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a gun sight targeted map against people who have differing viewpoints.. one of them was Gabrielle Giffords. Sarah Palin should be prosecuted or at least dealt with some how for promoting this but I doubt it will happen. Take a look for yourselves right here ... http://www.clevelandleader.com/node/15645 Don't forget Bush. People like you and the media blame him for everything else. He must have had a hand in there somewhere. The US is like a teenager: lots of issues and convinced only their ideas are correct..... PartisanSheep Ok so I took a nap and an hour later I came back on here. WOW. The shooter is an admitted communist who hates God. Yet all you tardies are still clamoring away on your chinese made computer about right vs left. Please stop breathing the same air as me. I don't want to catch your stupidity. Why can't these nut cases go after the ones who deserve it? Always an innocent has to die. Clearly Jared Lee Loughner is just another American lunatic with a gun I live in Tucson and have often shopped at the Safeway where the shooting happened. I have several friends who live just a few blocks away. I can tell you that no one except a nutjob like the shooter reacted to the news with anything other than shock, horror, and grief. The media likes to play up the political differences among us because it's good ratings–but most of us here like Gabby Giffords personally if not politically. She is a genuinely nice person with personal integrity, and while I wished she hadn't been re-elected, I told my husband at the time, "If we have to have a liberal rep, at least it's Gabby!" Before I even heard the details, that so many had been hurt and several killed, I was in tears. Tucson is a large metro area with a small-town feel. Believe me, the shooter isn't getting any sympathy around here. mamatat Dr. Biddle, he also listed Peter Pan among the books he liked, and no one's harping on that... In 20 years, right wing killers have murdered several hundred "government workers" and their families and friends. Think of Oklahoma City. Think of the IRS agent killed by the right wing pilot. Think of the 3 police officers murdered in Philadelphia by a man who believed right wing radio's assertion that Obama would take his guns. And now the Tea Party is 'shocked'? After the campaigns they ran??? Who are they kidding??? http://hillbuzz.org/2011/01/08/my-congresswoman-voted-against-nancy-pelosi-and-is-now-dead-to-me-eerie-daily-kos-hit-piece-on-gabrielle-giffords-just-two-days-before-assassination-attempt-on-her/ Linden & Doug You reported for over an hour that the congress woman was dead, now she is in critical condition? Come on CNN get your act together, which one is it? How can we rely on your news when you cant even decipher difference between life and death???????? Disturbing : Jared Lee Loughner's Youtube page: http://www.youtube.com/user/Classitup10#p/a/f/0/3L1lsLU-kUw Gardenier The Tea Party (and anyone else) gets it wrong when they say shootings like this are "especially grievous when committed against our elected officials." Shootings are especially grievous when committed against anyone for any reason other than self-defense. Elected officials or "Average Joe," it makes NO difference. Mark from Boston It's one thing to "jump to conclusions". But, don't confuse that with being proactive against future acts of TERRORISM. Anyone who had the "misfortune" of attending town hall meetings over the past two years saw this coming. Yes, the "Monsters are due on Maple Street." I'm just waiting for Rod Serling to step out from the shadows with an epilogue. May God Be with our American fallen. thelastrefuge I'm sorry but why are the CNN anchors speaking about the fear of all members of congress to hold town meetings in the future when it has been the Democrats (or the nearly extinct moderate republican) who should be fearful. If anything it is the extreme rhetoric of many of the GOP, along with the rabid right wing talk show hosts and Fox news hosts who have ramped up the rhetoric to incite violence and grab ratings. Remember it was Sarah Palin who was taking aim at the democrats in November not the democrats. The Federal trial of the three other officers accused in the murder of George Floyd are on trial today. No cameras�twitter.com/i/web/status

a gun sight targeted map against people who have differing viewpoints.. one of them was Gabrielle Giffords. Sarah Palin should be prosecuted or at least dealt with some how for promoting this but I doubt it will happen. Take a look for yourselves right here ... http://www.clevelandleader.com/node/15645 Don't forget Bush. People like you and the media blame him for everything else. He must have had a hand in there somewhere. The US is like a teenager: lots of issues and convinced only their ideas are correct..... PartisanSheep Ok so I took a nap and an hour later I came back on here. WOW. The shooter is an admitted communist who hates God. Yet all you tardies are still clamoring away on your chinese made computer about right vs left. Please stop breathing the same air as me. I don't want to catch your stupidity. Why can't these nut cases go after the ones who deserve it? Always an innocent has to die. Clearly Jared Lee Loughner is just another American lunatic with a gun I live in Tucson and have often shopped at the Safeway where the shooting happened. I have several friends who live just a few blocks away. I can tell you that no one except a nutjob like the shooter reacted to the news with anything other than shock, horror, and grief. The media likes to play up the political differences among us because it's good ratings–but most of us here like Gabby Giffords personally if not politically. She is a genuinely nice person with personal integrity, and while I wished she hadn't been re-elected, I told my husband at the time, "If we have to have a liberal rep, at least it's Gabby!" Before I even heard the details, that so many had been hurt and several killed, I was in tears. Tucson is a large metro area with a small-town feel. Believe me, the shooter isn't getting any sympathy around here. mamatat Dr. Biddle, he also listed Peter Pan among the books he liked, and no one's harping on that... In 20 years, right wing killers have murdered several hundred "government workers" and their families and friends. Think of Oklahoma City. Think of the IRS agent killed by the right wing pilot. Think of the 3 police officers murdered in Philadelphia by a man who believed right wing radio's assertion that Obama would take his guns. And now the Tea Party is 'shocked'? After the campaigns they ran??? Who are they kidding??? http://hillbuzz.org/2011/01/08/my-congresswoman-voted-against-nancy-pelosi-and-is-now-dead-to-me-eerie-daily-kos-hit-piece-on-gabrielle-giffords-just-two-days-before-assassination-attempt-on-her/ Linden & Doug You reported for over an hour that the congress woman was dead, now she is in critical condition? Come on CNN get your act together, which one is it? How can we rely on your news when you cant even decipher difference between life and death???????? Disturbing : Jared Lee Loughner's Youtube page: http://www.youtube.com/user/Classitup10#p/a/f/0/3L1lsLU-kUw Gardenier The Tea Party (and anyone else) gets it wrong when they say shootings like this are "especially grievous when committed against our elected officials." Shootings are especially grievous when committed against anyone for any reason other than self-defense. Elected officials or "Average Joe," it makes NO difference. Mark from Boston It's one thing to "jump to conclusions". But, don't confuse that with being proactive against future acts of TERRORISM. Anyone who had the "misfortune" of attending town hall meetings over the past two years saw this coming. Yes, the "Monsters are due on Maple Street." I'm just waiting for Rod Serling to step out from the shadows with an epilogue. May God Be with our American fallen. thelastrefuge I'm sorry but why are the CNN anchors speaking about the fear of all members of congress to hold town meetings in the future when it has been the Democrats (or the nearly extinct moderate republican) who should be fearful. If anything it is the extreme rhetoric of many of the GOP, along with the rabid right wing talk show hosts and Fox news hosts who have ramped up the rhetoric to incite violence and grab ratings. Remember it was Sarah Palin who was taking aim at the democrats in November not the democrats. The Federal trial of the three other officers accused in the murder of George Floyd are on trial today. No cameras�twitter.com/i/web/status

