The finishing touches are now being applied to the sixth episode produced by the fans behind Star Trek Continues, and we look forward to a debut screening in May at MegaCon in Orlando. This week, we’re launching another crowdfunding campaign to produce more episodes, which will bring to 10 the number of episodes in our web series. Support us here: https://www.indiegogo.com/projects/star-trek-continues#/ Episode VI — “Come Not Between the Dragons” — is an action-packed, dramatic story that deals with deeply personal issues. It guest stars Gigi Edgley of Farscape fame. And Episode VII — featuring the return of Erin Gray and other surprise guest stars — will, with the help of this campaign, be released in the fall.
Vic Mignogna as Kirk.
Between free viewings on Vimeo and YouTube, our five finished episodes have had more than four million views! And we’re pleased to be recognized with nearly a dozen accolades and awards, and even recognition from The Wall Street Journal, which calls Star Trek Continues “the flagship of the fan film fleet.” First and foremost, Star Trek Continues respectfully and graciously thanks CBS, the holder of the copyright to Star Trek. CBS’ understanding of the passion fans have for Star Trek is second-to-none, and we’re grateful to have the opportunity to pay tribute with our fan-based non-profit web series.
We are in no way affiliated with, nor endorsed by, CBS or Paramount Pictures. This latest campaign is already off to a strong start. And it’s the third time we’ve appealed for support in this way. Late in 2013, our first effort raised enough money to produce episodes 2,3, and 4. Last January, we launched a second crowdfunding campaign to continue our journey and produce two more episodes and build the enormous Engineering set. And that’s precisely what we did. STC’s track record speaks for itself. As deeply committed stewards of our precious fans’ donations, we do what we promise we will do. So many of our previous donors tell us they can’t wait to support us again. One needs only watch an episode to see these generous donations at work. We seek no return other than the joy of paying tribute to TOS — both in the creation of these episodes, and in the privilege of sharing them with beloved fans. All money raised goes to hard costs related to the development, filming, and post-production of these stories, such as:
Set construction, maintenance and materials
Studio rental and maintenance
Monthly utilities costs
Equipment rental
Prop production and replication
Wardrobe production and maintenance
Make-up equipment and supplies
Cast and crew travel, lodging, and food during the shoots
Post-production costs, hard drives, online data storage, etc.
Fundraising costs.
So if you believe in what we’re doing and you’d like to help, now is the time to donate to keep a good thing going.And we’ve got an exciting array of perks for contributors – including a selection of screen-used costumes.
https://www.indiegogo.com/projects/star-trek-continues#/Find STC on Instagram! We are very pleased to announce that now you can follow Star Trek Continues on Instagram! We will be posting never before seen production stills, behind the scenes photos, crew features, concept art from our designers, and more! You can find us there @trekcontinues, and also on Tumblr at stcontinues. Thank you so much for all of your support and enthusiasm. Please continue to follow, like, share, and tell your friends! https://www.instagram.com/trekcontinues/http://stcontinues.tumblr.com/
Trek Prop Fans Relish a Visit to Stage Nine One of the ingredients that makes Star Trek Continues look authentic is attention to detail, and in particular the sets and props designed to look like they came from the soundstages in the 1960’s. The production relies on the skills of dedicated propmakers and fans who donate use of their treasures for our episodes. In December, prop collectors got a chance to tour the Enterprise – including the new Engineering Room – during a private visit to Stage Nine in southern Georgia.
Space.com staff artist Karl Tate came down from New York. His reaction to walking standing sets was typical. “I’ve been aboard the USS Enterprise. That’s all I can say. When you’re walking down that corridor, and the stage lights are lit, and all you see is Enterprise…I’m there,” Tate says. “It’s truly an achievement and I look forward to what Star Trek Continues comes up with next!” The one-day event was filled with special presentations on prop-making, and an opportunity for prop fans to show off their collections and hand-made treasures.
“Many of us have bucket lists, things we want to complete or do in this lifetime. I’ve had such a list since I was a kid. One of the items on my list, one I never thought possible, was to go back in time and see the Star Trek sets at Desilu Studios. Impossible, right? Well, after visiting the Star TrekContinues sets I was able to cross one more item off my bucket list,” explains Larry Chalkey from Virginia. “As I walked the corridors of the Enterprise, I imagined what it must have been like to be there in 1966. What it must have felt like to make the show we all love. This was truly an amazing experience and one I will always treasure.” By Vic Mignogna for The Silo.
Both Celine Dion and Puff Daddy have vastly reduced the prices on their mansion homes, featured this week at TopTenRealEstateDeals.com.
“Celine Drops Price on Florida Water Park Home” Grammy Award-winning Canadian singer Celine Dion and her manager husband, René Angélil, built their dream Florida home on Jupiter Island in 2010. The location offered the privacy the hard working couple wanted to relax with their children and friends and they designed an estate around a series of water features and outdoor sports activities that, along with pristine beachfront, took full advantage of the Florida sunshine and Atlantic Ocean breezes. But even for celebrities who seem to have achieved it all, life can throw curve balls.
For Sale -Now Reduced! Celine Dion’s Florida home.
Though René had successfully fully recovered from a bout of throat cancer in 1999, it reoccurred in 2013 when he had surgery for another malignant throat tumor. Dion announced in 2014 that she would suspend her performances indefinitely due to her husband’s worsening health. In August of 2015, she resumed her Las Vegas residency at Caesar’s Palace, but lost René to cancer in January 2016 and her brother only two days later. The couple and their three children had made the Las Vegas bedroom community of Henderson their home while Dion was performing at Caesar’s Palace. She returned to the stage on February 23rd for the first time since René’s death and paid tribute to his memory and their life together in her first performance.
Their Bahamian-inspired Florida oceanfront estate was first put up for sale in 2013, the year that René was re-diagnosed, for $72.5 million. Over a period of time with no buyer interest, the price was cut to $62.5 million and recently reduced to $45.5 million.
Among many five-star features, the 5.5-acre beachfront property’s centerpiece is the 500,000 gallon water park highlighted by a slow-current lazy river connecting two pools, bridges and a twisting water slide. There is also another pool located beachside. The two-story, 10,000-square-foot main residence has five bedrooms with a second-level wraparound terrace with ocean views and multiple main level terraces. The luxurious master suite walk-in closet has automated carousels for quick access to shoes and clothing at the touch of a finger. The open-plan main level is light and airy in keeping with the subtropical climate. There are also two separate four-bedroom guest houses, tennis house, simulated golf range, pool house and beach house. Celine’s Jupiter neighbors include Michael Jordan and Tiger Woods, and Palm Beach is just a few miles down the road.
Now settled in Nevada at least until the end of her Caesar’s Palace residency in 2019, Celine has stepped up her effort to sell her resort estate by engaging a new brokerage and lowering the asking price. Fenton Lang Bruner & Associates in Jupiter Island holds the listing.
“Puff Daddy’s New Jersey Mansion” Whether called Puff Daddy, Puffy, P. Diddy, or his real name Sean Combs, the Grammy-winning rapper, actor and businessman is frequently in the news, whether for his recordings, his charity or his clothing line. Most recently, he has signed on as Pharrell Williams’ team adviser for season ten of “The Voice.” Listed as number one by “Forbes” as the wealthiest hip hop artist of 2015 with an estimated net worth of $735 million, Sean has reduced the price on his New Jersey mansion several times, now at $7.89 million.
For Sale- Now Reduced!- Puff Daddy’s NJ home.
Combs purchased his elaborate 3.25 acre estate in Alpine in 2004 for $6 million. Built in 1999, the home has all the glamour and amenities expected in the home of one of America’s most popular celebrities. The 8,000-square-foot home has six bedrooms, six baths, foyer with double staircase and expansive formal rooms with walls of glass filling the interior with light. The basement is the activity heart of the home with its own kitchen, wet bar, home theater, an aquarium and another bedroom with full bath. There is also an indoor basketball/racquetball court and a fully equipped gym with full bath. Outside is a swimming pool with waterfall, putting green, a lighted tennis court and a six-car attached garage. Originally, Sean put the property on the market in 2011 at $13.5 million. Without a buyer, he pulled it from the market and relisted it again in 2015 at $8.5 million. Again with no buyer, he has once again dropped the price to $7.89 million. The listing agency is Sotheby’s International in Alpine, New Jersey. For the Silo, Terry Walsh.
For the next month, North Americans will be celebrating and honoring women and their journey throughout history. But it’s also important to look at what’s in store for the future. Right now, more than 9 million women own a business in the U.S.A. alone. It’s all part of a change in tide as women gain more power in the workplace. But this shift has not come easy.
I should know. While I earned millions in the male-dominated industry of RV sales, my climb to the top has been tough. At my first owner’s meeting, they told me to “go home and bake cookies.” Instead, I pushed forward to outsell and out-service all the competition. I decided to stay at the office and build an empire, while paying someone to bake cookies for me.
The “good ole boys” network in the RV industry conspired to keep me out. But I learned to operate in a man’s world, carving out my path to success. Like other women, I have rewritten the rules and redefined the business climate, proving that any woman can succeed in any industry, regardless of gender boundaries.
My life story reads like a bestseller, complete with plot twists and shady characters. I’m a single mother who never completed high school. Early on in my career, a trusted father-figure mentor betrayed me, and on top of that, I was stabbed 21 times and left for dead—a steady dose of stress that should have put me out of commission before my 30th birthday.
While my drive and passion have helped me move forward, there were women in our history that broke down barriers for us all. Look at Lillian Vernon, the CEO of a mail-order empire. Or Debbi Fields, who went home, baked cookies, and made millions.
It was very early on in my life that was met with major hurdles, and many female entrepreneurs in American history will tell you the same. It was “sink or swim, and sinking wasn’t an option. What will keep you going is an inner drive, an inner hunger to prove to yourself and others that anything is possible. Yes, you will encounter many obstacles, but you can always find a way to move around the obstacle. And that’s the key to success.
My advice to any woman out there looking to succeed in business is to maintain your passion. . If you’re just starting out in the workforce, your mentality should be “work to LEARN,” not “work to EARN.” That way, you can get everything you need to be successful in a business of your own.
Remember that failing at one venture can help you become a millionaire, and don’t be afraid to leave your comfort zone. Becoming an unstoppable entrepreneur is all about doing things differently and finding those untapped areas of opportunity. Look at Oprah Winfrey, a media maven who constantly finds new endeavors to strengthen her brand.
