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Royal Corinthian Yacht Club
Coordinates: 51°37′25″N 0°49′15″E / 51.6236°N 0.8208°E
The Burnham-on-Crouch Royal Corinthian Yacht Club, designed by Joseph Emberton in 1931.
|Founded at Erith, Kent
|Burnham-on-Crouch, Essex, and at Cowes, Isle of Wight
|United Kingdom
The Royal Corinthian Yacht Club was founded at Erith, Kent in 1872 and since the 1930s has been based at Burnham-on-Crouch, Essex. The Club provided the crew for the Endeavour in Thomas Sopwith's America's Cup Challenge in 1934 after a strike of Sopwith's professional crew.
In 1931, a new clubhouse at Burnham-on-Crouch was opened. The Grade II* listed building was designed by Joseph Emberton and represented Britain's contribution to the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932.[1] The building is one of the few examples of the International style of architecture in Britain.[2][3] The Club at Burnham has a stable membership of 550 and is well known on the East Coast for organising one design regattas, a cruiser programme and a junior sailing programme called 'Otters'.
In 1948, the Club established its Southern branch at Cowes in the present Clubhouse. The building has a varied history and started life as a fishermen's beer house in the 18th Century. In a different guise it gained some notoriety during the Edwardian period. It was operated by Rosa Lewis, a hotelier from London to provide a retreat and entertainment for gentlemen visiting the Royal Yacht Squadron.
Tiny Mitchell, Commodore of the Royal Corinthian in Burnham wanted to sail his 6 metre in the Solent and he bought the building from Rosa's estate, and set up the Southern branch. It was run privately until his death, when the executors sold it to a consortium in the 1960s. It continued life as a private Club until it was sold to a private individual at the end of the 1980s.
The new business was very heavily dependent on debt finance and foundered. The Clubhouse was re-purchased from the receiver in late 1992 by a small group of members for the benefit of the Club. The repayment of the financing of that purchase by all the Members was completed in 1999 enabling the Club to become a Members Club.
It is now 12 years since the re-establishment of the Club at Cowes. Many new Members have been added to the core that was previously associated with the Club before this period of interruption. The Club's sailing programme and events for visiting yachtsmen have developed rapidly and there is great potential for social activity amongst the Members as well as continuing the development of the Club's use by visiting yachtsmen.
The Cowes branch of the Club has over 800 Members. Its position, the style of the Clubhouse and its grounds set it apart from the other Clubs in Cowes. It is the favourite spot for relaxing after sailing, and its ambience has also helped it be successful in attracting visiting yacht clubs and classes.
See also[edit]
- ^ Joseph Emberton, Architect. 1889-1956. Retrieved 2008-07-07.
- ^ Bettley, James & Pevsner, Nikolaus. (2007). Essex: Essex since 1914. (p. 69). Yale University Press. ISBN 0-300-11614-4.
- ^ University of Brighton. Design Archives: Joseph Emberton Archive. Retrieved 2008-05-20.
|Wikimedia Commons has media related to Royal Corinthian Yacht Club.


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Congress grapples with energy policies overhaul
Various measures in the House and Senate would hike the fuel economy standards and take away oil industry tax incentives.
A sprawling energy bill that is fitfully working its way through Congress may be the biggest step Washington has taken in a long time to reduce oil consumption, shift energy tax policies, reduce dependence on foreign oil, and mandate increased fuel efficiency for the first time in nearly 20 years. Democrats hope to pass this massive piece of legislation, which could affect the lives of all Americans, before the July Fourth recess.
The bill would:
n Raise fuel economy standards (CAFE) to a fleet average of 35 miles per gallon by 2020. This would be up from 25 miles per gallon and has the Detroit automakers strongly opposed. The 35-mile-per-gallon standard, said Rick Wagoner, chief executive of General Motors, doesn't look achievable.
n Revise energy tax policies that benefit the oil industry. This could shift billions of dollars in tax breaks and other incentives to underwrite renewable fuels. The oil industry may be everybody's favorite target now, with consumers angry over this summer's soaring gas prices.
n Make oil industry price-gouging a federal crime. It would give the Federal Trade Commission authority to investigate possible oil market manipulation. It would make it a crime to charge "unconscionably excessive" prices for fuel products.
n Increase energy efficiency standards for dishwashers, refrigerators and other appliances.
n Increase subsidies for liquefied coal, which are being pushed by coal-state legislators even though they would increase carbon dioxide emissions.
The energy package does not take on climate change directly. House and Senate Democrats want to postpone that debate until this fall, when lawmakers will debate proposals for setting limits on greenhouse gases.
There are many hand-grenade issues for Republicans and Democrats, conservatives and liberals, and for specific regions of the country. Legislators from the automaking states -- especially Michigan --will oppose raising the fuel-efficiency standards. Oil-state legislators will likely oppose changes in tax policies that could shift $14 billion or more in incentives that had been given to increase domestic oil and gas exploration. Other energy measures will also draw heated opposition.
Without looking too closely at this sausage while it's being made, Congress essentially is right. Everybody knows something has to be done. We know we have to encourage the development of new and cleaner sources of energy. How we do this remains a matter of choices and priorities. It also remains, of necessity, a proper area to use government rewards and punishments. There is a strong federal role to play here. If Congress can get past the usual political obstructions, which will be fierce, we may end up with a progressive energy bill. But we're not there yet.
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Sir Joseph Edgar Boehm, 1st Bt
11 of 15 portraits of Sir Joseph Edgar Boehm, 1st Bt
Sir Joseph Edgar Boehm, 1st Bt
by Frank Dudman, for Joseph Parkin Mayall, published by Sampson Low, Marston, Searle and Rivington
photogravure, 1883, published 1884
6 1/2 in. x 8 1/2 in. (164 mm x 216 mm) image size
Purchased, 1966
Photographs Collection
NPG x9211
Click on the links below to find out more:
Sitterback to top
- Sir Joseph Edgar Boehm, 1st Bt (1834-1890), Sculptor. Sitter associated with 15 portraits, Artist associated with 33 portraits.
Artistsback to top
- Frank Dudman (1855-1918). Artist associated with 22 portraits.
- Sampson Low, Marston, Searle and Rivington. Artist associated with 375 portraits.
- Joseph Parkin Mayall (1839-1906), Photographer; son of John Jabez Edwin Mayall (née Jabez Meal). Artist associated with 32 portraits.


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Critical Essay by Irving Howe
SOURCE: "I. B. Singer," in Encounter, Vol. 26, April, 1966, pp. 60-70.
In the following essay, Howe provides an overview of Singer's literary reputation, artistic influences, and central preoccupations as expressed in his fiction.
—Would it be fair to say that you are actually writing in a somewhat artificial or illusory context, as if none of the terrible things that have happened to the Jewish people during the last two decades really did occur?
SINGER: Yes, very fair, There was a famous philosopher, Vaihinger, who wrote a book called The Philosophy of "As If" in which he showed that we all behave "as if." The "as if" is so much a part of our life that it really isn't artificial…. Every man assumes he will go on living. He behaves as if he will never die. So I wouldn't call my attitude artificial. It's very natural and healthy. We have to go on living and writing.