/1…Ju “The House committee investigating the riot received hundreds of pages of documents from the former president’s Wtwitter.com/i/web/status/1…Ol6D7J susancandiotti @KFILE You win today BUT remember she wins almost everyday!!!😜 Goodbye you creative genius. Bringer of style. Voice of black excellence and beauty Trailblazer. #AndréLeonTallyy https://t.co/o3ewgVS0g6 Federal Environmental Pesticide Control Act: Hearings, Ninety-second ... Por United States. Congress. Senate. Committee on Agriculture and Forestry. Subcommittee on Agricultural Research and General Legislation A BILL TO AMEND THE FEDERAL INSECTICIDE, FUNGICIDE, AND RODENTICIDE ACT, AND FOR OTHER PURPOSES MARCH 7 AND 8, 1972 Printed for the use of the Committee on Agriculture and Forestry 76-194 O HERMAN E. TALMADGE, Georgia, Chairman ALLEN J. ELLENDER, Louisiana JACK MILLER, Iowa JAMES 0. EASTLAND, Mississippi GEORGE D. AIKEN, Vermont B. EVERETT JORDAN, North Carolina MILTON R. YOUNG, North Dakota GEORGE MCGOVERN, South Dakota CARL T. CURTIS, Nebraska JAMES B. ALLEN, Alabama ROBERT DOLE, Kansas HUBERT H. HUMPHREY, Minnesota HENRY BELLMON, Oklahoma LAWTON CHILES, Florida Cotys M. MOUSER, Chief Olerk SUBCOMMITTEE ON AGRICULTURAL RESEARCH AND GENERAL LEGISLATION JAMES B. ALLEN, Alabama, Chairman B. EVERETT JORDAN, North Carolina ROBERT J. DOLE, Kansas JAMES O. EASTLAND, Mississippi MILTON R. YOUNG, North Dakota LAWTON CHILES, Florida CARL T. CURTIS, Nebraska (II) Statement of: Bergman, Mr. and Mrs. Charles, North Olmsted, Ohio.. Blackwelder, Brent, Washington representative, Environmental Policy Center.. Bosch, H. G., president, Chemagro, Kansas City, Mo. Brigham, Edward M., III, North Midwest regional representative, National Audubon Society, Red Wing, Minn. Brinkley, Parke C., president, National Agricultural Chemicals Association... Brooks, Paul, Sierra Club, Boston, Mass - Brush, Ray, administrator, National Landscape Association. Butler, William A., Washington counsel, Environmental Defense Fund.. Butterworth, Charles, manager, Fertilizer and Garden Supply De- partment, Chase & Co., Sanford, Fla. Byerly, Dr. T. C., Assistant Director, Science and Education, U.S. Department of Agriculture - Carey, Kevin, deputy director, Migrant Legal Action Program. Carpenter, L. C., vice president, Midcontinent Farmers Association, Columbia, Mo. Carter, Harold, Director, Regulatory Division, Office of the General Counsel, U.S. Department of Agriculture- Case, Hon. Clifford P., a U.S. Senator from the State of New Jersey Conner, John D., general counsel, National Agricultural Chemicals Association.. Copeland, Jack G., general manager, Synthetics Department, Hercules Inc., Wilmington, Del.--- Crosby, Dr. Edwin A., director, Agriculture Division, National Canners Association.. Davis, Hilton, general manager, legislative action, Chamber of Com- merce of the United States. Deck, Errett, assistant director, Washington Department of Agri- culture, Olympia, Wash., representing the National Association of State Departments of Agriculture and the Association of American Pesticide Control Officials Dominick, David D., Assistant Administrator for Categorical Pro- grams, Environmental Protection Agency, Duncan, Lyman E., executive secretary, Men's Garden Clubs of America, Des Moines, Iowa.. Edmiston, Beula, Los Angeles, Calif. Ellsworth, Perry R., executive vice president, International Apple Fifield, Willard M., secretary-manager, Florida Agricultural Research Institute, Gainesville, Fla.. Frazier, Charles L., director, Washington staff, National Farmers Fritz, Edward C., chairman, board of governors, Texas Committee on Natural Resources, Dallas, Tex.. Frommer, Charles H., director, Bureau of Pesticide Control

1

love the stage, Mr. Hyman paid the bills with television work — soap operas and police dramas, “Hallmark Hall of Fame” and “The United States Steel Hour,” and made-for-TV movies. Most memorably, he played Russell Huxtable, the father of Dr. Cliff Huxtable, in 40 episodes of Mr. Cosby’s hugely popular NBC situation comedy about an upper-middle-class black family, broadcast from 1984 to 1992. Although he was only 11 years older than Mr. Cosby, Mr. Hyman was an authoritative father figure, sometimes reciting Shakespeare at length — in scenes especially tailored to Mr. Hyman’s classical talents — when sage advice was required for his son. But in a stage career that bridged oceans, languages and racial sensibilities, he also played the traditionally white roles of Hamlet, Macbeth and Lear in New York and London and the black roles of Othello, Eugene O’Neill’s Emperor Jones and the chauffeur in Alfred Uhry’s “Driving Miss Daisy” in Norway, Denmark and Sweden. There he electrified audiences and critics performing in their native languages, albeit with an American accent. He was inducted into the Theater Hall of Fame in New York in 1997. Mr. Hyman appeared on and off Broadway in a score of productions over six decades, a lifetime of Beckett, O’Neill, Pinter, Albee and lesser lights as well as Shakespeare and Ibsen. And for nearly as long, he worked part of each year on the stages of Norway, where he had homes in Oslo and the fjord country, refuges from what he called the pressures, pleasures and racial barriers of New York. “It used to be that casting black actors in traditionally white roles seemed daring, like marching in the street, and maybe things have gotten better and maybe they haven’t,” Mr. Hyman told The New York Times in 1991. “But just the fact that people still ask that question — should we or shouldn’t we? — proves that things have not come a long way. “In Norway, where I have performed for three decades, I have played a Norwegian archbishop and no one has raised a question,” he added. “Here I am almost 65 years old and I’m still saying that all roles should be available to all actors of talent, regardless of race. Why should I be deprived of seeing a great black actress play Hedda Gabler?” With young contemporaries like James Earl Jones, Sidney Poitier, Harry Belafonte and Morgan Freeman, Mr. Hyman was a major influence in developing black theater in America. He appeared in black-cast productions on Broadway and in regional theaters and was a founder of the American Shakespeare Festival in Stratford, Conn., which began in 1955 and often cast black actors in customarily white leading roles. Skirting racial barriers that had long limited the opportunities for black actors in America, Mr. Hyman lived and worked in England for five years and spent parts of each year in Scandinavia, mostly in Norway, for more than a half century. He became fluent in Norwegian and Danish, spoke passable Swedish, and performed in Oslo, Copenhagen and Stockholm in plays by Shakespeare, Ibsen and O’Neill. After his debut at the National Theater in Bergen in “Othello” in 1963, Mr. Hyman, the first American to perform for Norwegians in their own language, was hailed by Norwegian critics, inundated with offers to stay on and besieged by fans from across a land of reserved people rarely given to emotional displays. After 50 consecutive sellouts, he was also drawing international attention. “Even speaking Norwegian with an American accent has not diminished Mr. Hyman’s achievement for Norway’s critics and its theatrically sophisticated audiences,” a correspondent for The Christian Science Monitor wrote. “Along with the eloquence, dignity and towering emotional force of his characterization, the clarity of Mr. Hyman’s diction has won him admiration.” George Earle Hyman was born in Rocky Mount, N.C., on Oct. 11, 1926, one of four children of Zachariah and Maria Plummer Hyman, who were both teachers. The family moved to Brooklyn when he was a boy. He graduated with honors from Franklin K. Lane High School, where he studied French and Latin. Captivated by a production of Ibsen’s “Ghosts” that he saw in Brighton Beach, he resolved to be an actor. He devoured plays by Ibsen and Shakespeare, memorized parts easily and at 16 performed on Broadway in “Run, Little Chillun.” His first Broadway hit, in 1944, was “

