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Sunday, 19 June 2011
5k relay - øv!
Let us now rewind to the beginning of the race. My best friend in Næstved, Stine (that's pronounced STEEN-eh), asked me to run this 5k relay with the athletic instructor team at Scala. I was actually quite honored since I'm not an instructor. I just give free medical advice about their classes. The other big bonus was I got a shocking lime green t-shirt for free. The downside was that their female team had won the year before. And I was not crazy about having time pressure on me.
I was nonetheless really looking forward to it. I mean, they have noticed my big belly, so they weren't putting pressure on me either. The race, by the way, was Danmarksstaffet, which is run in the woods right behind our apartment; on the trails I run on most days of the week.
What was my strategy? Wake up early to eat a smaller breakfast at 6:30. (The race start was 11:00). Then go out for an hour run, to get all of those initial potty breaks out of me. I had hoped this would be just the warm up I needed - I knew it was going to be all about avoiding stomach problems.
I biked to the start in the pouring rain and learned I would be running first. I had just enough time to pee and line up at the start.
I had music today and my garmin. I couldn't help being reminded of this exact race one year ago, where I ran a 20:12 (as the first half of a 10k, actually), which was, according to the local paper, the fastest female time. I felt really energetic, but had to force myself to start in the middle of the pack. The gun went off, and I immediately started passing people, despite the crowded conditions. I ran between a 7:30 and 7:45 pace for the first 2km and felt just awesome. I wondered if I could make it under 24 minutes.
2.5 km came and this is where I got a sudden very sharp pain in my left lower abdomen. It was too much. I had to stop. I walked. Maybe it would go away. I ran again and it got worse. I know my pregnant body well enough at this point to know it was my intestines. I tried to run again, but it was excruciating. I had to walk. I hobbled to 3km and ducked into the woods. I thought I had taken care of the problem, and I had somewhat, but could really only hobble-run in pain the rest of the way. It was so extremely frustrating because I had a TON of energy, but couldn't run through the pain. I walked and ran in spurts and watched everyone I had passed before now pass me.
ØV! It was tough to accept. I do realize I'm over 34 weeks pregnant, but in my mind I am STILL the woman who runs a 20 minute 5k. (øv, by the way, is this little Danish word that conveys both disappointment and a sense of "oh well!") I rallied my strength and ran in terrible pain the last ½ km to cross the line in 27:59. It was not fun. It hurt. I waited for Finnbjørn to kick and that took less than a minute. It's always nice to get that immediate feedback that even though I'm suffering, he's doing just fine.
Ok, so let me level with you all. I hadn't expected to run fast. But the first 2km went so well, that I suddenly thought I could. So give me your opinions: are all these stomach troubles simply due to a big baby pressing on my intestines or do I have a lingering gastroenteritis that needs to be investigated further? Anyone with have personal experience with this?
In other news, SR, The Lorax and Natali left for the US yesterday. Life for the next 11 days will be very strange.
Running songs of the day: Well, I only listend to two songs - Dance Floor by The Apples in Stereo and Colours by Grouplove.
8 comments:
- SteveQ said...
Uff da!
Yesterday's running song for me was Clap Your Hands Say Yeah's "The Skin of My Yellow Country Teeth." It takes a while to get used to the lead singer's voice, but the song grows on me... like plaque, I guess.
- 19 June 2011 at 19:46
I am no doctor, but I do have experience with running, being pregnant, and combination of the two. My guess is that your stomach issues are due to your pregnancy/running combination, and your body is just telling you it's not working out so much anymore. If you are not having the sympotms outside of running/intense exercise, that would comfirm it even more for me. Totally understand these things can be hard to accept, but I suppose it is better than the alternative - that you have a bigger, more pervasive issue. Good Luck!
- 19 June 2011 at 19:59
- sea legs girl said...
Steve, GREAT song! Would you believe I had that as a running song of the day in the summer of 2007??!! Am I too cool for school or what? Can't blame you for not remembering that since you didn't read my blog back then.
btw, you can actually say Uff da in Danish, too, though I think with one f and it is said really rarely. I actually said it once and then I stopped myself and thought "oh my god, did I just say Uff da??"
Grace, I tend to agree with you. I have it outside of running/activity, too, but to a much lesser degree. It just seems weird to me since I had nothing like it with my first pregnancy.
- 19 June 2011 at 20:06
- PiccolaPineCone said...
I also think hormones come into play... the hormones during pregnancy can soften the bowels if I remember correctly and increase urgency!
So... did you team place??
Thanks for the comment on my blog. I agree nursing stops mostly by age 1 in North America & Europe b/c it becomes not socially acceptable. The global average for weaning is 4 years!! Also I noticed a huge difference in nuk use between Italy & Canada. In Italy we regularly saw 3, 4, 5 and 6 year olds happily wandering the streets, nukking away so it was a bit of a shock to come back to Montreal and be a bit frowned upon b/c La Cocotte was still using her nuk at the ripe old age of 1!!
- 19 June 2011 at 20:22
- Kate said...
I have no basis for answering other than gut instinct (no pun intended), but my guess would match that of Grace in TN -- that is, if it only happens while you run, it seems unlikely that it's gastroenteritis and more likely that it's related to running in pregnancy at this stage of the game. I think that is not what you want to hear? But as Grace said, it probably is better than the alternative!
- 21 June 2011 at 05:59
- Katie said...
Congrats on a great 5K! I know, I know, you wrote it was awful, but it's awesome that you're running at 34 weeks! I'm glad you're scan turned out well too. During my last pregnancy, I had a couple extra scans due to small fundal measurements. The funny thing was everyone kept telling me how HUGE I was, but I'd go to the doctor's office and they'd tell me I was measuring small...made me crazy. I don't really know about the stomach stuff. Somewhere around 34 weeks I started having a lot of side stitches when I ran. They were bad enough that I'd have to walk, but it wasn't related to my intestines...
- 21 June 2011 at 13:50
- SteveQ said...
Funny thing about running music: I was asked what were the last three songs I listened to... Gomez, Wilco and Dawes. Am I a middle-aged white guy, or what?
- 21 June 2011 at 17:57
Hey do let me know, if you need a chat and a cup of tea to pass some time. You are so welcome.
- 21 June 2011 at 23:35


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kff necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 61 diseños de 21 diseñadores freelance.
Just for Kids is located outside of Washington, DC and caters to kids ages 2-6. Just for Kids runs multiple sports classes at local parks around the DC area. By offering many different sport options, kids are always going to have fun. The DC area does not have any county or state run sports programs and Coach John has taken the opportunity to give kids access to programs that they normally wouldnt have had otherwise.
Just For Kids http://www.coachjohnjenkins.com
I currently have a logo but it desperately needs to be updated. We started with soccer, but now offer soccer, t-ball, football, tennis, golf, intro to dance and yoga. This logo will go on the website on each page and will be printed on hundreds of t-shirts, hats, letterhead, business cards, etc.
I would love to see the Just for Kids a bit bold and then possibly some type of graphic that encompasses the fact that we are a childrens sports program that appeals to boys and girls, ages 2-6. Bright colors are fine just not all primary colors please.
Each child that participates in Just for Kids receives a tshirt and this logo will be worn and displayed all over the DC area.
- Item 1...
- I don't have a tagline, but would be open to ideas if you have one.
- Something catchy that kids will ove to wear and parents will recognize when they see it.
- Just for Kids in bold and maybe some type of graphic that encompasses what we do.
- Colors that appeal to boys and girls would be great.
- Item 1...
- Please don't stick with just primary colors.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.

subset: commoncrawl


text:
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There's a big difference between being a spirited young girl and being a young girl who's a spirit.
In the comic series Nenelt, of the Forgotten Spirits, writer Vera Greentea and artist Laura Müller are following one such spirit girl named Nena as she searches for her family during the Mexican Day of the Dead festival. But as a spirit from the beyond, she has to watch out for exorcists and those who wish to send her away.
Greentea and Müller are using Kickstarter in an effort to raise funds to publish the first issue of this miniseries. They're asking for $4,000, which they state will go towards paying Müller to illustrate the book and offset some of the production expenses. Currently at just above the $1,000 mark with 35 days to go, if they receive more than $4,000 they will put that money into funding the next three issues. They plan to release the first issue by January.
To help stoke the fundraising, Greentea is offering a number of rewards for different pledge levels, from copies of her previous work and even some very cute red skull bracelets.


text:
Massive OpenSSL Bug 'Heartbleed' Threatens Sensitive Data
Common Web Security Tool Is Flawed, Researchers Say
An encryption tool used by a large chunk of the Internet is flawed, potentially exposing reams of data meant to be hidden from prying eyes.
The bug, nicknamed Heartbleed by researchers at Google Inc. and cybersecurity firm Codenomicon, could have affected two-thirds of active websites when it was disclosed Monday, they said.
On Tuesday, website...