—But do you agree that at the heart of your attitude there is an illusion which is consciously sustained?
SINGER: Yes.
No other living writer has yielded himself so completely and recklessly as has Isaac Bashevis Singer to the claims of the human imagination. Singer writes in Yiddish, a language that no amount of energy or affection seems likely to save from extinction. He writes about a world that is gone, destroyed with a brutality beyond historical comparison. He writes within a culture, the remnant of Yiddish in the Western world, that is more than a little dubious about his purpose and stress. He seems to take entirely for granted his role as a traditional story-teller speaking to an audience attuned to his every hint and nuance, an audience that values story-telling both in its own right and as a binding communal action—but also, as it happens, an audience that keeps fading week by week, shrinking day by day. And he does all this without a sigh or apology, without so much as a Jewish groan. It strikes one as a kind of inspired madness: here is a man living in New York City, a sophisticated and clever writer, who composes stories about places like Frampol, Bilgoray, Kreshev, as if they were still there. His work is shot through with the bravado of a performer who enjoys making his listeners gasp, weep, laugh and yearn for more. Above and beyond everything else he is a great performer, in ways that remind one of Twain, Dickens, Sholom Aleichem.
Singer writes Yiddish prose with a verbal and rhythmic brilliance that, to my knowledge, can hardly be matched. When Eliezer Greenberg and I were working on our Treasury of Yiddish Stories, he said to me: "Singer has to be heard, to be believed." Behind the prose there is always a spoken voice, tense, ironic, complex in tonalities, leaping past connectives. Greenberg then read to me, with a fluency and pith I could never capture in my own reading of Yiddish, Singer's masterpiece, "Gimpel the Fool," and I knew at once (it took no great powers of judgment) that here was the work of a master. The story came as a stroke of revelation, like a fiction by Babel or Kleist encountered for the first time.
Singer's stories claim attention through their vivacity and strangeness of surface. He is devoted to the grotesque, the demonic, the erotic, the quasi-mystical. He populates his alien sub-world with imps, devils, whores, fanatics, charlatans, spirits in seizure, disciples of false messiahs. A young girl is captured by the spirit of a dead woman and goes to live with the mourning husband as if she were actually his wife; a town is courted and then shattered by a lavish stranger who turns out to be the devil; an ancient Jew suffering unspeakable deprivations during the first World War, crawls back to his village of Bilgoray and fathers a son whom, with marvelous aplomb, he names Isaac. Sometimes the action in Singer's stories follows the moral curve of traditional folk tales, with a charming, lightly-phrased "lesson" at the end; sometimes, the spiral of a quizzical modern awareness; at best, the complicated motions of the old and the contemporary yoked together, a kind of narrative double-stop.
Orgiastic lapses from the moral order, pacts with the devil, ascetic self-punishments, distraught sexuality occupy the foreground of Singer's stories. Yet behind this expressionist clamour there is glimpsed the world of the stetl, or East European Jewish village, as it stumbled and slept through the last few centuries. Though Singer seldom portrays it full-face, one must always keep this world in mind while reading his stories: it forms the base from which he wanders, the norm from which he deviates but which controls his deviation. And truly to hear these stories one must have at least a splinter of knowledge about the culture from which Singer comes, the world he continues to evoke as if it were still radiantly alive: the Hasidim still dancing, the rabbis still pondering, the children still studying, the poor still hungering as if it had not all ended in ashes and death.
Isaac Bashevis Singer was born in Radzymin, Poland, in 1904. Both his father and grandfather were rabbis, in the tradition of Hasidism, a kind of ecstatic pietism, though on his mother's side the misnagid or rationalist strain of Jewish belief was stronger. "My father," recalls Singer, "always used to say that if you don't believe in the maddikim [the "wonder-rabbis" of Hasidism] today, tomorrow you won't believe in God. My mother would say, it's one thing to believe in God and another to believe in a man…. My mother's point of view is also my point of view."
Raised in a poor neighborhood of Warsaw, on Krochmalna Street, Singer received a strictly traditional Jewish education. He studied in a rabbinical seminary which was "a kind of college" providing secular as well as religious studies. During his adolescence he spent three or four years in his grandfather's shtetl, Bilgoray, which would later show itself as a strong influence upon his work. Bilgoray
was very old-fashioned. Not much has changed there in generations. In this town the traditions of hundreds of years ago still lived. There was no railroad nearby. It was stuck in the forest and it was pretty much as it must have been during the time of Chmielnicki…. I could have written The Family Moskat [a novel set in Warsaw] without having lived in Bilgoray, but I could never have written Satan in Goray [a novella dealing with 17th-century false messianism] or some of my short stories without having been there.
A decisive example was set by Singer's older brother, Israel Joshua, who began to write in his youth and became a leading Yiddish novelist, author of The Brothers Ashkenazi and Yashe Kolb. Throughout a distinguished career, I. J. Singer remained pretty much within the main lines of the Yiddish tradition, both as to moral and social attitudes, even though he was strongly influenced by contemporary Western writing, especially the kind of large-scale family novel popular in Europe at the turn of the century. Controlling the older Singer's fiction is the Jewish community, both as social framework and source of values; his style, fluent, relaxed and smooth, can be taken as a model for cultivated modern Yiddish. The older brother represents that which I. B. Singer learned from, struggled with, and then mostly left behind.
In the Jewish world of Warsaw during the time Singer was growing up, a decision to become a secular writer meant a painful conflict with family and culture, a symbolic break from the paths of tradition:
It was a great shock to my parents. They considered all the secular [Yiddish] writers to be heretics, all unbelievers—they really were too, most of them. To become a literat was to them almost as bad as becoming a meshumed, one who forsakes the faith. My father used to say that secular writers like Peretz were leading the Jews to heresy. He said everything they wrote was against God. Even though Peretz wrote in a religious vein, my father called his writing "sweetened poison," but poison nevertheless. And from his point of view he was right. Everybody who read such books sooner or later became a worldly man, and forsook the traditions. In my family, of course, my brother had gone first, and I went after him. For my parents, this was a tragedy.
In these early years of the century Warsaw was a lively if troubled city, the main centre of Jewish cultural life. The binding tradition of Yiddish literature had already been set by the pioneer generation of writers: Mendele Mocher Sforim, Sholom Aleichem, I. J. Peretz. It was a literature strongly devoted to problems of communal destiny and survival; characterised by a high, sometimes consuming ethical intent; closely tied to folk sources; drawing profoundly upon, even as it kept moving away from, religious tradition; resting upon a culture that might still be described as "organic" and certainly as coherent; and yet displaying many signs of the influence of European, especially Russian, writing. In Warsaw the major social and cultural movements of East European Jewish life found their most sophisticated versions: Yiddishism, the effort to create an autonomous secular culture based on the language of galut; Bundism, the organisation of a distinctively Jewish socialism, and Zionism, potentially of great importance but at this point still weak. Peretz's home became the gathering-place for young writers fresh from the provinces where the majority of Jews still lived; here, in this cosmopolitan haven, they could begin planning their novels and stories about the overwhelming memory of the shtetl. And the religious community, though now challenged from several directions and past the high point of its power, remained a major force within the world of the East European Jews.