love the stage, Mr. Hyman paid the bills with television work — soap operas and police dramas, “Hallmark Hall of Fame” and “The United States Steel Hour,” and made-for-TV movies. Most memorably, he played Russell Huxtable, the father of Dr. Cliff Huxtable, in 40 episodes of Mr. Cosby’s hugely popular NBC situation comedy about an upper-middle-class black family, broadcast from 1984 to 1992. Although he was only 11 years older than Mr. Cosby, Mr. Hyman was an authoritative father figure, sometimes reciting Shakespeare at length — in scenes especially tailored to Mr. Hyman’s classical talents — when sage advice was required for his son. But in a stage career that bridged oceans, languages and racial sensibilities, he also played the traditionally white roles of Hamlet, Macbeth and Lear in New York and London and the black roles of Othello, Eugene O’Neill’s Emperor Jones and the chauffeur in Alfred Uhry’s “Driving Miss Daisy” in Norway, Denmark and Sweden. There he electrified audiences and critics performing in their native languages, albeit with an American accent. He was inducted into the Theater Hall of Fame in New York in 1997. Mr. Hyman appeared on and off Broadway in a score of productions over six decades, a lifetime of Beckett, O’Neill, Pinter, Albee and lesser lights as well as Shakespeare and Ibsen. And for nearly as long, he worked part of each year on the stages of Norway, where he had homes in Oslo and the fjord country, refuges from what he called the pressures, pleasures and racial barriers of New York. “It used to be that casting black actors in traditionally white roles seemed daring, like marching in the street, and maybe things have gotten better and maybe they haven’t,” Mr. Hyman told The New York Times in 1991. “But just the fact that people still ask that question — should we or shouldn’t we? — proves that things have not come a long way. “In Norway, where I have performed for three decades, I have played a Norwegian archbishop and no one has raised a question,” he added. “Here I am almost 65 years old and I’m still saying that all roles should be available to all actors of talent, regardless of race. Why should I be deprived of seeing a great black actress play Hedda Gabler?” With young contemporaries like James Earl Jones, Sidney Poitier, Harry Belafonte and Morgan Freeman, Mr. Hyman was a major influence in developing black theater in America. He appeared in black-cast productions on Broadway and in regional theaters and was a founder of the American Shakespeare Festival in Stratford, Conn., which began in 1955 and often cast black actors in customarily white leading roles. Skirting racial barriers that had long limited the opportunities for black actors in America, Mr. Hyman lived and worked in England for five years and spent parts of each year in Scandinavia, mostly in Norway, for more than a half century. He became fluent in Norwegian and Danish, spoke passable Swedish, and performed in Oslo, Copenhagen and Stockholm in plays by Shakespeare, Ibsen and O’Neill. After his debut at the National Theater in Bergen in “Othello” in 1963, Mr. Hyman, the first American to perform for Norwegians in their own language, was hailed by Norwegian critics, inundated with offers to stay on and besieged by fans from across a land of reserved people rarely given to emotional displays. After 50 consecutive sellouts, he was also drawing international attention. “Even speaking Norwegian with an American accent has not diminished Mr. Hyman’s achievement for Norway’s critics and its theatrically sophisticated audiences,” a correspondent for The Christian Science Monitor wrote. “Along with the eloquence, dignity and towering emotional force of his characterization, the clarity of Mr. Hyman’s diction has won him admiration.” George Earle Hyman was born in Rocky Mount, N.C., on Oct. 11, 1926, one of four children of Zachariah and Maria Plummer Hyman, who were both teachers. The family moved to Brooklyn when he was a boy. He graduated with honors from Franklin K. Lane High School, where he studied French and Latin. Captivated by a production of Ibsen’s “Ghosts” that he saw in Brighton Beach, he resolved to be an actor. He devoured plays by Ibsen and Shakespeare, memorized parts easily and at 16 performed on Broadway in “Run, Little Chillun.” His first Broadway hit, in 1944, was “