Similarly, I have found ways to not only sustain, but also grow my business while my competitors are shutting their doors. Instead of solely relying on RV sales, I started to examine ancillary revenue sources, including an RV rental business, creating an in-house interior design team, and offering customized RVs for every industry, including mobile hair salons and spas, boutiques, and even chiropractor’s offices.
Right now in America, it is an amazing time for women to grow and expand professionally. We must appreciate our new opportunities, and never be afraid to find our entrepreneurial spirit. This Women’s History Month, let’s appreciate the past and charge into the future. For the Silo, Gigi Stetler -author Unstoppable! Surviving is Just the Beginning.
Six Nations Polytechnic Aboriginal Institute to Offer Standalone Languages Degree Program
Ontario Helping to Expand Post-secondary Options for Indigenous Students
NEWS
February 8, 2016
Ontario is helping to improve access to culturally appropriate postsecondary education and training opportunities for Indigenous learners by making it possible for Six Nations Polytechnic, an Aboriginal Institute, to offer a standalone degree program.
For the first time, the province will make it possible for an Aboriginal Institute, an organization that is run and governed by Indigenous communities, to offer a standalone degree program. As of January 2016, students at Six Nations Polytechnic Aboriginal Institute in Ohsweken can obtain a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.
This degree will help promote and protect Ogwehoweh languages and make it possible for students to complete their degree at one institution, closer to home. It also will help students build on their linguistic skills and cultural knowledge as well as expand their opportunities to participate in the labour market. This standalone degree also supports the recommendations of the Truth and Reconciliation Commission, which called for postsecondary institutions to create degree programs in Indigenous languages.
Investing in the talent and skills of First Nation, Métis, and Inuit learners is one of many steps on Ontario’s journey of healing and reconciliation with Indigenous peoples. It reflects the government’s commitment to work with Indigenous partners, creating a better future for everyone in the province.
QUOTES
“Our government has made a clear commitment to learn from the past, build on our success stories, and increase our efforts to help Indigenous learners get the education and training they need. Six Nations Polytechnic is committed to creating an Indigenous environment that is grounded in culture and community, language, research, and academic quality, and this new degree program will help improve Indigenous learners’ access to, participation in, and completion of postsecondary education and training programs in Ontario.”
— Reza Moridi, Minister of Training Colleges and Universities
“I want to thank Six Nations Polytechnic for the leadership and guidance they have provided. Today’s announcement provides a tangible illustration of Ontario’s journey along the path of reconciliation. We will continue to rely on Indigenous partners as we chart a way forward that will produce tangible results.”
— David Zimmer, Minister of Aboriginal Affairs
“Language preservation and protection are at the core values of Six Nations Polytechnic. That’s why we have always had the intention of having our Ogwehoweh Language Diploma Program become a language degree program.”
— Rebecca Jamieson, President Six Nations Polytechnic
“Congratulations to Rebecca and her entire team. They have worked tirelessly to bring about the expansion of Six Nations Polytechnic programming. Education is the cornerstone of the future successes of our local Indigenous students.”
— Dave Levac, Member of Provincial Parliament, Brant
QUICK FACTS
Aboriginal Institutes provide opportunities for students to start and complete postsecondary education credentials in a culturally appropriate and safe learning environments close to home and are completely run and governed by Indigenous communities.
The Ogwehoweh (Cayuga and Mohawk) Languages degree builds on the strong foundation of the current language diploma program offered in partnership with McMaster University.
Six Nations Polytechnic is an Aboriginal postsecondary education and training institute located in Ohsweken, a community on Six Nations of the Grand River Territory near Brantford, Ontario.
Six Nations Polytechnic applied for and was granted consent to offer a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.
Ontario provides $1.5 million in annual funding through the Aboriginal Student Bursary Fund to help Indigenous learners with financial needs participate in postsecondary education and training.
In June 2015 the province committed stable funding of Indigenous postsecondary education totaling $97 million over three years, including an additional $5 million to support the sustainability of Ontario’s nine Indigenous-owned and operated postsecondary education and training institutes located throughout the province. In 2013-14, about 16,036 self-identified Indigenous learners attended college and university in Ontario, an increase of about nine per cent or 1,472 learners since 2009-10.
Offre d’un programme indépendant menant à un diplôme à l’institut autochtone Six Nations Polytechnic
L’Ontario contribue à accroître les options d’études postsecondaires des étudiants autochtones
NOUVELLES
Le 8 février 2016
L’Ontario contribue à améliorer l’accès des apprenantes et apprenants autochtones à des possibilités de formation et à des études postsecondaires adaptées à leur culture en permettant à la Six Nations Polytechnic, un institut autochtone, d’offrir un programme d’études indépendant menant à un diplôme.
Pour la première fois, la province accepte qu’un institut autochtone offre un tel programme d’études indépendant. Les instituts autochtones sont des établissements exploités et gérés par des communautés autochtones. À compter de janvier 2016, les étudiants de la Six Nations Polytechnic peuvent recevoir un baccalauréat ès arts dans les langues ogwehoweh (cayuga et mohawk).
Ce baccalauréat contribuera à promouvoir l’usage des langues ogwehoweh et à les protéger. Il permettra également aux étudiants de faire leurs études dans un seul établissement, plus près de chez eux. Ils pourront approfondir leurs compétences linguistiques et leurs connaissances culturelles, en s’ouvrant à davantage de possibilités d’intégrer le marché du travail. En outre, l’offre de ce programme indépendant menant à un diplôme répond à la recommandation de la Commission de vérité et réconciliation voulant que les établissements d’enseignement postsecondaire créent des programmes d’études en langues autochtones.
Investir dans le talent et les compétences des apprenantes et apprenants métis, inuits et des Premières Nations constitue l’une des nombreuses étapes que l’Ontario devra franchir tout au long du processus de guérison et de réconciliation. Cela reflète aussi l’engagement du gouvernement à collaborer avec ses partenaires autochtones et à bâtir un avenir meilleur pour tous les habitants de la province.
CITATIONS
« Il est indéniable que le gouvernement s’est engagé à tirer des leçons du passé, à amplifier ses réussites et à redoubler d’efforts pour aider les apprenants autochtones à entreprendre les études et la formation dont ils ont besoin. La Six Nations Polytechnic s’engage à créer un environnement propice à l’apprentissage des autochtones dont les fondements sont la culture, la communauté, la langue, la recherche et la qualité des programmes. Ce nouveau baccalauréat améliorera l’accès à l’éducation postsecondaire des apprenants autochtones en Ontario et contribuera à l’accroissement du nombre d’étudiants autochtones détenteurs d’accréditations ou de diplômes. »
— Reza Moridi, ministre de la Formation et des Collèges et Universités
« Je souhaite remercier la Six Nations Polytechnic pour le leadership dont elle a fait preuve et pour l’orientation qu’elle a su donner. L’annonce d’aujourd’hui illustre parfaitement le processus de réconciliation entrepris par l’Ontario et nous continuerons de collaborer avec nos partenaires autochtones en vue d’arriver à des résultats concrets. »
— David Zimmer, ministre des Affaires autochtones
« La préservation des langues autochtones est au cœur des valeurs de la Six Nations Polytechnic. C’est d’ailleurs pourquoi nous voulions depuis longtemps que notre programme en langues Ogwehoweh mène à un grade universitaire. »
— Rebecca Jamieson, rectrice, Six Nations Polytechnic
« Toutes mes félicitations à Rebecca Jamieson et à son équipe. En effet, la diversification des programmes offerts à la Six Nations Polytechnic est un travail de longue haleine. Nous savons que l’éducation est la pierre angulaire sur laquelle repose le succès des étudiants autochtones de la région. »
— Dave Levac, député provincial de Brant
FAITS EN BREF
Grâce aux instituts autochtones, les étudiants peuvent commencer et terminer leur éducation postsecondaire dans un milieu d’apprentissage près de chez eux qui est à la fois sécuritaire et culturellement adapté. Les instituts autochtones sont exploités et gérés par des communautés autochtones.
Le programme d’études en langues ogwehoweh (cayuga et mohawk) a comme base solide le programme de langues qui est actuellement offert en partenariat avec l’Université McMaster.
La Six Nations Polytechnic est un institut d’enseignement postsecondaire et de formation autochtone situé à Ohsweken, dans le territoire des Six Nations de la rivière Grand, près de Brantford, en Ontario.
La Six Nations Polytechnic a reçu l’autorisation d’offrir un programme de baccalauréat ès arts en langues ogwehoweh (cayuga et mohawk).
L’Ontario octroie 1,5 million de dollars par an par l’entremise du Fonds des bourses pour les étudiantes et étudiants autochtones. Ce fonds aide les apprenants autochtones ayant des besoins financiers à accéder à la formation ou aux études postsecondaires.
En juin 2015, la province a pris l’engagement de fournir un financement stable de 97 millions de dollars sur trois ans pour appuyer l’éducation postsecondaire des Autochtones. Cet investissement comprend un financement supplémentaire de 5 millions de dollars consacrés à la viabilité des neuf instituts d’enseignement et de formation postsecondaires de l’Ontario exploités et gérés par des communautés autochtones. En 2013‑2014, environ 16 036 apprenants auto-identifiés comme Autochtones ont fréquenté un collège ou une université en Ontario, ce qui représente une augmentation d’environ 9 %, ou de 1 472 personnes, depuis 2009‑2010.
All Alcohol Paintings shown in this post by the Author- Dawn Bank
While searching for ways to expand “the oil painting experience” I came across tiny bottles of Alcohol Inks in all the basic colours, with an extender (strictly rubbing alcohol at 99%) as well as some clean-up solution.
Painting with oils has always been my favorite medium but on occasion I find it kind of rigid- you do this…then that and poof you have a beautiful tree. That’s why using alcohol inks as my new medium has become a new addiction. While doing so, I feel like I am being controlled without the ability to stop working. I have probably used up 3 sets so far.
I had never used inks before and I found myself in uncharted territory. Using inks changed everything. I discovered that they created many outcomes and endless possibilities which then opened up new means of expression to me.
Taking advantage of the translucent qualities of Alcohol Ink- lit (L) & unlit (R) candle holder by the Author
When I begin to ink, I sit down at my table the same way I would when using oils. I Toss little droplets of colour and rotate the tile. Next, I spray rubbing alcohol for a spatter effect and I add a sponging technique that forms a multitude of tiny blotches. I pick out a brush and paint with the alcohol itself paying attention to watching the delicate lines that form as the brush hits the nearly-dry ink. It’s a gentle process and I enjoy the thinning of colour effect from the alcohol spray . For more fun I sometimes go out and buy a can of compressed air. I blow the ink and watch as it begins to layer itself. This is almost magical. It’s so amazing how it all comes together. I think the greatest addiction with this technique is the fact that the results are unpredictable and will never be the same. This whole process takes about half an hour but to me it seems like mere seconds.