Growing up in this feverish but immensely stimulating atmosphere, the younger Singer carved out a path of his own. He was not drawn to any of the Jewish movements: indeed, he has always been sceptical of the political messianism which, as a partial offshoot of the earlier religious messianism, runs through 20th-century Jewish life. He edged away from formal piety, yet remained close to the Jewish religious tradition, especially its more esoteric and cabbalistic elements. And while a master of the Yiddish language—he is second only to Sholom Aleichem in his command of its idiom—Singer was neither a programmatic Yiddishist nor notably at case in the world of Yiddish culture, which has in the main been secular and rationalist in stress.
As a youth Singer began to read in forbidden tongues, discovering E. T. A. Hoffman and Edgar Allan Poe in the libraries of Warsaw. The exotic romanticism of these writers stirred his imagination rather more than did the work of most Yiddish writers, who were then in a realistic or even naturalistic phase, and with whose materials he felt all to familiar. An even stronger alien influence was that of Knut Hamsun, the Norwegian novelist, who enjoyed an international vogue during the years before World War II. Hamsun's novels, especially Pan, impressed upon the younger Singer the claims of the irrational in human existence, the power of the perverse within seemingly normal behavior. Now, several decades later, it is hard to see much evidence of Hamsun in Singer's work: perhaps it was the kind of influence that does not leave a visible stamp but instead liberates a writer to go his own way.
A still more alien influence—for a young Jewish writer fresh from the yeshiva, an influence downright bizarre—was that curious body of writings known as spiritualism or "psychic research," which Singer somehow came upon in Warsaw and would continue to follow throughout his life. Could anything be more distant from the tradition of Yiddish literature or, for that matter, from the whole body of Jewish religious thought? Fortunately for his career as a writer, Singer has preserved a keen Jewish scepticism—in that department he is entirely traditional!—towards this branch of "knowledge," taking the sophisticated view that belief in the reality of spirits provides his fiction with a kind of compositional shorthand, a "spiritual stenography." As he remarks: "the demons and Satan represent to me, in a sense, the ways of the world. Instead of saying this is the way things happen, I will say, this is the way demons behave." Which is precisely what any cultivated sceptic, totally unconcerned with "psychic research," would also say.
In 1935, convinced that "it was inevitable after Hitler came to power that the Germans would invade Poland," Singer emigrated to the United States. He joined the staff of the Jewish daily Forward, a Yiddish newspaper, in which he printed serious fiction under his own name and a large quantity of journalism under the pen-name of Warshofsky. His first major work, the novella Satan in Goray, appeared in Yiddish in 1935. Since then he has written full-scale novels, one of which, The Family Moskat, was published in an English translation in 1949, as well as a number of short novels (in English: The Magician of Lublin and The Slave) and several collections of stories. His best work has been done in short forms, the novella and the story: exciting bursts and flares of the imagination.
Isaac Bashevis Singer is the only living Yiddish writer whose translated work has caught the imagination of a Western (the American) literary public. Though the settings of his stories are frequently strange, the contemporary reader—for whom the determination not to be shocked has become a point of honour—is likely to feel closer to Singer than to most other Yiddish writers. Offhand this may be surprising, for Singer's subjects are decidedly remote and exotic: in Satan in Goray the orgiastic consequences of the false messianism of 17th-century East European Jewish life; In The Magician of Lublin a portrait of a Jewish magician—Don Juan in late 19th-century Poland who exhausts himself in sensuality and ends as a penitent ascetic; in his stories a range of demonic, apocalyptic, and perversely sacred moments of shtetl life. Yet one feels that, unlike many of the Yiddish writers who treat more familiar and up-to-date subjects, Singer commands a distinctly "modern" sensibility.
Now this is partly true—in the sense that Singer has cut himself off from some of the traditional styles and assumptions of Yiddish writing. But it is also not true—in the sense that any effort to assimilate Singer to literary "modernism" without fully registering his involvement with Jewish faith and history is almost certain to distort his meanings.
Those meanings, one might as well admit, are often enigmatic and hard to come by. It must be a common experience among Singer's readers to find a quick pleasure in the caustic surfaces of his prose, the nervous tokens of his virtuosity, but then to acknowledge themselves baffled as to his point and purpose. That his fiction does have an insistent point and stringent purpose no one can doubt: Singer is too ruthlessly single-minded a writer to content himself with mere slices of representation or displays of the bizarre. His grotesquerie must be taken seriously, perhaps as a recoil from his perception of how irremediably and gratuitously ugly human life can be. He is a writer completely absorbed by the demands of his vision, a vision gnomic and compulsive but with moments of high exaltation; so that while reading his stories one feels as if one were overhearing bits and snatches of monologue, the impact of which is both notable and disturbing, but the meaning withheld.
Now these are precisely the qualities that the sophisticated reader, trained to docility before the exactions of "modernism," has come to applaud. Singer's stories work, or prey, upon the nerves. They leave one unsettled and anxious, the way a rationalist might feel if, waking at night in the woods, he suddenly found himself surrounded by a swarm of bats. Unlike most Yiddish fiction, Singer's stories neither round out the cycle of their intentions nor posit a coherent and ordered universe. They can be seen as paradigms of the arbitrariness, the grating injustice, at the heart of life. They offer instances of pointless suffering, dead-end exhaustion, inexplicable grace. And sometimes, as in Singer's masterpiece, "Gimpel the Fool," they turn about, refusing to rest with the familiar discomforts of the problematic, and drive towards a prospect of salvation on the other side of despair, beyond soiling by error or will. This prospect does not depend on any belief in the comeliness or lawfulness of the universe; whether God is there or not, He is surely no protector:
He had worked out his own religion [Singer writes about one of his characters]. There was a Creator, but He revealed himself to no one, gave no indications of what was permitted or forbidden.
Things happen, the probable bad and improbable good, both of them subject to the whim of the fortuitous; and the sacred fools like Gimpel, perhaps they alone, learn to roll with the punch, finding the value of their life in a total passivity and credulousness, a complete openness to suffering.
Singer's stories trace the characteristic motions of human destiny: a heavy climb upward ("The Old Man"), a rapid tumble downward ("The Fast"). Life forms a journeying to heaven and hell, mostly hell. What determines the direction a man will take? Sometimes the delicate manoeuvres between his will and desire, sometimes the heat of his vanity, sometimes the blessing of innocence. But more often than not, it is all a mystery which Singer chooses to present rather than explain. As his figures move upward and downward, a flame with the passion of their ineluctable destiny, they stop for a moment in the shtetl world. Singer is not content with the limitations of materiality, yet not at all indifferent to the charms and powers of the phenomenal universe. In his calculus of destiny, however, the world is a resting-place and what happens within it, even within the social enclave of the Jews, is not of lasting significance. Thick, substantial, and attractive as it comes to seem in Singer's representation, the world is finally but lure and appearance, a locale between heaven and hell, the shadow of larger possibilities.