Anna Lucasta,” Philip Yordan’s play about a Polish family, turned into a story about blacks, with an American Negro Theater cast that also included Alice Childress, Hilda Simms and Canada Lee. It ran 957 performances and was one of Broadway’s longest-running nonmusical plays at the time. After it closed in 1946, Mr. Hyman toured with the company in America and Europe. Finding little work on Broadway in the early ’50s, he moved to London and over several years performed 13 roles in 10 Shakespeare plays, including the lead in a televised “Hamlet.” He played Othello in 1957 with the American Shakespeare Festival in Connecticut, and that year visited Norway for the first time. He was enthralled by a nation with an almost colorblind perspective on race. “The first time I stepped on that soil I fell in love with it,” Mr. Hyman told The Associated Press in 1988. “I felt I’d been there before.” Mr. Hyman, who never married, lived at the Lillian Booth Actors Home in Englewood. He leaves no immediate survivors. He appeared in a number of made-for-television films and movies, including “Macbeth” (1968), “Julius Caesar” (1979) and “Coriolanus” (1979). He also provided voices for numerous episodes of the 1980s animated TV series “ThunderCats.” He was nominated for a Tony for his 1980 Broadway role in Edward Albee’s “The Lady From Dubuque,” and for an Emmy in 1986 for his “Cosby Show” work. He won a CableACE Award in 1983 for best actor in a drama for “Long Day’s Journey Into Night”; an Outstanding Pioneer Award in 1980 from the Audience Development Committee, which recognized achievements by black theater artists; and the Medal of St. Olav from the King of Norway in 1988 for his work there. SOURCE: The New York Times MEL TILLIS, COUNTRY STAR KNOWN FOR HIS SONGS AND HIS STUTTER By BILL FRISKICS-WARREN Mel Tillis at his theater in Branson, Mo., in 1998. Credit Mel Tillis Theater Mel Tillis, whose career as a country singer and the writer of enduring hit songs like “Ruby, Don’t Take Your Love to Town” earned him a place in the Country Music Hall of Fame and a National Medal of Arts — but who was equally well known for the stutter he employed to humorous and self-deprecating effect onstage — died on Sunday in Ocala, Fla. He was 85. Mr. Tillis “battled intestinal issues since early 2016 and never fully recovered,” his publicist, Don Murry Grubbs, said in a statement. The suspected cause of death was respiratory failure, he said. Mr. Tillis found a way to turn his speech impediment into an asset by using his ready smile and innate comedic timing to get his audiences to laugh along with him. He stuttered his way to regular appearances on television talk shows and to clowning bit parts in Hollywood movies. He even went so far as to make the nickname Stutterin’ Boy, conferred upon him by the singer Webb Pierce, the title of his autobiography (written with Walter Wager and published in 1984), and to have it painted on the side of his tour bus. He also named his personal airplane Stutter One and referred to his female backup singers as the Stutterettes. Mr. Tillis stuttered only when he spoke, not when he sang. His resonant baritone was suited to both traditional country and pop-leaning material and was the vehicle for upward of 70 Top 40 country hits. His stutter might not have figured so prominently in his career had he focused exclusively on songwriting, or had the country entertainer Minnie Pearl, for whom he played rhythm guitar in the 1950s, not asked him to perform some of his songs in her show. Mr. Tillis was named entertainer of the year by the Country Music Association in 1976. Credit Associated Press “She’d get me off to one side and say, ‘Melvin, you’re gonna at least have to announce your songs, and then thank the folks,’” Mr. Tillis said, recalling Pearl’s response to his hesitancy about speaking in public, in an interview published in the newsletter of the International Songwriters Association in 2002. “I was so bashful and scared,” he went on, “and she said, ‘If they laugh they’ll be laughing with you, not against you.’ And

1

There have been a lot of enhancements to Java between Java 8 and 11, such as Transport Layer Security (TLS) 1.3, local variables, the Flow API (Reactive Streams), and more. The correct OpenJDK 11 can be downloaded from AdoptOpenJDK. The Open Liberty security team found a few important compatibility bugs that were fixed in OpenJDK 11.0.2. Support Lifecycle policies Beginning January 2019, WebSphere Liberty started to deliver electronic updates every 4 weeks (up to 13 per year), rather than once every quarter. With this change, IBM revised the continuous delivery Support Lifecycle policies for both WebSphere Liberty and traditional WebSphere Application Server. WebSphere Application Server and WebSphere Application Server Network Deployment offerings provide entitlement to two different application servers: WebSphere Application Server traditional WebSphere Liberty While a single Software Support Lifecycle policy usually governs an offering by program-number level, in this case WebSphere Application Server traditional and WebSphere Liberty each have their own Software Support Lifecycle policy. WebSphere Application Server traditional continues to adhere to the Enhanced IBM Software Support Lifecycle Policy that provides: A minimum of five years' standard support An option to get support extensions for an additional three years ("5+3" support) See WebSphere Application Server Support Lifecycle website for details. WebSphere Liberty adheres to a Single Stream Continuous Delivery (SSCD) Software Support Lifecycle policy that differs from the IBM Continuous Delivery Software Support Lifecycle Policy. Because WebSphere Liberty consists of a single code stream with many Continuous Delivery (CD) updates each year, there are certain limits placed on supported CD updates. This provides the most optimal support to a broad client base and also allows clients to adopt CD updates at their own pace. For details, see the Single Stream Continuous Delivery (SSCD) Software Support Lifecycle Policy: WebSphere Liberty website. Accessibility by people with disabilities A US Section 508 Accessibility Compliance Report containing details on accessibility compliance can be found on the Product accessibility information website. The WebSphere Application Server family offers several configuration options and support for multiple business models and deployment platforms. It also supports a wide range of scenarios: Open-source-based projects and projects with no readily available budget Simple administration of a single server environment A clustered, highly available, high-volume environment with edge-of-network services WebSphere Application Server V9.0.5 configurations are built on a common server foundation that delivers the same Java EE 8 and broad programming model support. Its proven transactional engine delivers increasingly higher qualities of service across product configurations. This offers unparalleled flexibility to incrementally add higher quality of service to applications as business needs change, without the cost of rearchitecting, reprogramming, or migrating to different technology bases. WebSphere Application Server Liberty Core WebSphere Application Server Liberty Core, a lightweight and dynamic offering of WebSphere Application Server, is Java EE 8 web profile compliant. Composed entirely of the developer-friendly Liberty profile, the WebSphere Application Server Liberty Core edition enables rapid development and deployment of web-centric and mobile-centric applications. It allows businesses to quickly respond to enterprise and market needs. Liberty profile servers can be members of collectives that enables them to be managed by a collective controller from a Network Deployment installation. The capabilities that are provided in the Liberty Core edition are a subset of the capabilities that are provided in the WebSphere Application Server and Network Deployment editions. Highlights of the Liberty Core offering include: Extremely lightweight offering that is composed of a subset of the Liberty profile, which is certified for the Java EE 8 Web Profile and implements the latest MicroProfile specifications in addition to Java EE 8. An excellent development and production runtime for web applications. Fast time-to-value. Small download, small footprint, fast startup, and easily packaged applications. Includes configuration for deployment and is extensible through WebSphere Liberty features SPI. WebSphere Application Server V9.0.5 WebSphere Application Server is tailored for a single server to moderately-sized configurations of departmental or large-scale, dynamic web applications that require web-tier clustering and failover across application server instances, and a variety of pricing alternatives. The Liberty capabilities include a superset of those found in WebSphere Application Server Liberty Core. They provide additional programming models, such as Web Services, full EJB, and Java Message Service. Liberty profile can be members of collectives, that enable it to be managed by a collective controller from a Network Deployment installation. It enables load balancing across servers, and includes WebSphere eXtreme Scale with support for session caching and DynaCache. WebSphere Application Server Network Deployment V9.0.5 WebSphere Application Server Network Deployment edition offers enterprises near-continuous availability, advanced management, and automated performance optimization for their mission-critical applications. WebSphere Application Server Network Deployment capabilities include a superset of those found