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"What the Same Body Means in Different Places"
Section one of "Three Poems and a Critique of Postracialism." See the full transcipt of this video below.
I am at work on a book about the interpenetration of locality and racial consciousness in American poetry between Abraham Lincoln's Emancipation Proclamation and Barack Obama's inauguration. Tentatively titled "The Ditch is Nearer: Race, Place, and American Poetry," the project will treat poets from diverse ethnic backgrounds, locating their poems in specific historical and social sites. There is, I argue, a red thread of American poetry that has consistently and productively represented race as a spatial rather than a temporal phenomenon. In this poetic tradition race becomes an emplaced experience (to crib a phrase from the philosopher Edward S. Casey). The resulting poems think about American race relations not just in terms of historical "progress" but also as a function of where those race relations take place.
Today I will be sharing work from my final chapter, which looks at three contemporary African American poets. I should offer a caveat for those of you not in literary studies: I will be rigorously un-social scientific today. My data set is remarkably small—three poems!—and my methodology involves a whole lot of close reading. I'm interested, finally, in how these poets put race and place in play. (Thus, the handout with the full text of the poems). The talk is about forty-five minutes in length; I will look forward to your comments, questions, and suggestions afterward. I usually begin my talks by saying "And away we go . . ." Perhaps it is better, for today's purposes, to say, "Here we are. . ."
2009 was a hard year for the "postracial," a concept whose popularity came and went with an alarming ease following the election of Barack Obama as the forty-fourth President of the United States of America. In the heady days following Henry Louis Gates, Jr.'s July 16, 2009 arrest in Cambridge, Massachusetts—by some accounts, for being black in his own home—historian Peniel E. Joseph offered a keen postmortem on the postracial: "Since America's racial disparities remain as deep-rooted after Barack Obama's election as they were before, it was only a matter of time until the myth of postracism exploded in our collective national face."1 A few months later, on the anniversary of the 2008 election, novelist Colson Whitehead published a characteristically biting New York Times editorial entitled "The Year of Living Postracially": "One year ago today, we officially became a postracial society. Fifty-three percent of the voters opted for the candidate who would be the first president of African descent, and in doing so eradicated racism forever." Nominating himself as Secretary of Postracial Affairs, Whitehead promised to reimagine a number of pre-postracial cultural documents for this brave new world: Diff'rent Strokes, What's Happening!!, Sanford and Son, Do the Right Thing, even Toni Morrison's Beloved: "We keep the name—it's so totally, invitingly postracial—but make the eponymous ghost more Casper-like."2
In truth, many were dubious about the postracial long before any Rose Garden beer and reconciliation meeting—and with good reason. As Joseph cautions, we should be dubious of the "story of a race-free America purged of its past sins by a watershed presidential election," no matter how charismatic or compelling that story proves. He adds, "the idea of a postracial American future remains an unrealizable but worthy goal rather than a political fait accompli." The perpetually-tongue-in-cheek Whitehead seems to concur: "There are naysayers, however, who believe that we can't erase centuries of entrenched prejudice, cultivated hatred and institutionalized dehumanization overnight." For such "naysayers," the seemingly short life of the postracial was a consummation devoutly to be wished. The postracial was at best a distraction from the work of progressive politics and at worst a way for some conservatives to claim, in the inimitable words of Stephen Colbert, that "Race is over. Race is all over…There is no more racism, now that Barack Obama is President."3
And yet, as David A. Hollinger has recently argued, the concept of the postracial gives rise to a number of urgent and thorny questions, the least interesting of which is, "Are we beyond racism or not?"4. The dismissal and disavowal of postracialism comes, then, at a cost. Absent such questions, we cannot hope to understand what is at stake in our desires for and imaginings of a postracial United States. In this regard, the rhetoric by which Joseph, Whitehead, and many others critique the postracial is telling: the postracial as a myth, an idea, or a story; fundamentally as an act of desire and imagination. It is in these forms that the postracial will almost certainly survive Barack Obama's first term as President of the United States. This is due in no small part to the fact that people began desiring and imagining a postracial America long before Obama emerged on the national political stage.5
Today I want to pursue the desirous and imaginative forms of the postracial through recent American poetry. In the following, I will offer readings of poems by three contemporary African American poets who have surveyed the postracial over the past decade: Elizabeth Alexander, Natasha Trethewey, and C. S. Giscombe. In doing so, I argue broadly for the importance of place to constructions of race. In particular, I will chart how these poets conceive of, interrogate, and then steadfastly refuse the concept of the postracial in and for a post-emancipation society. While the postracial remains a powerful fantasy for these poets, local histories of specific places recurrently and productively interrupt their figurations of that fantasy. Deploying the rhetoric of locality, situatedness, and positionality, these poets imagine movingly, I suggest, "unrealizable but worthy" futures without erasing or underestimating those "centuries of entrenched prejudice, cultivated hatred and institutionalized dehumanization."
Put simply, these poets represent race as emplaced experience, as a phenomenon "ineluctably place-bound."6 In their poems, raced subjects may come to embody genius loci; however, such embodiment makes it all that much harder for those subjects to transcend race.7 The resulting representational politics put Alexander, Trethewey, and Giscombe in a long line of American poets who have touted the interpenetration of locality and racial consciousness: James Russell Lowell, Frances E. W. Harper, Emma Lazarus, Sarah Piatt, Paul Laurence Dunbar, Alexander Posey, Effie Waller Smith, Edgar Lee Masters, James Wright, Robert Lowell, Sandra Cisneros, Philip Levine, and Garrett Hongo, among many others. This poetic tradition has consistently and creatively represented race as a spatial rather than a temporal phenomenon. That is, these poets have thought about American race relations not just in terms of historical "progress" but also as a function of where those race relations take place.
Long before she intoned her poem "Praise Song for the Day" at Barack Obama's inauguration, Elizabeth Alexander was well-established as a preeminent American poet. In addition to a slew of prestigious awards, including being named a Pulitzer Prize finalist, a Guggenheim Fellow, and a recipient of the Jackson Prize for Poetry, Alexander was among the first winners of the Alphonse Fletcher, Sr. Fellowship from Harvard University's W. E. B. Du Bois Institute for African and African American Research, which recognized her contributions "to improving race relations in American society and further[ing] the broad social goals of the US Supreme Court's Brown v. Board of Education decision of 1954." Indeed, across six books of poems Alexander has made race relations a recurrent theme; she has also located those relations in an extraordinarily broad set of geographies. As the poet-speaker brags in the poem "Miami Footnote," "I could go to any city / and write a poem."8 New Orleans; Johannesburg; Philadelphia; Kingston; London; Cambridge; Miami; Sparta, Georgia: but a few of the locations in and through which Alexander teases out what she deems the strangeness of race.
Alexander's poem "Race" from her 2001 collection Antebellum Dream Book is particularly indicative of her poetics of emplaced experience. The poem's first and final stanzas are strongly narrative, with the opening lines constellating three perhaps unlikely locations:
Sometimes I think about Great-Uncle Paul who left Tuskegee,
Alabama to become a forester in Oregon and in so doing
became fundamentally white for the rest of his life, except
when he traveled without his white wife to visit his siblings—
now in New York, now in Harlem, USA—just as pale-skinned,
as straight-haired, as blue-eyed as Paul, and black.9
The conspicuous line break between "Tuskegee" and "Alabama," and the repetitive revision "now in New York, now in Harlem, USA" backlights two sites closely associated with African American culture and cultural autonomy. In between these is the distant and willfully obscure "Oregon," which remains nondescript throughout the poem. Alexander makes no mention of a specific Oregon locality, be it a bustling timber town or rain-clogged coastal city. Instead, she leaves the setting vague and somewhat mysterious, perhaps evoking the capacious and unsettled "Oregon Territory" of the antebellum United States. In any case, this lack of specificity further differentiates a large western state from the relatively small southern and eastern communities of Tuskegee and Harlem.
Such a play between similarity and difference provides the animating tension of the poem. For instance, Great-Uncle Paul's body remains the same in all places, and he shares with his siblings the same set of physical features: pale-skin, straight-hair, blue-eyes. Difference obtains via location and context. Paul can become "fundamentally white" by relocating to Oregon; likewise a visit to Harlem (sans his white wife) allows him to be—temporarily at least—as his siblings are, black. Race, the poem suggests, is contingent upon the local context in which a body or set of physical features is read. Thus, while the passing narrative is common in African American literature, Alexander's innovation here is to emphasize its spatial dimensions. As the poet noted in a 2010 Southern Spaces interview, the poem asks, at base, "what the same body means in different places."10
This is not to suggest that, in the poem, location and context alone determine one's race. Paul and his siblings certainly help to guide the ways their bodies are read in their respective localities. First, the poem takes pains to suggest that local conditions made possible Paul's passing. As Alexander's deft use of conjunction and line breaks make clear, Paul did not need to lie to his fellow Oregonians per se: "Paul never told anyone / he was white, he just didn't say that he was black, and who could imagine, / an Oregon forester in 1930 as anything other than white?" Who, indeed. Unlike Harlem and Tuskegee, Oregon is rarely associated with African American life—and, again, with good reason. A number of racist pre-statehood ordinances culminated an exclusion clause in the 1857 State Constitution: people of African descent were not allowed to set up permanent residence in the new state of Oregon. Although rendered null and void by the Civil War Amendments and rarely enforced thereafter, such laws signaled clearly that African Americans were not welcome in Oregon. (I say this with no small amount of shame. I was born and grew up in Portland, Oregon.) More to the point, this clause was not removed from the State Constitution until 1927. Perhaps as a result, the 2010 US Census cites "black persons" as 1.8% of the population of the state. All of this is to say, it would indeed require a good bit of imagination to figure an Oregon forester in 1930 as being anything other than white.11
Nonetheless, there is Great-Uncle Paul, quietly passing as white, a continent away from his southern birthplace and siblings in "Harlem, USA." In the hazy logic of the poem such things are possible "out west," but "back east" race plays out differently. In Harlem race is, paradoxically, both a matter of ontology and performance: "The siblings in Harlem each morning ensured / no one confused them for anything other than what they were, black. / They were black! Brown-skinned spouses reduced confusion." The crux of these lines is "each morning." Because of their pale skin, straight hair, and blue eyes it seems that Paul's brothers must make diurnal practice of their blackness. Although the poem remains circumspect about how exactly one "ensures" the legibility of one's race, such daily repetition gives the lie to the explicit identitarian claim that follows. By placing the exclamation "They were black!" in the same line as the ironic, anticlimactic "Brown-skinned spouses reduced confusion," Alexander neatly undermines any simple or tautological definitions of race and racial identity.
In this way, the poem seems to revise conventional wisdom: with race as with real estate it is all about location, location, location. In Oregon there is no question about Paul's race: he is presumed to be white. In Harlem, there may well be questions about his and his siblings' race. These notwithstanding, Paul's visits to Harlem seem to offer him something profound: "When Paul came East alone he was as they were, their brother." Reversing the direction of American empire, going "back east" from "out west," Paul once again enjoys brotherhood in Harlem. But what's Paul's status while he is in Oregon—something other or less than a brother? The brother-brother pun here is much more powerful than it may seem at first blush. In blurring the lines between affiliation and filiation, Alexander makes both race and family functions of place. In doing so, she also anticipates the poem's haunting penultimate line, "What a strange thing is 'race,' and family, stranger still."
The poem's middle stanza takes an unexpected, if lovely, self-reflexive turn. While the other two stanzas offer us the story—a tale "told, and not told"—this stanza struggles to fill in the local details. In doing so, the poet-speaker is left to her own devices, seemingly without recourse to family lore about her Great Uncle's emplaced experiences:
The poet invents heroic moments where the pale black ancestor stands up
on behalf of the race. The poet imagines Great-Uncle Paul
in cool, sagey groves counting rings in redwood trunks,
imagines pencil markings in a ledger book, classifications,
imagines a sidelong look from an ivory spouse who is learning
her husband's caesuras. She can see silent spaces
but not what they signify, graphite markings in a forester's code.
In seven lines, Alexander deploys the rhetoric of imagination a remarkable four times: "The poet invents heroic moments"; "The poet imagines Great-Uncle Paul"; "imagines pencil markings"; "imagines a sidelong look." Given that the poet-speaker is writing about a distant relative, such acts of creativity might seem at first unexceptional. Yet, by locating imagination at the formal and thematic center of this poem, Alexander acknowledges the difficulty of representing human agents whose race could "fundamentally" change depending on place.
That difficulty, as well as the desirous and imaginative work it requires, brings us back to something like the postracial. This claim may seem a bit preposterous or anachronistic. How can a poem about racial identity in the 1930s—a period of quite vexed race relations—be engaged with the postracial? However, the poem evinces a clear interest in the contemporary as well. Although "Race's" central action is indeed retrospective, this middle stanza is rendered entirely in the present tense, as are the opening words of the poem, "Sometimes I think about Great-Uncle Paul." This story "told, and not told" clearly has something to say to the contemporary moment in and for which Alexander writes.
Characteristically, Alexander orchestrates the play between past and present through subtle motions rather than dramatic gestures. For instance, at the end of the second stanza, Great-Uncle Paul's inscrutability is exacerbated by a quiet conflation of poet, speaker, and poetic subject: "She." "She can see silent spaces / but not what they signify, graphite markings in a forester's code." Is "She" "the poet" or Paul's "ivory spouse"? Given that generational confusions-of-tongues are a central feature of much of Alexander's poetry, it could well be both. In any case, like Isaac McCaslin in William Faulkner's "The Bear," she must read impossible ledgers and sidelong glances in order to reckon Paul's life as a white man in Oregon. Readers of the poem are in a strikingly similar position: We are left to read over her shoulder and then reckon what such life might mean for contemporary understanding of the poem's titular subject. In the end, Paul might have been no more intelligible to his wife than he is to his great niece or her readers. All struggle to read his codes and caesuras.
As the poem transitions back to the story proper, racial intelligibility is once again at the forefront:
Many others have told, and not told, this tale.
The one time Great-Uncle Paul brought his wife to New York
he asked his siblings not to bring their spouses,
and that is where the story ends: ivory siblings who would not
see their brother without their telltale spouses.
What a strange thing is "race," and family, stranger still.
Here a poem tells a story, a story about race.
Paul's request that the brothers meet him without their "telltale spouses" tests the limits of brotherhood—again, in both senses of the word. The brothers' steadfast refusal to leave their wives at home—Paul brings his wife to "New York," not to "Harlem, USA"; the poem is explicit about this—has at stake a concomitant refusal to let Paul continue to live as a white man in Oregon. One can only imagine the "sidelong look" that Paul's "ivory spouse" would give her "Brown-skinned" in-laws. But, crucially, Alexander forces us to do that imaginative work on our own. The poet-speaker does not narrate the resulting events, and the curtain closes on the resulting family drama: "and that is where the story ends."
Atlanta Pastoral
Thus, "Race" concludes without resolution and recursively: "Here a poem tells a story, a story about race." But it is the poem's penultimate line, with its koan-like rhythms and seeming resignation, that lingers: "What a strange thing is 'race,' and family, stranger still." Since the austere title of the poem has the force of grand statement—here is the Elizabeth Alexander poem about "Race," with a capital "R"—such a summation might well prove frustrating. Yet, this aphoristic line captures well the bewilderment brought on by the difficult imaginative work the poem both represents and requires. At the end of "Race" much remains either unexplained or ineffable. Despite having read closely the "silent spaces" of race, the poet-speaker seems to have no better sense for "what they signify." And although the poet-speaker has expressed a desire to forge some sort of racial solidarity with her "pale black ancestor"—she even fabulates that heroic moment in which he "stands up / on behalf of the race"—by the end of the poem the poet-speaker does not seem to know how to feel about her Great Uncle's actions. Even the poem's keyword is placed in quotation marks: "'race.'" Given such ambivalence, what recourse does the poet-speaker have but to strangeness as explanation?
As per usual, Alexander's diction is plain and precise here; it also returns us to place. The Oxford English Dictionary emphasizes the strong geographical resonances of the word "strange": "Belonging to some other place or neighbourhood; unknown to the particular locality specified or implied. Of a place or locality: Other than one's own." Since the word comes from the Old French estrange and from the Latin extrāneus (external, foreign), it also evokes the experience of removal, banishment, and alienation. Thus strangeness is an appropriate rhetoric with which to conclude a poem that has told a story about race and place.
In a Southern Spaces interview with Elizabeth Alexander, US Poet Laureate Natasha Trethewey confessed her deep admiration for Alexander's poem, "Race."12 Trethewey's engagement with the poem should come as little surprise given that Trethewey's four books of poems reveal an increasing interest in historical relations between race and place. While Trethewey's geographies are as yet a bit more restricted than Alexander's—Trethewey's poems often focus on the Gulf Coast, especially New Orleans and Mississippi—she too repeatedly charts the multiple localities against and through which the strangeness of race signifies. One thinks immediately of her Ghazal "Miscegenation" from the collection Native Guard: "In 1965 my parents broke two laws of Mississippi; /they went to Ohio to marry, returned to Mississippi. // They crossed the river in Cincinnati, a city whose name / begins with a sound like sin, the sound of wrong—mis in Mississippi."13
I want to suggest that, by using Alexander's "Race" as quasi-literary theory, we can locate some of the strangeness of race in Trethewey's poetry. Trethewey's sonnet, "Pastoral"—which, to my mind, many critics have underestimated—offers a case in point:
In the dream, I am with the Fugitive
Poets. We're gathered for a photograph.
Behind us, the skyline of Atlanta
hidden by the photographer's backdrop—
a lush pasture, green, full of soft-eyed cows
lowing, a chant that sounds like no, no. Yes,
I say to the glass of bourbon I'm offered.
We're lining up now—Robert Penn Warren,
his voice just audible above the drone
of bulldozers, telling us where to stand.
Say "race," the photographer croons. I'm in
blackface again when the flash freezes us.
My father's white, I tell them, and rural.
You don't hate the south? they ask. You don't hate it?14
Like "Race," "Pastoral" imagines—dreams, really—an alternative world in which the mixed race poet-speaker is initially accepted into that most exclusive of southern poetic fraternities: "I am with The Fugitive / Poets." Given this reverential opening, the poet-speaker seems to take pleasure in her inclusion in this august (read: white, male) company: "Yes / I say to the glass of bourbon I'm offered." But with the collective utterance of "race" at line 11—a shibboleth if ever there was one—any sense of postracial community vanishes in the time it takes the camera to flash. The poet-speaker is not merely "in / blackface again," but also on the Faulknerian defensive.