In most Yiddish fiction the stress is quite different. There the central "character" is the collective destiny of the Jews in galut or exile; the central theme, the survival of a nation deprived of nationhood; the central ethic, the humane education of men stripped of worldly power yet sustained by the memory of chosenness and the promise of redemption. In Singer the norm of collective life is still present, but mostly in the background, as a tacit assumption; his major actions break away from the limits of the shtetl ethic, what has come to be known as Yiddishkeit, and then move either backward to the abandon of false messianism or forward to the doubt of modern sensibility. (There is an interesting exception, the story called "Short Friday," which in its stress upon family affection, ritual proprieties and collective faith, approaches rather closely the tones of traditional Yiddish fiction.)
The historical settings of East European Jewish life are richly presented in Singer's stories, often not as orderly sequences in time but as simultaneous perceptions jumbled together in the consciousness of figures for whom Abraham's sacrifice, Chmiclincki's pogroms, the rise and fall of Hasidism and the stirrings of the modern world are all felt with equal force. Yet Singer's ultimate concern is not with the collective experience of a chosen or martyred people but with the enigmas of personal fate. Given the slant of his vision, this leads him to place a heavy reliance upon the grotesque as a mode of narration, even as an avenue towards knowledge. But the grotesque carries with it a number of literary and moral dangers, not the least being the temptation for Singer to make it into an end in itself, which is to say, something facile and sensationalist. In his second-rank stories he falls back a little too comfortably upon the devices of which he is absolute master, like a magician supremely confident his tricks will continue to work. But mainly the grotesque succeeds in Singer's stories because it comes to symbolise meaningful digressions from a cultural norm. An uninstructed reader may absorb Singer's grotesquerie somewhat too easily into the assumptions of modern literature; the reader who grasps the ambivalence of Singer's relation to Yiddish literature will see the grotesquerie as a cultural sign by means of which Singer defines himself against his own past.
It is hardly a secret that in the Yiddish literary world Singer is regarded with a certain suspicion. His powers of evocation, his resources as a stylist are acknowledged, yet many Yiddish literary persons, including the serious ones, seem uneasy about him. One reason is that "modernism"—which, as these people regard Singer, signifies a heavy stress upon sexuality, a concern for the irrational, expressionist distortions of character, and a seeming indifference to the humane ethic of Yiddishism—has never won so strong a hold in Jewish culture as it has in the cultures of most Western countries. For the Yiddish writers, "modernism" has been at best an adornment of manner upon a subject inescapably traditional.
The truly "modern" writer, however, is not quite trustworthy in relation to his culture. He is a shifty character by choice and need, unable to settle into that solid representativeness which would allow him to act as a cultural "spokesman." And to the extent that Singer does share in the modernist outlook he must be regarded with distrust by Yiddish readers brought up on such literary "spokesmen" as Peretz, Abraham Relsen, and H. Leivick. There is no lack of admiration among Yiddish readers for Singer's work: anyone with half an ear for the cadence and idiom of that marvelous language must respond to his prose. Still, it is a qualified, a troubled admiration. Singer's moral outlook, which seems to move with equal readiness towards the sensational and the ascetic, is hardly calculated to put Yiddish readers at their case. So they continue to read him, with pleasure and anxiety.
And as it seems to me, they are not altogether wrong. Their admiring resistance to Singer's work may constitute a more attentive and serious response to his iconoclasm than the gleeful applause of those who read him in English translation and take him to be another writer of "black comedy," or heaven help us, a mid-20th-century "swinger."
The death of Satan was a tragedy for the imagination.
By and large Singer has been fortunate in his translators, but no translation, not even Saul Bellow's magnificent rendering of "Gimpel the Fool," could possibly suggest the full idiomatic richness and syntactical verve of Singer's Yiddish. Singer has left behind him the oratorical sententiousness to which Yiddish literature is prone, has abandoned its leisurely meandering pace, what might be called the shtetl rhythm, and has developed a style that is both swift and dense, nervous and thick. His sentences are short and abrupt; his rhythms coiled, intense, short-breathed. The impression his prose creates is not of a smooth and equable flow of language but rather a series of staccato advances and withdrawals, with sharp breaks between sentences. Singer seldom qualifies, wanders or circles back; his method is to keep darting forward, impression upon impression, through a series of jabbing declarative sentences. His prose is free of "literary" effects, a frequent weakness among Yiddish writers who wish to display their elegance and cultivation. And at the base of his prose is the oral idiom of Yiddish, seeded with ironic proverbs and apothegms ("Shoulders are from God, and burdens too"); but a speech that has been clipped, wrenched, syncopated.
What is most remarkable about Singer's prose is his ability to unite rich detail with fiercely compressed rhythms. For the translator this presents the almost insuperable problem of how to capture both his texture and his pace, his density of specification and his vibrating quickness. More often than not, even the most accomplished translator must choose between one effect and the other, if only because the enormous difficulty of rendering Yiddish idiom into another language forces him either to fill out or slow down Singer's sentences.
By its very nature, pace cannot be illustrated, but the richness of Singer's detail can, as in this characteristic passage from "The Old Man":
His son had died long before, and Reb Moshe Ber said the memorial prayer, kaddish, for him. Now alone in the apartment, he had to feed his stove with paper and wood shavings from garbage cans. In the ashes he baked rotten potatoes, which he carried in his scarf, and in an iron pot, he brewed chicory. He kept house, made his own candles by kneading bits of wax and suet around wicks, laundered his shirt beneath the kitchen faucet, and hung it to dry on a piece of string. He set the mousetraps each night and drowned the mice each morning. When he went out he never forgot to fasten the heavy padlock on the door. No one had to pay rent in Warsaw at that time…. The winter was difficult. There was no coal, and since several tiles were missing from the stove, the apartment was filled with thick black smoke each time the old man made a fire. A crust of blue ice and snow covered the window panes by November, making the rooms constantly dark or dusky. Overnight, the water on his night table froze in the pot. No matter how many clothes he piled over him in bed, he never felt warm; his feet remained stiff, and as soon as he began to doze, the entire pile of clothes would fall off, and he would have to climb out naked to make the bed once more. There was no kerosene; even matches were at a premium. Although he recited chapter upon chapter of the Psalms, he could not fall asleep. The wind, freely roaming about the rooms, banged the doors; even the mice left.
Or, in a more colourful vein, from "The Last Demon":
[the last demon] came here from Lublin. Tishevitz is a God-forsaken village: Adam didn't even stop to pee there. It's so small that a wagon goes through the town and the horse is in the market place just as the rear wheels reach the toll gate. There is mud in Tishevitz from Succoth until Tishe b'Ov. The goats of the town don't need to lift their beards to chew at the thatched roofs of the cottages. Hens roost in the middle of the streets. Birds build nests in the women's bonnets. In the tailor's synagogue a billy goat is the tenth in the quorum.