There have been a lot of enhancements to Java between Java 8 and 11, such as Transport Layer Security (TLS) 1.3, local variables, the Flow API (Reactive Streams), and more. The correct OpenJDK 11 can be downloaded from AdoptOpenJDK. The Open Liberty security team found a few important compatibility bugs that were fixed in OpenJDK 11.0.2. Support Lifecycle policies Beginning January 2019, WebSphere Liberty started to deliver electronic updates every 4 weeks (up to 13 per year), rather than once every quarter. With this change, IBM revised the continuous delivery Support Lifecycle policies for both WebSphere Liberty and traditional WebSphere Application Server. WebSphere Application Server and WebSphere Application Server Network Deployment offerings provide entitlement to two different application servers: WebSphere Application Server traditional WebSphere Liberty While a single Software Support Lifecycle policy usually governs an offering by program-number level, in this case WebSphere Application Server traditional and WebSphere Liberty each have their own Software Support Lifecycle policy. WebSphere Application Server traditional continues to adhere to the Enhanced IBM Software Support Lifecycle Policy that provides: A minimum of five years' standard support An option to get support extensions for an additional three years ("5+3" support) See WebSphere Application Server Support Lifecycle website for details. WebSphere Liberty adheres to a Single Stream Continuous Delivery (SSCD) Software Support Lifecycle policy that differs from the IBM Continuous Delivery Software Support Lifecycle Policy. Because WebSphere Liberty consists of a single code stream with many Continuous Delivery (CD) updates each year, there are certain limits placed on supported CD updates. This provides the most optimal support to a broad client base and also allows clients to adopt CD updates at their own pace. For details, see the Single Stream Continuous Delivery (SSCD) Software Support Lifecycle Policy: WebSphere Liberty website. Accessibility by people with disabilities A US Section 508 Accessibility Compliance Report containing details on accessibility compliance can be found on the Product accessibility information website. The WebSphere Application Server family offers several configuration options and support for multiple business models and deployment platforms. It also supports a wide range of scenarios: Open-source-based projects and projects with no readily available budget Simple administration of a single server environment A clustered, highly available, high-volume environment with edge-of-network services WebSphere Application Server V9.0.5 configurations are built on a common server foundation that delivers the same Java EE 8 and broad programming model support. Its proven transactional engine delivers increasingly higher qualities of service across product configurations. This offers unparalleled flexibility to incrementally add higher quality of service to applications as business needs change, without the cost of rearchitecting, reprogramming, or migrating to different technology bases. WebSphere Application Server Liberty Core WebSphere Application Server Liberty Core, a lightweight and dynamic offering of WebSphere Application Server, is Java EE 8 web profile compliant. Composed entirely of the developer-friendly Liberty profile, the WebSphere Application Server Liberty Core edition enables rapid development and deployment of web-centric and mobile-centric applications. It allows businesses to quickly respond to enterprise and market needs. Liberty profile servers can be members of collectives that enables them to be managed by a collective controller from a Network Deployment installation. The capabilities that are provided in the Liberty Core edition are a subset of the capabilities that are provided in the WebSphere Application Server and Network Deployment editions. Highlights of the Liberty Core offering include: Extremely lightweight offering that is composed of a subset of the Liberty profile, which is certified for the Java EE 8 Web Profile and implements the latest MicroProfile specifications in addition to Java EE 8. An excellent development and production runtime for web applications. Fast time-to-value. Small download, small footprint, fast startup, and easily packaged applications. Includes configuration for deployment and is extensible through WebSphere Liberty features SPI. WebSphere Application Server V9.0.5 WebSphere Application Server is tailored for a single server to moderately-sized configurations of departmental or large-scale, dynamic web applications that require web-tier clustering and failover across application server instances, and a variety of pricing alternatives. The Liberty capabilities include a superset of those found in WebSphere Application Server Liberty Core. They provide additional programming models, such as Web Services, full EJB, and Java Message Service. Liberty profile can be members of collectives, that enable it to be managed by a collective controller from a Network Deployment installation. It enables load balancing across servers, and includes WebSphere eXtreme Scale with support for session caching and DynaCache. WebSphere Application Server Network Deployment V9.0.5 WebSphere Application Server Network Deployment edition offers enterprises near-continuous availability, advanced management, and automated performance optimization for their mission-critical applications. WebSphere Application Server Network Deployment capabilities include a superset of those found