Even though the finished ink works are fully dry within a matter of minutes, extra time is required if you choose to work in more detailed designs.
Another view of the Author’s candle holder
Speaking of time….I am amazed that while I work with the inks I completely lose all track of time. I am in a completely different space. My house could be burning down and I’m not sure that I would notice because using this medium makes me extremely focused and relaxed. Peacefulness has added to my life and that is just amazing. I have become so “in tune” with the way that the inks move without totally blending together. It’s an exciting time. I have discovered a new way to express and share my world with the whole world. For The Silo, Dawn Bank of One Lady’s Art. To view more alcohol ink work please visit me at https://www.facebook.com/groups/OneLadysArt/.
1894-S 10C Branch Mint PR66 PCGS Secure. CAC 1894-S 10C Branch Mint PR66 PCGS Secure. CAC
An 1894-S Barber Dime, Branch Mint PR66 PCGS CAC, the finest known survivor, will offer one collector a once-in-a-generation opportunity to own one of the most famous, mysterious and elusive coins in American numismatics when it comes to auction on Thursday, Jan. 7, 2016, as the centerpiece of Heritage Auctions’ Platinum Night offerings at the FUN Convention in Tampa, FL.
This is just the fourth auction appearance in history of this celebrated rarity.
“The 1894-S Barber dime is a classic in American coinage,” said Greg Rohan, President of Heritage Auctions. “This legendary coin is often grouped with the 1804 dollar and the 1913 Liberty nickel as ‘The Big Three’ of U.S. coin rarities. It has been the stuff of collector dreams since it was first mentioned in the numismatic press by Augustus Heaton in 1900.”
Only 24 Barber dimes were struck at the San Francisco Mint in 1894, apparently in order to balance a bullion account. No more than nine – and possibly only eight – examples of the 1894-S are known to collectors today, with this coin being the finest survivor certified by PCGS.
Many collectors in Tampa will have their eye on the 1870-S Silver Dollar XF40 PCGS, ex: Ostheimer-Gardner, the fourth finest known example of this landmark rarest regular issue silver dollar, that will be on offer, as well as a storied error issue in the form of a 1943-S 1C Struck on a Bronze Planchet AU55 PCGS Secure, the third finest graded at PCGS and the third-finest of six confirmed examples.
Topping the gold offerings at FUN are an 1849-C G$1 Open Wreath MS62 PCGS Secure, Ex: Richmond Collection, the finest-known specimen and one of the rarest and most valuable coins in the U.S. gold series, along with an 1804 Quarter Eagle, 13 Stars Reverse, AU55 PCGS Secure CAC, the second finest known example of the exceedingly rare BD-1 Variety.
Further highlights include, but certainly are not limited to: •1792 Fusible Alloy Cent VF35 PCGS Secure CAC, Ex: Simpson
•1861 Original CSA Cent MS64+ PCGS Secure CAC, Ex: Simpson: Probably the finest known
•1943 Cent Struck on a Bronze Planchet AU58 PCGS Secure CAC, Ex: Simpson
•1792 Half Disme MS62 PCGS Secure, Ex: Simpson
•1792 Disme Fine 15 NGC
This auction is open for bidding now at www.HA.com/coins.
Seldom Seen Selections: 1883 double eagle, A classic Proof-only rarity
1883 $20 PR65 Deep Cameo PCGS
1883 $20 PR65 Deep Cameo PCGS
The 1883 is the first of three proof-only Liberty Head double eagle issues, struck during a period when the demand for gold and silver coinage was at an all-time low for the second half of the 19th century. The 1883, 1884, and 1887 double eagle issues, each proof-only, were struck in reported amounts of 92, 71, and 121 pieces, respectively.
The Gem Deep Cameo proof 1883 twenty dollar in our January 6-11 FUN US Coins Signature Auction , certified by PCGS as Proof-65 Deep Cameo, is among the few finest survivors of the issue, regardless of contrast level. PCGS shows eight Deep Cameo submissions of the 1883 (likely including duplicates): one in PR62, two each in PR64 and PR65 (one of which is this piece), and three PR66. NGC’s population data show three Ultra Cameo grading events for the issue, the finest of which is a single example in PR66 . Again, there is likely some overlap between these 11 Deep/Ultra Cameo certified pieces. Walter Breen’s Proof Encyclopedia comments that “there may be as many as 20 survivors,” of course including all contrast levels (non-Cameo and Cameo as well as Deep-Ultra). More recently, the second edition of Jeff Garrett and Ron Guth’s Gold Encyclopedia provides these clues:
“The 1883 double eagle was struck only in Proof format. Of the reported mintage of 92 coins, it is nearly certain that not this many were released. There are about 20 examples known in all levels of preservation, These include two examples in the Smithsonian and others placed in museum collections. The 1883 double eagle is one of the classic rarities of the series. The demand for this Proof-only issue has always been high. In recent years interest in the issue has surged. …”
The authors conclude by citing a 2006 auction record of $212,750 for a PR65 Cameo NGC example, undoubtedly from our FUN Signature (Heritage, 1/2006), lot 3580. We find no later auction offerings of PR65 Cameo examples, but with the Deep Cameo contrast of this coin, we find a more-recent sighting in the same grade and service as this piece. Lot 5566 in our FUN Signature (Heritage, 1/2014), was a PR65 Deep Cameo PCGS example that brought a healthy $282,000 – a coin of comparable quality to the present piece.
As the old sayings goes, “There are lies, damned lies, and statistics,” and nowhere else does this apply more so than in the rarefied realms of top-quality U.S. numismatic items — and proof gold in particular, the Beluga caviar of collecting. Despite estimates of how many were struck of a given issue or exactly how many might survive today, the fact is, auction offerings of proof Liberty Head double eagles of this caliber are infrequent indeed, and there are far more collectors who desire one than the forthright bidder who will actually obtain this piece.
Perusal of this coin without a loupe reveals consistent, deep sunset-orange coloration in the highly reflective fields, producing extreme contrast with the frosted devices which were the deepest, unpolished parts of the proof die. A loupe shows a tiny touch of hazel on the lower neck at JBL for a pedigree marker, along with a tiny glossy area on a tail feather above the D(OLLAR), apparently a small planchet flaw, as made. There are small unfinished areas at the bottom of some of the vertical shield stripes. There are simply no distractions on this immaculate coin.
Los Angeles, USA – FLY has launched a one-of-a-kind artistic-inspirational campaign on Kickstarter, presenting the world’s first ‘pen & ink’ art book, solely designed to inspire and uplift its readers. Using pen and ink portraits and written narrative, FLY tells the stories of known and unknown human beings who dazzled the world against all odds, such as; Da Vinci, Beethoven, Coco Chanel, Karina Chikitova, Audrey Hepburn, Pelé and more.
Offering FLY’s artistic-inspirational book at a rational price tag of $35USD, Liron & Shira Ben-Arzi , the two sisters/artists behind it, aim to raise more than $11,730 to fund the production and help spread their vision of inspiration, globally. Their pure hope is that as you flick through the pages of FLY, you will be filled with a sense of strength; of light and of love. Meaning, that FLY will become our daily personal coacher, with messages of self-fulfillment and motivation, transferred through quotes, poetry and drawings. Using their personal talent and ambition, the two sisters have crafted this 240 pages book, based on pen & ink portraits and unique written narratives that tell the stories of 49 truly extraordinary people who forever changed the course of humanity.
They have collected the tales of people who have done the impossible into a book; stories of people who transcended the boundaries placed against them. For example; The unbelievable tale of Karina Chikitova – a little girl who survived 11 days in the wilds of Siberia; Sophia Scholl – A young woman who protested against the Nazis by painting murals; While also researched modern heroes, such as; gay-rights activist Brian Skerry, and artist Frida Kahlo who overcame many adversities to rise to success, as well as heroes from times gone by, such as; Leonardo Da Vinci and Ludwig van Beethoven.
“FLY is more than a book, it’s a remedy for remorse and a medicine for melancholy. It’s designed to motivate and inspire anywhere, anytime”, as Liron the painter behind it expressed. “Our vision and dream is that the power of human perseverance and of passion and positivity will flood the reader’s senses and remind him/her of the beauty and goodness in the world”, Shira, the poet in the team, added.
FLY’s Kickstarter campaign is just the beginning for these two, as they hope to take the mission of inspiration forward and much further. The awareness raised through Kickstarter will also help to fund future inspirational FLY projects including; exhibitions, lectures, workshops and other interactive visual media.
LIFE SPORT (est. 2014) is both a sweatpants shop and an art space. Based in Athens, we aim to become a fully functioning shop with the intent to generate alternative arts funding in a time and place where there is none. Hosting presentations, spoken word and services, LIFE SPORT is invested in the experiment of the invention of life as sport, whilst encouraging collaborations with artists that share our ambition to reclaim independence and self-empowerment.
LIFE SPORT sweatpants are critical wearables made of 70% cotton and 30% polyester and are entirely produced in Athens. This product is the result of a year-long research and observation of Athenian lifestyles, taking sweatpants and their wearers as the starting point for a portrait of a city. Sweatpants are everywhere, they defy notions of social stratification, gender and age. Sweatpants unite contradiction, they are a symbol of defeat or paralysis for some, a statement of ultimate resistance and emancipation for others. At the very least, they are really comfortable, fit everyone and wash at 40 degrees.
“Las Vegas Primm Ranch”…….Michael Jackson called it “Wonderland” and his daughter said it was “Candyland.” The 10-acre compound in a Las Vegas neighborhood of casino owners, entertainers and royalty (Wayne Newton lives nearby and the Sultan of Brunei was a neighbor) was designed to be a secure and safe haven for a family, a memorable experience for their guests and a place to safely enjoy their expensive hobbies. This was its appeal to Michael Jackson, who had sights on a Las Vegas residency show and, according to Las Vegas media, had toured the home several times. Jackson was planning on making an offer on the home when he returned from his “This Is It” London residency show scheduled to run through early 2010. However, Michael died just three weeks before the start of the tour.
