text:
The Denver Art museum just finished an exhibit of Chinese textiles from its permanent collection and Xu Beihong, a fabulous modern painter of horses (so the advertising notes), from China. As his wife relates in a film on him, Xu had planned to come to the United States in December, 1941, but Pearl Harbor intervened. Denver was the first and only American city to which Beihong's works came.
The connection is museum trustee John Sie; he also contributed money for the Sie Cheou-kang building at the Josef Korbel School of International Studies, named for his father, a friend of Xu's. But here an important story unfolds in the exhibit itself, one accompanying the bursting out of a republic in China in 1911 led by Sun Yat-sen, his replacement by the dictator Chiang Kai-shek, Chiang's extermination of workers in Shanghai by having them burned – as Communists – in the railway engines in 1927, the beginning of peasant revolution led by Mao and the Communist party in the long march of the early 1930s, the ferocious Japanese fascist invasion of China, starting in 1937, and the overpowering effect of likely conquest on artists as well as others. Sie Cheou-kang is pictured in one of Xu Beihong's paintings, Tian-heng and his 500 warriors - standing near the artist himself among the soldiers resisting oppression (there is also a separate portrait of Sie).
The horses – there are 6 powerful, restless, alive, endangered ones – measure, the artist says, speaking also of himself, the resistance of the Chinese people to Japanese aggression.
At Harvard as a graduate student, I intended briefly to go into Chinese studies. I started intensive Chinese late and took a vacuous seminar on Chinese government. The professor charted the offices of the Chinese government – the form on the blackboard still stares blankly at me in memory, but hardly a word from the many items – perhaps The People's Consultative Conference – glimmers now. Nobody read Mao (it was sad; Benjamin Schwartz gave some lectures, trying a bit, but the lack of empathy for ordinary Chinese – a sort of opposite of Xu Beihong – compromised even his work).
I had read Chalmers Johnson's Peasant Nationalism in Communist China, a book written while Johnson was a U.S. government agent, who still scorned the resistance in Vietnam and the American student movement. He later regretted his suffocating arrogance – see the introduction to Blowback. But he always looked down on the Chinese peasants, and at the time, sided with Chiang Kai-shek (perhaps he later regretted that, too).
And yet he alone revealed a startling fact about the revolution to me. Mao's strategy was to organize a guerilla movement which would "swim in the sea of the people." The Japanese aggressors decided to "drain the water." In three provinces in North China in the winter of 1940-41, Johnson reported, they murdered 20 million people. It is worth stopping at the figure, taking it in…
The invasion was genocidal – but I have not seen it reported, let alone thought about, in the US corporate/governmental mainstream (I include much scholarship on China which has been influenced by the war complex) aside from Johnson's book. This was, after all, the same era in which the US firebombed Japanese wooden cities, killing perhaps 10 million innocent civilians (see Errol Morris's The Fog of War interviewing Robert McNamara who says, in grim self-recognition, that had he and Curtis Lemay lost, they would have been tried as war criminals. Unlike Lemay, McNamara was plainly deeply troubled about this. That film is the one place where I learned of this mass killing).
And the U.S. dropped the atom bombs on Hiroshima (killing some 20,000 enslaved Koreans in addition to 60,000 Japanese civilians in the blast and more in the long, radioactive aftermath) and Nagasaki.
And locked Japanese-Americans in concentration camps…
There are dark reasons why American China education was then and is to this day amazingly censored and silly….
Xu had met Sie Cheou-kang when the latter was a student in France. As John Sie related amusingly at the fancy dedication of the center (where Bob Coombe, the Chancellor ably spoke, and Mayor Hickenlooper looked, dazedly but enthusiastically, on), as a student in France, Sie Cheou-kang supported Chinese agricultural workers on strike. Probably Xu did, too. Sie Cheou-kang was active in the early communist movement in China, a friend of Chou En-lai. He went to a conference of the communist international, but did not advance much in the party. He eventually became Chiang K'ai-shek's ambassador to the Pope between 1942-45.
John Sie would come to America, and make a fortune. But he is plainly bonded to his father's experience in China and happy enough to have the story told afresh. He was instrumental in bringing Xu's work – a stunning advance in Chinese art and something much more – to this international stage (Xu is widely admired elsewhere, including in Europe, but not of course in the United States where the curtain of anti-communist or anti-radical ideology and racism veils most of what happened).
Perhaps the best piece in the exhibit is an austere drawing of Gandhi – his face deep in thought - from a visit Xu paid to India in 1940, He went to Santiniketan and also painted Rabindranath Tagore – a much more "finished" (see the commentary below), but less interesting portrait. Gandhi's spirit shines through (I have never seen another representation of Gandhi with near this power).
Xu combines the externality of French painting – of the impressionists and to some extent, Manet's portraits which have some inwardness – with a Chinese or Taoist sense of the person within. Xu renews and strengthens this power. The cliché often said about his work combining Chinese style with Western techniques, hardly touches this.
The show, including two interesting films, interprets Shu's significance as venturing into modern art as a Chinese artist (as even some Chinese commentators also say). Xu was sent to the West after the Revolution of 1911 by Sun Yat Sen and subsisted, often without money, in Paris, for several years. The review below of an exhibit in Singapore suggests that an exhausted, weak horse of 1941 is Xu the student in Paris; this is a remarkable disregard of the actually setting of the revolutionary war against Japan where, indeed, there were moments of faintness and suffering...
The portraits and the representations of animals - horses and eagles (representing Chinese planes, the few, flying against Japan) - combine Shu's sense of the inner meaning of the historical situation, his and his countrymen's and women's worry about conquest as well as exultation in victories, and the spirit of the animals. It is stunning work.
Ho Chi Minh, my student Rich Rockwell tells me (Rich was a Vietnamese orphan flown out of Saigon in 1975 on a plane among some 300 babies that survived; the other, also carrying 300 babies, crashed and burned) admired Gandhi, too. Among those who resisted imperialism/colonialism in Asia, being for nonviolence and being a Communist were often not separable (my friend Haider Khan's father was a close friend of Badshah Khan, leader of the nonviolent Gandhian resistance in the Northwest territories among Pathans, and also a communist).
Xu also depicted "The Foolish Old Man who Moved the Mountain" in front of his house. He got laborers, painted in their straining and power, physically, to move it because otherwise his children and grandchildren would have to. The painting interprets a thought of Mao about the need for the Chinese people "foolishly" to defeat the depraved onslaught of Japanese fascism.
When the Communists came to power, Xu painted a wonderful portrait of Lu Hsun, the great novelist who also became a Communist (I had known of Lu Hsun before), and a stunning portrait of Mao, unfortunately a preliminary to a larger painting of Mao as a leader of the people (not as good a painting, it seemed to me, from a photo). A sign invoked Mao's thought that there is a difference between art, including art that is political, and political slogans that purport to be art.
If one wants to understand the point, one might look at Xu's work…
Xu was the head of the post-Revolution Art Academy in Beijing (today fabulously lively, for about 5,000 students). He died in 1953. There is a photograph of Chou En-lai with others at the memorial exhibition. In the cultural revolution, there were many attacks on the old culture (the other part of the exhibit, the tapestries, shows the immense beauty of Manchu weaving, and the utter odiousness of how beautiful tigers, butterflies and kingfishers can be integrated into the hierarchy of imperial offices . One point of the cultural revolution, however bizarre and destructive many of its manifestations, was to challenge the idea that ordinary Chinese people couldn't remake the world, had no possibility of voice or political power...
There is, of course, the long history of peasant rebellions from below at the end of dynasties of which Mao was a student - it is the subject of Chinese novels including the Water Margin or All Men are Brothers - and on which he based his distinctive strategy (see "An Investigation into the Peasant Movement in Hunan" - 1926). The glittering hierarchy, projected more majestically and ferociously perhaps even than those in Europe, had often fallen…
In the Chinese revolution itself, arguably the greatest popular revolution of the twentieth century, against Japanese genocide and American predation, the Chinese people did find many voices (Xu's paintings are one of them).
The people rose up even more successfully, arguably, than the Indians who achieved independence under Gandhi. For India under the Congress Party has been predatory of the poor (read Arundhati Roy's The God of Small Things for a sense). In contrast, with enormous energy, the Chinese took up a new life.
But many of Mao's ideas, before and subsequent to the Revolution, were not helpful, and in the famine accompanying the Great Leap Forward, horrifying. The West preys on the latter (ignoring its own crimes) not to notice the achievements.
Today, as Erica Chenoweth, my new colleague reveals, most movements for social change are strikingly nonviolent, for instance, from Arab spring to the Spanish indignados. The hope of the world, as I have often indicated, is in the persistence and radicalization of such movements (the means can be connected with social transformation). In contrast, violence by itself – aside from legitimizing vast reactionary government terror to some extent and producing trauma in the violent (see Barbara Deming's discussion in "Revolution and Equilibrium" of Franz Fanon's own evidence about an Algerian revolutionary who blew up a racist cafe, killing 10, went to France, met many who sympathized with the Algerians, wondered if some of the people he had killed were like these, and began to experience severe vertigo at each anniversary) - guarantees exactly nothing, as the great internal struggles in China after the Revolution show, about how to produce a genuinely cooperative and free regime.
In the cultural revolution, Chou En-lai was called upon to protect Xu's paintings. He did.
Even now, the state of American academia and culture about China is roughly what might expect to accompany the sheer predation of American capitalism over the last 30 years. With cutbacks, the Denver Post barely employs an art columnist. I found no column on this exhibit; there was, however, a decent one from the California Literary Review. which, at least in a paragraph, notices the powerful influence of resistance to Japanese aggression.
And Obama would know of Gandhi. But in a major exhibition in Denver – the only American city lucky enough to see this exhibit, the influence of John Sie breaking through the curtain of silence and bigotry about the Chinese revolution and Chinese artists – there is no newspaper review and thus, no mention of the Revolution or of Gandhi.
I knew of Lu Hsun. But until I saw this exhibit and learned of John Sie's father's friend, the great painter of the Revolution, Xu Beihong, I had known nothing of him. It would be like knowing nothing, as a non-European, of Picasso...
I am grateful to John Sie for his loyalty to the experience of the Chinese people and his father, his interest in cultivating relations with China which have some trace of sophistication, his instrumentality in the Denver Art Museum in putting together, with Beijing, an exhibit which far exceeded the insight of the exhibitors (it is great to see the Chinese tapestries, which are really important creations, artistically, and in the Denver Museum's own collection - perhaps, it seemed to the museum, a balance to the revolution's fierceness - i.e., democracy - in the 20th century...
But the curation from China, often remarking what Xu's own characters or calligraphy on the paintings said - a natural thing to do but not often done in American or Western exhibits of Chinese art - did give a sense of the importance of Xu's work which had escaped those who packaged and publicized the show.
I was blown away by it. Had this show not been about to close, I would have alerted my colleagues and students to come see it (the Sie center did some work around this). But I can at least say something about it after the fact.
Under Obama, the US is interested in connecting with Asia, combatting China (this is a fool's errand, and he and American militarism may stimulate a self-destructive arms race that did not have to be - see Amitai Etzioni here. Conquering American racism and anti-radical or anti-communist ideology about the Chinese revolution, and actually seeing the greatness of this movement, as well as of the movement led by Gandhi in India – abandoning the optic of imperialism and colonialism and taking up a more humane vision - might be part of moving towards peace with the now very different China and some better and more cooperative world (a world in which humanity survives, a big problem given climate change, the tar sands – see here – and an American militarism/war complex, along with Israel, now baying for aggression against Iran). John Sie has made a real and important contribution to this in Denver.
It is thus an honor not only to teach at a school named for my friend Josef Korbel – see here – but one which has a Sie Cheou-kang center on security which works on U.S.-China relations and foreign policy. Both liked American democracy and both recognized that at least some reality is necessary in dealing with the history of American imperialism.
Before I heard John Sie speak and before I saw this exhibit, the sense that his father was a diplomat during World War II was not illuminated and deepened by the wild political and artistic history of Chinese resistance against colonialism and fascism.
Xu's paintings are revelatory of this history. The horses of the Chinese people are great and have trepidation and power and resistance. The Chinese movement is famous for its internationalism toward the Soviet revolution – and the struggle against the Nazis in World War II. But internationalism in Asia – the idea of coming decently into the modern world for all those oppressed people who fought against colonial and fascist aggressors - took many paths. Xu's portrait of Gandhi has a simplicity and inner power, which also embodies hope.
*My friend Steve Thomas at the University of Colorado at Denver is a great student of Chinese history. He is writing a book which captures the issue of Western imperialism toward China – the tributary system – in the late 19th century. British merchants and the government brought opium to China – through the opium wars they waged - and were death-dealing profiteers. And then came America...
American historians and political scientists have not been interested, so far, in Steve's essays and proposals about this matter. But it tells a lot, as he has informed me, about Chinese attitudes toward Western investment today (keeping control to prevent being dominated by it) and banking (they have no speculative system in China, a main reason why they were not caught up in the American collapse of the world economy in 2008).
The story here is of a wonderful Chinese painter, one whose name should be known internationally and who wanted to come to America (Ho Chi Minh liked the Declaration of Independence, but American imperialism, first in its aid to French militarism and then in the Vietnam war, belied the Declaration). Perhaps Xu had more confidence (though of course one would have to think about American aid to Chiang Kai-shek who never fought the Japanese aggressors, turned his fire entirely on the peasant revolt…).
There is much here to be excavated…
California Literary Review
Art Review: Two Chinese Exhibitions at the Denver Art Museum
By Holly Hunt
January 3rd, 2012 at 10:01 am
See here for the original article which reproduces a number of paintings. Sadly, this program does not allow me to reproduce them.