Or, grotesquely, from "Blood":
Frequently she sang for hours in Yiddish and in Polish. Her voice was harsh and cracked and she invented the songs as she went along, repeating meaningless phrases, uttering sounds that resembled the cackling of fowl, the grunting of pigs, the death-rattles of oxen…. At night in her dreams, phantoms tormented her; bulls gored her with their horns; pigs shoved their snouts into her face and bit her; roosters cut her flesh to ribbons with their spurs.
Or, tenderly, from "Gimpel the Fool":
I was an orphan. My grandfather who brought me up was already bent towards the grave. So they turned me over to a baker, and what a time they gave me there! Every woman or girl who came to bake a batch of noodles had to fool me at least once. "Gimpel, there's a fair in heaven; Gimpel, the rabbi gave birth to a calf in the seventh month; Gimpel, a cow flew over the roof and laid brass eggs." A student from the yeshiva came once to buy a roll, and he said, "You, Gimpel, while you stand here scraping with your baker's shovel the Messiah has come. The dead have arisen." "What do you mean?" I said "I heard no one blowing the ram's horn." He said, "Are you deaf?" And all began to cry, "We heard it, we heard…."
To tell the truth, I knew very well that nothing of the sort had happened, but all the same, as folks were talking, I threw on my wool vest and went out. Maybe something had happened. What did I stand to lose by looking? Well, what a cat music went up! And then I took a vow to believe nothing more. But that was no go either. They confused me so I didn't know the big end from the small.
Those of Singer's stories which speed downward into hell are often told by devils and imps, sometimes by Satan himself, marvelling at the vanity and paltriness of the human creature. Singer's arch-devil is a figure not so much of evil as of scepticism, a thoroughly modern voice to whose corrosive questions Singer imparts notable force in "A Tale of Two Liars":
Are you stupid enough to still believe in the power of prayer? Remember how the Jews prayed during the Black Plague, and nevertheless, how they perished like flies? And what about the thousands the Cossacks butchered? There was enough prayer, wasn't there, when Chmielnicki came? How were those prayers answered? Children were buried alive, chaste wives raped—and later their bellies ripped open and cats sewed inside. Why should God bother with your prayers? He neither hears nor sees. There is no judge. There is no judgment.
Using demons and imps as narrators proves to be a wonderful device for structural economy: they replace the need to enter the "inner life" of the characters, the whole plaguing business of the psychology of motives, for they serve as symbolic equivalents and co-ordinates to human conduct, what Singer calls a "spiritual stenography." In those stories, however, where Singer celebrates the power of human endurance, as in "The Little Shoemakers" and "The Old Man," he uses third person narrative in the closest he comes to a "high style," so that the rhetorical elevation will help to create an effect of "epical" sweep.
Within his limits Singer is a genius. He has total command of his imagined world; he is original in his use both of traditional Jewish materials and his modernist attitude towards them; he provides a serious if enigmatic moral perspective; and he is a master of Yiddish prose. Yet there are times when Singer seems to be mired in his own originality, stories in which he displays a weakness for self-imitation that is disconcerting. Second-rate writers imitate others, first-rate writers themselves, and it is not always clear which is the more dangerous.
Having gone this far, we must now turn again. If Singer's work can be grasped only on the assumption that he is crucially a "modernist" writer, one must add that in other ways he remains profoundly subject to the Jewish tradition. And if the Yiddish reader is inclined to slight the "modernist" side of his work, any other reader is likely to underestimate the traditional side.
One of the elements in the Jewish past that has most fascinated Singer is the recurrent tendency to break loose from the burden of the Mosaic law and, through the urging of will and ecstasy, declare an end to the galut. Historically, this has taken the form of a series of Messianic movements, one led in the 17th century by Sabbatai Zevi and another in the 18th by Jacob Frank. The movement of Sabbatai Zevi appeared after the East European Jewish community had been shattered by the rebellion pogrom of the Cossack chieftain, Chmielnicki. Many of the survivors, caught up in a strange ecstasy that derived all too clearly from their total desperation, began to summon apocalyptic fantasies and to indulge themselves in long-repressed religious emotions which, perversely, were stimulated by the pressures of Cabbalistic asceticism. As if in response to their yearnings, Sabbatai, a pretender rising in the Middle East, offered to release them of everything that rabbinical Judaism had confined or suppressed. He spoke for the tempting doctrine that faith is sufficient for salvation; for the wish to evade the limits of mundane life by forcing a religious transcendence; for the union of erotic with mystical appetites; for the lure of a demonism which the very hopelessness of the Jewish situation rendered plausible. In 1665–66 Sabbatianism came to orgiastic climax, whole communities, out of a conviction that the messiah was in sight, discarding the moral inhibitions of exile. Their hopes were soon brutally disappointed, for Sabbatai, persecuted by the Turkish Sultan, converted to Mohammedanism. His followers were thrown into confusion and despair, and a resurgent rabbinism again took control over Jewish life. Nevertheless, Sabbatianism continued to lead an underground existence among the East European Jews—even (I have been told by shtetl survivors) into the late 19th and early 20th century. It became a secret heretical cult celebrating Sabbatai as the apostate saviour who had been required to descend to the depths of the world to achieve the heights of salvation.
To this buried strand of Jewish experience Singer has been drawn in fascination and repulsion, portraying its manifestations with great vividness and its consequences with stern judgment. It is a kind of experience that rarely figures in traditional Yiddish writing yet is a significant aspect of the Jewish past. Bringing this material to contemporary readers, Singer writes in Yiddish but often quite apart from the Yiddish tradition; indeed, he is one of the few Yiddish writers whose relation to the Jewish past is not determined or screened by that body of values we call Yiddishism.
Singer is a writer of both the pre-Enlightenment and the post-Enlightenment: he would be equally at home with a congregation of medieval Jews and a gathering of 20th-century intellectuals, perhaps more so than at a meeting of the Yiddish PEN club. He has a strong sense of the mystical and antique, but also a cool awareness of psycho-analytic disenchantment. He has evaded both the religious pieties and the humane rationalism of 19th-century East European Judaism. He has skipped over the ideas of the historical epoch which gave rise to Yiddishism, for the truth is, I suppose, that Yiddish literature, in both its writers of acceptance and writers of scepticism, is thoroughly caught up with the Enlightenment. Singer is not. He shares very little in the collective sensibility or the folkstimlichkeit of the Yiddish masters; he does not unambiguously celebrate dos kleine menshele (the common man) as a paragon of goodness; he is impatient with the sensual deprivations implicit in the values of edelkeit (refinement, nobility); and above all he moves away from a central assumption of both Yiddish literature in particular and the 19th century in general, the assumption of an immanent fate or end in human existence (what in Yiddish is called tachlis).
But again qualifications are needed. It is one thing to decide to break from a tradition in which one has been raised, quite another to make the break completely. For Singer has his ties—slender, subterranean, but strong—with the very Yiddish writers from whom he has turned away.