Read at some distance, then, "Pastoral" seems like a clear endorsement of Thadious Davis's recent argument about the "apertural space" in and through which Trethewey "claims and reclaims" the South. For Davis, Trethewey's representations of southern identity comprise "a repetitious act of reconstituting nonbelonging and exclusion."15 And indeed, this is a poem of nonbelonging and exclusion. But it is also a poem of locality, a fact that Davis and many other critics elide or ignore. Although the poem begins in dreamland, it quickly relocates to—of all places—Atlanta, Georgia.
(Before going any further, let me offer an aside: One simple and overly-deterministic answer to the question, "Why Atlanta?" is biographical. As you might have heard tell, Trethewey teaches at Emory University, where she is the Robert W. Woodruff Professor of English and Creative Writing. But, as with Alexander above and Giscombe below, there seems to be something more at work here than mere biography.)
|Photograph of the Fugitive Poets. From left to right: Allen Tate, Merrill Moore, Robert Penn Warren, John Crowe Ransom, and Donald Davidson, May 4, 1956. Vanderbilt University Special Collections and University Archives.
Like so much of Trethewey's verse, we might read this poem in ekphrastic terms. It seems likely that Trethewey has in mind here a famous photograph of the Fugitive Poets taken at Vanderbilt University in 1956, during a Rockefeller Foundation-sponsored "reunion." (You have this image on your handout; left to right, that is Allen Tate, Merrill Moore, Robert Penn Warren, John Crowe Ransom, and Donald Davidson. I would draw your attention to the quasi-pastoral backdrop: a couple of large trees likely somewhere on "Vandy's" campus.) But, as she is wont to do, Trethewey flaunts "theories of time and space" in this poem, relocating the Fugitives from mid-century Nashville to present-day Atlanta, from the institutional home of both the Fugitives and the Agrarians to a burgeoning "alpha-minus city." (Another aside: I think that the presence of a "skyline" and intrusive "bulldozers," suggests the increasingly global and super-urban Atlanta of recent years rather than the sleepy Atlanta of the 1930s, '40s, or '50s.)
Indeed, the city of the dream-poem is so busy with construction that the photographer must superimpose the agrarian against the urban and the industrial: "hidden by the photographer's backdrop— / a lush pasture, green, full of soft-eyed cows." This, in turn, gives the lie to the poem's title, "Pastoral." In order to achieve an "idealized or romantic" portrayal of "rural life or characters" (one definition of pastoral) the photographer employs no small amount of manipulation. These dead white men can have their image made against a bucolic backdrop, but, in the logic of the poem, it will remain just that—an image, a superficial obscuration rather than an actually existing reality.16
Thus, the setting of this poem has at least two effects. First, it allows Trethewey to broach a subtle critique of the Fugitive Poets' conservative and patriarchal agrarian politics. Exploiting the close associations between the Fugitives and the Agrarians, the poem emphasizes the prescriptiveness—perhaps even the proscriptive-ness—of the group. (There, after all, is "Robert Penn Warren . . . telling us where to stand.") This critique is then deftly tied to the poem's late-breaking racial politics.
Second, the setting allows the poet-speaker to meet her fellow southern poets on hew own "native ground," as it were, in a contemporary, southern, majority-black urban space. Behind those soft-eyed cows lies a city with both a complicated racial history and a vexed relationship to the region of which it is a part. "Pastoral"'s poet-speaker encounters the Fugitives in what was once called "The City Too Busy to Hate" (or, if you prefer, "The City Too Busy Moving to Hate"). The Atlanta suggested by the poem's present tense is also, in the words of Martyn Bone, a "postsouthern international city" par excellence (Martyn Bone, The Postsouthern Sense Of Place In Contemporary Fiction [Baton Rouge: Louisiana State University Press, 2005], 169). Thus, the process of claiming and reclaiming the South that Davis describes is significantly complicated by that Atlanta skyline.17
Indeed, in her final exchange with the Fugitive chorus, the poet-speaker's "nonbelonging and exclusion" are functions of both race and place. "My father's white, I tell them, and rural. / You don't hate the south? they ask. You don't hate it?" The syntax here is telling. By setting off the racial claim from its spatial antecedent, Trethewey forces us to note divisions between both white/black and country/city. It is not just racial difference that marks the poet-speaker; it is also her urbanity. As a result, her only recourse—in yet another Faulknerian echo—is to lineage: Although she may be black and urban, her father is white and rural.
While this back and forth can be read as an index of the poet-speaker's desire for acceptance from this elite poetic fraternity, it also deftly evokes the Fugitives' implicit discomfort with Atlanta's New South development—to say nothing of its increasing diversity. Put simply, the Fugitive Poets are both out of time and out of place in the poem; "nonbelonging and exclusion" work two ways in "Pastoral."18
Thus Trethewey's imaginative displacement has significant implications for how we read the poem. As I hope I have made clear, I find very compelling Thadious Davis's argument that Trethewey "stakes out her claim of 'native daughter' status without resorting to narratives of uncontested space or to illusions of unequivocal acceptance."19 Yet, as I have been arguing, "Pastoral" is not merely ambivalent on this front. It offers a critique of Trethewey's regional poetic forefathers that is as subtle as it is stirring.
Critique or no, "Pastoral" certainly reveals Trethewey's keen and capacious sense for literary history. Indeed, I think her sonnet is in close (if quiet) conversation with Robert Lowell's "For the Union Dead" (c. 1960)—another poem that situates a mediation on race in an urban space in transition. (Lowell's poem famously describes Augustus Saint-Gaudens's Memorial to Robert Gould Shaw and the Massachusetts Fifty-fourth Regiment against the backdrop of a construction site: "Behind their cage, / yellow dinosaur steamshovels were grunting / as they cropped up tons of mush and grass / to gouge their underworld garage. // Parking spaces luxuriate like civic sandpiles in the heart of Boston."20) Like Lowell, Trethewey places herself in a long poetic tradition while insisting on the relevance—indeed, the fierce urgency—of the here and now.
Place and Fantasy in Ohio
There are few contemporary poets as committed to the here and now as C. S. Giscombe. Across three books of poetry, as well as several chapbooks and one stunning piece of narrative nonfiction, Giscombe has recurrently and powerfully represented the ways that race, class, and sexuality rise from and converge in specific localities. His 1994 collection, Here, compasses a wide array of geographies, including Birmingham, Alabama, rural Ohio, and the United States/Canadian border. Similarly, his long poem Giscome Road (1998) moves fluidly among Jamaica, California, and northern British Columbia. Finally, Giscombe's most recent work, the prose-poems of Prairie Style (2008), focuses on the US Midwest, which he dubs the "inland." One representative poem reads:
Inland, one needs something more racial, say bigger, than mountains. Before, I'd always come, as if from nowhere, to places. Trek's out of Afrikaans but has entered, as they say, our vocabulary; I've always had a penchant for the place around speech, voice being suddenly absent in the heart of song, for the flattest part of heat.21
|C. S. Giscombe, 2008.
Race and sex; comings and goings; train rides and transfers; place names and proper nouns: this is the stuff of Giscombe's poesis. As the poet Ron Silliman notes, Giscombe seeks "the roots of identity in a poetics that is literarily projective: across cultures, centuries, races."22
Just how invested is Giscombe in locality? His books of poetry all take pains to list the specific locations where his poems were composed. For instance:
Work on Prairie Style was done at two Pennsylvania locations (25 Coventry Lane in State College and 428 North Spring Street in Bellefonte), in Scotland (at 1 Ogilvie Terrace in Edinburgh), and in Nova Scotia (at 5415 Portland Place in Halifax); Prairie Style was finished at 3431 Wilson Avenue, in Oakland, California.23
Yet, for all this geographic precision, two of the dominant themes of his verse are restless transit and constant motion. As he notes in his extraordinary travelogue Into and Out of Dislocation (2000), "border crossings are always sexy. And racial."24
As for both Alexander and Trethewey, dreams also play an outsize role in Giscombe's poetry. Indeed, it is often a dream state that renders intelligible for Giscombe's speakers the interpretation of locality and racial consciousness. For this reason, I want to very briefly introduce one of Giscombe's dream-songs, even though I will not have time today to offer a full reading of the poem. This is the first section of "Three Dreams," which you have on your handout:
I was dreaming of Dayton, Ohio, my grade school, etc. Behind the
school the playground extended only up to the road that went to the
Sherwood Twin's drive-in's north screen and we were playing there—
on the grass—at night, full moon on us. Our clothes were on but all of
us in short sleeves and short pants, summer clothes. On the road your
race changed, you'd be black or white depending on what you were on
the grass playground, if you trod on the road. "If you go on the road,"
we said, laughing. Play going on, the game coming to the punchline
again and again, to get or have the other race on the gravel road to the
screen. Laughing behind our hands, covering our faces, this behind
Jane Addams School in Dayton. The change felt like magic, we said,
it went right through you.25
As per usual, this Giscombe poem quickly places itself, in the poet's native Dayton, Ohio, at his grade school, no less. And, as per usual, the poem also includes an immense amount of detailed information about the scene. (Nothing in a Giscombe poem is ever "etc."). The road leads not just to a drive-in theater, but to the "Sherwood Twin's drive-in's north screen." Similarly, the play happens—let's be clear—on the grass. Rest assured, everyone is dressed; in fact, they wear "short sleeves and short pants, summer clothes." Such specificity is both evocative and a bit puzzling. (Why do we need to know this?) Nonetheless, the poem proceeds, and we learn that this is a night-piece of sorts. By the light of the moon undifferentiated black and white children—or, perhaps, black and white adults; the poem never makes this important fact clear—find joy in racial play.
At first blush, this "play going on" seems rife with postracial possibility. Here, one can change one's race by simply crossing the border between grass and gravel. What could be more postracial than that? But the "we" and "our" of the poem remain frustratingly vague, suggesting both "all of us together" and "each race apart." Indeed, upon closer examination, the group seems to be segregated, since the goal of the game is "to get or have the other race on the gravel road." Intra-racial competition becomes, then, the source of the repetitive laughter. Thus, the dream-poem imagines blacks and whites playing alongside one another, not quite playing with one another. At the poem's conclusion, integration remains a magical promise rather than a social-scientific reality.
Speaking of magic, the poem's final two lines offer some—but only after specifying where exactly this play takes place: "Laughing behind our hands, covering our faces, this behind / Jane Addams School in Dayton. The change felt like magic, we said, / it went right through you." A simpler, perhaps more cogent conclusion would omit the clause, "this behind / Jane Addams School in Dayton." Once again, what does this far-from-luminous detail add to Giscombe's otherwise economical description? As with Trethewey's Atlanta and Alexander's Oregon, I want to suggest that "Jane Addams School in Dayton" effectively places this poem in a specific locality; that locality, in turn, complicates the poem's desire for postracial accord.
|Location of Jane Addams (A) Elementary School and Sherwood Twin Drive-In Theater, Dayton, Ohio. Copyright GoogleMaps, 2012.
Jane Addams (Elementary) School was built in 1937 at 35 Victory Road, on the western edge of Dayton, in the Residence Park neighborhood. At mid-century, Residence Park was home to a diverse community—just the sort of community that might yield the forms segregated play described in the poem. Jane Addams closed its doors in June 2001 and was demolished in late 2005. (The closing was the result of a major "reorganization plan" in the Dayton Public Schools, which sought to address the precipitous drop in Dayton's population during the 1970s, 1980s, and 1990s. Said drop has been attributed to both the loss of manufacturing jobs in the region and a "white flight" to the city's more affluent suburbs.) Alas, the Sherwood Twin met a similar fate. The drive-in, which opened on June 27, 1954 at 5363 W. Third Street, closed down in the fall of 1989. (Again, one can blame vanishing manufacturing jobs and white flight.) Nothing remains, I am told, but the theater's concession stand.
Now, unless someone in the room is from Dayton, Ohio, the preceding may seem a bit superfluous. Yet Giscombe's poem—and in particular his rhetorical emphasis on geographic specificity—invites readers to seek out such seeming trivia. What's important here is that both the school and the drive-in are now gone. This section of "Three Dreams" becomes, then, an elegy of sorts. The speaker-poet seems to mourn not just the slow death of the Dayton he knew but also the innocence implicit in the racial play he described. Such mourning might in turn account for the poem's uncharacteristically nostalgic tone. Remember: "Three Dreams" is narrated entirely in the past tense. The poet-speaker is separated from the "play going on" and the place being described by both time and space. The magic offered by the racial "change" proves not just elusive ("it went right through you") but also potentially illusory.
Max Cavitch has argued persuasively that the elegy is "a genre that enables fantasies about worlds we cannot yet reach, even as it facilitates investments in a world that will outlast us."26 Fantasies about worlds we cannot reach; investments in worlds to come—that sounds eerily like the rhetoric with which I opened this talk. Again, to quote Peniel Joseph, "the idea of a postracial American future remains an unrealizable but worthy goal rather than a political fait accompli."27 Giscombe's elegiac rendering of one such fantasy, of one unrealizable but worthy dream, returns, then, to our place of departure.
Today I have argued for the ways that Elizabeth Alexander, Natasha Trethewey, and C. S. Giscombe interrogate the postracial. We've seen that the postracial remains a powerful fantasy for the poet-speakers of "Race," "Pastoral," and "Three Dreams." And, likewise, we've seen how local histories recurrently and productively interrupt their figurations of that fantasy. By way of concluding, let me revisit the rather glib methodological comment with which I opened this talk, lo these many minutes ago. As I trust the preceding makes clear, I believe that close, historicized reading can be a powerful lens through which to see the relations of race and place. Particularly when we are considering the rather chimerical category of the "post-racial"—something that exists, for now, only in dreams, fantasies, and desires—close reading allows us to trace carefully the imagination of better or different relations. And, let's be clear: Despite their shared investment in the past, the three poems and the critique that I have discussed today all seem future oriented.
In recent years, cultural geographers like Laura Pulido and sociologists like George Lipsitz have touted the fundamental and sometimes "fatal couplings of place and race in our society."28 In his provocative new study, How Racism Takes Place, Lipsitz argues that "social relations take on their full force and meaning when they are enacted physically in actual places."29 I couldn't agree more; however, I hold that poetry—and, for that matter, imaginative literature in general—can help to render intelligible the complexity of those social relations in ways that other "data" cannot.
I'm reminded of W. H. Auden's oft quoted and little understood adage, "Poetry makes nothing happen." As I probably don't need to remind this group, in "In Memory of W. B. Yeats" said adage is followed by an extended geographical metaphor: "For poetry makes nothing happen: it survives / In the valley of its making where executives / Would never want to tamper, flows on south / From ranches of isolation and the busy griefs, / Raw towns that we believe and die in; it survives, / A way of happening, a mouth." Yes, poetry might make nothing happen, but it does offer a record of both what has happened and what might happen one day.30 And, as a happening, poetry has a particular power to depict those places "we believe and die in"—places, that is, where race happens.
I would like to thank Allen Tullos for his warm hospitality and David Davis (of Mercer University) for bringing me to Georgia in the first place. Thanks also to the Georgia Humanities Council and the Emory Department of English for co-sponsoring this talk.
- 1. Peniel E. Joseph, "Our National Postracial Hangover" Chronicle of Higher Education, 27 July 2009. On the Gates affair, see especially Charles J. Ogletree, The Presumption of Guilt: The Arrest of Henry Louis Gates, Jr. and Race, Class, and Crime in America (New York: Palgrave Macmillan, 2010).
- 2. Colson Whitehead, "The Year of Living Postracially," The New York Times, November 4, 2009.
- 3. The Colbert Report, episode no. 153, first broadcast October 26, 2009 by Comedy Central. Colbert went on to suggest that Cornell West rename his signature book "Race Mattered."
- 4. David A. Hollinger, "The Concept of Post-Racial: How Its Easy Dismissal Obscures Important Questions," Daedalus 140, no. 1 (Winter 2011): 175.
- 5. See especially Paul Gilroy, Against Race: Imagining Political Culture Beyond the Color Line (Cambridge: Belknap Press of Harvard University Press, 2000).
- 6. Edward S. Casey, "How to Get From Space to Place in a Fairly Short Stretch of Time: Phenomenological Prolegomena," in Senses of Place, Steven Feld and Keith H. Basso, eds. (Santa Fe: School of American Research Press, 1996), 19. I should note that in this essay and elsewhere Casey's claims are broad. He often uses the collective "we" or "human beings" to describe the purview of his philosophical project (e.g., "we are not only in places but of them" [19]). Nonetheless, as I argue in the broader project of which this essay is a part, Casey's concept of emplacement has particular urgency for raced human beings.
- 7. On the genius loci trope, see Geoffrey H. Hartman, "Romantic Poetry and the Genius Loci" in Beyond Formalism: Literary Essays, 1958–1970 (New Haven: Yale University Press, 1970), 311–36; Roberto M. Dainotto, Place in Literature: Regions, Cultures, Communities (Ithaca, NY: Cornell University Press, 2000); and John D. Kerkering, "American Renaissance Poetry and the Topos of Positionality: Genius Mundi and Genius Loci in Walt Whitman and William Gilmore Simms" Victorian Poetry 43, no. 2 (Summer 2005): 223–248.
- 8. Elizabeth Alexander, The Venus Hottentot (Saint Paul: Graywolf Press, 2004 [1990]), 50.
- 9. Elizabeth Alexander, Antebellum Dream Book: Poems (Saint Paul: Graywolf Press, 2001), 22.
- 10. Elizabeth Alexander, "Natasha Trethewey Interviews Elizabeth Alexander," Southern Spaces, December 10, 2009, http://southernspaces.org/2009/natasha-trethewey-interviews-elizabeth-alexander. On passing narratives in twentieth-century American literature, see especially Gayle Wald, Crossing the Line: Racial Passing in Twentieth-Century US Literature and Culture(Durham: Duke University Press, 2000).
- 11. See especially Elizabeth McLagan, A Peculiar Paradise: A History of Blacks in Oregon (Portland: Georgian Press, 1980).
- 12. Elizabeth Alexander, "Natasha Trethewey Interviews Elizabeth Alexander."
- 13. Natasha Trethewey, Native Guard (Boston: Houghton Mifflin, 2006), 36.
- 14. Natasha Trethewey, Native Guard (Boston: Houghton Mifflin, 2006), 35.
- 15. Thadious M. Davis, Southscapes: Geographies of Race, Region, and Literature (Chapel Hill: University of North Carolina Press, 2011), 58.
- 16. Davis offers little help here, noting, "The Fugitives' rural iconography is made obsolete by the sound of the bulldozers building more of the city, Southscapes, 78."
- 17. The paradoxes of Atlanta's uneven development and race relations have been exhaustively documented by Ronald H. Bayor, Larry Keating, Kevin M. Kruse, and David L. Sjoquist. Since the 1996 Olympics, it has become a critical doxa to describe Atlanta as an urban space characterized by its "sense of placelessness"—a "nonplace," if you will.
- 18. One imagines that Robert Penn Warren and Allen Tate might have admired Trethewey's formal commitments and/or keen interest in Civil War memory. It bears repeating, this is a very well-wrought sonnet in a collection of poems called Native Guard.
- 19. Davis, Southscapes, 57.
- 20. Robert Lowell, For the Union Dead (New York: Farrar, 1964), 70.
- 21. C. S. Giscombe, Prairie Style (Champaign, IL: Dalkey Archive Press, 2008), 22.
- 22. Ron Sillman, in C. S. Giscombe, Giscome Road (Champaign, IL: Dalkey Archive Press, 1994), back cover.
- 23. Giscombe, Prarie Style, xiii.
- 24. C. S. Giscombe, Into and Out of Dislocation (New York: North Point Press, 2000), dust jacket.
- 25. Giscombe, Prairie Style, 68–69.
- 26. Max Cavitch, American Elegy: The Poetry of Mourning from the Puritans to Whitman (Minneapolis: University of Minnesota Press, 2007), 1.
- 27. Peniel E. Joseph, "Our National Postracial Hangover: With the Gates Fiasco, the Rosy Glow Has Faded," The Chronical of Higher Education, 27 July, 2009, http://chronicle.com/article/Our-National-Postracial/47462/.
- 28. George Lipsitz, How Racism Take Place (Philadelphia: Temple University Press, 2011), 5.
- 29. Ibid., 5.
- 30. For a powerful, related claim about poetry's representation power, see Neville Hoad, "Three Poems and a Pandemic" in Political Emotions: New Agendas in Communication, ed. Janet Steiger et al. (New York: Routledge, 2010).