Xu Beihong, Six Galloping Horses, 1942
Ink on paper, hanging scroll.
The Xu Beihong Memorial Museum
New Worlds, Old Worlds
This winter, the Denver Art Museum has mounted a pair of exhibitions evoking China before and after the revolutions of the twentieth century. Though radically different in contents and approach, when viewed side by side, "Xu Beihong: Pioneer of Modern Chinese Painting" and "Threads of Heaven: Silken Legacy of China's Last Dynasty" offer a fascinating perspective on cultural upheaval and transformation. While painter Xu Beihong — whose patriotic imagery of the new China would find favor with none other than Mao Tse Tung — was studying art in Paris, collector Charlotte Hill Grant was buying up court robes and ceremonial accessories from impoverished Manchu aristocrats. The fruits of these two very different journeys are now on display.
There's no questioning the iconic position that the works of Xu Beihong holds in the modern Chinese consciousness. A relief carving in granite of his painting of The Foolish Old Man Who Removed the Mountains, an ancient Chinese fable immortalized in a speech by Mao Tse Tung, adorns the lobby of the new Chinese National Museum in Beijing. Reproductions of his bold ink paintings of horses have been issued as postage stamps. Video in the exhibition shows Chinese schoolchildren reading aloud from a biography of the artist that appears in their textbook. This, the first major exhibition of his work outside of China, drew the eager attention of the Chinese media when it opened.
Yet the first surprise of "Xu Beihong: Pioneer of Modern Chinese Painting" is that all the works on display are, in fact, by the same artist. The careful drawings in chalk and charcoal of European nudes, of plaster casts of Hercules and the Venus de Milo, the rich colors and swirling brushwork of studies in oil from Allegory of Fertility by Jacob Jordaens, the Rokeby Venus of Velasquez, and a painting of Salomé by French painter Aimé Morot, clearly represent the young Xu Beihong's years of study in Europe, which began in 1919, when the young artist received a government scholarship for study at the Ecole Nationale Supériore des Beaux-Arts. The inscription in Chinese on one of the nude sketches poignantly details the breakdown from cold and hunger of the artist's health while an art student in Paris (Xu Beihong would die of a stroke in 1953, at the age of 58).
Xu Beihong, Study of a Male Nude, 1924
Drawing on paper
The Xu Beihong Memorial Museum
Chinese subject matter receives an even greater diversity of handling. Sound of the Flute, painted in 1926, a year before Xu Beihong returned in China, has an Impressionistic or even Barbizon-like delicacy in the atmospheric handling of the landscape. An undated early drawing, Qin Qiang Sells His Horse, uses Western perspective while hinting at the subject matter of his most famous later works. Chinese landscapes in oil from the thirties and forties, such as Landscape of Jiaoshanfrom a Bird's Eye View and The Courtyard of the Temple of Jizushan have a faint air of post-Impressionists such as Cezanne. Yet there are also bold black-and-white ink paintings of traditional Chinese vistas of mountains and rivers, such as Spring Rain on Lijiang River, painted in 1937, between the two oils. And contemporary with these are scroll paintings of flowers and birds such as Willow Branches and Sparrows of 1938, combining a calligraphic lightness of touch with exquisite detail.
Xu Beihong, Sound of the Flute, 1926
Oil on canvas
The Xu Beihong Memorial Museum
Portraits in oil of the artist's two wives seem very much in the Western style of the time, despite the occasional Chinese elements in their settings. Yet sketches of such notables as Gandhi and poet Rabindranath Tagore, who Xu Beihong encountered while travelling in India near the outbreak of World War II, do seem to blend Asian and European aesthetics in a new way. The ink and watercolor sketch of Tagore, showing the robed and bearded poet seated before a green tangle of vegetation, deeply evocative of classical Chinese painting, is especially memorable, whereas the portrait of Mao Tse Tung, in charcoal and ink wash, is perhaps too iconic to strike the eye as fresh. (Thanks to Mao's patronage, Xu Beihong's work was tucked away safely in the Forbidden City during the ravages of the Cultural Revolution).
Xu Beihong, Portrait of the Artist's Wife, 1947
Oil on canvas.
The Xu Beihong Memorial Museum
Then there are the large-scale works that sealed Xu Beihong's reputation as a nationalist artist of the first rank: the vast watercolor scroll painting of The Foolish Old Man Who Removed the Mountains (1940), an equally monumental oil of Tian Heng and His Five Hundred Warriors (1928-1930), (depicting a famous last stand by a military leader of the Warring States period). These last two had, for me, an oddly Pre-Raphaelite air, perhaps because of the way they combine unabashed storytelling with naturalistic observation, an almost photographic clarity of detail and (in the case of Tian Heng) a palette that emphasizes primary colors. Many of the figures in Tian Heng are in fact portraits from life – the artist himself appears, as does his wife, and his friend Sie Cheou-Kang, father of DAM trustee (and major supporter of this exhibition) John Sie.
Xu Beihong, Tian Heng and His Five Hundred Warriors, 1928-1930
Oil on canvas
The Xu Beihong Memorial Museum.
Finally, there are the powerful ink paintings of lions, eagles, and galloping horses, naturalistic yet also deeply symbolic, produced and embraced as images of the Chinese national spirit in the dark days of the Japanese invasion and its aftermath. The energy and power of these are undeniable, and the intensely human expressions in the animals' eyes clearly show that they are meant to serve as far more than studies of nature. Yet, looking at these scrolls in relation to the other works on display, it is a little hard to say where this work came from. Undoubtedly, Xu Beihong's artistic response to World War II would have been different had his artistic background been different, but the spontaneity and intensity of these works seems quite different from the careful evocation of past styles that characterizes most of the exhibit.
Yet perhaps the very multiplicity of approaches in Xu Beihong's art is part of what endeared him to his fellow citizens. This ability to take on board initially alien styles and techniques helped make him a major figure in the establishment of modern art education in China. He made western techniques – and the western artistic heritage – available to Chinese artists, while maintaining a different vision of the artist's role in society. Westerners have long tended to view artists as privileged madmen whose oracular productions require interpretation and whose lives are best understood as either fantasies of escapism or cautionary tales (imagine schoolchildren being presented with Picasso or Gauguin or Jackson Pollock — or Caravaggio or Michaelangelo – as models of citizenship). In contrast, Xu Beihong — and his viewing public – seem to have valued a clarity of intention and a high-minded sense of purpose almost as remote from our experience as the Rokeby Venus once was from the the experience of the Chinese.
Threads of Heaven plunges the viewer into the world the revolutions of the twentieth century swept utterly away – the world of elaborate ceremonial and sybaritic luxury that was the court of the Qing Dynasty. This was a world in which the color of the glass finial on one's hat indicated with precision one's rank at court; in which the bird or animal embroidered in silk and gold thread on a silken badge indicated a civil or military official's place in the hierarchy. (Degrees of civil officialdom were represented by birds such as cranes or pheasants, while military rank was indicated by fiercer animals, such as tigers, leopards, lions, and the legendary quilin.)
Crane rank badge, 1st rank civil servant, silk embroidery on silk.
China, Qing Dynasty, late 19th – early 20th century.
Denver Art Museum, Neusteter Textile Collection: Gift of James P. Grant & Betty Grant Austin.
Only members of the Imperial family could wear the Imperial yellow, and only those of the highest rank could have five-clawed dragons on their robes: if the garment was to be passed on to someone of lesser rank, a claw must be unpicked from the fabric. An embroidered design of peonies, magnolias, and crabapple blossom on the border of a woman's robe would be understood as a complex visual pun that conveyed the message "May your noble house be blessed with wealth and honor."
Rank badge: Dragon insignia roundel, silk and gold thread embroidery on silk.
China, Qing Dynasty, second half 19th century.
Denver Art Museum, Neusteter Textile Collection: Gift of Mrs. Carroll B. Malone
The pelts of rare Amur leopards might line a winter robe; a summer undergarment of fine silk mesh kept the wearer a bit cooler, while protecting the outer robe from perspiration stains. The Eurasian kingfisher was hunted to extinction in China so its dense and shimmering turquoise feathers could be inlaid like enamel in jewelry, and in the lavish headdresses of Manchu brides. Painfully tiny satin slippers for bound feet, and jeweled guards, many inches long, for fingernails that were never cut indicate their wearer's remoteness from the world of physical labor, or even ordinary exertion. Yet the distinctive shape of long Manchu "horseshoe sleeves", ending in points that shielded the wearer's hands, and the manner in which the front closings allowed for movement, harkened back to the Manchus' origins as warriors on horseback on the remote frontier of the Chinese empire.
Looking at these beautiful objects, it is hard not to think of other self-enclosed courtly worlds, such as ancien regime Versailles. No wonder aristocrats of the Rococo made such a cult of chinoiserie and of other Asian objets (the Empress Maria Theresa gave her daughter Marie Antoinette several pieces of beautiful Japanese lacquerwork). The intricacies of rank and etiquette, the ritual and spectacle of court life, evoke Byzantium, or Mervyn Peake's fictional world of Gormenghast.
The occasional fading of the silken threads, which gives the embroidery on some garments the otherworldly hues of seashells or of gardens seen in moonlight, adds its own strange beauty to some of these garments. But the reds and purples have remained bright (the red of one winter robe seems to glow from within). Coral-hued peaches and peonies still glow against the deep turquoise silk of a woman's jacket; the foxes and squirrels darting through the foliage embroidered on its sleeve-bands still carry their message of good fortune, even if the garment's final owner may have seen undreamt of reversals of fortune.
As mentioned above, many of these garments were collected by Charlotte Hill Grant, wife of a doctor charged with establishing a department of public health at Peking Union Medical College in the 1920s; by then, the poverty-stricken former courtiers of Beijing were desperate to sell any remaining relics of their former lives. Grant's contacts included a former lady-in-waiting to the dowager empress, who provided Grant with insight into the lost world of the court, allowing the collector to preserve something of the garments' context and meaning. Viewed at the end of a tumultuous 2011, alongside Xu Beihong's images of a radically transformed China, they are a haunting reminder of how even a seemingly permanent world may be turned upside down.
Xu Beihong: Pioneer of Modern Chinese Painting, on view through January 29, 2012, Denver Art Museum
Threads of Heaven: Silken Legacy of China's Last Dynasty, on view through January 29, 2012, Denver Art Museum
New York Times
Xu Beihong: A Chinese master of styles that straddle East and West
By Sonia Kolesnikov-Jessop
Published: Friday, April 11, 2008
SINGAPORE — Xu Beihong is widely recognized as the father of modern Chinese painting, both for his innovative ink works that did much to revitalize the traditional Chinese form and for his willingness to embrace Western techniques, particularly French Realism.
And he was a patriot. Xu helped to bolster Chinese morale during the Second Sino-Japanese War, subtly working anti-Japanese themes into paintings done during those years, especially between 1939 and '41, when he was the height of his career and traveling throughout Southeast Asia and India hosting well-received shows. (He sent money raised through those shows back to support war-relief efforts.)
"Xu had an immense influence on the development of Chinese painting in the 20th century because he championed an expansive realism that included Romanticism and Expressionism," said Kwok Kian Chow, the director of the Singapore Art Museum, where an exhibition showcasing more than 90 of Xu's works opened this month. His style, Kwok said, was "predicated on the ocular world as opposed to the literati tradition of text."
The exhibition, "Xu Beihong in Nanyang," runs through July 13.
Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he went to study in Shanghai, then a melting pot of Chinese and Western cultures. There he met the scholar and political reformer Kang Youwei, who would become his mentor and would greatly influence his thinking about the need to integrate Western practices and ideas into Chinese art.
"He felt that Chinese art had degenerated into pure copying of other paintings and was divorced from real life. This resulted in artists who did not see the need to learn from nature," said Chow Yian Ping, one of the curators of the show. "Xu was not the first to formulate the idea, but he was one of the first to offer a solution and a direction."
He came up with the idea of applying Western scientific methods, using very precise anatomical proportions and introducing a fixed-point perspective in his work, Chow said. Xu "combined them very freely with either freehand ink painting or the more formal style," she said.
In 1919, Xu traveled to Paris on a scholarship from the Chinese government. He shunned the burgeoning experimental art scene of the Surrealists and Expressionists, and instead embraced Realism.
"He felt painting should be real and should be understood by people," Chow said, "which is why he remained very much grounded in Realism throughout his life."
After returning to China in 1927, Xu co-founded and taught at the then South China Art Academy in Shanghai. He would hold a number of important posts, such as chairman for the Central Academy of Fine Arts and chairman of the National Artists' Association of China, ensuring him prestige and influence within China until his death in 1953.
In late 1939, Rabindranath Tagore, the Nobel laureate poet, writer and philosopher who, at the time, was president of the Sino-Indian Cultural Society, invited the artist to hold exhibitions and give talks in India. Through Tagore, Xu met Mahatma Gandhi, whose sketched portrait is included in the exhibition.
During his stay in India, Xu completed several works considered to be masterpieces, such as "Portrait of Rabindranath Tagore" (1940), in ink and color on paper, which is innovative because of its attention to details and the lack of white space left on the paper.
Another is "The Foolish Old Man Who Removed the Mountains" (1940), a 4.2-meter-wide, or almost 18-foot-wide, ink painting based on the Chinese legend of a man who persisted in trying to move a mountain that was in his way, arguing that if he did not finish the task his children, and then his grandchildren, would eventually have to do so. "This work is quite significant," Chow said. "It was his way to encourage the Chinese people in the anti-Japanese efforts, encouraging them to persist in the face of adversity."
Another important painting, "Put Down Your Whip" (1939), which Xu painted in Singapore after having witnessed the staging of a patriotic street drama about a father and his daughter in wartime exile, also illustrates his passion and patriotism. (As with many of the paintings in the show, "Put Down Your Whip" comes from a private collection. It was sold last year at auction for a record 72 million Hong Kong dollars, or about $9.25 million.)
Chow points out that many of Xu's paintings of animals carried very personal emotions, which are often explained in Chinese calligraphy set to the side. The ink and color "Lion and Snake" (1938) is a direct reference to the war between China and Japan, and a galloping horse full of energy and freedom expresses the way the painter felt after China won a particular battle.
"Xu is very well known for his horses and his ability to express his feeling through this animal," Chow said. She gave as example the painting "Sick Horse," (1941) in which the horse's tail is drooping and its head hanging down, as if in defeat. "The work is very much about himself," Chow said, "and the way he felt as a poor, lonely student in need of help when he was in Paris."