At the centre of Yiddish fiction stands the archetypical figure of dot kleine menshele. It is he, long-suffering, persistent, lovingly ironic, whom the Yiddish writers celebrate. This poor but proud householder trying to maintain his status in the shtetl world even as he keeps sinking deeper and deeper into poverty, appeals to the Yiddish imagination far more than mighty figures like Aeneas or Ahab. And from this representative man of the shtetl there emerges a number of significant variations. One extreme variation is the ecstatic wanderer, hopeless in this world because profoundly committed to the other. An equally extreme variation is the wise or sainted fool who has given up the struggle for status and thereby acquired the wry perspective of an outsider. Standing somewhere between dos kleine menshele and these offshoots is Peretz's Bontsha Schweig, whose intolerable humbleness makes even the angels in heaven feel guilty and embarrassed. Singer's Gimpel is a literary grandson (perhaps only on one side) of Peretz's Bontsha; and as Gimpel, with the piling up of his foolishness, acquires a halo of comic sadness and comes to seem an epitome of pure spirit, one must keep balancing in one's mind the ways in which he is akin to, yet different from, Bontsha.
The Yiddish critic Shlomo Bickel has perceptively remarked that Singer's dominating principle is an "anti-Prometheanism," a disbelief in the efficacy of striving, defiance, and pride, a doubt as to the sufficiency of knowledge or even wisdom. This seems true, but only if one remembers that in a good many of Singer's fictions the central action does constitute a kind of Promethean ordeal or striving. Singer makes it abundantly clear that his characters have no choice: they must live out their desires, their orgiastic yearning, their apocalyptic expectations. "Anti-Prometheanism" thus comes to rest upon a belief in the unavoidable recurrence of the Promethean urge.
What finally concerns Singer most is the possibilities for life that remain after the exhaustion of human effort, after failure and despair have come and gone. Singer watches his stricken figures from a certain distance, with enigmatic intent and no great outpouring of sympathy, almost as if to say that before such collapse neither judgment nor sympathy matters very much. Yet in all of his fictions the Promethean effort recurs, obsessional, churning with new energy and delusion. In the knowledge that it will, that it must recur, there may also lie hidden a kind of pity, for that too we would expect, and learn to find, in the writer who created Gimpel.
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"What's up doc?" "You're despicable!" "The Earth? Oh the Earth will be gone in just a few seconds." "Suffering succotash!" "I twat I taw a puddy tat!" "Yablabaspfbnah!"
Bugs Bunny. Daffy Duck. Marvin the Martian, Sylvester and Tweety Bird. Taz. All your favorite Looney Tunes characters are well known for their memorable lines and catch phrases. (Well, except for Taz since he mostly just growled.)
Besides being known for their funny one-liners, these characters became famous for their funny appearances as well. If you think you're ready to put on Daffy's beak or arm yourself with Marvin's ray gun then check out our collection of Looney Tunes costumes. You couldn't find a better collection if you went straight to Acme Corporation.


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Category:Military units and formations of the People's Liberation Army
From Wikipedia, the free encyclopedia
This category is different from People's Volunteer Army in that those were the 'unofficial' Chinese Army of 'volunteers' during the Korean War.
Articles for this category should be a) joint units (units made up of personnel from more than one branch of the military); b) articles that cover unit types. For specific units, please categorize by branch of service.
This category has the following 5 subcategories, out of 5 total.
- ► Divisions of the People's Liberation Army (2 C, 3 P)
Pages in category "Military units and formations of the People's Liberation Army"
The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes (learn more).


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You know i work on a concept for my chat application for ios.
Thank you @Alexander Haase for his comment on my first chat screen shot.
Now you can see the second version.
Comments and critic is welcome.
Check @2x or attachment for more detail.
Have a nice day.
More Hüseyin Yilmaz 🚀
keyboard shortcuts: ← previous shot → next shot L or F like Z toggle zoom


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We hadn't been here for awhile, but will return. The chips and salsa were not typical and very tasty. The spicy pork was delicious. We enjoyed the margaritas.
We hadn't been here for awhile, but will return. The chips and salsa were not typical and very tasty. The spicy pork was delicious. We enjoyed the margaritas.
We hadn't been here for awhile, but will return. The chips and salsa were not typical and very tasty. The spicy pork was delicious. We enjoyed the margaritas.
My husband and I found this lovely restaurant by chance, on our way back to our hotel after a late concert in Bethesda. We were looking for vegetarian fare at 10:00 on a Friday night and had already encountered many restaurants that were either closed or did not serve vegetarian food. The Ramen place around the corner, for instance, was... More
Second time here for dinner, and again everything was delicious. We went with 2 of the 3 specials: pork tacos and red snapper with shrimp. Both were excellent. They have a big menu with lots of choices, and while the upstairs/outdoor terrace dining area may not be for everyone - if you were led there blindfolded and tasted the food... More
Go to Gringo & Mariachis for authentic mexican food. This place has been in Bethesda a long time and its food is really more Tex/Mex. If you want chips and salsa this is fine.
I have been going to this restaurant for more than 25 years, ever since it opened just around the corner, but I have not been back for about five years. Rockville where I live has come forth with many restaurants of high quality, so I have not been taking the trouble to go all the way to Bethesda. I was... More
It's like dining in Mexico during the summer without having to travel. The terrace is amazing, casual atmosphere, eclectic clientele, great service supervised by the owner and his family. The margarita is amazing and ask for the daily specials. Fish dishes are succulent. I insist it is very casual don't go dressed up, it's a place to relax and have... More
Nice ambiance with helpful service. Our food was a disappointment though. My wife's Chile Relleno appeared to have been frozen and microwaved. Lukewarm, sitting in water on the plate. I ordered a dish of marinated sliced pork which had the consistency of burned bacon. We have eaten there before and were very surprised by the quality of the meal. Pushed... More
We accidentally stumbled on this restaurant while walking in Bethesda looking for another place. It looked really authentic so we went in. Warmly welcomed and promptly seated. Place was fairly empty and that worried us but it soon filled up with what looked like regulars. Food was excellent and truly authentic. Also the margaritas were very good. Great atmosphere too... More
We have been going to this restaurant for 27 years. The food is authentic interior Mexican food and has great seafood dishes. But, my favorite is the Enchiladas de Mole. It's a great family restaurant. The owner, Ricardo, encourages you to bring your infant to dinner….he will carry the baby around so that you may enjoy your meal. They have... More
We love this place!! The staff (owner and family) are so nice and friendly, and are great with my young daughter. (The owner even gave her ice cream!) Wonderful senses of humor and genuine service. Food is delicious. Varied menu with choices for everyone, including for children. It has never been too noisy or felt crowded when we've been there,... More
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Comment: Roll 1 2 3 4 5 (Score 1) 267 267
Word was 'apathy"
Word was 'apathy"
I take my bike to the pub, it's good exercise, gives me time to listen to an audio book or podcast and it's cheaper than a taxi. With fenders and a coat I can go in any weather.
Gristle McThornBody
But you should always know your limit!
The US army bought 10 Nimitz aircraft carriers at $4.5 billion each, how many wars have they won lately?
If the result is the same electrical and chemical activity what's the difference.
Shhh, don't give away the trick before we get to use it.