text: The World Health Organization has approved the use of experimental treatments for Ebola patients in West Africa. The Ebola outbreak there is unprecedented, the disease deadly. The number of people who have died from Ebola has surpassed 1,200. VOA's Carol Pearson reports on the ethical considerations of allowing experimental drugs to be used.


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Check out a preview of the new Nashville.gov
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New Americans
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I, Megan Barry, Mayor of the Metropolitan Government of Nashville and Davidson County, by virtue of the power and authority vested in me, do hereby find, direct and order the following:
I. In Homeland Security Directive (HSPD)-5, the President of the United States directed the Secretary of the Department of Homeland Security to develop and administer a National Incident Management System (NIMS) which would provide a consistent nationwide approach for federal, state, local, and tribal governments to work together in a more effective and efficient manner to prevent, prepare for, respond to, and recover from domestic incidents regardless of cause, size, or complexity; and
II. The collective input and guidance from all federal, state, local, and tribal homeland security partners has been, and will continue to be, vital to the development and effective implementation and utilization of a comprehensive National Incident Management System (NIMS); and
III. It is necessary and desirable that all federal, state, local, and tribal emergency agencies and personnel coordinate their efforts to effectively and efficiently provide the highest levels of incident management; and
IV. To facilitate the most efficient and effective incident management, it is critical that federal, state, local, and tribal organizations utilize standardized terminology, standardized organizational structures, interoperable communications, consolidated action plans, unified command structures, uniform personnel qualification standards, uniform standards for planning, training, and exercising, comprehensive resource management, and designated incident facilities during emergencies or disasters; and
V. The National Incident Management System (NIMS) sets forth standardized procedures for managing personnel, communications, facilities and resources that will improve the Metropolitan Government's ability to utilize federal funding to enhance local and state agency readiness, maintain first responder safety, and streamline incident management processes; and
VI. The Incident Command System component of the National Incident Management System (NIMS) is already an integral part of various incident management activities throughout the Metropolitan Government including current emergency management training programs.
1. The National Incident Management System (NIMS) shall be the standard for incident management within the Metropolitan Government of Nashville and Davidson County, Tennessee;
2. The National Incident Management System (NIMS) shall be incorporated into and become part of the Metropolitan Nashville - Davidson County Comprehensive Emergency Management Plan (CEMP);
3. The Mayor's Office of Emergency Management shall be responsible for monitoring compliance with the National Incident Management System (NIMS) in coordination with other departments.
Megan Barry
Metropolitan County Mayor
Date: February 24, 2016
© 2019 Metropolitan Government of Nashville and Davidson County, Tennessee