text:
Our Products
Turnkey Projects
Contact Us
An ISO 9001 : 2008 Certified Company
Our Products
Spray Dryers
Fluidised Spray Dryers
Flash Dryers
Pilot Dryers
Labscale Dryers
Spin Flash Dryers
Detergent Plants
Our Products
Fluidised Spray Dryers
» Fluidised Spray Dryers
Ask for Price
The Integrated Fluidised Spray Dryer combine spray drying and fluid bed drying technologies. Operational flexibility enables production of a wide range of physical properties and excellent thermal efficiency because drying at lower temperature.
The spray is created by a spray nozzle atomizer down towards the fluid bed where agglomeration incorporating finer, recycled material takes place. Exhaust air outlet is let through the roof causing further agglomeration in the spray zone. The recirculation system uses cyclones or bag filters, or a combination of both to recycle fines to the spray dryer chamber, the integrated fluid bed, or the external fluid bed. The process produces non-dusty, free flowing agglomerated powders with high flavor retention. Third stage fluid bed drying / cooling can be done .
Sticky products can successfully be dried, and the concept is ideal for drying heat sensitive products, and improved aroma retention is accomplished.
This design concept is successful for drying high fats, hygroscopic, and sticky products that are difficult to handle in more conventional designs.
Individually customized plant delivers the optimum solution for specific process and production requirements.
Complete process control together with uncompromising technology and engineering ensures production of consistent end-product in accordance with predefined customer specifications.
Equipment options are available for all capacity requirements from small-scale plant to full industrial production.
Innovative drying system design together with straightforward service and maintenance access ensures maximum production run-time.
Consistently high yield, energy-efficiency and low operating costs mean rapid payback and low total cost of ownership.
Components and equipment designed and engineered for reliability and performance ensure long service life with modest service and maintenance requirements.
Special Features
Innovative spray drying chamber for efficient drying and long production time between CIP.
Nozzle atomization for optimum spray of feed material
Choice of air distribution options for complete control of air flow
Choice of integrated, second-stage fluid bed options for drying or cooling
Third-stage, external fluid bed options for final drying and/or cooling
Yes! I am Interested
Our Products
Spray Dryers
Fluidised Spray Dryers
Flash Dryers
Pilot Dryers
Labscale Dryers
Spin Flash Dryers
Detergent Plants
Turnkey Projects
Contact Us
Shachi Engineering Pvt. Limited
. All Rights Reserved (
Terms of Use
Developed and Managed by
IndiaMART InterMESH Limited
Thank you
Your Enquiry has been sent successfully.
Looking for
Product Name