Almost, they are saying "we're smart, but you're stupid, get to work."
Knowing where speed traps are would make them 100% effective. The point is to reduce speeding and no one will speed if they know there is a trap on the road, no one gets a ticket and the road becomes safer. The only way in which the trap is ineffective is that it doesn't generate any cash for the department.
It's more interesting than anything else this week and it would make a cool DIY dev platform.
Along with IR and Visible light, unless you are pumping watts into a very small volume you're not going to boil your guts with wifi.
Most people have no idea that their browser can be used as a bot.
Between me and a few others my high school's internal network never ran faster than dialup and at least half of the computers mysteriously were converted to every version of linux that would run on that horrible hp/dell/compaq hardware.
Regardless of how "trolled" any one feels by this he gets an ad hit every time the user looses a round in the game. So do they pay him with a bucket of cash or just Apple store credit?
I've got the same problem, 10 years ago I had one device hooked right to the modem, now my basement looks like something out of The Matrix.
I've never been canoeing before, but I imagine there must be just a few simple heuristics you have to remember... Yes, don't fall out, and don't hit rocks.


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Canonical Updates Landscape's Look
To celebrate the new look of and solicit user feedback on their commercially offered Ubuntu Advantage Program, Canonical is offering a free 30-day trial version of Landscape.
Landscape, available as a Canonical support service since 2007, now plays a central role in the Ubuntu Advantage Program. Landscape has been given a new lighter interface look and feel, and to highlight the changes to the program, Canonical is making a trial version of their enterprise systems management tool available free for 30 days.
More information on the Ubuntu Advantage Program, Landscape, and the trial offer can be found on the Canonical website.
Issue 177/2015
Buy this issue as a PDF
NoScript Flaw
Mozilla's script blocker add-on could be putting malware sites on the whitelist.
RIP SSLv3
The Internet community officially banishes the notoriously unsafe Secure Sockets Layer protocol.
Mate 1.1 Arrives
Popular desktop environment continues the Gnome 2 legacy – with new support for the Gnome 3 toolkit.
US Government Requires HTTPS
The Obama White House has issued a memorandum telling all US government agencies they must use HTTPS for all websites and web communication.
Mozilla Signs Firefox Add-Ons
New program will dial up security for the Firefox browser.
Fedora 22 Arrives
Red Hat's community distro embraces the cloud.
Code.org and College Board Team Reach Out for Talented High School Coders
New partnership will bring more and better CS training to US schools
A Peek Inside TeslaCrypt Ransomware
Criminals offer online help over Tor network
Mumblehard Still Spams
Sophisticated malware is still present on Joomla and WordPress sites around the world.
Launchpad Gets Git
Future versions of Ubuntu's code service will support the popular Git version control system used with Linux and other open source projects.


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NHL: Backstrom–"We're The Ones Who Should Be Ashamed"
By Sports Talk Florida
News Desk
Follow @ SportsTalkFLA
News Desk
Follow @ SportsTalkFLA
The Washington Capitals didn't make the playoffs and didn't have that great of a season. Nicklas Backstrom was upset with his team's performance and said the blame shouldn't be on the coach but on the players.
"We're the ones who should be ashamed," Backstrom said.
For more on this story visit: ProHockey Talk, Joe Yerdon
Tags: Washington Capitals


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Mar 13 2006
08:04 am
By: R. Neal  shortURL
Check out the Liberal-Bias "biggest threats to progressive values" tournament. The first round brackets are open for voting.
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Originally written on Fox Sports Tennessee | Last updated 1/27/13
NASHVILLE, Tenn. - Count former Tennessee Titans president Jeff Diamond among those who feel it is a good thing for Gregg Williams to return to the teams coaching staff. Indefinitely suspended last year by NFL commissioner Roger Goodell for his role in the New Orleans Saints Bountygate case while defensive coordinator from 2009-11, Williams can now return to coaching in the league only after a team expresses interest and the league reinstates him. Multiple reports citing unnamed sources say Williams and Titans head coach Mike Munchak have discussed and finalized his return to the Titans coaching staff, where Williams worked from 1990-2000, including the last four seasons as defensive coordinator before becoming head coach of the Buffalo Bills in 2001. A Titans official said Sunday that Munchak was not available for comment. The two-year Titans coach has not spoken to local media since the end of the disappointing 6-10 season. I think hiring Gregg can be a positive, said Diamond,...
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text: Elk River Police are looking for a man who burglarized a home and allegedly assaulted two people before leaving the residence, according to Elk River Police Capt. Bob Kluntz. The victims were a 24-year-old Elk River woman and a 28 year old Elk River man. "This was not a random incident," Kluntz ...Read More


text:
3 Delicious Mood and Energy Booster Smoothie Recipes
Healthy Smoothie Recipes for Mood and Energy
I haven't quite decided why I like this article from Food Matters, so much.
Maybe it's because I felt a boost to my mood from just reading the recipes.
Perhaps I like it because the ingredients are chock full of antioxidants, healthy fats, energy producers, and high quality proteins.
Or, it could simply be that the scrumptious-looking smoothies have given me the motivation to dust off my megawatt blender, which has long been relegated to the task […]


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37 year old woman | Amherst, NY, USA | Seeking men 30-40 within 50 miles
Do you know how much a Polar bear weighs? (answer below)
i am obviously single looking for that special someone. i love to laugh make people laugh. im happy almost all the time, but i'm not one of those annoying happy people, you know what i mean, dont ya? i love my family, we are very close. my sister my mom are my best friends. i have 2 nephews, they are alot of fun to hang around with. i love being around children i do want children someday. i am addicted to my chapstick. i own my own condo. i have a car. i quit smoking- its been about 6mo. u can smoke, but i will not. i just started back to the gym... i ran my 1st 5k in pittsburgh w/ friends... that was interesting. i need a man to share my life with, do fun stuff with, like go to hockey games(LOVE the SABRES!!! we WILL win the cup someday!!!), go to movies, bowling, dinner, walks, exercise, whatever, i am pretty much up for anything, well, almost anything. if your interested, or have any questions, gimme a wink or a message. :)
Dining out , Movies/Videos , Music and concerts , Exploring new areas , Nightclubs/Dancing , Video games , Watching sports , Wine tasting
Bowling, Dancing, Hockey, Other types of exercise, Swimming
I exercise 3-4 times per week.
I like Cats, Fish
i dont have any pets. if i was to have a pet, it would prolly be a fish. i am allergic to dogs & cats. i only had a dog once when i was really young, i dont remember much except that it ran away & peed on our rugs...LOL.
Some other viewpoint
Buffalo Wild WIngs- especially for HOCKEY games... which can start anyday now PLEASE!!!
Erie Community College, North Campus, Williamsville, NY
fave TV: Rules of engagement, big bang theory, seinfeld, friends, 2 1/2 men, Grey's anatomy, Family guy... i love funny shows, but like the serious ones too.
i watch TV, Wii, go out for drinks & appetizers... i love appetizers. hockey games. hanging w/ my nephews & sister. i love to bowl.
the last book i read cover-to-cover was the 1st Harry Potter... im not much of a book reader, but that book held me til the end. i just never know what kind of books to read. i like magazines.