Completed in 1994 for Nevada casino and resort developer Gary Primm, the compound was designed for luxury, but security was Primm’s biggest concern. Primm is a big-game hunter and car collector including the “Bonnie and Clyde Death Car” that he has displayed at several of his casinos. The home was completed soon after Las Vegas casino developer Steve Wynn’s daughter was kidnapped from the kitchen of their Las Vegas home. Primm was worried about the safety of his own two children and designed the home with a 10-foot wall surrounding the property and three gates that can be controlled by the owner, eliminating the need for round-the-clock guards who might be bought off by a rival. Throughout are security tunnels, bulletproof doors, secret rooms with entries disguised as walls or cabinets and a panic room with an oxygen supply and separate underground phone lines.
The Primm Ranch includes a main estate house with 15,000 square feet, a guest villa, grotto villa, staff quarters, horse trainer quarters, equestrian barn, arena, pens and pastures, a dog villa, grotto pool with spa, waterfall and slide, all surrounded by lush lawns and palms. There is also a garage/car showroom that will house 20 cars with its own gas station for diesel and unleaded fuels, a car wash with deionized water and mechanic’s lift. With a total living area of over 21,000 square feet, there are 10 bedrooms and 19 baths. Highlights include a beauty salon, trophy room with recorded animal sounds, driving range, 5,000-bottle wine cellar, theater, casino room, gym and sauna. The grounds include a greenhouse, outdoor kitchen adjacent to the pool with a bar and guest suite accessed under the waterfall, and a tennis court. Equestrian facilities include stalls for ten horses with training and riding areas. According to the estate’s listing agent, Jackson planned on converting the home’s underground shooting range into a recording studio.
Currently listed at $14.5 million USD, Primm Ranch will go up for auction on October 10th with no reserve. The auction company handling the sale is Concierge Auctions of New York City.
Real estate is never boring at TopTenRealEstateDeals. Check out today’s most entertaining, important and unusual real estate news stories of the week. News such as “Florida Foreclosure King Losing Home,” “Burt Reynolds Finally Sells Florida Home,” and “Exotic Islands For Sale.”
From http://www.thelooploft.com/blogs/ryans-corner/41775169-the-most-recorded-drum-set-in-history-hal-blaines-monster-kit : “Rock and Roll Hall Of Fame drummer Hal Blaine played on more Top 10 hits than any other musician. In fact, he played on 40 #1 singles, 150 Top Ten singles and 8 Grammy Records of the Year. If you don’t know his name, you certainly know his drumming. As a pivotal member of the loose group of crack session musicians known as “The Wrecking Crew”, Hal played the iconic beats on such diverse hits as “Be My Baby” by The Ronettes, “Good Vibrations” by The Beach Boys, “Strangers In The Night” by Frank Sinatra, Elvis Presley’s “Return To Sender”, and literally thousands of other songs from the 60’s and 70’s. The Monster Kit was developed by Hal along with his drum tech Rick Faucher and builder Howie Oliver can be seen [along with a video] at the link above.”
Dinner For Two – You And Your Dog Homemade Meals Provide A Special Treat For Pets,
Says Host Of Doggy Cooking Network
Dinnertime for many dogs involves the owner ripping open a bag, pouring kibbles into a bowl and walking away.
Not the stuff of a meaningful relationship.
Kris Rotonda likes to take an occasional break from that routine and give his four dogs – Rocky, Coco, Kobe and Jordan – a special treat.
Rotonda and his fiancée, Denise Fernandez, prepare the canine quartet cooked meals using recipes they share on their Doggy Cooking Network on Youtube.
Rotonda sees it as a way to occasionally give his pets what he refers to as the “Royal ‘Treat’-Ment.”
“I started cooking for my dogs because it’s a healthier way to go for meals,” Rotonda says. “Plus, it’s just fun and my dogs are an important part of my life.”
His doggie devotion now has inspired him to develop a creation he calls the PupPot (www.puppot.com), a cooking, serving and storage system for preparing those homemade meals for dogs.
The PupPot consists of a 3.8-quart stainless steel cooking pot, a paw-shaped serving base and two serving and storage bowls. Rotonda and Fernandez also put together an e-book with recipes.
For Rotonda, the PupPot just seemed like the “logical next step.”
“I figured that if Denise and I were teaching people to cook for their dogs, it just made sense to provide them with the right tool,” he says.
Dr. Jena Questen, a holistic veterinarian, says taking that extra time for preparing those meals can be worthwhile. The benefits of feeding a dog homemade dog food include reducing the risk of skin allergies, boosting their immune system, improving their digestive system, as well as giving them renewed energy.
“It’s no different from humans,” Questen says. “We couldn’t eat the same processed food every day and maintain optimum health, and neither can our pets.”
Rotonda shares a few recipes for giving your canine pals the “Royal ‘Treat’-Ment” as well:
Bacon Rice Cakes
Ingredients 1 cup brown rice, cooked
2 slices lean bacon, cooked, finely chopped (Retain bacon fat)
1 large egg
½ cup dried bread crumbs
Directions 1. Mix chopped bacon and rice.
2. Add egg and breadcrumbs to rice and bacon mixture. Combine thoroughly. Wet hands to prevent sticking, and then form the egg-rice mixture into 4 thin patties.
3. Reheat the bacon fat in a skillet over medium heat. Add the rice cakes and cook, turning once until golden brown. About 4 minutes on each side.
St. Puppy’s Day Hash
Ingredients 2 baking potatoes (1-1 ½ lbs.), peeled and shredded
Sea salt
3 tablespoons unsalted butter, cut into small pieces
½ cup shredded carrots
¾ cup chopped corned beef
½ cup of half-and-half
¼ cup grated cheese
Ground pepper
4 large eggs, scrambled
Directions
1. Place the potatoes in a colander, lightly salt and set aside.
2. Melt butter in the PupPot over medium heat. Mix in the potatoes, carrots, and corned beef. Increase the heat to medium-high. Cover pot. Stir every 5 minutes. Cook until potatoes are tender, about 15 minutes.
3. Stir in half-and-half and turn off hear. Season with pepper and cheese.
4. Top hash with the cooked eggs.
Chicken Cakes
Ingredients ½ cup cooked brown rice
¼ cup of peas, thawed
1/3 cup of rotisserie chicken, meat shredded
1 egg
2 Tbsp. plain breadcrumbs
½ tsp of dried parsley
1 Tbsp. extra virgin olive oil
Directions 1. In a medium bowl, stir together the rice, peas, chicken, egg, breadcrumbs and parsley. Form into 4 equally sized patties.
2. In a skillet, heat olive oil over medium-high heat. Add the chicken patties and cook, turning once, until golden-brown for approximately 7-8 minutes. Remove from the skillet and let cool slightly.
About Kris Rotonda
Kris Rotonda, an entrepreneur and creator of the PupPot (www.puppot.com), owns four dogs. He and his fiancée, Denise Fernandez, host the Puppy Cooking Network on Youtube. Rotonda also created YouMustLoveDogsDating.com, a niche dating website that matches dog owners with other dog owners.
The Jewish High Holidays are a time when family and friends come together to share a meal and celebrate the new year. Paris-trained pastry chef, Paula Shoyer created the essential baking book for that provides desserts and breads perfect for any Jewish holiday or dinner. THE HOLIDAY KOSHER BAKER has desserts that follow the latest trends but also recipes that remind us of those our grandmothers used to make – but with Paula’s distinctively modern and healthier twist.
Even modern Jewish bakers gravitate towards traditional Jewish recipes when they bake for Rosh Hashanah. Maybe it is because Rosh Hashanah, one of the most significant holidays of the Jewish calendar, deserves baked goods that are central to the rich Jewish culinary tradition. These classics include rugelach, strudel, babka, honey and apple cakes, and, of course, round challahs.
“I have always tried to honor tradition, because I want my children to grow up appreciating classic Jewish food, but I have tried to vary the recipes to make them more interesting to a modern audience,” Paula explains. Paula’s take on babka are mini babka bites, she turned honey cake into crunchy biscotti and below recipes for a strudel that combines fresh and dried fruit, and challah rolls filled with the classics: apples and honey.
This New Year, sweeten up your dinner table with two of Paula’s delicious recipes:
(Recipes from The Holiday Kosher Baker by Paula Shoyer Sterling / November 2013)
Apricot and Berry Strudel
Makes 2 rolls, serves 10
For this recipe, I took apple strudel, a delicious dessert that has been absent from holiday tables since my childhood, and instead substituted berries and dried fruit for the apples. You could also make this dessert with plums, or substitute dates or dried figs for the apricots. You will have enough filo to double the recipe and can easily double the filling to serve more people. I always thought the filo came in large boxes and needed trimming, but recently learned that it also comes in smaller, about 8 X 12-inch, sheets. They are easy to work with and were used to make the cute rolls pictured here.
1 cup dried apricots, chopped into 1/3- inch pieces
1 ½ cups (6 ounces) blackberries or blueberries
3 tablespoons sugar
1 tablespoon cornstarch
1 pound filo dough (8 X 12-inch sheets), thawed according to package directions
Spray oil
Preheat oven 350°F. Line a jelly roll pan with parchment. Set aside. Place the chopped apricots and berries into a medium bowl. Add the sugar and cornstarch and toss lightly. Set aside.
Have ready a clean, damp dish towel. Place a large piece of parchment paper on the counter. Take the filo out of its package and unroll. Separate one sheet and place on top of the parchment. Spray with the oil. Place a second sheet on top and spray again. Repeat with two more sheets. Cover the remaining filo with the damp towel.
Place ½ of the filling along the long end of the filo, two inches from the edge. Fold the right and left sides (the short sides) in one inch. Starting from the side with the filling, roll up tightly until you have a long log. Place on the baking sheet. Repeat to make another log.
Bake for 40 minutes, or until lightly browned on top. Let cool and cut into two-inch slices. Serve warm or at room temperature. Store covered at room temperature for up to two days. Reheat to serve.
Apple and Honey Challah Rolls
Makes 24 rolls
I filled these delicious rolls with cooked apples and honey, which we eat at the beginning of the meal and wish everyone a sweet new year. Almost every year on Rosh Hashanah I host at least 25 people in my home. I give each guest their own small plate with a challah roll, apple slices and small bowl of honey to save some of the time that slips away when passing these essential holiday elements around the table. Perhaps I invented these challah rolls that are filled with sautéed apples and honey to further streamline the entire beginning of the meal?