subset: commoncrawl


text:
Seri Carr
Windham High Willimantic, CT Class of 1985
Memories of Seri Carr
Are you Seri Carr?
This page means someone is someone is looking for you. Register for free to let other alumni contact you and more:
- Let others find you
- Contact old friends
- Share photos and memories with other registered alumni
Looking for Seri Carr?
This is a placeholder page for Seri Carr, which means this person is not currently on this site. We do suggest using the tools below to find Seri Carr.
About placeholder profiles
You are visiting the placeholder page for Seri Carr. This page is here because someone used our placeholder utility to look for Seri Carr. We created this page automatically in hopes Seri Carr would find it. If you are not Seri Carr, but are an alumni of Windham High School Willimantic, CT, register on this site for free now.


text:
NFFHC is a part of W. Keith Zoroastrian Enterprises, an international media conglomerate consisting of hundreds of different publications spreading Truth throughout the world. From time to time we will reprint articles from our sister publications which our editorial staff have deemed particularly important or relevant to the modern world or of exceptionally high quality. What follows here was originally published as a letter to the editor in the Greensburg Observer, a news and opinion journal located in Greensburg, Indiana.
To the editor of the Greensburg Observer and other valued customers,
My name is Joel Hampton, President, CEO and sole shareholder of Joel, Inc., a Delaware corporation formed to participate in profitable business ventures that benefit one Joel Hampton. This letter is in response to some negative press my company received recently over its "take-a-penny-leave-a-penny" policy, and the exercise of said policy by its agents on multiple occasions at the 8th St 7/11 and the Nevada Ave Loaf and Jug. I'm writing primarily to educate the public regarding the duties and pressures someone in my position faces. I'd like to take the time to elaborate and hopefully raise some awareness and understanding.
When most people think of corporate CEOs they think of striped-suit fat cats being served caviar by busty, blonde secretaries while flying to exotic locales in the company jet. This couldn't be further from the truth. Joel, Inc. doesn't even own a company jet. Rather, being a CEO is about one thing: duty. Being a corporate executive carries with it an enormous amount of responsibility—responsibility to shareholders, responsibility to the board of directors, and responsibility to all the hardworking employees of the corporation who depend on its continued existence for their livelihood.
When you're at the top you make a tempting target. People often criticize my actions without realizing the full extent of my duties. Sure, some people might find taking everything in the take-a-penny-leave-a-penny tray to be, as one gentleman described it, "a dick move." This is understandable. In fact, in this man's position, with his limited life experiences, I might have thought the same thing. But what these people often fail to understand is that I have a duty to my investors to maximize shareholder value by exercising Joel, Inc.'s economic rights to their fullest extent—within legal limits, course—and while it may be looked down upon, there is nothing within the law that explicitly forbids taking as many pennies as one wishes from the take-a-penny-leave-a-penny tray. Therefore, I should—nay, must!—take all the pennies and deposit them into the treasury of Joel, Inc. I daresay it would be management malpractice for me to do anything else.
Now, I can already hear some of you murmuring to yourselves as you read this: "Well, Joel, that's all well and good, but what makes you so sure this is 'legal' behavior?" Yes, yes, I've heard it before. Several times, particularly at the Nevada Ave Loaf 'n' Jug last Wednesday morning, people have stated their misguided belief that the "a" in "take-a-penny" implies that only one penny may be taken. This overly literal, legalistic interpretation is incorrect for several reasons. First, even if only one penny may be taken, it is clear that this applies only to the instant transaction. When I, as an authorized agent of Joel, Inc., dump $0.42 into my wallet, this need not be interpreted as a single transaction, but rather as 42 separate and distinct transactions in which I am taking a single penny. I mean, for God's sake, if I were to take-a-penny, go to my car, decide I want another Five Hour Energy, and come back in to buy it, nobody would have a problem with me taking another penny, would they? How is doing this 42 times without the pointless trips to my car any different?
Second, I want to stress that these trays are also "leave-a-penny." I have yet to see someone reprimanded for leaving multiple pennies, and of course I never will because it just doesn't happen. You can't have it both ways! If people may leave a dozen pennies they may also take a dozen. Furthermore, the name of the tray only addresses pennies, despite the fact that such trays typically contain nickels, dimes and sometimes even quarters. If anyone can "take-a-quarter-leave-a-quarter," why can't Joel, Inc. take 25 pennies?
Now, given the inherent ambiguities of the take-a-penny tray, some might point to the intent of the employee who drafted the tray's sign. The problem with this argument is these trays are often years old and the employees who constructed them long gone, making it impractical to divine the original intent of these quasi-legislators. I mean, who's to say what Sally Cashier from 2007 was thinking when she wrote those immortal words? Most likely, she was just copying the language she had seen on other take-a-penny-leave-a-penny trays during the course of her career. If that's the case, it would be impossible to determine the intent of the original writer of such a sign, who in all probability has been dead for 100 years. Thus, it is Joel, Inc.'s position that interpretation must be construed against the drafters, i.e. the 8th St 7/11 and the Nevada Ave Loaf 'n' Jug. Therefore, the take-a-penny statement in question must interpreted to mean "take as much money as needed to suit your purposes," and for the purposes of Joel, Inc. every penny must be taken.
In closing, let me just say one thing: I understand your concern. Amply stocked take-a-penny-leave-a-penny trays are vital to the functioning of convenience store cash exchange systems and the smooth exchange of goods and services within our great capitalist economy. But this public interest must be balanced against competing interests in order to ensure the existence of a fair and equitable system in which we can all thrive. The recognition and consideration of these interests is something I've always admired and part of what makes America great.
God bless,
Joel Hampton III
President and Chief-Executive-Officer of Joel, Inc.™, a subsidiary of JHamp Enterprises™


text:
Bodify is really a CoolSculpting devoted boutique in Arizona that focuses on non-invasive Extra fat reduction. Freeze absent your trouble spots whilst staying pampered in your fantastically appointed spa-like remedy room.
A range of plastic surgery treatments that Increase the Over-all form and proportions from the abdomen, hips, buttocks, thighs, legs and arms are termed overall body contouring. At my Phoenix-Scottsdale region plastic surgery facility, a very careful preoperative evaluation is essential to obtain the best possible results.
CoolSculpting is the coolest, most ground breaking, non-invasive and purely natural solution to promptly reduce These irritating bumps and bulges of stubborn Extra fat. It can be an wonderful therapy for men and women.one,five
We provide the latest engineering, the CoolAdvantage™, that's proven to shorten procedure occasions, permits much less discomfort, a a lot quicker recovery and the outcome are much better than ever right before.
Employing this technique, I'm able to decrease bleeding, bruising, and postoperative discomfort. For liposuction to get efficient, the skin overlying the fat should be reasonably elastic, so it might shrink down to accommodate the minimized quantity of Excess fat soon after surgical procedures.
The removing with the Unwanted fat cells throughout your Scottsdale CoolSculpting leaves you using a trimmer and even more toned physique. However, if 1 does not keep a normally healthier daily life design and style, excess weight attain can have an impact on your visual appearance.
You may experience tingling, stinging, aching or cramping; having said that, these sensations usually subside in the primary couple of minutes of procedure, as the area will become numb. A typical remedy will final in between 35 minutes and 3 hours relying upon amount of treatments done in a very provided working day. Throughout this time, patients generally get the job done on their notebook, listen to tunes, study a e book or magazine, or just chill out through the remedy.
No downtime. The vast majority of our patient's are amazed by simply how much they benefit from the CoolSculpting procedure by relaxing, observing a Motion picture, and working, when we freeze absent billions of Body fat cells!
CoolSculpting is #1 non-surgical Body fat reduction treatment on this planet! The coolsculpting authorities at Sensational Pores and skin are proud to generally be #one Coolsculpting Middle in Arizona as well as a top Heart in the nation.
Traditional liposuction is really an invasive surgical process that could leaves scars which are uncomfortable to clarify, especially for Gentlemen. CoolSculpting® Zeltiq is a fantastic alternate to liposuction for those locations exactly where the Extra fat just wont go away.
As long as you keep a healthy food plan and exercise regime, the outcomes of your CoolSculpting cure are lasting, this means there is not any really need to return for touch up appointments.
Their consideration was on me the whole time And that i felt at ease and in the home. The rooms are cozy and possess TVs with Netflix which make for a pleasant way to get from do the job and catch up on your favorite displays all whilst removing fat! The process was a 0.five/10 over a soreness scale. I'll return for another procedure on A further Portion of my system.
You charged me $4K for something which didn't get the job done. For anyone thinking of the treatment, 1st see what applicator they may use. In my expertise, the suction variety do hardly any if anything. When investigating the images any Neat Sculpting supplier exhibits you of other people, Have in mind those individuals just compensated Countless pounds for your course of action. Thus, its very very likely They're dieting and working out additional because of the investment decision and to determine outcomes. Not many people pays that and retain their go to the website diet program and work out concentrations the same as they were pre-technique. Also, if a provider claims they've accomplished Countless procedures, thats excellent. But their publications of clients may possibly only demonstrate fifty or so. So if a supplier did 5000 treatments as well as their e-book is displaying 50 customer illustrations, thats 1% in their perform. 1 client out of a hundred designed that guide, you might be investigating the best 1% of outcomes. If you are previously skinny and just trying to find a compact reduction in a region, then maybe This can be for you personally. But In case you are 30 perhaps 40 lbs about fat and need some reduction, take a look at liposuction. In the long run it expenses a lot less than what I did along with the discomfort/ Restoration was in regards to the very same. And with lipo you will get very clear results where there is absolutely no gray area.
I'm in month 3 of four but my benefits haven't been as promised. I used to be concerned which i could have to pay for for an additional round of Neat Sculpting to receive me in which I wished to be. I had been stunned After i was told that if I'm nevertheless not displaying the promised leads to another month that I could be re-treated, 100% free!


