with the doctor. Kyle discovers that his parents lied to him and intended for him to get chickenpox. He runs away before Sheila can explain.
Gerald and Stuart's fishing trip goes horribly wrong. They get into a fight and return home. Meanwhile, the boys ask Chef for advice. They ask him how they can get revenge on their parents, and give themherpes. Chef tells them about Frida, an old prostitute, who may be willing to help them out for pay.
The boys talk to Frida and pay her to contaminate their parents' things so that they will get sick too. When she finishes, their parents find them. Then, Kyle finally gets chickenpox and faints on the ground.
Kyle awakes at Hells Pass Hospital, with the other boys. Their parents visit and explain why they tried to give them chickenpox. The boys then admit that they were the ones who gave their parents herpes. They all laugh over the whole situation until Kenny suddenly dies from chickenpox.
肯尼之死 编辑


text: Never, Never, Never June 13, 2016 PREVIOUS NEXT Never, Never, Never "Never stop trying. Never stop believing. Never give up. Your day will come." -Mandy Hale FacebookTwitterLinkedinPinterestRedditemail Tags:believing, give up, stop, trying Share this article: 0 Posted in Blog 0 Comments Related Articles Calm The Storm A Good Person Walk Away Never Stop 0 Comments Leave a reply Click here to cancel the reply Your email address will not be published. Required fields are marked *CommentName * Email * Website Notify me of follow-up comments by email. Notify me of new posts by email.


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Good morning. We sailed a terrific print edition of The New York Times onto front steps and newsstand shelves this morning, with the Food section dominated by a beautiful essay and set of recipes by Yewande Komolafe that are meant to serve as an introduction to some of the essential dishes of Nigeria, the country in which Yewande was raised and still feels called by, after two decades in the United States.
So here is fish pepper soup and jollof rice, beef suya and braised goat in obe ata (above), the Nigerian mother sauce of puréed red bell peppers, onions, tomato and habanero.
Here, also, are Yewande's recipes for efo riro, the stewed amaranth greens common to Yoruba kitchens across the Nigerian southwest, and for dodo, the fried sweet plantains that temper the heat of fiery main dishes.
She tells the story of frejon, as well, a silky pudding of beans and coconut that is a dish of the port city of Lagos, a reflection of the cooking of those Africans repatriated there after the abolition of slavery in Brazil. And of crisp and starchy yam fries and Agege bread, dense and white.
Of course there's dessert, too: puff puff, a kind of Nigerian doughnut hole, nutmeg-spiked and tossed in spiced sugar. I hope — we all do here — that you will cook from Yewande's words for years to come.
There are many more recipes waiting for you on NYT Cooking. Creamy polenta with mushrooms, for instance. Slow-roasted salmon with citrus and an herb salad. Pasta with seared zucchini and ricotta salata.
Yes, you need a subscription to access them. I hope, if you haven't taken one out already, that you will buy one today. It's subscriptions that allow us to do the work that we do, work that we'd like to keep doing, work that we think helps readers understand the world. You can even get someone a gift subscription to NYT Cooking, if you like.
Do visit us for free on Instagram, Twitter, Facebook and YouTube, where we're cooking up all kinds of interesting, er, content. And if you run into trouble with a recipe or with the site or apps, just ask for help: email@example.com. We will get back to you.
Now, it doesn't have anything to do with sauce pans or Mason jars, but gee willikers why'd it take me so long to catch up with the second season of "Fleabag" on Amazon? Maybe you've already binged it. Absolutely read Parul Sehgal on the subject of the show, then, and think long thoughts.
ProPublica just unveiled its latest, an investigation into the 2016 capture of 10 Navy sailors by Iran's Islamic Revolutionary Guard Corps. It is of a piece with the rest of ProPublica's Navy reporting, showing "inadequate training, poor leadership, and a disinclination to heed the warnings of its men and women about the true extent of its vulnerabilities."
In 2011, Barry Estabrook sounded the alarm in The Atlantic about the indentured servitude of farm workers in Immokalee, Fla., laboring in terrible conditions to bring Americans fresh tomatoes. Now Tobias Jones and Ayo Awokoya of The Guardian have performed a similar expose on the Italian tomato crop, farmed by migrant workers who are all but enslaved by the mafia that keeps the fields far from the rule of law.
Finally, from The Times Magazine, here's David Marchese's interview with Trey Anastasio. And here's Anastasio with Phish, "Johnny B. Goode," Denver, Nov. 17, 1997. See you on Friday.