Dough
1/2 ounce (2 envelopes) dry yeast
1/2 cup warm water
1 cup boiling water
½ cup cold water
½ cup plus 1 teaspoon canola oil, divided
1 tablespoon salt
2/3 cup plus 1 teaspoon sugar, divided
3 large eggs
1 teaspoon pure vanilla extract
2 teaspoons cinnamon
6 ¼ to 6 ½ cups bread flour
Apples
5 Gala or Fuji apples
2 tablespoons oil
1/3 cup light brown sugar
1 tablespoon honey
2 teaspoons cinnamon, divided
2 pinches nutmeg
Glaze
Reserved egg plus 2 teaspoons water
1 tablespoon honey
Place 1/3 cup warm water into a liquid measuring cup. Add the yeast and teaspoon sugar and mix. Let sit five minutes, or until thick. Meanwhile, in a large mixing bowl, place 1/2 cup of the oil, salt and 2/3 cup sugar. Whisk well. Add the boiling water and whisk to dissolve the salt and sugar. Add the cold water and mix again.
Beat the eggs in a separate bowl and add to oil mixture, reserving one tablespoon to brush on the loaves. Cover the reserved egg and place in the fridge. Add the vanilla and cinnamon to the bowl and whisk in. Do not worry that the cinnamon does not dissolve; it will mix in later. When the yeast bubbles, add the yeast mixture to the bowl and stir.
Add 6 cups of the flour, one cup at a time, mixing the flour in completely after each addition. You can use the dough hook in a stand mixer. Place the dough on a floured surface and knead until smooth, adding flour a little at a time from the remaining ½ cup. The dough is done when you rub your palm across the dough and it feels soft. Shape the dough into a ball. Lift up the dough and add the remaining one teaspoon oil to the bowl and rub all around the bowl and on top of the dough. Place the dough into the oiled bowl and cover with plastic wrap. Let rise one hour.
Meanwhile, prepare the apples. Peel and core the apples and cut into 1/4-inch cubes. Heat the oil in a large frying pan over medium heat. When hot, add the brown sugar, 1 teaspoon cinnamon, nutmeg and apples. Cook for 5 to 10 minutes, stirring often, until fork tender. You do not want them to be too soft. Add the remaining teaspoon cinnamon and honey and stir. Scoop into another bowl and let cool. If any liquid remains in the bowl, strain out before filling the rolls.
Cover two cookie sheets with parchment paper or silicone baking mats.
When the dough has risen, divide into 24 pieces. Roll each piece into a ball and then roll between your hands into an 8-inch strand. Place horizontally in front of you and use a rolling pin to roll the dough until it is about 4 inches wide. Add one heaping tablespoon of apple filling and use your fingers to spread along the dough the long way. Fold one long side of dough over the filling and then roll up to close. Pinch the edges closed, tucking in any apples that try to escape. Tie each strand into a knot, pulling an end through the top to look like a button, or shape into a spiral by coiling the strand around and tucking in the end. Place on the prepared baking sheets and cover with plastic wrap. Let rise 30 minutes.
Preheat oven to 375°F. Take the reserved egg, add two teaspoons water and one tablespoon honey and stir. Brush the tops of the rolls.
Bake for 20 to 25 minutes, or until lightly browned. Store covered at room temperature for up to three days or freeze for up to three months.
ABOUT PAULA SHOYER
Paula Shoyer is the leading authority on Jewish baking. This busy mother of four believes that a healthy diet can include desserts . . . if they are homemade. A former attorney, she graduated from the Ritz Escoffier pastry program in Paris, and now teaches cooking and baking classes across the country and around the world. Paula is the author of the best-selling The Kosher Baker: Over 160 Dairy-Free Recipes from Traditional to Trendy, The Holiday Kosher Baker, and her first savory cookbook, The New Passover Menu released February 2015. Her books are carried in Williams Sonoma, Crate & Barrel and Costco. She is a contributing editor to several kosher websites such as kosherscoop.com and jewishfoodexperience.com, and magazines such as Joy of Kosher, Whisk, and Hadassah as well as the Washington Post. Paula has appeared on TV 22 times: Food Network’s Sweet Genius, twice on Home & Family on Hallmark Channel, Good Day New York on FOX, San Diego Living, Daytime, and is a frequent guest on several Washington DC news shows. Paula also serves as a consultant for kosher food companies and bakeries. Paula lives in Chevy Chase, MD.
This article focuses on the challenges for authors of dealing with an editor’s and reviewers’ comments within the manuscript publication process. The paper commences with an overview of the peer review process. The nature and style of comments from editors and reviewers is outlined and the inherent meaning demystified. Using a wide range of anonymised examples, sample comments are categorised according to their ease of being addressed and whether or not the author agrees with them and the need to respond highlighted. Advice is offered regarding the construction of a response document, outlining how editor and reviewer comments have been addressed in the revised manuscript and an example comprising both editor and reviewer comments and author responses provided.
The importance of this document in providing a clear audit trail of associated amendments to the manuscript and their justifications in response to the editor’s and reviewers’ comments is emphasised. Céline Rojon and Mark NK Saunders
Levallois lithic technology in the USA? The cores tell the story by Richard Doninger EDS. DISCLAIMER- We reproduce here a portion of our disclaimer from Doninger’s PCN Part1 article. Doninger’s collection is controversial and may indeed be a mix of genuine artifacts and geofacts.
One of the primary reasons to look at his material is the story he tells. It is one that the founders, members, and many readers of PCN (click here)are very familiar with. It involves a mainstream science community that is so dogmatic in its beliefs that it is willing to both block evidence or not even look at evidence that might challenge those beliefs. These beliefs include that there were no genuinely ancient people in the Americas and that early people throughout the world were less intelligent than us.
The idea that Lower, Middle, or Early Upper Paleolithic-style tools (in the European archaeology sense) are present in the Americas and mainstream resistance to the possibility is something that founding members geologist Virginia Steen-McIntyre (volcanic ash specialist), archaeologist Chris Hardaker, and geologist, the late Sam L. VanLandingham (diatomist) are/were all too familiar with as are also copy editors Tom Baldwin and David Campbell. This is not to mention the layout editor’s experience of censorship regarding evidence disproving cognitive evolution.
So, in a field where censorship of challenging evidence is routine—anthropology—virtually every proclamation the field makes needs to be questioned. One thing that we can be certain of is that once someone becomes “professional” in this field, in all likelihood, they will already be strongly opinionated regarding what is possible.
Dr. Steen-McIntyre, who started this regular feature section of PCN make it as a means to encourage avocational archaeologists and to help them raise the bar above the mere collecting of artifacts (the easy part) to adopting as many professional practices as possible especially in the recording and presenting of their finds. While Doninger’s artifacts are all surface collected, with few specific details of their discoveries recorded he does, nonetheless, present an interesting case that Levallois technology was established and varied in the southwest Indiana (c. Evansville) region.
Our publishing of Rick’s series is not an endorsement of his collection per se, but a reminder that we in the U.S. need to hold our anthropologists accountable as objective scientists, and, like in the field of astronomy, take the contributions of its amateur enthusiasts with a degree of interest.
In Part 1, I shared the story of my initial experience in trying to get input from the mainstream American archaeology community regarding Levallois artifacts including cores I have found in southwest Indiana (e.g., Fig.1) They repeatedly told me that such lithic technology wasn’t present in this country. After many years of research and communication with many professionals, I came to realize a few things that I wasn’t aware of. The first thing is that just because someone is an archaeologist by profession it does not mean that they have any expertise in lithic technology from prehistoric times.
The second is that just because an archaeologist has expertise in Native American lithic technology, does not mean they have any knowledge about lithic technology of early man such as that found abroad, e.g., “Levallois.” This leads to the third and most disappointing which is that many mainstream archaeologists will pretend to know a great deal more about the subject than they actually do and, often, rather than admit that they don’t will fall into simply towing the party line and coming back with a standard mainstream answer should you offer them any kind of evidence that challenges their long held beliefs such as about our origins or how old were the “first Americans” or who might they have been.
I guess one lesson I have learned well is that PhD B.S. is still discernible as B.S. even to a window cleaner such as myself and even though the attempt to camouflage it in scholarly data is present.
After almost two decades of inquiry and research on early lithic technology it seems to me that there is still very little known by American archaeologists about what is considered late Lower or Middle Paleolithic technology such as that found in sites abroad which are “usually” associated with Neanderthal occupations. The terms “Acheulian,” “Mousterian,” or “Levallois” all seem to produce perplexed looks when mentioned in most archaeologist circles and among those who are considered experts in the area of ancient flint tools and flint knapping.
Having said all of these things, I would like to share a bit from an amateur perspective on the subject. I mentioned in my last PCN article that I was told by lithic experts abroad that the only way to identify Levallois lithic reduction was to have some of the cores from which the proposed Levallois flake tools were struck.
Levallois cores are very distinct in appearance and are rarely mistaken for later type technologies such as those blade cores from what is considered the Upper Paleolithic.
There are at least four known core preps which I have found to be considered Levallois which yield several different flake types used in producing a fairly wide variety of tools found from what is considered the late Lower and Middle Paleolithic. All of these are unmistakably different from the American Clovis and later technologies commonly found in the USA.
Those four include the most commonly described “tortoise” (refer to Fig. 1, above), the “centripetal or discoidal” (refer to Fig.2, above),“triangular or chapeau de gendarme,” and the “blocky” core (see Fig.3 below)- all of which yield a very specific type of tool which are similar in morphology and are mostly made on flakes rather than blades (which are the hallmark of most known Native American technologies).
When archaeologists or collectors discover lithic scatters or “debitage” left from Clovis or later archaic tool production it is very recognizable to the trained eye familiar with Native American tool industries. The same applies with Levallois technology and the debitage produced from it. It is unmistakable to the trained eye but can remain virtually invisible to the eye programmed to see Clovis and later evidence, which seems to have been the case for decades now among American archaeologists. They have been recognizing only the evidence that they have been trained to see. That can now change as there is sufficient evidence in enough quantity to recognize what has been considered late Lower and Middle Paleolithic technology all over the world and is now available for analysis here in the USA.
If “the cores tell the story” it can now be told because we have the cores! For this article I have included an example of each core preparation as well as an example point tool (see Fig.4 below) made on Levallois flakes from such cores. A close look at the cores will reveal the negative triangular scars from where triangular flakes were struck revealing the method of reduction.
Levallois lithic reduction has been shown to be a more productive method of tool making in general than the later blade technologies as a wider range of tools can be produced by making the tools on flakes rather than blades. Contrary to the most commonly held belief that later blade technologies such as Clovis or Solutrean were more advanced, I personally believe the Levallois reduction resulted in a much wider range of tools from the same basic core preps which leave one to conclude that it is actually more advanced and complex than those who are assumed to have come later in history.