text:
Bayonetta: Feminist Icon or Chauvinist Fantasy?
She walks into a room packed with enemies. One by one, she swiftly and stylishly takes them out. The first two are on the right, they don't stand a chance. She's just too good.
Then, the next three are dispatched using a combination of guns, a sword and witchcraft. There's only one enemy left--in the middle of the room. It's time to take out the big guns. No, seriously. These guns are huge.
Shotguns to be precise and she has four of them. This last man standing is putting up a better fight than the others. No matter, she uses her lithe and agile body to out-maneuver him at every turn. He's been weakened. It's time. She uses her magical abilities to summon an iron maiden--not the band--and proceeds to drop kick this unfortunate soul into the deathtrap.
Damn, that was awesome.
Bayonetta is one of the few female video game heroines that oozes style and confidence. While the game most definitely is challenging, her character never seemed to act as if she was in over her head. Calm, cool and collected, Bayonetta takes out Jubileus' (this universe's god) lackeys with finesse and breaks nary a nail while doing it.
She's the female equivalent of Dante from Devil May Cry but--I know I'll probably get internet crucified for saying this--I think she could kick Dante's ass. It's refreshing to have a woman in a video game that isn't a damsel forever in distress, a lovesick side-character in love with the protagonist ..or Ashley from Resident Evil 4. Especially Ashley from Resident Evil 4.
2013 saw Tomb Raider as well, another--perhaps the most well known--video game heroine. But even she seems feeble in comparison. Granted, Bayonetta and Tomb Raider are vastly different games, but Bayonetta comes out firing on all cylinders from the get-go.
Now don't get me wrong, Lara Croft's character development from rich girl to badass cave spelunker is done rather well. It's realistic, as the game is trying to be. As for Bayonetta, you're not playing this game for its story and character arcs. It's action, plain and simple. Beautiful, wonderful action.
She's an idol to those who strive to be confident in who they are. High self-esteem, strong, witty, taught physique and not afraid of her own sexuality. She follows a "flaunt it if you've got it" sort of mantra.
...or Pixelated Pin-Up?
Flaunt if if you've got it? That's such a guy answer. Bayonetta is nothing more than a masturbatory aid for adolescent males. Only a man would design a woman in a skin-tight leather suit and give this woman ridiculous proportions. We've seen it with the Barbie doll, so it's not far-fetched at all.
Bayonetta is interchangeable with Dante, Kratos (God of War) or Hayabusa (Ninja Gaiden). The only difference is Bayonetta's ultimate techniques, shockingly called Climaxes, require her to be almost nude--for whatever reason.
She is a cool, confident character, but it's almost negated every time there's a cutscene with her sensuously sucking on a lollipop. Feminist indeed. She's hyper-sexualized lines of code, nothing more.
If that's not enough, all of her power-ups are essentially jewelry and her alternate costumes leave nothing to the imagination. Yes, in order to break gender roles, let's make a badass woman, give her weapons and amazing arcane abilities--but don't forget the bracelets lipstick and dresses!
A Happy Medium?
Let's take a different approach and say both are true. Crazy notion, I know, but bear with me. Yes, Bayonetta is what some would considered over-sexualized and no, that doesn't make her any less of a badass.
Heroes and heroines share a common factor: they're both projections of a "perfect you." Very rarely do you see a pudgy little man on the cover of an action game. We don't want to be the Penguin, we want to be Batman.
The same goes for female protagonists, but because of prevailing gender stereotypes, they seem to get more flak.
So let's put it simply: Bayonetta is for both sexes. Women who love action games and like to pretend they are her. Men who love action games and like to pretend they are with her. Then there's the rest--like me--who just love games for games' sake.
What do you think?
Is Bayonetta empowering or sexist?
*puts hand up tentatively*
Uh...Bayonetta was actually designed by Mari Shimazaki- a woman. You can argue that sexism is rife in Japan and she was probably abiding by what the dudes wanted, but you've got to look at what games Platinum studios have previously made. They're blatantly aware of how much smut, innuendo and gratuitous butt/boob shots get packed into other games, and seem to like playing it for laughs.
What I find so fascinating about Bayonetta is that she's actually empowered about her own sexuality- which is a shocking and sad subversion on behalf of other females in games. Bayonetta has chooses when to be coquettish and seductive; she's the one we can picture making moves on men, not the other way around. The developers have expressed their disappointment in a lot of fanfictions and art that people have made of her simply because they portray her as submissive. Also, the idea that her lollipop evokes fetishism is deconstructed in-game with a lollipop being given to her as a child. The thing is, that sort of thing normally shows the subject deriving pleasure from food. Bayonetta just...looks like she's simply enjoying it for what it is, and if anything, she appears to be doing the LOLLIPOP the FAVOUR!
She's a confusing, multi-faceted character that's for certain.


text: Give your valentine something special this year! A picture's worth a thousand "I love you's"! Ryan Bethke Photography is offering a discount on individual and couple portrait sessions from now through the end of February for you and your love bird! For more information, email directly at firstname.lastname@example.com, or use the contact form behind the "Become a Client" link at the top of the site.


text:
Value for money in fund management is about much more than just returns
How much money would you be prepared to pay to enter a casino? Since the house wants you to play, you might expect access to be free. Unless, of course, there is value to be had from the visit besides the siren call of the roulette pill clattering into a pocket, and a dream of wealthy outcomes.
It may surprise you to learn that Singapore's two vast modern casinos charge locals an entry fee of S$100 (around £54). There is no 'added value' here — the fee is a government levy designed to deter locals from gambling.
Foreigners, with a perceived attitude to hard work and discipline inferior to the native Singaporeans', are free to lose their Ralph Lauren shirts at one of each resort's 500-plus gaming tables without restraint.
Casino de Monte-Carlo, meanwhile, also charges for entry, but this comes in recognition of the fact that the building's legendary status, Beaux Arts architecture and covert ambience possess more than a certain cachet, attracting hundreds of non-gambling tourists.
Simon Collins: FCA tightens grip on value for money
This is value-for-money gambling — providing rarity value, a cinematic icon and a sense of opulence. Otherwise, the games are just the same, with exactly the same odds of winning.
Crossing the spitting distance between gambling and investment, value for money is, of course, central to the FCA's current inquisitorial approach to its relationship with fund management, and latterly to platforms.
A number of respected industry commentators seem to struggle to find relevance between value for money and fund management.
The venerable publishing personality Lawrence Gosling recently suggested that the FCA was dressing up 'cheap' as value for money, and that the test is simple: what is the return?
He felt that most investors would agree that a fund with lower costs, and better performance, is one that has provided better value.
At the other extreme, investment muggles are shocked to discover what should be self-evident — that securities transactions are not free, and therefore are a significant contributor to total costs. Their arithmetic similarly takes no account of returns, which are net of those fees in any event.
As Gosling inquired, "does that mean (funds with low transaction costs) are better value for money than funds that trade more?"
FCA forces fund managers to prove value
He also referenced Hawksmoor Investments chief investment officer for private clients and head of research Jim Wood-Smith's comparison of fund value for money with that in house building. Buyers have surveys carried out to ensure that the house will not collapse, and to confirm what it is worth. But there is no requirement for the house builder to demonstrate the price represents value for money.
I would argue that analogy is overstretched.
The professional design, sourcing of materials and construction of a house requires skill. House building is not determined by luck. Throwing 10,000 bricks, pipes and wiring into the air in Surrey and expecting them to land neatly in the form of a four-bedroom mock-Tudor detached family residence is somewhat optimistic.
Investment, on the other hand, is at least part luck. As behavioural finance guru Daniel Kahneman proclaimed, success equals some talent and luck. Great success, on the other hand, equals some talent and a lot of luck. Over time, luck reshuffles the fund manager pack and places most of the cards in different places on the returns distribution curve.
Extreme good or bad luck eventually reverts to the mean. Skill does not, and that is a differentiator, along with price.
Consequently, value for money feedback based on returns is useless unless it distinguishes between skill and luck. The price I pay is 6 basis points for admin and custody; the premium should be for skill, or service benefits.
Some commentators claim investment return is all the product of luck. There is an easy test for this, incidentally. See if you can consistently lose money through long-only stock selection on purpose, excluding fees. If you can, some skill must be involved.
The fight for value: Will the FCA's new rules shake up asset management?
The problem is that we need a very large data sample to determine skill content versus luck. This implies using managers with long track records, and in respect of the same fund.
It can be argued that fund managers with less experience, or shorter track records, exhibit insufficient evidence of skill to warrant a significant premium over the 6bps admin cost associated with a passive fund.
In any other industry I might expect to pay less for inexperience or limited tenure. Businesses in that industry would have a value proposition and an associated marketing strategy.
Since value propositions either involve lower prices (the same product costs less), more benefits (a better product or experience for the same price), or a combination (higher quality costs more), fund managers need to identify what proposition suits their target market, over and above their ability to exhibit skill.
Strategies can include: making a product easier to buy, providing earlier and more regular gratification, incorporating a 'must have' innovative feature, lowering the cost of ownership by reducing the need to spend time and money post-purchase, and so on.
It is not beyond the wit of marketeers and product designers to apply these ideas and more to the financial products and services that they offer clients.
In fund management, value for money is not just about returns. It is about the cost of skill, and the casino-like entry fee that is no more than the price paid for luck. It is also about all the other product attributes — tangible or otherwise — that influence customers' buying decisions.
Fund groups' product development and marketing departments need to form strategies around these issues, rather than simply regurgitate platitudes about unique investment propositions and boffin investment managers.
Or they could always just place their trust in luck.
Graham Bentley is managing director of gbi2