in WebSphere Application Server Liberty Core, and WebSphere Application Server configuration. It offers: World-class, clustering, and high-availability management to help eliminate the cost of system downtime Auto-scaling, auto-routing, and internet-scale clustering for intelligent and efficient management of compute resources To support batch modernization and modern batch projects, enterprise-level, Java batch capabilities, such as: Parallel job processing Job checkpoints and restart Workload management Shared OLTP and batch processing Edge components, which offer sophisticated load balancing, caching, and centralized security for enhanced performance at the edge of the network Advanced, centralized management and administration to make management of more complex environments less time-consuming and resource-consuming Enterprise-proven, leading security capabilities to safeguard your business High performance that maximizes business competitiveness while minimizing total cost of ownership Liberty profile collective cluster administration that improves resiliency of server and provides high availability for mission-critical applications WebSphere Application Server for z/OS®, V9.0.5 WebSphere Application Server for z/OS offers all the capabilities that are available in the WebSphere Application Server Network Deployment. In addition, the offering takes advantage of the unique qualities of service of IBM z Systems® hardware and the z/OS operating system, such as: Policy-driven workload management Advanced transactional integrity Unsurpassed scalability and availability Built-in enterprise security capabilities Also, WebSphere Application Server for z/OS includes z/OS-specific features that large enterprise customers can appreciate, such as: IBM z/OS Connect WebSphere optimized local adapters IBM Cloud Application Platform This integrated solution helps to modernize clients' applications to cloud native deployments under an offering with flexible entitlement. With this platform, clients get the leading IBM platform solutions in one bundle, without having to choose between private cloud-based platforms or traditional server deployments, or public cloud WebSphere deployments. The platform offers all of those platform options, with the ability to mix and match as clients need today and the flexibility to change that mix over time as they transition and create more applications for the cloud. The programs that are included are full function and all are made available by using the easy-to-understand Virtual Processor Core (VPC) pricing metric. A VPC ratio table is used to define program entitlements per VPC. IBM Cloud Application Platform helps clients to: Build cloud native applications with IBM Cloud Private Cloud Native edition Modernize existing WebSphere environments to the next-generation IBM platform, IBM Cloud Private, with all of the necessary tools, such as IBM Transformation Advisor and Microclimate Deploy WebSphere Application Server ND, WebSphere Application Server, WebSphere Application Server Liberty Core, Cloud Private Cloud Native edition, Cloud Automation Manager, and Cloud Foundry for ultimate flexibility to deploy applications on VMs or containers Deploy and undeploy bundled products at any time Take advantage of flexible entitlement that ensures clients have sufficient entitlements before, during, and after a modernization project Use a simple and consistent metric, Virtual Processor Core, which can be tracked by either IBM Cloud Private Metering or IBM License Metric Tool Trade up to IBM Cloud Application Platform from the following products: Cloud Private Cloud Native Cloud Automation Manager WebSphere Application Server ND Statement of general direction IBM intends to provide future general availability releases of WebSphere Application Server that will support Jakarta Enterprise Edition (EE). In addition, to help accelerate business application development for a cloud-native world, IBM intends to collaborate with leading software vendors and open software community to move Java EE technologies to the Eclipse Foundation where they will evolve under the Jakarta EE brand. Jakarta EE represents the best way to drive cloud-native, mission-critical applications and build upon the decades of experience of real-world deployments and developers. Statements by IBM regarding its plans, directions, and intent are subject to change or withdrawal without notice at the sole discretion of IBM. Information regarding potential future products is intended to outline general product direction and should not be relied on in making a purchasing decision. The information mentioned regarding potential future products is not a commitment, promise, or legal obligation to deliver any material, code, or functionality. Information about potential future products may not be incorporated into any contract. The development, release, and timing of any future features or functionality described for IBM products remain at the sole discretion of IBM. For complete product information about WebSphere Application Server V9.0, see Software Announcement 217-048, dated March 14, 2017. Availability of national languages WebSphere Application Server June 28, 2019 English, Brazilian Portuguese, French, German, Italian, Japanese, Spanish WebSphere Application Server Liberty Core June 28,2019 English, Brazilian Portuguese, French, German, Italian, Japanese, Spanish WebSphere Application Server Network Deployment June 28, 2019 English, Brazilian Portuguese, French, German, Italian, Japanese, Spanish WebSphere Application

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those caught in the mire, the message becomes one of grievance that insurmountably powerful forces have put them there and plaintive expectation that it is somebody else’s responsibility to ease the experience. In this context, Olson’s approach to changing the law is the legal equivalent of a welfare state. In the welfare case, the aristocracy treats the underclass as a client base for whom it will determine just awards to redistribute from a shrinking productive class. In the legal case, the underclass is characterized not by its economic powerlessness, but its political powerlessness, and forms the client base for the aristocracy to impose its vision of a just and moral society, shrinking the boundaries of self-government. In both cases, expediency creates something selfish out of the impulse toward philanthropy. While the social advocate and the courtroom advocate have the joy of fighting on behalf of their clients, they deprive the masses of their God-given right to the “Pursuit of Happiness,” as our Declaration of Independence puts it, because the advocates are both doing all the work and shutting off opportunities for those who differ. There is no court in which to sue against the violation of that particular right. Appropriately, given the theme of the conference, the solution therefore lies in education and reinvigorated public debate. Playing around with new brushes. I did this whooooole page with "Feel Good" by Gorillaz looping in the background. In case you were wondering why it turned out like this. Edit: DAMN IT, my monitor miscalibrated again. This is really hard. The contrast is very different. Of course that is a one piece uniform. It's all or nothing, that's why we like her. Offcourse, that would mean that Iri had lost a lot. I think that girl to the left is Shaire. We have Rats in the Pie!!! Is that DK's fling with the pink/green hair in Panel 1? I like her expression, she does seem very happy. The only reason I ask if it's the same girl is because her physique seems to be more slender and feminine here than before. I like it though! Raising your arms always makes you look thinner... but maybe I drew her thinner on accident. "I did this whooooole page with "Feel Good" by Gorillaz looping in the background." You, I like your taste in music. That's on my list of music I play while working on chemical equations or medical cadavers. From Gorillaz, I must admit I'm partial to the Clint Eastwood piece they made ... good if you're stoning a bit. I like most of the old Gorillaz songs. The only other new Gorillaz song I really like is Dare, but it's really good. The rest vary, but none of them are actually bad. you dirty minded perverts all of you! You have grasped the clever pun they're working with! I'm curious about the rules. I suppose the loser has to strip a piece of cloth but what about the rest? It's a low-gravity system, so you lose if both your feet leave the strap. However, there is a grace period where you have a certain number of seconds to get your foot back in a strap. In this version, every time you lose you take off some clothes, but the number of seconds grace period you have goes up by 2 per loss. This theoretically gives you better chance to win next time, but in practice it just gives whoever wins a few more seconds to manhandle you. Innovative Solutions Canada is a federal government procurement program providing over $100 million to support the scale-up and growth of Canada’s innovators. Twenty different federal departments and agencies contribute funding to this program, and each puts forth specific themed challenges throughout the year for Canadian SMEs to solve. Applicants may receive funding of up to $150,000 to develop a proof-of-concept solution to the challenge, followed by additional funding up to $1 million to develop a full working prototype. The federal department may then opt to procure the solution and implement it. Improved Compostable Bio-plastics: improving compatibility of bio-plastics with home and municipal composting. MOSCOW (AP) Russia's champion ice hockey team SKA St. Petersburg has been rocked by allegations that its head coach punched and kicked the team doctor, leaving him badly hurt. Egor Kozlov told Russian newspaper Sport-Express on Thursday that he had been hospitalized with a head injury, concussion and bruising to the chest following the alleged clash with coach Andrei Nazarov. Kozlov, who was named the Kontinental Hockey League's best doctor last season, says Nazarov had tried to force him out of the club and attacked him during a meeting with management after Kozlov said he wanted time to