Over the last several years I have witnessed many who claim expertise in flint knapping who are able to produce virtually every kind of Native American “arrowhead” or bifacial blade tool commonly seen within the known Clovis or later tool industries. Some talented knappers can produce a very fine Clovis point in a matter of minutes and other arrowheads present little challenge in reproduction; but rare are the ones who can reproduce Levallois tools. How the flakes are struck so systematically and consistently from the same core preparation remains a mystery to most. One simply cannot appreciate the complexity of the industry without having such an industry to observe and most American archaeologists have never seen much less handled tools from an actual Levallois assemblage.
We have in recent years witnessed various claims of alleged “pre-Clovis” tools having been found. There are the tools from Meadowcroft Rock Shelter, Buttermilk Creek, Paisley Cave, Cactus Hill, Topper and others, each producing artifacts believed by the finders to represent cultures living here prior to those which produced the famed Clovis industry.
Unlike Clovis technology which has been found in sufficient quantity to establish an identifiable industry, none of the alleged pre-Clovis artifacts have been proven to be of an identifiable technology which has been seen anywhere else in the world in contexts believed to be older than Clovis, leaving only speculation and theory in regard to an actual identifiable “industry” to accompany the claims of a “pre-Clovis” origin.
This is not the case in regard to the assemblages of Levallois artifacts such as the ones being found in as many as eight different states now. These collections clearly display a specific identifiable technology commonly found in sites around the world which are always believed to be from contexts thousands of years older than any yet recorded in the USA. The scholarly critics of “pre-Clovis” claims often use the reasoning that none of the sites have produced a “coherent set of lithic artifacts” to justify the claims.
Having seen much of the lithic evidence from the sites such as Buttermilk Creek and Meadowcroft, I can understand the reluctance to welcome such scant evidence to support the claims because of the absence of a recognizable technology.
Levallois technology is not ambiguous when it is found, regardless of the location. The name is the first indicator in the process of identification…”prepared core.” When such cores are found, identification of the “industry” can begin and an understanding of the actual “technology” becomes comprehensive.
Although I am only showing a few cores and point tools in this article, there are hundreds more in my possession to support my claims of an actual “industry” based on Levallois reduction.
As I have stated previously, I am making no claims regarding the age of these artifacts but rather the “technology” of the tools which is clearly paralleled in the later Acheulian and Middle Paleolithic Mousterian industries of the Old World.
Although the images shown are some of the basic cores and points of the industry, there are also dozens of other tool types present in our assemblages such as burins, blades, hand axes, bolas, scrapers, planes, awls, ochers and effigies. Tools made on the cores themselves are also common, displaying the life of the core and its utilization as different tools during the reduction process of extracting flakes for points, blades and other utensils.
Although considered and labeled as “primitive man” technology when found abroad to support the proposed “out of Africa” human migration theory, I disagree with such labels and assumptions in regard to this technology. Levallois reduction obviously requires both planning and skillful execution to produce such an industry in such an efficient use of available lithic material resources.
The presence of what has been called “old world” technology here in the USA clearly shows that what is being taught in regard to our origins as a nation is wrong and needs to be acknowledged by those who are promoting such error. The evidence is as solid as the rock from which it is hewn. For the Silo (from PCN Vol7 Issue3)- Richard Doninger, a surface-artifact collector living in Evansville southwest Indiana.
Eds. Comment- Rick makes a very interesting case for a lithic technology that appears to be little-known to archaeologists in the U.S. There is still the problem that the artifacts are not documented as to the exact context of each, which, unfortunately, limits the value of the specimens.
However, if the technology is as abundant as Rick’s collection suggests, we simply recommend that he “re-collect” duplicate examples from specific locations with an exacting record of what he has found and where.
Avocational archaeology is a special section of Pleistocene Coalition News started by PC founding member, Dr. Virginia Steen-McIntyre, to encourage amateur archaeologists.
Skulls & Bones: Skulling the heights of perfection
The skull motif made popular in watchmaking by ArtyA has long been copied, resulting in a whole range of derivatives. Now, the fully independent brand has taken the helm once again. The Skulls & Bones is an extreme timepiece that pushes the creative concept to the limit.
Word has it that if you really can’t compare a Swiss watch to any other, it really is original. By that standard the Skulls & Bones is one original watch.
ArtyA’s latest creation doesn’t do things by halves, and it certainly isn’t a mass-market kind of timepiece. Critics might say that it’s rather extreme – and they wouldn’t be entirely wrong. But more objective minds will first and foremost note its wholly coherent style.
Back in the day, the Skull universe, popularized many years ago by Yvan Arpa, was decried in the world of watchmaking as being in frightfully bad taste. Since then, it’s become trendy and fashionable, as people started wearing this style of timepiece to try and stand out from the crowd – with varying degrees of success. But in most cases, the relevant styling doesn’t go much further than a dial illustration, some sort of ‘skull’ motif on the hands, and little else. Until now, that is.
Skull-tural!
With the Skulls & Bones, ArtyA has embarked once again on the style trajectory it was the first to pioneer (with many following in its wake), as ArtyA’s CEO and designer Yvan Arpa guides the concept to what must surely be its ultimate destination. The skull is much more than a simple drawing: sculpted and engraved, it’s been released from the two-dimensional representations to which it’s been confined elsewhere. As is its wont, ArtyA has suffused the Skulls & Bones symbols with new meaning, taking concepts through to their logical conclusion, and once again placing the artistic dimension at the heart of its work. The dial is fully hand-made.
Crypt- price: 6,900 CHF
Every one of the new 47 mm models is unique, featuring hand-crafted engravings and sculptures. Each includes the brand’s own movement, frequently used in its Son of a Gun collections. This results in a reliable, high-performance caliber, the heart of which is incorporated within a small central space. Its surface is covered by a rough, seemingly unfinished steel plate surface, featuring a twitchy drawing of a skull, rather like a hastily spray-painted tag.
Full Skull- price: 19,000 CHF
This is surrounded by six hand-engraved skulls in polished steel outlined in black. The style is at once tribal and urban, modern and ancestral. ArtyA leaves the interpretation of this universal symbol to each individual’s imagination. By definition, each timepiece will be unique, with each person free to have their own take on the skull universe.
Gangs of skulls
The Skulls & Bones bezel sports another dazzling spectacle, exploring both “skulls” and “bones”. Here, ArtyA extends the core theme to encompass other graphic elements such as crosses, totems, barbed wire, guitars, and guns, expressing the whole gamut of the world of rock. Here too, ArtyA has not gone for simple cookie-cutter drawings, instead favouring genuine steel engravings. The shapes of the movement are seemingly drawn inexorably towards the bezel, each feature setting off the other.
Truth and Reconciliation Report – One Oneida Woman’s Perspective
Indian Residential Schools are a large part of Canadian History. I use the present tense. Every Canadian lives with the fallout of these schools which were to, “Kill the Indian in the Child.” Cultural Genocide the TRC [Truth and Reconciliation Commission CP] says in its opening paragraph.
In Canada, we think it a right and obligation for our children to come home safe. We kiss them on the first day of school, knowing that we will see them again when school is finished. How would you feel if your child never came home?
Rather than empathy or acknowledgement of the past, we are told to, “Just get over it.”
Before colonization, we had no abuse, no addictions. We had no poor. Our needs were met- meaning we were one of the richest people on earth (thank you, Professor John Milloy for pointing that out to me).
I have been told that, “Since the Jews got over the Holocaust that we should just get over it.” That is insulting to both me and those who are Jewish.
Get over it.
First Nations communities suffer from the effects of the Residential Schools by having Intergenerational Trauma. We alone are not the only people who have this. Those with a family history of addictions, or abuse, or neglect feel the same effects. We had a generation or two of people who did not see parenting. They saw institutionalized abuse. How could they possibly know how to parent when they left school?
Without proper healing sources in place, and without feeling stuck in the anger, hurt, and pain which comes from Trauma, no one recovers from it.
I can only speak for myself. My grandfather went to the Mush Hole in Brantford, Ontario. He was a bright student, plus when home, he spoke a couple of the Native Languages on our Six Nations Reserve. I am very proud of that.
However, while he says he (personally) was not sexually abused, he had friends who were. He was not allowed to speak his languages at school. He was denied medical care while at school, which caused permanent damage to his brain. My bright and intelligent grandfather became stuck in the poverty cycle. And, the addictions cycle. He couldn’t cope without the structure which was forced on him at school. He couldn’t function well on the reserve. What the school taught his was agriculture. He worked the tobacco fields when he could. Then, he was on welfare.
On top of his mental capabilities, the alcohol killed him inside. Because of him, my mother was raised in a non-Native foster home, not knowing she was Oneida until she was 18. Her foster home denied her access to knowledge of her family on the reserve which was 10 minutes away.
My mom’s foster family did the best they could according to the times. In the 1940’s and 1950’s, it was best to be seen bringing up a little Indian girl in a good Christian family, a family which included a foster father who also had an addictions issue.
Her upbringing effected how I was raised. She also did the best she could. She tried her best to be a good mom, a mom who loved and cared for her own biological children. But also kept them at bay emotionally. She did not know how to really bond as a mom.
Because of the Residential School, my mom did not learn how to properly parent. As for me, I looked for parents I could follow. I am doing the best I can. I hope I my kids do better.
I hope my kids see that while I am Oneida, that does not make me less-than a full person. I hope they see that the Oneida blood that we share is a privilege, something to be honoured and respected. I hope they see it as something that bonds us to other First Nations people around Turtle Island. We are a strong people. We didn’t die. We learned how to survive. Now, we are striving to learn how to live in peace again.
For, you see, the Residential Schools did not kill the Indian in the child. Even with the horrific events which happened, we did not die. We are blossoming as a rose. We will overcome and heal.
Anger needs to be let go. Treaties need to be upheld. If the Canadian government did not want to fulfill the treaties, why were they included in the Canadian Constitution? They are a matter of law. Deal with it, Harper. We don’t expect handouts. We need the highest levels of Canadian law respected and enforced. The government needs to honour their obligations which they proposed, agreed to, and reinforced in the Constitution in 1982.