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The Empire Strikes Back
8 November 2008
The second Salsa Trilogy party is at 6pm on Saturday 8 November at the River Club in Observatory, Cape Town, South Africa. Tickets are R80 and this includes a buffet. To book, please contact Yann at +27 84 477 5541.
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6 November 2008
Ikabot will be teaching Salsa workshops (Rueda de Casino) in Dar es Salaam, Tanzania on 6, 7 and 8 November 2008. The workshops are each two hours long (six hours tuition in total) and cost 30 000 shillings per person. Please call Lotus on +25 57 57 24 02 90 for details or to book.
Salsa Trilogy
19 September 2008
At 7pm on Friday 19 September sees the first of a trilogy of Salsa parties at Paul's Hall on the corner of Buitengracht and Buiten streets in Cape Town, South Africa. Tickets are R60 (pre-booked) and this includes a free buffet or salsa class. To book, please contact Yann at +27 84 477 5541.
Monique Hellenberg
14 June 2008
On Saturday 14 June, Monique Hellenberg and Goldfish are performing at Ku De Ta in Durbanville, including a performance of their latest hit, This is How it Goes off the album Perceptions of Pacha. Sakhile Moleshe will also make a guest appearance. The cost of entry to the venue is R70.
HIV Foundation Fundraiser
22 November 2007
The Desmond Tutu HIV Foundation presents a Sizzling Salsa Night on Friday 22 November 2007 with the theme Toast to the Flavours of Life. The evening features a live Salsa band, Salsa dance performances, gourmet Latin-style tapas, as well as tequila and wine tastings in adjacent rooms. Tickets cost R200 and can be had from Kate Snyder at +27 21 650 6963.
Party in Constantia
20 October 2007
There is a rugby/salsa/pool party at 5 Spilhaus Avenue, Constantia on Saturday 20 October. There will be a spit braai, rugby on a big screen, DJs and a live band. If you wish to attend, you must contribute R70 and take drinks. Please call Yann Lellouche for more information on +27 84 477 5541.
Doug Masek Sax Recital
12 October 2007
Saxophonist Doug Masek is giving a recital in the Nassau Centre at Groote Schuur High School in Palmyra Road, Rondebosch on Friday 12 October at 8pm. Masek is Professor of Saxophone at UCLA and the concert is part of his South African tour. Tickets cost R60 (R40 for students and scholars). For tickets and enquiries, please contact Anton Els on +27 82 457 0784.
Arabian Nights
6 October 2007
There is an Arabian Nights party at ¿Que Pasa? on Saturday 6 October 2007. Doors open at 8pm. There is a R30 cover charge which includes a free cocktail. There will be a beginners' salsa class at 8:45pm, with the party starting at 9:45pm. The music will be Salsa and Reggaeton, and there will be hubbly bubbly and a Middle Eastern dance show during the evening. For details, please call John Morrison at 083 556 7466.
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"Dee Christopher has taken the Brainwave effect to new heights with his new effect. I looked for the R/S... There was nothing. He fooled the hell out of me."
- Alan Rorrison
INSANEwave is Dee Christopher's evolution of the BrainWave effect. The classic effect is that a named card is the only card in the deck with a different coloured or contrasting back design.
I wanted to take the effect further, I loved the image of spreading a deck and having multiple cards with different backs, I began work on forging a solution with several thoughts in mind.
Get To Know Us
Shipping and Store Policies
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The 1st Drug Disposal Device "This product will change the world!" [Informercial Submitted]
For more information on this drug disposal unit: ByeBottle.com
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