those caught in the mire, the message becomes one of grievance that insurmountably powerful forces have put them there and plaintive expectation that it is somebody else’s responsibility to ease the experience. In this context, Olson’s approach to changing the law is the legal equivalent of a welfare state. In the welfare case, the aristocracy treats the underclass as a client base for whom it will determine just awards to redistribute from a shrinking productive class. In the legal case, the underclass is characterized not by its economic powerlessness, but its political powerlessness, and forms the client base for the aristocracy to impose its vision of a just and moral society, shrinking the boundaries of self-government. In both cases, expediency creates something selfish out of the impulse toward philanthropy. While the social advocate and the courtroom advocate have the joy of fighting on behalf of their clients, they deprive the masses of their God-given right to the “Pursuit of Happiness,” as our Declaration of Independence puts it, because the advocates are both doing all the work and shutting off opportunities for those who differ. There is no court in which to sue against the violation of that particular right. Appropriately, given the theme of the conference, the solution therefore lies in education and reinvigorated public debate. Playing around with new brushes. I did this whooooole page with "Feel Good" by Gorillaz looping in the background. In case you were wondering why it turned out like this. Edit: DAMN IT, my monitor miscalibrated again. This is really hard. The contrast is very different. Of course that is a one piece uniform. It's all or nothing, that's why we like her. Offcourse, that would mean that Iri had lost a lot. I think that girl to the left is Shaire. We have Rats in the Pie!!! Is that DK's fling with the pink/green hair in Panel 1? I like her expression, she does seem very happy. The only reason I ask if it's the same girl is because her physique seems to be more slender and feminine here than before. I like it though! Raising your arms always makes you look thinner... but maybe I drew her thinner on accident. "I did this whooooole page with "Feel Good" by Gorillaz looping in the background." You, I like your taste in music. That's on my list of music I play while working on chemical equations or medical cadavers. From Gorillaz, I must admit I'm partial to the Clint Eastwood piece they made ... good if you're stoning a bit. I like most of the old Gorillaz songs. The only other new Gorillaz song I really like is Dare, but it's really good. The rest vary, but none of them are actually bad. you dirty minded perverts all of you! You have grasped the clever pun they're working with! I'm curious about the rules. I suppose the loser has to strip a piece of cloth but what about the rest? It's a low-gravity system, so you lose if both your feet leave the strap. However, there is a grace period where you have a certain number of seconds to get your foot back in a strap. In this version, every time you lose you take off some clothes, but the number of seconds grace period you have goes up by 2 per loss. This theoretically gives you better chance to win next time, but in practice it just gives whoever wins a few more seconds to manhandle you. Innovative Solutions Canada is a federal government procurement program providing over $100 million to support the scale-up and growth of Canada’s innovators. Twenty different federal departments and agencies contribute funding to this program, and each puts forth specific themed challenges throughout the year for Canadian SMEs to solve. Applicants may receive funding of up to $150,000 to develop a proof-of-concept solution to the challenge, followed by additional funding up to $1 million to develop a full working prototype. The federal department may then opt to procure the solution and implement it. Improved Compostable Bio-plastics: improving compatibility of bio-plastics with home and municipal composting. MOSCOW (AP) Russia's champion ice hockey team SKA St. Petersburg has been rocked by allegations that its head coach punched and kicked the team doctor, leaving him badly hurt. Egor Kozlov told Russian newspaper Sport-Express on Thursday that he had been hospitalized with a head injury, concussion and bruising to the chest following the alleged clash with coach Andrei Nazarov. Kozlov, who was named the Kontinental Hockey League's best doctor last season, says Nazarov had tried to force him out of the club and attacked him during a meeting with management after Kozlov said he wanted time to

think about a proposed severance package. 2H Offshore, an Acteon company, is a global engineering contractor specialising in the design, structural analysis and integrity management of riser and conductor systems used in the drilling and production of offshore oil and gas reserves. 2H Offshore, an Acteon company, has announced the appointment of Yann Helle as managing director. Helle replaces Tim Eyles, who is moving to the role of vice president with parent company Acteon. Danca-Edgeworth, a local, independent insurance agency since 1939, is a division of Gilbert Insurance Agency. We offer clients throughout the North Shore and Greater Boston area a broad range of personal and commercial insurance options to fit all stages of their life and business. Whether you’re in need of a new policy or shopping your current policies around for the optimal coverage at competitive rates, you can count on our experienced team for support, advice, and help finding the options that will best match your unique needs. Clients can visit either of our two office locations in Reading and Malden, MA. The Reading office of Gilbert is located on Rt. 28 (Main Street), Exit 38B off of Interstate 95. You’ll find us just six doors down from the highway exit on the right-hand side. Our Danca-Edgeworth office is located just outside of Malden Center at 182 Highland Avenue. [PATCH 2/3] drm/scheduler: Don't call wait_event_killable for signaled process. Previous message (by thread): [PATCH 2/3] drm/scheduler: Don't call wait_event_killable for signaled process. Next message (by thread): [PATCH 2/3] drm/scheduler: Don't call wait_event_killable for signaled process. > Adding the dri-devel list, since this is driver independent code. > Multiple typos here, "[...] already blocked in signal processing and [...]"? I don't understand where are the typos. >> on a new signal. >> + * wait_event_killable can't receive signals in that state. As parents, you want what’s best for your son or daughter. That’s a given, right? But as kids get older, it can be harder to know what your kids are doing that could hurt them. And one of the latest concerns a lot of parents of teens and pre-teens have is about the dramatic increase in vaping among young people. An addiction specialist at the Betty Ford Center here in Southern California, calls it vaping among young people “the fastest growing substance abuse issue among that population." In an investigation by our reporting partners , 10News found that according to the California Department of Education, the state average of 11 th graders, kids in the 6 th grade, using e-cigarettes these days is 10 percent. You might say it’s only 10 percent or you might say 10 percent is a lot, and statewide it means tens of thousands. And the 10News report found that in some San Diego County school districts, itt's higher. The Department of Education shows that Coronado, Carlsbad and San Dieguito school districts were much higher than the state average, with the amount of these young teens or pre-teens using e-cigarettes, is as high as 23 percent. And remember that it is illegal for anyone under the age of 21 to buy e-cigarettes in California, along with any other tobacco product. So how are kids getting the vaping devices they are using? That’s obviously a good question and parents who don't know the answer, need to look harder to find it. Read more about what YOU can do as a parent from some experts . There are a lot of natural treatments for diabetes. Instead of arbitrarily listing listing them all off, I want to give you the concepts and mechanisms behind how these natural diabetes treatments work. To do this we will also expand a little bit on the concepts from the last post; Can You Get Cured Diabetes? We will go into more detail so you can how these treatments fit into the broader concept of improving cellular function. With this you have more context for how these treatments are working. Specifically, we will look at the role of toxins, the role of digestion, the role of inflammation, diet, herbs, and home blood glucose monitoring. It is also important to discuss how this works together and how you can use these to improve your blood sugar control. Now, if you read the last blog article, you should understand at least in principal how you can "cure your diabetes." In that post, we discussed this idea of improving cellular function. The idea of improving cellular function to improving blood sugar control and diabetes is a newer concept but also has significant evidence to support it. Toxins are all around us. They are