There is Truth – they tried to kill us off. Now, please, let there be Reconciliation. We all need to acknowledge the past and present to make a future which honours the laws of Our Lands. We agreed to share our land for the benefit of all, not to be killed off. Let us all honour our agreements. For the Silo, Stephanie MacDonald
Apocalypse, Timothy deVries (2015) Acrylic on Panel, 30 x 30 inchesClick to buy
What is a corner? The corner represents a symbolic value. Children are told to stand in the corner when they are disobedient. The corner is a place where one meditates on one’s shortcomings. One can be ‘backed into a corner’ and left with few options or one can retreat into a corner for safety. Animals corner their prey. Corners are places where things get lost and are found. Corners are neglected and swept in the spring. Unfortunate artists can paint themselves into a corner if they are not aware of the space around them and the area beneath their feet. Corners are forgotten with the bustle of activity in the centre of the room.
Gilles Deleuze’s book on Francis Bacon contains a short chapter in which he describes some of the possible reasons for why Bacon consistently displayed his figures against a “round area or ring.”1 Deleuze asserts that the main reason for utilizing this “simple technique” is to create a “place” and to isolate the Figure.2 There is a progression and fatefulness in assigning the Figure to this place. Deleuze claims that the round area or ring relates the Figure to the setting and, in so doing, posits the Figure or painting as a kind of fact or isolated reality.3
Bird on a Wire, Timothy deVries (2015) Acrylic on Panel, 18 x 18 inches
The horizon, ring, corner or wall is a painterly convention frequently revisited by contemporary artists. Although many painters have excluded these settings in favour of fields (e.g. a field of pure colour, or a field of refuse), such settings are useful constructs for displaying objects of value or inducing value within objects. Fields are distinct from settings in that they form a systematic or total (rather than operative or local) context for objects. Conversely, settings function by separating the object from its context so that the viewer can have an unmediated experience of that object. The setting recedes ‘into the background’ as a decorative relief or incidental support.
Corners are specific settings that feature the intersection of three planes (i.e. two walls and a floor). The intersection forms a point. The corner can function simply as the intersection of three planes or as a construct that creates depth and dimensionality. This bivalent nature hints at its duplicity as a setting. It creates a false depth. In this respect, the play of surfaces conspires to become a point of convergence or vanishing point. As a convergence of three surfaces it is a point of ‘agreement’, or perhaps a type of foreclosure; three colours and three lines converge to form a dimensional whole. The duplicity of the corner consists of its character as both a play of surfaces and as a convergence of three lines. The duplicity consists in the fact that the corner realizes both the idea of form and the Form itself through both a convergence (of surface and line) and a construction (of dimensionality).
Two of the most significant questions a painter may ask is, “What must I paint?” and “What is the painting about?” The idea of form contained in a painting is inevitably ‘about’ a sensation or perception. The painter’s nervous system is trained not only to recognize particular sensations and perceptions but to actualize them in the materiality of paint.4Painters practice their art as a way of learning to live with a given set of perceptions and sensations. The act of representation in painting is therefore second to the sensations and perceptions which inaugurate it.
Black Cat and the Jawbone of an Ass, Timothy deVries (2007) Acrylic on Canvas, 46 x 59 inches
The critic’s judgment (i.e. the critique) is the genesis of painterly sensations and perceptions. Critique is the limit of art and limits art to what it alone can do. It functions as a form of violence that is inflicted, observed or endured and occurs when one form overcomes another or when a form is ‘deformed’ by a superior consciousness. The deformation heralds a new and hitherto unappreciated beauty. It is the beauty of a projection or displacement of the painter’s subjective point of view into the materiality of paint. The transformation of sensations and perceptions through the pure and practical reason of the painter reflects the painter’s critique of power. What power? The power of judgment. The critique is therefore absorbed into the very colour of the picture.
Ludwig Wittgenstein’s picture theory holds great explanatory appeal in these cases because it contains propositions regarding the logic and structure of a picture. The painter labels the painting with a title because it represents a state of affairs. There is a close correspondence between the fact represented by the title and the pictorial content of the painting. It is in this sense that the picture functions as a relation between the physical or material world and the thoughts of the painter. Within this context, pictures are criticological constructs. Their titles are statements or propositions that are endowed with sense. As a function of these statements the painting’s pictorial components correspond almost identically with a set of defined elementary forces.
The corner can therefore play several conscious roles within a painting. They are the place of an encounter between a convergence and a defined space. These corners embody a perception. Moreover, corners function as a limit. As the limit of pictorial space they set up a picture plane that functions as a limit to logical thought. By using corners in this way, painters can represent unusual objects with a degree of normative ‘factuality’ – even if they are only representations. Finally, corners function as a place or setting. These corners are settings in which something can take place as well as a destination for various ideas. They instantiate and materialize Form in unanticipated ways. For the Silo, Timothy deVries http://www.timothydevries.ca/
Gilles Deleuze, Francis Bacon: The Logic of Sensation (New York: Continuum, 2003), 1
The Chopra Center has just announced that the 2015 Global Meditation for Compassion will be held on Saturday, July 11 at 9 a.m. PT In Carlsbad, CA at the Omni La Costa Resort & Spa and meditation will be accessible worldwide for free via livestream in both English and Spanish [see link below DE]. Gabrielle Bernstein, best-selling author and motivational speaker, will lead a conversation around meditation and compassion with Deepak Chopra, M.D., founder of The Chopra Center and best-selling author, and Ismael Cala, acclaimed CNN en Español anchor, best-selling author and speaker.
A 15-minute guided meditation led by Chopra will follow the discussion. In addition, the event will include videos and questions contributed from the global livestreamed audience along with inspiring musical performances and special guest appearances. The Chopra Center 2014 Global Meditation for Peace currently holds the Guinness Book of World Record title for the largest global meditation worldwide with 140,000 in attendance from nearly every country. This will be their second annual global meditation and they are expecting to unite more than 500,000 people worldwide – breaking 2014’s record by nearly four times.
The second annual global movement will also host 1,500 guests at the live event and unite individuals, families and groups across the world for the largest meditation gathering in history. In addition, the event will include videos and questions contributed from the global livestreamed audience along with inspiring musical performances and special guest appearances.
“The Chopra Center’s mission is to serve as the global source for balance, healing, transformation and the expansion of awareness. By creating an opportunity for the world to be a part of the largest guided meditation, we hope to create a more compassionate world,” said Chopra. “It is time to rediscover our common truth – that we are all one.” This year’s meditation aims to increase compassion worldwide, creating a movement towards a kinder, more connected culture. For more information on how to sign up or to learn more, please visit: http://www.chopra.com/globalmeditation.html or email: [email protected] Tickets to the live event are currently available for purchase for 49$USD+service fee at: https://tickets.brightstarevents.com/event/GlobalMeditation
Don’t miss out on incredible historic space items such as the first complete Lunar Bible flown aboard Apollo 14. Heritage Live! allows you to place late proxy bids and compete live against the auction floor from your PC or mobile device*. We recommend placing proxy bids before the live session in the unlikely event either side experiences technical problems during the auction.
The software is available for Android, Safari for iPhone, and Opera Mobile version 10+. More will be supported in the coming months.
Garth Ennis: “Wayne Vansant has done a magnificent job with these first two volumes of Katusha.”
Wayne Vansant’s epic war story KATUSHA, GIRL SOLDIER OF THE GREAT PATRIOTIC WAR is being made available to read for free atwww.katushagirlsoldier.com. KATUSHA (according to babynology.com, Katusha is a dimunitive form of Russian Ekaterina and Yekaterina, meaning “little pure one”. Katusha is also a famed Russian war song written shortly before World War II) tells the story of a farm girl from Ukraine who becomes a Red Army tank commander during World War II.A coming-of-age story told against the backdrop of the bloodiest conflict in human history, the 1941-1945 Eastern Front between Nazi Germany and Soviet Russia, KATUSHA is created by writer/artist Wayne Vansant (Marvel’s THE NAM, Zenith’s Graphic Histories series). Inspired by the experiences of thousands of women who served in the Red Army as pilots, snipers, tank drivers, and other roles, it forms a sprawling epic that will total three volumes and over five-hundred pages upon completion.
The first two graphic novels in the series, KATUSHA BOOK ONE: EDGE OF DARKNESS and KATUSHA BOOK TWO: THE SHAKING OF THE EARTHare currently available in digital and print format from Grand Design Publishing. The webcomic version of KATUSHA will serialize both, adding a new page every day, with BOOK ONE completing in June and BOOK TWO completing at the end of 2015. The third and final volume, expected in print in mid-2015, will begin serialization in January 2016.
One of Vansant’s previous works, The ‘Nam was an innovative and truly seminal comic.
KATUSHA has received praise from critics and comics professionals. History magazine Armchair General Magazine included KATUSHA in its “Stuff We Like” column. PatMills, writer of the legendary British war comics series CHARLIE’S WAR has praised Katusha for dealing with a chapter in history that’s been overlooked in the West. Garth Ennis, writer of PREACHER and WAR STORIES (which includes THE NIGHT WITCHES, a story about Soviet women pilots) said of Katusha, “It’s great to see the story of the Soviet women tankers kept alive. Wayne Vansant has done a magnificent job with these first two volumes of Katusha; I look forward to reading more”. Print editions are now available from Amazon.com, Barnesandnoble.com and other online retailers. Ebook editions are available to consumers through ComicsPlus, Google Play, Kindle, and (soon) Comixology, and to libraries though Overdrive and iVerse.
Wayne Vansant and a blowup of his new work-in-progress: Katusha
KATUSHA BOOK ONE opens with young Katusha’s graduation from her tenth and final year of school. The next morning, Sunday June 22, 1941, Nazi Germany invades the Soviet Union. The young woman and her family escape to the forests to begin a partisan war against the German occupiers. In KATUSHA BOOK TWO, Katusha and her sister Milla join the Red Army and are sent to tank school. Trained to operate the mighty T-34, Katusha fights from countryside to cities and learns the steep price to pay for victory.
Vansant has chronicled history in comics format since 1986. He was the primary artist for Marvel’s acclaimed Vietnam War title, THE ‘NAM, and he has recently returned to historical fiction with his three-volume series KATUSHA, an epic of the eastern front of World War II. He has researched, written, and illustrated many non-fiction graphic novels on subjects including the Korean War, Abraham Lincoln and Frederick Douglas, and the Battle of Antietam. Since 2013 Vansant has released six non-fiction graphic novels through Zenith Publishing. Vansant is a native of Georgia and served in the United States Navy during the Vietnam War era.
Bill83. The threat of abusive lawsuits claiming damages like slander and defamation is deterring a significant number of Ontarians from speaking out against big business on issues of public interest.