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How to Make Ultrasuede Curtains
These Ultrasuede curtains are very simple window treatments that effectively block light and give your room a modern look. They're great for young men's rooms, or any room where you want a bit of style without any frills or fuss.
If you find Ultrasuede too costly, use a less expensive faux-suede. Ultrasuede may be the most fantastic fabric ever! It never frays, it's washable, and it has the rich appearance of suede without all the hassle. It also comes in many different weights — from lightweight (called "soft" or "light") to heavyweight (called "Ambience"). Mediumweight Ultrasuede is best for this.
Here's how to make the basic panel, literally 1-2-3:
Measure your window's width and height.
Cut your panel the exact size of your window.
If you want a fuller look, add a half-width measurement.
Attach curtain clips to the top of the panel, about one every 5 inches, and hang.
If you want to make this project even easier, skip the clips and grab your scissors. Cut small slits at the top of your panel and thread a rod of your choice through the holes. For best results, cut ten 1-1/2-inch vertical slits every 3 inches, starting 1-1/2 inches from the side. These slits need to start about a 1/2-inch down from the top.
You can embellish your panel however you want, or use pinking shears instead of scissors to add a different edge.
You can also cut an inch of fringe for a Western/Native American flair. The panel's length measurement doesn't change if you choose to use these extra flairs.


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Understand the CNCS performance measures. This page on the CNCS Knowledge Network includes online courses and supporting material covering key concepts such as performance measurement basics, theory of change, evidence, quality performance measures, and data collection and instruments.
The website you are about to visit is not part of the CNCS domain and may or may not be under CNCS' management or control, and its privacy and security practices and policies may differ from those of CNCS. CNCS is not responsible for the link nor does it endorse the content of the third-party website (Read more).
Click here or on the Continue button to proceed to the external website, otherwise click cancel to stay on VISTACampus.gov.


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The home for Glasgow International Airport enthusiasts
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In order to login you must be registered. Registering takes only a few moments but gives you increased capabilities. The board administrator may also grant additional permissions to registered users. Before you register please ensure you are familiar with our terms of use and related policies. Please ensure you read any forum rules as you navigate around the board.
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Phew, hot one out today! 96 with a heat index of 104. It wouldn't feel so bad if we had been having this weather all season, but it has been unseasonably cool here in Ohio. I have to admit that this warmer weather has left me uninspired to cook much. Too hot to turn the oven on, even with A/C. There has been a lot of grilling going on. School starts in 17 days. I will miss having the kids around, but I look forward to being back on more of a structured daily schedule. Plus, the arguing is getting a little much. I declared one day last week "National No Arguing Day". The kids didn't buy it. Darn! LOL!!
A friend of ours gave us some cucumber & zucchini from their garden the other day. You have to see this zucchini. Jon was pretending to use it as a baseball bat, it is that big!!
This is a 12 inch ruler and a 750ml bottle of wine, for reference.
Look how big around this thing is!
Not sure what I am doing with this monster yet, but I see some zucchini bread in our future!!
In My Box is hosting this week's gluten-free menu swap. The ingredients of the week are lentils, beans & pulses. I had no idea what pulses were, so I went to my trusty Wikipedia site to find out. Basically they are legumes, but if you want more explanation, click here. I eat lentils, beans & pulses all the time. I add chickpeas and/or black beans to my salads all the time. I also enjoy black beans with some red quinoa and other grilled or roasted veggies. I don't have any dinners planned using these items, but they will be in my salads & lunches. 😉
Sunday ~ Rotisserie Chicken, baked sweet potato w/cinnamon & Greek yogurt, fresh green beans & mixed greens salad.
Monday ~ Spaghetti & meat sauce (ground turkey), roasted asparagus & salad
Tuesday ~ Baked Chicken Fingers, butternut squash fries, broccoli & salad
Wednesday ~ Leftovers or fend for yourself night (skating)
Thursday ~ Herb Roasted Pork (got bumped from last week), Brown Rice or quinoa, zucchini/yellow squash & salad
Friday ~ Pizza and salad
Saturday ~ Filet mignon, garlic mashed potatoes, roasted veggies & salad
Baked Goods
Pamela's Bread
Zucchini Bread
Thanks to Cheryl at Gluten-Free Goodness for hosting the temporary GF Menu Swap HQ.
For more great menu ideas, visit Orgjunkie.
Reminder: Do you want to write for The Examiner? Check out this post for more information. A great way to reach out to others, have fun & make a little extra money! They are nationwide! Make sure to mention where you heard about The Examiner. My referral Examiner number is 15655.
I hope you all have a great week!! Make sure to check back tomorrow & later in the week for some awesome giveaways!!
Filed under: Family, Gluten-Free, Gluten-Free Recipes |