text:
Lovatics, if you haven't been able to get enough of Demi Lovato's new song
"No Promises" with electric dance group Cheat Codes—no worries—the singer has revealed that there is new music on the way.
"I'm releasing an album later this year, so my fans can look forward to that. It's more soulful and I want to go more R&B with it," she told Billboard in an interview.
The 24-year-old singer is looking to switch things up with her musical style when it comes to her sixth studio album.
"I actually want to go a totally different way with my album," she revealed. "I want to go more soulful, so we'll see what that ends up turning out like. I'm still in the process of writing and finding the inspiration behind it, so we'll see."
Lovato received her first ever Grammy nomination (Best Pop Vocal Album) for her fifth album Confident, which featured the certified double platinum hit song "Cool For the Summer."
FROM PEN: Grammy News and Notes: Album of the Year Nominees
This year will be an exciting one for young star as she recently launched a capsule collection with Fabletics and is also releasing a YouTube documentary titled I Am: Demi Lovato in the fall.
"I never thought I'd be in such a great place. That's the beauty of working on yourself and taking care of yourself," she told PEOPLE. "You get to places where you never thought you'd be."


text:
Dazzle Bookcase made in solid American Black Walnut with Solid Oak detailing.
The top section features three shelves with a sectioned and shelved two door cupboard beneath.
W104cm x D40cm x H180cm
As with all our furniture the Dazzle Bookcase can be made to your own specifications.
All our items are made to order and will be delivered in 8 to 12 weeks. Need something sooner? Please contact us.
We recommend that you view our colours and finishes before ordering.
Order Colour Samples


text:
November 26, 2017 Communications Email/
Our Fall Scholastic Book Fair will be held Mon, December 4 - Fri, December 8.
A Holiday Book Shopping and Storytime event will take place on Wednesday, December 6. Shop at the book fair from 6-8 pm; join us for storytime, cocoa and cookies from 6:30 - 7:30 in the library. Special guest readers include Mrs. Cooney, Mrs. Vanemon, and more!
You can sign up to work the fair here. Students will be visiting the fair to create wish lists on one day and purchasing on another.
The next All Pro Dad breakfast will be held December 7, 2017, from 7:00-8:00 am in the WVES All-Purpose Room. The topic of discussion will be "Technology". Please rsvp to Mike Frederick at firstname.lastname@example.com if you are able to make it. Food donations are always welcome and much appreciated. Please click here to sign up to bring a food donation.
If you have photos that you would like to share with the Yearbook committee, you can upload them using the Balfour app.
Search for Balfour Image Share in your app marketplace.
Download the app and create your account:
enter your name, email, and our project number: 819599.
check your email for a confirmation code; enter it and select a username and pw to complete your registration.
our upload code is wildcats.
The last day to submit photos is March 1, 2018.
The PTA is seeking a Bookkeeper. Please read the description below to see if this volunteer position is of interest to you. We would like to fill this position as soon as possible. Thanks so much for considering this way to serve our school!
Specific Job Duties include:
• Set up Quickbooks
• Prepare monthly treasurer reports (Transaction Report and Performance to Budget)
• Participate in the annual budget development process
• File Form 990/990EZ (the annual IRS return required for 501(c)(3) groups)
The ideal candidate would:
• Possess the desire to serve the school and students
• Know Excel and Quickbooks
• Appreciate a balanced budget
• Understand that you are the custodian of other people's money
• Work with our PTA Treasurer to assure budgets are adhered to
Time Commitment:
• This job varies in time commitment based on events and time of year
• Most of the work can be done on your own schedule
Need more information:
Contact Anne Strawbridge at firstname.lastname@example.com or another member of the PTA Board with any questions. We would be happy to discuss further what this role would involve.
Monday is Day 4.
Have a great week!
Lyn Noon


text:
Thursday, 15 May 2014
11 Weeks - April 8, 2014 - It's an Itchy and Scratchy Show
How far along? 11 weeks
Total weight: 60.2 kg (initial 61kg) - there must be something wrong with my scale
Maternity clothes? Yes, jeans, pants, tights, and some tops. I did a huge batch of laundry of my stored pregnancy clothes. Unfortunately, most of my pregnancy clothes are winter (my previous 2 were winter months) so I will definitely need to do some shopping for summer maternity fashion.
Stretch marks? Some on tummy, grr.
Sleep: Still ok.
Best moment this week: Telling our kids. My almost 2-year old son did not really understand it. But my almost 7 year old daughter screamed: "I want a sister! Please, please, mom can you make her a sister?!"
Not so great moment: I have been having worries about my baby, not beign able to felel it moving is the most terrifying thing.
Miss Anything? Walking fast up the stairs.
Movement: Not yet.
Food cravings: Salty-salt-salt. Kosher pickles are my faves.
Anything making you queasy or sick: Just smell of any cooked food.
Gender: Too early to know
Symptoms: Holy itchiness! From head to toes, the whole body. I am trying not to scratch during the day, but evenings are the worst.
Belly Button in or out? Still in but a little expanded already, I have very small belly showing so far.
Happy or Moody most of the time: It depends if am tired.
Looking forward to: My second ultrasound next week and when I start feeling the movements.
Check out my previous posts on this pregnancy here.
Subscribe to: Post Comments (Atom)