Our tweet from Feb22 2015 shows an interest in related freedom of expression concerns.
Strategic Litigation Against Public Participation (SLAPP) are lawsuits brought by companies with the specific aim of distracting or silencing defendants. The defendants, usually ordinary citizens or public interest groups, feel threatened by the prospect of paying legal fees over several years and the possibility of paying large damage awards in the end. Even if the lawsuits have no merit, they often result in a “chill” on free speech in general because SLAPPs are also meant to intimidate the general public who are watching it all play out in the media.
John Gerretsen Attorney General Kingston and the Islands.
Attorney General John Gerretsen has introduced Bill 83 ( In its 2nd reading at the time of this original posting, now referred to the Standing Committee on Social Policy CP) to address this dubious use of Ontario’s publicly funded court system. The proposed legislation would force the courts to identify within 60 days whether a suit was in the public interest or an intimidation tactic to limit debate on an important local issue.
In communities facing fast paced economic development, this legislation is sure to play an important role in protecting the ordinary courage of citizens to tell their story, to share local knowledge and research findings and to insist on an authentic community vision for a healthy and sustainable future. For the Silo, Leslie Cochran.Originally published in print March 21, 2014.
The Qur’anic Concept of War (1979) is one of “4 core texts of jihadists” today. US military officials are finding summaries of it in various languages on captured and killed jihadists. Written by Pakistani Brigadier General S. K. Malik with the first English Indian reprint edition published by Himalayan Books in 1986. This is more than just a study of the military campaigns of the Muslim Prophet Muhammad between 610-630 A.D. against the various tribes inhabiting Saudi Arabia, and those who refused to pay protection-taxes to Muhammad. This book religiously reviews and quotes from the Muslim’s Holy Book: the Qur’an/Koran, detailing how Allah outlined the principles of Islamic warfare.
Author/ Brigadier General S. K Malik
The Qur’an — the Book of Allah, according to Islamic teaching, the Qur’an came down as a series of scriptures from Allah through the Archangel Gabriel to the Prophet Muhammad, who then dictated it to his followers. The early revelations were peaceful, but the Qur’an’s commandments to Muslims to wage war in the name of Allah against non-Muslims are unmistakable. They are, furthermore, absolutely authoritative as they were revealed late in the Prophet’s career and so cancel out and replace earlier instructions to act peaceably when weak. In 630, Muhammad and his forces marched to Mecca and defeated its defenders The Prophet rededicated the Ka’ba temple to Allah, and witnessed the conversion to Islam of nearly the entire Meccan population. Muhammad died in 632, having conquered nearly all of Arabia for Islam. Within 100 years of Muhammad’s death, Islam had reached the Atlantic in one direction and the borders of China in the other.
Westerners who manage to pick up a translation of the Qur’an are often left bewildered as to its meaning thanks to ignorance of a critically important principle of Qur’anic interpretation known as “abrogation.” The principle of abrogation that directs that verses revealed later in Muhammad’s career to “abrogate” — i.e., cancel and replace — earlier ones whose instructions they may contradict. Thus, passages revealed later in Muhammad’s career when his Army was successful in Medina, overrule peaceful passages revealed earlier, in Mecca.
Consider Qur’an 9:5, commonly referred to as the “Verse of the Sword”, revealed toward the end of Muhammad’s life: 9:5. When the Sacred Months (the 1st, 7th, 11th, and 12th months of the Islamic calendar) have passed, then kill the Mushrikun {unbelievers} wherever you find them, and capture them and besiege them, and prepare for them each and every ambush. But if they repent and perform As-Salat {the Islamic ritual prayers}, and give Zakat {alms}, then leave their way free. Verily, Allah is Oft-Forgiving, Most Merciful.
Having been revealed later in Muhammad’s life than 50:45, 109, and 2:256, the Verse of the Sword abrogates their peaceful injunctions in accordance with 2:106. Sura 8, revealed shortly before Sura 9, reveals a similar theme:
8:39. And fight them until there is no more Fitnah (disbelief and. worshipping others besides Allah) and the religion (worship) will all be for Allah Alone. But if they cease (worshipping others besides Allah), then certainly, Allah is All-Seer of what they do.
8:67. It is not for a Prophet that he should have prisoners of war (and free them with ransom) until he had made a great slaughter (among his enemies) in the land. You desire the good of this world (i.e. the money of ransom for freeing the captives), but Allah desires (for you) the Hereafter. And Allah is All-Mighty, All-Wise.
9:29. Fight against those who believe not in Allah, nor in the Last Day, nor forbid that which has been forbidden by Allah and His Messenger and those who acknowledge not the religion of truth (i.e. Islam) among the people of the Scripture (Jews and Christians), until they pay the Jizya with willing submission, and feel themselves subdued. The Qur’an itself lays out the principle of abrogation: Without knowledge of the principle of abrogation, Westerners will continue to misread the Qur’an and misdiagnose Islam as a “religion of peace.” For the Silo George Filer. Filer’s Files #05-2015
It’s an old story- at least in terms of internet “best before” dates. In 2010 sites began reporting on new Streetview Advertising patent applications submitted by Google. The complete details of the patents were not readily made available to the press but essentially it all boiled down to a new way for Google to generate advertising revenue by superimposing digital advertisements and billboards over top of existing “real world” advertising and structures. This was justified by Google by explaining that there is a need to update Streetview images that contained existing advertisements that are no longer current.
Fast forward to today and what we are seeing is this: not only are “real world” ads being updated but new digital ads are being superimposed over Streetview structures that do not contain advertisements in the “real world”. This is interesting. It is a form of AR (augmented reality). It is ethically questionable and here’s why……
See that fence? See those ads? Do they exist in the “real world”? It doesn’t matter to Google.
Absolute power corrupts absolutely-
As virtual realty becomes claimed for advertising space there will more incentive to place AR ads on spaces that are in the “real world” off limits to billboards and marquee signage. What will prevent Google from selling AR ads that will appear on the side of the Eiffel Tower? Since they own the imagery presented on Streetview existing municipal bylaws are non-applicable.
As head worn AR devices such as Google Glass and Sony SmartGlass begin to enter the consumer kingdom this year- the future of AR advertising is clear.
Hip-hop is not rap, although rap is part of hip-hop. Hip-hop is a culture and style that was born in the American city, growing out of the minds and experiences of predominantly African-American communities in late ’70’s New York. But by now it is everywhere. They love hip-hop in India and South America and here where I live in Norfolk, most farmers may not listen to hip-hop, but their kids certainly do.
Hip-hop is also a beat: the beat of rap music, the beat of the city beating here in the country, over the airwaves and out of car windows, vibrating through headphones in the air-conditioned cabs of tractors. It is a beat originally created by isolating the percussion breaks of jazz and funk records and remixing them live for dancing and block party revelry, and later to accompany the flowing, groove poetry of a whole new kind of poet: the rapper, Master of Ceremonies or MC—often poor and disenfranchised, but still creative, soulful and strong. Hip-hop, in its original form, could be considered a kind of technological, urban folk music, in the sense that its early practitioners did not record their sounds, and even resisted recording. Hip-hop was something that happened live.
But was rapping really a new form? There is another part of this story that has always interested me. In many of the African tribes from which slaves were stolen, the griot(pr. gree-oh) was a cultural fixture. Griotswere to West-Africa what the bards or troubadours were to Europe: mobile repositories of history in the form of oral tradition; cultural history sung and chanted to the beat of drums. Except in the case of the griot, that beat was African.
Griots were also expected to improvise poetry based on the current social and political scene, and were known for their sharp wit and verbal mastery. In many parts of West-Africa, a party still isn’t a party without a griot.
It is a testimony to the resilience of slaves that, denied the right to speak their own languages, they found other ways to speak, and sing, their true voices. There were the work songs of course, documented before they disappeared in the field recordings of Alan Lomax. But consider other examples. As blacks embraced Christianity, they injected the forms of church with Africanness. Black preaching became famous for its emotional power, spontaneity and, you guessed it, verbal mastery. Black gospel, blues and then jazz took the existing forms of American church music, folk and brass military music and made them African. Jazz and blues again incorporated the principle of the masterful voice, not spoken this time, but sung through the instrument itself, giving us the improvised instrumental solo. And rock and roll is a whole other subject…
Given this history, hip-hop is seen as an urban innovation on an old theme and a turn, perhaps full circle, back to the centrality of The Word. Rap is not merely poetry to a beat: these words flow with and around beats to create layers of syncopation, tickling the mind while they move the body. They are polyrhythms with verbal content.
At this level hip-hop is an art form, and while we may not always like the content of an artist’s message, if we care about art we can still engage with it on the basis of its merits. And we may consider its context. Some people, even creative people, will respond to poverty and systemic oppression with anger and violence. Some will focus their desire on all the trappings of money and fame formerly denied them. It’s not so hard to fathom.
But there are some, a few, who go another direction for justice. These are the warrior-poets who seek from pain the gifts of understanding, even wisdom. Even love. Hip-hop is known to borrow motifs from kung-fu movies, because there, too, you find the archetype of the warrior-artist, skills honed to razor sharpness, delivering beat-downs with fists if necessary, but just as often with the mind itself.
Granted, you will not find much of this style of writing on the radio. But it’s out there. To dig deeper, Google “conscious hip-hop” or “underground hip-hop” and see where that takes you. Word. For the Silo, Chris Dowber.
John Buscema and the Crusty BunkersConan the Barbarian#45 Page 16 Original Art (Marvel, 1974). Wondrous and horrible things await in this page from “The Last Ballad of Laza-Lanti,” written by Roy Thomas. The ink on Bristol art has an image area of 10″ x 15″ and it is in Very Good condition. Let’s take a look at a single panel from the page on offer.
Fans of 1970’s/1980’s Conan the Barbarian graphic comics appreciate the moody almost expressionist pencil and inks.
Buscema, John:John Buscema (American 1927-2002): After the departure of Jack Kirby from Marvel in 1970, John Buscema became one of the company’s most influential artists [Often called the Michelangelo of comics CP]. Buscema is perhaps most celebrated for his Bronze Age work on the Avengers, the Silver Surfer, and Conan the Barbarian. Buscema’s work proved so in-demand in the mid-seventies, he launched the John Buscema Art School which advertised for students in the pages of many Marvel titles. Stan Lee made appearances as a guest lecturer at Buscema’s school and the two collaborated on the wildly popular book How to Draw Comics The Marvel Way, Simon and Schuster, 1978. Comic Art
The page was sold to the highest bid which reached $US 2,210.75