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Carl Moll (1861-1945) painted The View From Schindler's Window in the home of his teacher, Emil Schindler. Soon after Schindler died in 1892, Moll married Schindler's widow Anna. In marrying Anna Schindler, Moll became the stepfather of seven year-old Alma, who would grow into the beautiful, temperamental, and much-married Alma Schindler Mahler Werfel Gropius. Like his much-married step-daughter, Moll's every action excited speculation in Viennese circles that professed to find nothing too shocking for drawing room gossip and demonstrated their fortitude in the face of delicious scandals.
Moll was also noted for his foresightedness, and not necessarily with admiration. He was an early member of the Vienna Secession in 1897, and he would secede from that group in 1905, along with Gustav Klimt. He promoted Klimt's art and introduced the Viennese to the paintings of Vincent Van Gogh's, making handsome profits as a well-placed dealer. In time he became an early supporter of Hitler's National Socialism in the 1920s. Fast forward to 1945, when Moll committed suicide, together with his daughter and son-in-law, as the Soviet Army entered Vienna. We begin to see more things that are not obvious in Moll's paintings.
Of course, we see none of this in The View From Schindler's Window. When looking at Moll's self-portrait (1906) or the view of his snow-covered studio from the outside (c. 1905) we see a world of calm introspection, of a new aesthetic in painting masterfully applied. His use of diagonals and bird's eye views allows a subtle lightness in his landscapes, an aesthetic of verisimilitude, resembling something, but not the thing itself, rather like the Schindler-Moll family perhaps.
Far from being a great man, Moll (whose name translates from the German as 'minor') was far from a minor artist. But the work remains, waiting for a time when it will win out over history, as beautiful work always does.
1. The View From Schindler's Window, 1886, Essl Collection, Austria.
2. Verschneites Studio on Theriesiengasse, c. 1905, Dichaud Collection, Austria.
3. The Artist In His Studio, 1906, Akademie der Bilder Kunst, Gemaldgalerie, Vienna.
4. Winter In Preibach, 1904, private collection, Vienna
6. Winter Scene -Heiligenstadt, c.1904.
7. View Of Heilligenstadt, 1906, Dichaud Collection, Austria.
8. The Interior Of The Ambassador's Residence.
9. Twilight, c. 1900, Osterresiches Galerie Belvedere, Vienna.


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|Criminal History Requests
The Mythical Nationwide Criminal Records Check
There is no such thing as a national criminal records check. In reality, there are thousands of separate criminal indexes maintained at the federal, state, county, and city levels throughout the United States. To conduct a nationwide search would require accessing each individual index. There is one "nationwide" criminal database, the FBI's Interstate Identification Index or "III" (triple i). However, this FBI database is NOT public record and cannot be legally accessed by anyone other than criminal justice agencies. Even if III records were available as public record, they typically do not contain a complete list of arrests for a particular individual. This is because not all arrests at the local level involve fingerprinting, and without fingerprint cards the arrest record cannot be included in the III.
County/City Level Criminal Checks
Hall of Justice
575 S. 10th Street
Lincoln, NE, 68508
Information on how to request a Lincoln Police Department public criminal history check can be obtained at https://lincoln.ne.gov/city/police/stats/recordsindex.htm or by calling (402) 441-7210.
Statewide Criminal Checks
3800 NW 12th Street
Lincoln, NE 68521
(402) 471-4971
Online Checks: https://www.nebraska.gov/apps-nsp-limited-criminal/
Nebraska Traffic Offense Records
Driver and Vehicle Records Division
301 Centennial Mall South
PO Box 94789
Lincoln, NE 68509-4789
(402) 471-3918
Federal Criminal History Checks
Record Request
1000 Custer Hollow Road
Clarksburg, WV 26306
or online at


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Last night, it was video of Reggie Miller watching Ryan Braun of the Brewers falling face first after rounding third.
Today, it was presumably teammates memorializing the flub in athletic tape in a lighthearted moment before they done got swept by the Cardinals. (H/T Tipster Peter B., who pointed out MLB beat writer Adam McCalvy's TwitPic)


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Search for help on enabling JavaScript
Members of our chapter can help accelerate the pace of type 1 diabetes (T1D) research by raising funds for the annual Gala Fund A Cure campaign. All you have to do is set up a fundraising page, email the link to your contacts, and ask them to help create a world without T1D! To get started, please sign up here.
Click here to join!
JDRF is the leading global organization focused on type 1 diabetes (T1D) research. JDRF's goal is to progressively remove the impact of T1D from people's lives until we achieve a world without T1D. JDRF collaborates with a wide spectrum of partners and is the only organization with the scientific resources, policy influence and a working plan to bring life-changing therapies from the lab to the community. As the largest charitable supporter of T1D research, JDRF is currently sponsoring $450 million in charitable research in 17 countries. For more information, please visit www.jdrf.org
Fund A Cure is a unique opportunity to make a 100 percent tax-deductible donation to JDRF that will fund critical type 1 diabetes (T1D) research. Since 1994, JDRF has raised more than $290 million through the Fund A Cure campaign alone.
The Greatest Gift of All:
Hope of Turning Type One into Type None
Please join us for our annual Hope for the Holidays Cocktail Party
Saturday, December 5, 2016
Omni Barton Creek Resort & Spa
Cocktail Hour: 6:30pm
Dinner & Program Begins: 7:30pm
Join us for a night of food, fun and dancing with Live Auctions, Raffles and live entertainment from Rotel and the Hot Tomatoes!
We're the stop at nothing type
JDRF exists for the millions of children, adults, and families affected by type 1 diabetes (T1D) every single day. Their determination to overcome this disease strengthens ours to end it by funding life-changing T1D research.
T1D is an autoimmune disease in which a person's pancreas loses the ability to produce insulin — a hormone essential to turning food into energy. It strikes both children and adults suddenly and is unrelated to diet and lifestyle. It requires constant carbohydrate counting, blood-glucose testing, and lifelong dependence on injected insulin.
Your participation in JDRF events ensures that JDRF can continue funding critical T1D research. With your support, this research will continue to bring us closer to a world without T1D.


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The Mr. United States Organization is the newest pageantry platform for teen and adult males in America. Mr. US 2016, Avery D. Wilson, promotes his national platform - LOVE Matters. Inspired by his creole Louisiana roots, Lundi Love is what Wilson calls his 'Monday-minute of love and inspiration for the world.' #LOVEmatters #lundilove
Back to All Events
Earlier Event: April 2WSA Cheerleading Competition
Later Event: April 10Lundi Love


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Electronic Merchant Systems API - Changelog
EMS (Electronic Merchant Systems) is an eCommerce payment gateway. It allows merchants to handle transactions online in realtime or individually through a merchant-operated virtual point of sale terminal (VPOS). EMS offers 2 APIs that connect users to EMS Merchant Services to streamline transaction processes such as payment, authorizations, settlements, transaction status requests and more. The APIs use the RESTful protocol.


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It seemed some of that Chris Brown aggression may have rubbed off on Rihanna on Sunday, June 16, when she whacked a fan with her mic mid-song during a concert.
RiRi, in Birmingham during the UK leg of her Diamonds world tour, took a detour through the crowd during a performance when an overzealous fan grabbed hold of the singer and held on for dear life.
Try as she might to keep walking, Rih couldn't escape the person's iron grip — and rather than let her security detail handle it, she eventually turned to strike the subject with her magical glittery microphone, breaking their hex on her.
According to the New York Daily News, Rihanna had good aim and hit the concertgoer's "face or head." Ouch. (To add insult to injury, the singer allegedly started the show two hours late, too.)
Ri's camp is giving radio silence. But if history is any indicator, we already know she's unapologetic.