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If you could start a band, what kind would it be and would you name it? We live in the era where online dating is at its prime. There are tonnes of apps out there, and it seems like every day more pop up with a new. I think I can eventually figure out the best messages to send women.
What is the longest timespan you could live without your phone? So, if you want to turn a Tinder flirtationship into something more, then these clever questions to ask on a dating app will help you get there. What are you better at than 90 percent of the population?
What are you worse at than 90 percent of the population? Don't know what to ask that hottie on dating apps & sites like Tinder, OkCupid, Match, or Bumble? Here are 10 great questions to ask a girl you like online. What is 1 thing in your life that you are not doing that you wish you were?
It can be super simple, too. According to Hinge, these are the the best questions to ask on a dating app if you want to have a great conversation. Get chatting!. If you were to go on a road trip, where would you go?
Have you ever had a near-death experience? eharmony dating experts reveal the best first date questions to help ease any Keep it light and fun and ask about the fictional world your date. If your guy is competitive, he may be more willing to participate if you make it a game with rules and points.
If you have several messages in your Tinder inboxand half of them say "hey," then the chances of them picking you out of that crowd are slim to none. The questions you ask on a first date will make or break the vibe as you get to know each What do you hate most about the dating process?. We all have that one thing about us that stands out and finding out what makes the person unique is entertaining.
Download Your. Find out about his past with these 21 questions to ask a guy online or in person. Learn about his personality, his vision for your future, and more. What is one job you could never do?
Coffee or tea?
Did they go to an ivy league-esque school? Modern day dating is tricky. Perhaps, more of a challenge today than ever in history. Why, with so many dating apps making it easier to meet.
Family values are pretty important to most people. A few month ago I wrote a "how to ask a woman out from a dating app" guide for men Ask questions — actual questions, not filler questions or. When it comes to love and relationships, what is the first lesson you want to teach your children?


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What Is FHA Mortgage Insurance? – In this case, you'll have to pay FHA mortgage insurance. This helps the lender lower its risk in case you default on the loan. But how much does it cost, what are the terms and is it canceable? Below,
Mortgage Insurance Explained: PMI, MIP and the VA Funding Fee – Mortgage Insurance Explained: PMI, MIP and the VA Funding Fee.. Mortgage insurance is not cheap, often adding between $50-$150 to your monthly mortgage payment for typical prices in the Fort Hood, TX market. The three types of mortgage insurance are below for each loan type:
Mortgage Insurance (PMI and MIP): What it is, How Much it. – How much is mortgage insurance Private mortgage fees can vary, though borrowers typically pay a monthly charge of approximately $40- $50 per $100,000 borrowed. For instance, someone with a $300,000 home loan can anticipate private mortgage costs being around $120- $150 per month.
FHA Requirements: Mortgage Insurance – Mortgage insurance is a policy that protects lenders against losses that result from defaults on home mortgages. FHA requires both upfront and annual mortgage insurance for all borrowers, regardless of the amount of down payment.
how to apply for fha loan with bad credit how to explain derogatory items on credit report Method of Verification – Start by filing a dispute where you explain. credit reporting agency states that a creditor verified information in your credit report you belief to be false, write a letter to the consumer credit.What are FHA house loans – How to Apply for & FHA Mortgage. – With an FHA insured loan it is possible to finance a purchase of up to 97.5% of the sales price. There is no minimum FICO score requirement. You can be two years out of bankruptcy or 3 years from a previous foreclosure. The down payment can come as a gift and the closing costs can be paid for by the seller or lender.
Hutt homeowner's 'insurance nightmare' – Tower insurance premiums put the squeeze on homeowners Paddison said he was eventually visited by a competent quantity surveyor, although there were disagreements about how much damage was..
How To Calculate Private Mortgage Insurance, PMI – YouTube – · Brief tutorial on how to calculate PMI, or Private Mortgage Insurance on an FHA loan.
How Much is Mortgage Insurance – Cost of Mortgage Insurance – This mortgage calculator will show the Private Mortgage Insurance (PMI) payment that may be required in addition to the monthly PITI payment. If you'd like to generate an amortization schedule in addition to the PMI payment, use our PMI and Mortgage Payment Calculator .
How Much Does Mortgage Insurance Cost? – CostHelper.com – Private mortgage insurance typically costs 0.5%-1% of the entire loan amount on an annual basis. On a $200,000 loan this means the homeowner could pay as much as $2,000 a year, or $167 per month.
What is Private Mortgage Insurance (PMI) and What Are My Options? – Loans insured by the federal housing administration, or FHA loans, also require mortgage insurance, but the guidelines are different than those for conventional loans (we'll cover that later). How.
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How Insurance Companies Work – This model carries over pretty much regardless of what you're talking about. I guess, come back when home values are going down rather than up. Mortgage insurance is just tough. On a long timeline,
Don't Want to Pay for Mortgage Insurance? Here's How to Avoid. – Mortgage insurance provides a lot of flexibility in the purchase process. You can get a loan with a much lower down payment because the mortgage insurer takes on part of the risk if the unthinkable happens and you can no longer make your payments.