text:
Start time: 19:30 Finished 19:55hrs
1. Welcome and Apologies: - The Chairman welcomed approximately 30 members to the AGM. No apologies had been received.
2. Approval of minutes from AGM on 3rd June 2014
Proposer: Dave Tyson, Seconder: Ria Lee
- There are no matters arising from last meeting.
3. Club Chairman's Report:-
Ladies, gentlemen, Heathens all. Welcome to our 2018 AGM and thank you all for coming along tonight.
Rugby is a team game, and a club is a collection of teams with a common interest, and ours is a very special club with a love of the great game of rugby. There is, as they say, no "I" in Fareham heathens rugby football club. You can make "teams" "together" and "strong", and, indeed, you can make "Thatchers", "lager" and "beer". Most of our members are players in teams ranging from U6 to over 35. There is another team of coaches and managers, and another team of workers, helping in the kitchen, the bar and behind the scenes. It is important that we recognise our strengths, and the contribution made by everyone.
When Claire began compiling our records we had 120 junior members. This year we have 186 – a terrific achievement. This is undoubtedly the future of the club. This is not to ignore the present, when the spirit and enjoyment to be seen every Sunday is a wonderful experience. My thanks to the coaches and managers for creating and sustaining his welcome atmosphere, and long may it continue.
The youth teams have had another successful season, and again our thanks to the coaches and managers who have nurtured their teams over many years. The U15s and U16s looked particularly strong, and the U14s went on an end of season tour, which is a terrific testimony to their team ethic. This year the Colts reformed and, with teams behind them following on, the immediate future is very positive. Fareham Heathens are one of but a few clubs that have a team in every age group from U6 to Colts. For the first time in ages one of the Colts also played senior rugby. If the other coaches will forgive me, we give special thanks to David Hutin for his sterling efforts to keep the U13s going. As U14s our top priority is to boost player recruitment and the team coaches in the year ahead; we do not want to see our chain of progression broken.
The ladies continue to be a cornerstone of the club. Playing in and hosting tournaments, the ladies are quite a force under the coaching of James Looi. There are plans to start an U13 ladies team the season after next, which is really good news. Certainly this was an attractive prospect to many of the visitors to our stand at the Collingwood open day. It is an appropriate time to recognise all the work done by Lucy Savage with the juniors, the ladies, the mixed touch team, and our relationship with Harlequins.
The seniors had an interesting season, with both teams needing to qualify for places in next season's revised league structure. It is pleasing to report that the 1s will be in the Hampshire Premier League, and the 2s in Hampshire League 2. The strength of the squad was shown by being able to play matches in different cup competitions on the same day. We have also seen a lot of former colts mature into core players for the seniors, which bodes well for the years ahead. So much of the rugby was attractive and effective, but our main weakness was regularity of availability. With the new look coaching and captain team we look to a more settled selection this season, but continuing play good rugby. The standing of the club is largely determined by the 1s performance and results. With the new premier league this season is a bit of a venture into the unknown, and we look to the seniors to set themselves high standards and challenge the committee and the wider club to provide the resources necessary to succeed in their ambitions.
Generally, we have had two years of austerity of the club as the club has been pulled back from the brink of insolvency. Having secured the future of the club, the committee updated our Five Year Plan in February this year. The emphasis now is to improve facilities and playing conditions for the members – always within available resources! The priority areas are the toilets, showers, changing rooms and the entrance and stairs. Work on the male toilets is already underway, and it will be completed by the end of July. There will also be improvements to the ladies' toilets. A large attendance at the NatWest weekend 23 – 24 June will help us to clear the corridors and changing rooms. There will be a skip to take the stuff we don't want, and items that we wish to retain will be transferred to the building over the road. Our thanks to Heloise Fella, Jack Orly and Mike Clarke for taking on the planning.
We are very conscious that a lot of playing and training time was lost last season because of the state of the floodlit pitch. A contract has been let to drill deeper holes into the pitch to improve drainage and encourage grass growth. Time will tell. The aim is to dramatically reduce the time the pitch is unplayable, and to make even better use of the floodlit pitch for midweek and Friday evening matches, which have proved very popular in the past couple of seasons.
FBC has resurrected plans for a new clubhouse at Cams Alders and the laying of artificial pitches. This month and next FBC will have completed tests on the shrubland and thereafter we expect to be invited to view plans for the pitch layout and the new clubhouse. Dave Green and myself have stressed the importance of sorting out the drainage before artificial playing surfaces are laid. The need for a grassed main pitch has also been stated. FBC tells us that Cams Alders is its highest priority for improvement and, with the football club no longer part of the equation, we are confident that this time FBC will deliver. That said, we do not yet have a completion date to share with you.
Finally, let us remember that we are all here to have fun, play rugby, and enjoy being a club member. We sit here in a brighter clubroom, with a decent bar and a hardworking kitchen. Support every social venture that you can and make maximum use of our facilities. There is every reason to be optimistic about our future, so let us approach this and coming seasons in true Heathens fashion – Together and Strong.
4. Election of Club Officials for Season 2018/19
No voting was required on any of the nominated posts as only one candidate for each had been proposed. There were no comments or objections from the meeting, so those nominated were duly elected.
President: Paul Tudor Chairman: Chris Harper
Honorary Secretary: Dave Green Vice Chair & Youth Chair: Claire Kellaway
Treasurer: Maria Lee (until Dec '18) Director of Rugby: Vacancy
Club Captain: Harry King Head Coach: Dave Wheaton
Senior Section Manager: Graeme Wilson Club Coaching Coordinator: Jack Orley
1st Team Captain: TBA Commercial Manager: Dave Tyson
2nd Team Captain: TBA Senior Fixture Secretary: Jashan Solanki
Ladies Captain: TBA Safeguarding Officer: Claire Kellaway
Referee Coordinator: Vacancy Club Disciplinary Officer: Pete Mitchell
Youth Member Secretary: Claire Kellaway Physio: Emily Day
Minis Fixture Secretary: Nev Marsberg Bar Manager: John Cole
Kitchen Manager: Gary Kellaway Volunteer Co-coordinator: Vacancy
5. Honorary Members
The Chairman advised the meeting that nominations for Honorary Life Members will be made during the coming year and will aim to recognise those who have made an outstanding contribution to the club.
6. Any Other Business
The Chairman closed the formal part of the AGM and asked for any questions.
There was one question asking what the plans are for a replacement DoR. The Chairman replied saying options for a DoR are already being considered. The DoR role will involve taking a strategic view on rugby matters in conjunction with the RFU and Hampshire RFU and developing this into a coaching and playing strategic plan for the club.
The meeting was closed at 19.55
Dave Green
Honorary Secretary Fareham Heathens RFC


text:
10 with a 10: Lisa gilroy
10 with a 10 is a weekly interview series featuring strong women who run their gigs like a boss.
I've posed 10 questions, stopped laughing and crying long enough to snap a Polaroid and will be putting their interviews up every Monday to promote their hustle with a wide community that should know about them.
This week, the funniest person I know, and no, I'm not even kidding you, Lisa Gilroy.
1. What do you do and what does it give to people?
I'm a host of YTV's The Zone as well as a prank show called Undercover High. By night, I'm an improviser/sketch comedian.
Ideally, I bring people joy. Realistically, I bring them poop jokes.
2. What's a piece of advice you consistently find yourself giving out but find hard to take yourself?
I believe that we're built with our passions and our talents for a reason and that if we take big risks and strides towards our dreams without letting fear or intimidation or lack of qualifications hinder us, amazing things will certainly happen.
So, I guess, "Be yourself and don't apologize for it".
It's exactly what I want to do but that has always been tough advice for me to follow.
That, and "Don't fall asleep with jujubes in your mouth". Why does this keep happening to me?
3. How do you rely on others to make you better?
My husband talks me off the ledge on the daily. On the DAILY. In an industry where I'm constantly trying to win attention and approval, I need Stephen as a constant who always thinks I'm cool no matter what. If I bomb a set really badly, I need him to remind me of who I am and where I'm going (If he fails to do this, I withold both sex and groceries).
Within the arts, I rely on my friends on stage to "Yes, And" me and collaborate with me. Together, we're better.
4. Someone gives you 50 mill. What's the FIRST way your life changes?
I would instantly stop beating myself up for making the same wages as a high school babysitter and ditch my backup plan to settle on a 'big kid' career that I don't really want.
Yup, that'll do.
5. What has compelled you forward more than anything else (ambition, success, discipline, pressure, money, reputation, attention, risk...)
I have a burning ball of fire in my guts that keeps me awake at night if I'm not feeding my silliness and creativity. It pushes me forward all the time. If I don't feel it gnawing at my insides, I know I'm on the right track. It's been pretty quiet for about a year now, but within the last couple months I feel it firing up again so I know it's time to take some more risks. I'm a girl on a mission.
6. Do you like when people ask you, "Where do you want to be in 5 years?"
Does anybody like that question?
To me, this is the equivalent of "How many cupcakes did you EAT?"
a.) I don't know
b.) Let me live my life and
c.) Stop embarrassing me.
Two years ago I was a high school drama teacher living in Alberta with no plans to move, no courage to take big risks, and I didn't even own my own bicycle. Now, I live in Toronto, I'm doing what I've always dreamed of, and I just had my bike stolen! It's a miracle. With this track record there's no way of knowing where I'll be five years from now.
7. If someone was handed a script of your inner dialogue this week, what would it say?
Definitely a mixed bag of hit catch phrases such as, "I'm so good at everything" and "I'm the worst ever", "I'm gonna make it to the top!", "I'm too old for this shit", "God, help me", "What am I doing with my life?", "How did I get so blessed?" and "Am I alone enough to let a fart out right now?"
8. Are you spontaneous?
I used to think I was but now I'm sure I'm not. Moving across the country was scary for me so now I like to stay inside and watch Disney movies.
9. Are you failing differently each time?
Not every time. I like to fail the same way about 5 times before moving on. Just to make sure I really did a thorough fail job. If I do a show and think, "Oh, I was too passive—I didn't take enough risks", I'll do a few more crappy shows like that while I'm ironing out the kinks until enough is enough and it's time to figure it out.
10. Paul Newman or Robert Redford?
I'm way too cute and young and fresh to understand this question.


text:
Check out this in-depth interview I did with legendary southern rapper Bun B of UGK for Steve Stoute's The Tanning Of America website. Here's the intro, link below:
Since Bun B came in the game two decades ago with the late Pimp C as part of the duo UGK (Underground Kingz), he has consistently become more popular and well-known nationally and internationally by fans of all races, no doubt aided by an appearance on Jay-Z's smash, "Big Pimpin'," and collaborating with fellow southern hip-hoppers, Three 6 Mafia, on "Sippin' On Some Sizzurp." But his insane ability to stay relevant has had just as much, if not more to do with his impervious artistic integrity and openness to collaborating with new school artists. At an age where many rappers are clinging on to careers, the 38-year-old Bun has settled in comfortably in his role as a rap OG, even taking on the responsibility of teaching a hip-hop and religion course at Rice University. In this no-holds-barred interview, Bun B takes us back to his Texas roots to recall how he used to get pulled over on his way to do shows, why UGK wouldn't talk about Sizzurp in interviews, what racial slur Jive wouldn't allow him to use as a nickname on wax, and tackles an ugly issue that still lurks in the wake of hip-hop's globalization—the usage of the "N" word.
The Tanning Interview with Bun B
I also had an interview feature published on Complex Magazine's site last week with producer Emile, who has worked with legendary artists like Eminem, Ghostface Killah, and Kanye West (he co-produced "Runaway"). He had some very interesting stories to share about the making of the songs in his catalog. Definitely an interesting read, and a dude to watch out for in the years to come. Check the feature out below….
Emile Tells All: The Stories Behind His Classic Records
One of the artists Emile is currently working with is Lana Del Rey, a new singer on the scene from Lake Placid, New York. She's really dope, and is getting a lot of attention on the blogs and in the press. Check out her videos for "Video Games" and the Emile produced "Blue Jeans" below and see what the buzz is all about…
"Video Games"
"Blue Jeans"
She's dope, right? Catch ya later…


text:
The Best Al Fresco Dining in the US
There's no better way to enjoy a meal than being surrounded by nature and great weather.
Before Booking Anything for Your Next Trip to Honolulu Reserve a Table at This Japanese Restaurant
It's one of the world's best omakase chef's first U.S. restaurants.
How to Snag the World's Toughest Restaurant Reservations
Read this before trying to book a seat at the table that everyone else wants too.
These Are the 2019 World's Best Restaurants
In at No. 1 is Mirazur in Menton, France, and five US restaurants made the top 50. See the full list of winners below.
There's a French Restaurant Hidden Behind a Painting in New York City
Your clue: It's behind an art gallery on West 8th Street.
Where to Find the Best Afternoon Tea in London
Traditional or with a twist—afternoon tea is a lavish, cocktail-filled affair at these London locations.
The Best Hidden Bars and Restaurants in Las Vegas—and How to Find Them
These modern-day speakeasies are hidden in plain sight among the neon lights and super-clubs.
The 100 Best Brunch Restaurants in America, According to Yelp Reviewers
If there's one thing the past decade has taught us, it's the impressive appeal of brunch.
N.Y.C. Restaurant Debuts Dog Menu that Features a $42 Steak for Canines
The Wilson's culinary director created a dog-friendly menu after cooking food for his own canine.
Swanky Food Festival Heads to Miami for Four-day Culinary Display
This may be the only time you'll be able to have a nine Michelin-star meal.