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|5'2" (157cms)
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|Black, Blue, Brown, Grey, Green, Hazel
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|Administrative / Secretarial, Artistic / Creative / Performance, Executive / Management, Financial / Accounting / Real Estate, Labor / Construction, Legal, Medical / Dental / Veterinary / Fitness, Political / Govt / Civil Service / Military, Retail / Food services, Sales / Marketing, Self-Employed / Entrepreneur, Student, Education / Teacher / Professor, Technical / Science / Computers / Engineering, Travel / Hospitality / Transportation, Other profession, Nonprofit / Volunteer / Activist, Law enforcement / Security / Military, Fashion / Model / Beauty, Architecture / Interior design
i am a diet tech at a nursing home. i like my job. it doesnt matter what kind of work you do... as long as your happy.
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i have 2 associates degrees.


text:
Why are Japan's blue?
in town for free camps
Why are Japan's blue?
Well, China has red, so Japan went blue?
I did mean uniforms: China has a red one.
And knowing is half the battle.
Sounds like an X-Men villain or a Japanese Beer. Either way, cool.
I like this weird line, which sounds like it was translated by the Zero Wing guy:
It was a time that the blue color took place, but the Federation had other intentions.
All your blue are belong to us?
In soccer, the home uniform can be dark, as in American football. I don't think there are any regulations about that, other than that a team must have home/away uniforms that are in two different colors.
As far as Japan goes, I think they always have a blue uniform. Some countries, for whatever reason, choose not to use their flag's colors for sports. For instance, Australia always wears yellow and green, and New Zealand wears black and white. And of course, the Netherlands wear orange.
Ando gets behind the D, but shoots right at Solo.
Though in the depiction's defense, it DOES look like the point of the scene where he's already been half dragged into the cage. (I wonder if they just used the top half of a Lego Man).
And everyone be sure to set your dvr for Lego Star Wars Special on TOON pemiering Friday at 7. (*public service announcement finished*)
Ball over the top to Ando, just a little too far, and Solo gets it.
I'm so scared. Get some goals :(
As the USA plays Japan in Germany. Hmmmm.....
I'm gonna miss that ESPN World Cup music.
Get the ball on net. That keeper for Japan clearly sucks.
Lauren Cheney out with right ankle injury.
Alex Morgan coming in for her!
Morgan so close!
How does that *not* happen?!
Are there less whistles/calls/flops in the women's game, do they commit less penalties, or has this just been a relatively clean game so far?
There are less flops. Fouls, it depends. Nigeria had a hackfest against Germany.
US gets a break on the offsides call, which wasn't.
Abby gets a header on frame, saved by Kaihori.
Alex Morgan!!!!!
If Hope Solo isn't available i'll take Alex Morgan... She's FINE!
Is working out.
US D can't clear the ball, Japan capitalizes.
These last seconds have been tense as fuck.
Why clear the ball in front of your goal!!!!!!!!!!!!!!!!!!!
O'Reilly crosses, neither Wambach nor Rapinoe get to it.
That was fast!
Sakaguchi from outside the box, wide left.
US pressuring, Japan defending, 2 minutes stoppage time.
Two 15-min periods, no golden goal.
here. we. go!
I've always thought soccer should liberalize substitutions when you get into extra time. Three subs is fine for a normal, 90-minute game, but now you're asking the teams to go for another 30 minutes.
Wambach finds Morgan, she shoots wide left.
Abby header!!!!
What a perfect cross and Abby is so amazing using her head.
15 minutes...
I love when soccer players who have just scored huge goals react with seconds of utter disbelief. It's such an event they can't even fathom what happened in order to celebrate
6 minutes, 16 minutes, 11 minutes, whateva.


text:
Home >> Products >> GoAnywhere Director >> Connectivity >> SCP
SCP (Secure Copy)
GoAnywhere Director™ supports SCP (Secure Copy) for securing data transmissions with your trading partners. SCP creates an encrypted tunnel using SSH between two computer systems and will protect against the following attacks:
- IP spoofing, where a remote host sends out packets which pretend to come from another, trusted host
- IP source routing, where a host can pretend that an IP packet comes from another, trusted host.
- DNS spoofing, where an attacker forges name server records
- Interception of cleartext passwords and other data by intermediate hosts
- Manipulation of data by attackers in control of intermediate hosts
GoAnywhere Director SCP features
GoAnywhere Director provides SCP features to satisfy enterprise requirements.
- Ability to authenticate using passwords or SSH keys
- Get, Put, MGet commands
- Transfer multiple files per connection using Loop functionality
- Autodetect Binary and ASCII modes
- Indicate the number of connection retry attempts and timeout values
- Auto suffix and prefix file names with constants, timestamps or variables
- Override file names and other properties at execution time using variables
- Auto retry with user-defined connection timeouts and retry limits
- Configurable port numbers
- Support for Adaptive connections
- Utilizes only strong NIST-certified encryption algorithms when in FIPS 140-2 Compliance mode
- Generation of detailed logs (audit trails)
SSH Key Management
A comprehensive Key Manager is provided in GoAnywhere Director to allow for the management of SSH Keys. The Key Manager can be used to create SSH public and private keys, export keys and view keys. These SSH Keys can be utilized within GoAnywhere Director for automating SFTP transmissions.
Standards Support for SCP
GoAnywhere Director supports the following standards for SCP.
Ciphers (Symmetric Encryption Algorithms)
- Triple DES, key length of 192 bit
- Blowfish, key length up to 448 bit
- AES, key length up to 256 bit
MAC Algorithms
- MAC-SHA1, key length of 160 bit, digest length of 160 bit
- HMAC-SHA1-96, key length of 160 bit, digest length of 96 bit
- HMAC-MD5, key length of 128 bit, digest length of 128 bit
- HMAC-MD5-96, key length of 128 bit, digest length of 96 bit
Key Exchange Algorithms
- Diffie-Hellman
- MODP Groups 1, 2, 5 (1536-bit), 14 (2048-bit), 15 (3072-bit), 16 (4096-bit), 17 (6144-bit) and 18 (8192-bit).
SSH Private Keys
- OpenSSH encoded keys
- PEM (privacy enhanced message) encoded keys
SSH Public Keys
- OpenSSH encoded keys
GoAnywhere Director can be installed onto Windows, VMware, Linux, IBM i, AIX (pSeries), UNIX, HP-UX, Mac OS and Solaris platforms. IBM i is also referred to as System i, iSeries, as400, as/400 and i5.


text:
Red Tree
Maurice Denis, writing in 1942 about the post-impressionist artist Paul Gauguin (in ABC de la peinture, by Paul Sérusier), wrote:
"How do you see those trees?" asked Gauguin; "If they are yellow, then make them yellow; and that bluish shadow, paint it with pure ultramarine; and those red leaves? Use vermilion."
For the vermillion leaves, he may have had in mind this tree in autumn. (Click image for larger.)