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CAGVenture necesitaba un nuevo diseño de impreso o envases y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 117 diseños de 34 diseñadores freelance.
Back for a second year, we are seeking a thoughtful and talented designer to provide a new and fresh contemporary look for the cover of our Merchandise Gift Catalog.
The Certif-A-Gift company (http://www.certif-a-gift.com)
If you're a print designer and want the opportunity to have your work seen by tens of thousands of people this year, take a look at this design contest.
Last year we ran our first contest on 99Designs and received remarkable response. This year's contest is for the cover design of our 2010 Merchandise Gift Catalog.
What we sell:
We sell what's known as plateau gift booklets. Our clients are companies of all sizes, from small 5 person businesses to well-established companies like Cisco, NetJets, Kinkos and TJMax. Our customers use our gift booklets as sales incentives, employee thank-you gifts, and in consumer loyalty programs.
** The Design Contest **
We are seeking a thoughtful and talented designer to provide a new and fresh contemporary look for the cover of our Merchandise Gift Catalog.
Bonus: The winning designer have the opportunity to work with us on the redesign of the catalog interior (product) pages.
You can see last year's catalog cover (2009) at:
The Gift Catalog is for year-round use (not seasonal).
The finished covers are 11.5in. W x 8.5in. H (horizontal). 4/c, CMYK, 300dpi. Keep in mind that the design may wrap around to the back cover. The catalog spread will be 22.375in. W x 8.5in. H (the additional .375in. is for the spine when the catalog is complete).
Quark can be used. InDesign is NOT an option at this timePhotoshop or Illustrator files.Illustrator .ai or Photoshop .eps, CMYK, 300dpi.Horizontal format (11.5in. W x 8.5in. H)
- A classy, contemporary look that our customers will remember. Be creative and have fun.
- Must include the phrase: "A Gift for You" on the cover
- We prefer incorporating a gift box into the design
- Faddish, hip, millennial designs that will be out of style in a year.


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Mount Calvary Baptist Church - Hoboken, GA
Thursday, October 17, 2019
Youth in the "Upper Room"
Date: Wednesday, October 30, 2019
Time: 6:30 PM -
Wednesday Night
6:30 p.m.
We have Youth Leaders who love God and are committed
to helping your teenager know more about Jesus!
They will be able to share experiences, worship and activities with others their own age centered around Christian principles.
Come check us out and see what we are all about!


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Modern Sitting Room Wood Furniture Design Cabinet Wood Is A ComplexWood is one of the interesting material that is used as an accent in the home . In addition to beautiful , wood is also able to provide a variety of other advantages for your home . Wood can be utilized to provide a connection between the interior and exterior . Wood Furniture is also able to create a modern style interior feels more relaxed . The Benefits of Home Decorating Ideas with Wooden Furniture Wooden furniture can be placed in any room in your home . Including the kitchen also uses wooden display cabinets with young . We can use materials specifically chosen to give the appearance of preferential wood kitchen furniture . Modern Kitchen Design With Dark Brown Wood Cabinet And Beige Wood Floor Finally, the action carefully , wood will not worn with age . With a dark finish , old wooden floors can look better and make the space feel bigger . In the room you can also enter a range of The Wood Furniture with dark colored wood legs . The furniture instantly disappeared in a dark color matching on the floor . That's what makes the room feel more spacious .
Modern Wood Furniture Designs Ideas
Modern Lcd Tv Wooden Furniture Designs
Wood Bedroom Cabinet Furniture Design Interior Design Idea
Beautiful Modern Interior Design With Lovely Wooden Furniture
Small Kid Bedroom Wood Furniture Design
Written By Jaeden Beebe On Friday, September 2, 2011 | 6:24 Am
Modern Lcd Tv Wooden Furniture Designs
Wooden Interior Design For Your Living Room , Home Interior Design
Com Capas E Casacos
Modern Lcd Tv Wooden Furniture Designs
Antique Wood Furniture Design
Modern Wooden Furniture Design
Minimalist Modern Wooden House Design, Minimalist, Modern Wooden House


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Student or Learner
Teacher, please check my letter.
I would like to take three weeks' leave from February 4 to 22, 2013 to visit my 80-year old father who lives in Shanghai. I have not seen him for almost three years and wish to spend more time with him. I have two weeks holiday for next year and I will apply for one week unpaid. Please approve my request. Thank you.
Instead of "Please approve etc.", you might say "I respctfully request your approval" and there is no need for an apostrophe with "weeks". Otherwise OK.


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Cleanliness campaign launched in Nangarhar capital
Cleanliness campaign launched in Nangarhar capital
JALALABAD (Pajhwok): An overnight campaign for washing roads and streets in the capital of eastern Nangarhar provinces has been launched, the governor's office said on Wednesday.
The cleanliness drive was being conducted by Khogyani Academic and Development Foundation with technical support from the municipality, a statement from the governor's house said.
Started from the Mastofiat Square, the campaign would be extended to other areas of the provincial capital in the next few days.
Governor Gulab Mangal saidthe purpose of the cleanliness drive was to give people the message to keep clean the city like their homes and start cleaning their streets and surroundings.
Mangal added with the completion of the drive the city would look more beautiful and diseases would be prevented.
Jalabad Mayor Hamidullah Afghan also asked people to help the municipality in such campaigns to keep the city clean.
Provincial council head and the foundation member, Ajmal Umar, said: "Cleanliness is half of faith and in a bid to inculcate a civic sense among citizens, we are conducting the campaign."
Related Article
Download "Pajhwok" mobile App, on your smartphone to read and access latest news, features, interviews, videos and photos about Afghanistan.


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Fly to Warsaw for less
Search for our cheapest fares using Low Price Finder and take advantage of our terrific deals on direct flights to Warsaw.
Search for our cheapest fares using Low Price Finder and take advantage of our terrific deals on direct flights to Warsaw.
Warsaw's mix of baroque palaces, communist blocks and new glass skyscrapers can seem a little alienating at first, but stick with it and you'll discover an often beautiful city whose recovery since almost total destruction in World War Two is one of Europe's great success stories.
Centred on a baroque market square, Warsaw's Old Town was immaculately reconstructed after wartime bombardment, while to its south the Śródmieście district contains streets filled with cafés and cool bars (often hidden discreetly within courtyards) and the Palace of Culture's striking Stalinist wedding cake-style tower. Warsaw's excellent cultural scene is also a draw, including state of the art museums dedicated to the history of Polish Jews and to onetime Warsaw resident Chopin. For a break from high culture, the raw, edgy Praga district across the river Vistula has hip bars and clubs in old warehouses along 19th century ulica Ząbkowska. Beyond the city, Warsaw's suburbs give way quickly to quiet forests. Easy to reach from Warsaw are the woodlands of the Kampinos National Park, Chopin's manor house birthplace at Żelazowa Wola and the renaissance town of Kazimierz Dolny.
Clasificación por estrellas de BA
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Puntuación de TripAdvisor
114 reseñas
Si encuentra un vuelo de British Airways por menos dinero, le reembolsaremos la diferencia.
Buscador de precios bajos y depósitos iniciales bajos.
Viaje con British Airways y disfrutará de un servicio que ha sido merecedor de varios premios y de una excelente relación calidad-precio, sin suplementos ocultos:


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EBikePete necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 105 diseños de 15 diseñadores freelance.
Electric Bike Report
Electric Bike Report is all about promoting the electric bike as a viable alternative to driving a car. The website focuses on electric bike advocacy, news, reviews, and simple concise information for people interested in electric bikes.
The target audience is people who are looking for a way to use their car less. Here are examples of the target audience:
People who are into the green movement, sustainability and environmental protection.
People who are looking for a cheaper means of transportation and not worry about parking.
People who want to get outside, and connect with their community.
People who like biking but don't want to be sweaty when they get to where they are going.
People who are currently cyclists and want an easy way to haul groceries on their bicycle.
Here is what I am thinking:
A bicycle wheel. This is an example: http://www.istockphoto.com/stock-il…-wheel.php
A lightening bolt in the middle of the wheel. Here is are some examples. Try a lightening bolt that is centered inside the wheel and one that is larger than the wheel. http://www.istockphoto.com/stock-il…-bolts.php
For the name "ElectricBikeReport.com" let's try one version wrapping around the wheel and another horizontal above the wheel.
Colors: I would like try this: the wheel and turbine prop to be green and the lightening bolt to be blue and white text for ElectricBikeReport.com . Feel free to try other colors too.
Overall that is what I am thinking right now. The examples I gave are just examples and I am not set on them by any means. So please feel free to use others and make it cool!
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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MySQL root password
If you login to your droplet under root from the command line/terminal. It should say in the welcome message what your MySQL password is..
ola tudo bem a todos eu não estou conseguindo mudar minha senha do mysql alguem pode me da uma ajuda?
@williamb: Take a look at this tutorial (Recover MySQL root Password) for instructions on how to reset your MySQL root password.
The first step of that tutorial doesn't work:
/etc/init.d/mysql stop
reports "OK" but doesn't actually stop the mysqld process.
stop mysql
did the trick, from here
the rest of the instructions worked fine :)
- Show 2 more comments
You can test access directly by doing:
mysql -u rootto see if the root user has no password set, if it doesn't work then it means one is set.
/root/.digitalocean_password really works, thanks!


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Cars rental with delivery to Aéroport Lyon-Saint Exupéry (LYS)
The company Auto-Arenda offers cars for rent with delivery to the airport in Aéroport Lyon-Saint Exupéry (LYS). We provide our clients with the best and the most modern cars and deliver them to Aéroport Lyon-Saint Exupéry (LYS). The wide variety of classes of our cars include cars from business class vehicles to convenient minivans, from sport cars to luxury AWD jeeps.
Our Auto-Arenda company's cars rent will help you to cope with every task: from transfer from airport to meeting of clients at the diplomatic level with cars delivery to Aéroport Lyon-Saint Exupéry (LYS).
The company Auto-Arenda works with private clients and with car rental and delivery agencies. Moreover, we will help you to organize car rental for corporate orders, for a huge group of tourists with several cars or for group transfers both to Courchevel cities and to Europe.
If you order the car with private chauffeur and car delivery to the to Aéroport Lyon-Saint Exupéry (LYS), we will provide you with range of additional services: concierge service - meeting in the airport with nameplate, delivery of car to your address, carrying luggage and so on.
At the request of the client, the company provides delivery of the rented car to the airport or to the railway station.