text:
Log in to a Blackboard Learn site
Select Tools (or Student Tools) from the Blackboard Learn course menu (on the left)
Scroll down and select Blackboard IM.
This will prompt you to create a Blackboard IM Account on the Blackboard IM registration page. Follow the steps below to fill out the form.
You can download and install the Blackboard IM client after creating your Blackboard IM account.
You can install Blackboard IM on as many computers as you wish, making it easy to keep in touch with friends and classmates, even if you are not at your primary computer.
Once Blackboard Instant Messenger is installed, simply login using your Blackboard IM username and password and you can be available anytime and anywhere!
September 21, 2016


text:
We have so much talent in the region. Our goal is to bring together that talent so we can share, learn, collaborate, and re-energize.
A group of instruction librarians from four local institutions had a dream of sharing insights about library instruction across institutions. We wanted to bring together instruction librarians from the Saint Louis region both formally and informally. What at first started as a lunch and learn among these four librarians and their colleagues, is now an annual conference known as the Gateway Library Instruction Conference.
Amanda B. Albert is the Information Literacy Coordinator at Washington University in St. Louis. Amanda graduated with an MSLIS from the iSchool at Syracuse University in 2014. Previously, she served as the Instructional Services Librarian at Saint Louis University.
Amanda has presented about information literacy instruction, instructional design, assessment, and communicating library value and other topics at ACRL, the Distance Library Services Conference (DLS), the Library Assessment Conference (LAC), LOEX, NISO Virtual Conference, and the Southeast Library Assessment Conference (SELAC). Amanda is published in The Journal of Academic Librarianship and the Journal of Library & Information Services in Distance Learning.
Richard "Ted" Chaffin is the Head of Academic Support & Collaboration at Washington University Libraries.
Before moving to St. Louis,Ted was a part-time librarian at Baton Rouge Community College, a Reference & Instruction Librarian at Southern University, and served in the Florida State University Libraries in several librarian roles.
Ted recently participated in the Olin Library Transformation Project. This multi-part expansion included creating new library spaces both above and below ground. Ted is especially looking forward to hosting GLIC 2018 at WashU in the three new classroom spaces and Newman Exploration Center!
Holly is Head of Instruction & Liaison Services at Webster University Library in St. Louis with responsibility for collection development, instruction, and faculty research support. She serves as Liaison to the Nursing, Nurse Anesthesia, and Biological Sciences Departments.
Holly Hubenschmidt holds a BA in Russian Language and Literature from Washington University in St. Louis and an MLS from the University of Missouri – Columbia.
Her second role is Co-director of the Global Leadership Academy. This is a leadership development program for faculty and staff at Webster University. She was an Academy Fellow in 2013, and at the end of that year was asked to join the team of directors.
She is a distinguished member of the Medical Library Association's Academy of Health Information Professionals.
Christopher Niemeyer has been a Reference Librarian and the Head of Instructional Services at the Thomas Jefferson Library at the University of Missouri-St. Louis since 1999.
He holds a BA in Political Science from the University of Texas at San Antonio and an MLIS from the University of Texas at Austin.
He In addition to providing in-class instruction he also creates interactive, Web-based library tutorials and teaches an online, 10-week information literacy class.


text:
As you sail to Rouga Bay you pass many fish farms and early one morning as we were sailing past them we spotted what we thought was a bouy on closer inspection it became obvious that it was a Pelican out for his breakfast at a nearby fish farm. We were able to get really close but unfortunately before we could get the camera out he flew closer to the farm and out of our view. Shame.
We were also witness to a large Swordfish coming into Vassiliki Harbour. This caused much consternation in the harbour with at least three fishermen chasing it in their boats. One of them managed to spear it but this meant that everyone could see where he was and the three fishing boats cornered it. Both John and I felt sorry for the sword fish! It was finally bought onto one of the fishing boats but I should hasten to add not the fishing boat that first managed to spear it. A heated debate then ensued about who actually owned the fish. This was a big fish that would produce many swordfish steaks and obviously worth quite a bit of money. As we left we spoke to another of the local fishermen and said to him that he had missed out there. He replied that the sword fish had committed suicide in venturing into the harbour!


text:
Sé el primero en recomendar esto
Publicado el
Martin is a full-time Bitcoin enthusiast from the very beginning of the cryptocurrency era. As a voluntarist, he thinks that statism is a crime and thinks about how to make the Bitcoin world a better place. For him, the most exiting thing is its political aspect - you and only you control your wealth. Having lost quite some Bitcoins in the past, Martin understood that centralized exchanges are in no way different than normal banks, where you give up control over your money. This inspires him to create a service for the Bitcoin world where the Bitcoins are always safe and in control of the users.
Pic's are here: http://www.flickr.com/photos/idcee/sets/
More @ http://idcee.org
Follow us on:
YouTube: http://www.youtube.com/user/OfficialIDCEEChannel
Facebook: https://www.facebook.com/IDCEE
Linkedin: http://www.linkedin.com/groups/IDCEE-3940138
Twitter: https://twitter.com/idcee_eu
Google+: http://gplus.to/idcee
Flickr: http://www.flickr.com/photos/idcee/collections/


text:
Setup A Custom Registration
The custom registration URL works as a redirect, rerouting readers to a specified custom URL page when attempting to access the Digital Edition. The Publisher is responsible for subscription purchases, page design, and providing access to subscribers. The custom registration URL must include options for readers to log in and/or subscribe/register to view the edition.
Users will need to be communicated back to the database via CSV upload or through the XML Subscription API. A CSV upload is a manual update. Readers will have access once the CSV file is uploaded or the user is added manually.
Adding readers via the API is a real-time update. Please keep in mind, the API requires programming work on the backend of the purchase site.
In brief, the Custom Registration URL you are assuming all responsibility for how the transaction is processed, how the reader is posted to the subscriptions database, authenticated, and re-directed to the Digital Edition upon authentication.
1. From your dashboard, click "Subscriptions"
2. Fill in the following information about your Custom Registration:
3. Description – the Custom Registration list name.
Note: The description is not viewable by the end user.
4. Fill in the Length in Days.
Note: This is the length of time for your subscription. If you want readers to be able to view the publication for 1 year then you would type in 365 days. You can also grant unlimited access by entering 999999 in the database.
5. Price – Enter 0.00.
6. PayPal ID - Leave blank.
7. Leave Registration Only checked.
8. Preview Pages – Fill in the number of pages you would like to offer as a free preview before readers are redirected to your custom page.
Note: The preview pages must be an even number. Please keep in mind, the preview pages must start at the beginning of the issue. You cannot specify a page in the middle of an issue, such as starting the preview on page 20.
If you enter "20" preview pages, then readers will view pages 1-20, and then readers will be redirected to your custom registration page.
9. Uncheck Offer to Public.
10. Do not check Outbound Email Only.
11. Paste the Custom Registration URL link.
12. Include Archives – If you would like to include archives, leave the field checked. Otherwise, uncheck this option.
Note: An archive issue is any issue that has been published prior to a given reader's subscription start date. By default archive issues are available to readers with a subscription that covers them.
To remove access to archive issues from a subscription, uncheck the box marked Include Archives.
For example, if a reader's subscription begin date is January 1, 2017 and "Include Archives" is unchecked, the subscriber will only be able to view issues with a publish date of January 1, 2017 and any subsequent issues until his/her subscription expires.
The subscriber will not be permitted to view issues with a publish date prior to January 1, 2017. To add archives back to a subscription, simply recheck the box.
13. Select Purchase Method – "None (Custom Registration URL Required)" if no purchase subscriptions offered. Select "Web" if you offer subscriptions for sale.
Note: Registration Fields are not required with a Custom Registration URL since the registration and login will take place on your custom page.
If you would like to offer other registration options using our default registration page, then you may offer or require registration fields.
Email address is mandatory.
Required fields must be filled out by the reader prior to the completion of his/her registration/subscription.
Offered fields are optional; the reader does not have to enter these in order to register/subscribe. Please remember email address is the only mandatory field.
Note: For Android Apps - If you have a Custom Registration URL and offer subscriptions for sale, the subscription Purchase Method should be "Web".
This purchase method generates a "Subscribe Online" button in your Android App. When a reader clicks on that button, he/she will be redirected to your Custom Registration URL and be able to purchase a subscription.
New subscribers must be communicated back to us for authentication.
If you do not offer subscriptions for sale through your Custom Registration URL, then the subscription Purchase Method should be "None". This purchase method does not generate the "Subscribe Online" button. This makes the Android App a Login Only experience.
14. Click "Add New"
15. Click the "+" sign to the left of the newly created subscription list.
16. Choose the publication(s)/issue(s) you would like to associate the Custom Registration list to from the drop-down menus.
Note: You can choose "All Issues" to grant access to all the issues of the publication or a single issue, for example March 2017.


text:
Check out our latest video by Rachael Martin!
Check out our latest video by Rachael Martin!
Here is our latest tutorial for a Lace Braid UpDo: No Heat Required by our stylist Stephanie!
Our latest video shows an easy way to achieve soft vintage finger waves using a curling iron!
Check out the latest video from MakeUp Artist Natasia. Watch her create a simply elegant bridal makeup look! Call 215-564-9200 to schedule an appointment with her.