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you gain your imagery, but there does seem to be a story behind the imagery and how's that brought about? MS. KOLODZIEJSKI: Well, one way in which I do it is I try to pinpoint it. I think that when I'm choosing images I have a general idea if some of the images are dealing with sexuality or with the idea of women or, in the last body of work, trying to create a kind of floating world that's very sensual. Then I think what I do because of my knowledge and tying into even American culture is I think I can respond to things that might be archetypical images. I know that if I'm choosing this that I can direct the viewer into my interpretation of the story. So I can choose an image and develop an image that will put a spin in the direction that I want it to go. In the last body — I could go, all right, well, I want the women to be in the water, but then how can I make it more ethereal, how can I make it more about an atmospheric quality, and maybe even a state of mind? And then I could tie into that ocean and sea life, and the peacefulness that comes with that, and then I could incorporate the use of the octopus or seaweed or things that are floating. And then through background colors and undulations, I can direct a certain kind of feeling. I think they're images that I know people will respond to, but I also try not to use a clichéd image. So there's a balance between using something that's stupidly obvious and directing somebody into a thought that they wouldn't necessarily think of immediately on their own, but suddenly they're there. So I can do that with images and ideas of juxtaposing two images that are very different, but then suddenly you're making up a story about what these two might have to do with each other. And so I think it's manipulation in the same way that an author might manipulate, or even a movie, might manipulate your feelings. And, well, if I do this, and this, and this, at the end they're all going to be crying. And sometimes it's very obvious they have been manipulated and other times it's not, but I think that's, in a sense, what I'm doing with imagery. MR. LLOYD: And do you think that an author — since we're talking about this narrative structure — that an author would shy away from the use of a clichéd image in literature, as well? MS. KOLODZIEJSKI: I think they will shy away from a clichéd image if they have information and are good at it; they're going to know that's not the direction they want to put somebody. Or if they're going to use the cliché, they're going to use it successfully in a way that puts a twist on it so that they're not just coming up with the obvious plot that you could break down, "Oh, this is how plots go," and it's a happy ending or he dies in the end or he's a hero. I mean, how do you manipulate the ideas of narrative so that they're interesting and not something that your viewers have seen before? You know, you want to give them new information but based on things that they would respond to and maybe in an instinctual or archetypical way. MR. LLOYD: You also may choose your imagery in order to, as you said, not overstate the obvious kind of thing. In the last show the narrative had to do with gender, sexuality, the form of the urinal, water imagery, all of these different things. You have a wide range of images to choose from in your search, yet you didn't choose ones that were blatantly sexual or on the side of the obvious. Right? MR. LLOYD: And that's a very refined process that you're dealing with there, so how do you come about that process? Is it through a long period of thought? MS. KOLODZIEJSKI: Part of it's a long period of thought, and then it might be that I will get a series of images, including some of the ones that are obvious that I then, through the process of eliminating, I'll tell myself: No, that one's not going to work for these reasons or that one's too — we were using this word when I was describing things "twee" which is too sweet, or I actually started painting one and in the midst of it, it took on a fairy kind of quality, which definitely was not a direction I wanted to go. So I just tossed the piece, because it was, "Oh, wrong way." It was close enough that it could have gone the right way, but somehow, in the painting process, it started to go wrong and then I just wasn't going to continue. But I think there's

you gain your imagery, but there does seem to be a story behind the imagery and how's that brought about? MS. KOLODZIEJSKI: Well, one way in which I do it is I try to pinpoint it. I think that when I'm choosing images I have a general idea if some of the images are dealing with sexuality or with the idea of women or, in the last body of work, trying to create a kind of floating world that's very sensual. Then I think what I do because of my knowledge and tying into even American culture is I think I can respond to things that might be archetypical images. I know that if I'm choosing this that I can direct the viewer into my interpretation of the story. So I can choose an image and develop an image that will put a spin in the direction that I want it to go. In the last body — I could go, all right, well, I want the women to be in the water, but then how can I make it more ethereal, how can I make it more about an atmospheric quality, and maybe even a state of mind? And then I could tie into that ocean and sea life, and the peacefulness that comes with that, and then I could incorporate the use of the octopus or seaweed or things that are floating. And then through background colors and undulations, I can direct a certain kind of feeling. I think they're images that I know people will respond to, but I also try not to use a clichéd image. So there's a balance between using something that's stupidly obvious and directing somebody into a thought that they wouldn't necessarily think of immediately on their own, but suddenly they're there. So I can do that with images and ideas of juxtaposing two images that are very different, but then suddenly you're making up a story about what these two might have to do with each other. And so I think it's manipulation in the same way that an author might manipulate, or even a movie, might manipulate your feelings. And, well, if I do this, and this, and this, at the end they're all going to be crying. And sometimes it's very obvious they have been manipulated and other times it's not, but I think that's, in a sense, what I'm doing with imagery. MR. LLOYD: And do you think that an author — since we're talking about this narrative structure — that an author would shy away from the use of a clichéd image in literature, as well? MS. KOLODZIEJSKI: I think they will shy away from a clichéd image if they have information and are good at it; they're going to know that's not the direction they want to put somebody. Or if they're going to use the cliché, they're going to use it successfully in a way that puts a twist on it so that they're not just coming up with the obvious plot that you could break down, "Oh, this is how plots go," and it's a happy ending or he dies in the end or he's a hero. I mean, how do you manipulate the ideas of narrative so that they're interesting and not something that your viewers have seen before? You know, you want to give them new information but based on things that they would respond to and maybe in an instinctual or archetypical way. MR. LLOYD: You also may choose your imagery in order to, as you said, not overstate the obvious kind of thing. In the last show the narrative had to do with gender, sexuality, the form of the urinal, water imagery, all of these different things. You have a wide range of images to choose from in your search, yet you didn't choose ones that were blatantly sexual or on the side of the obvious. Right? MR. LLOYD: And that's a very refined process that you're dealing with there, so how do you come about that process? Is it through a long period of thought? MS. KOLODZIEJSKI: Part of it's a long period of thought, and then it might be that I will get a series of images, including some of the ones that are obvious that I then, through the process of eliminating, I'll tell myself: No, that one's not going to work for these reasons or that one's too — we were using this word when I was describing things "twee" which is too sweet, or I actually started painting one and in the midst of it, it took on a fairy kind of quality, which definitely was not a direction I wanted to go. So I just tossed the piece, because it was, "Oh, wrong way." It was close enough that it could have gone the right way, but somehow, in the painting process, it started to go wrong and then I just wasn't going to continue. But I think there's

a process of elimination that I go through and a dialogue with myself, of how this will work, and what is that saying, and that's how I come about it. MR. LLOYD: And within the parameters of the curatorial ideas here, you have addressed gender, identity, and sexuality — we've discussed that — some earlier in the interview. Have you ever addressed any other social issues — ethnicity or race, or anything like that — in your work? MS. KOLODZIEJSKI: Not specifically. MR. LLOYD: Are there artists within the world of ceramics that do that in a way that you admire? MS. KOLODZIEJSKI: I would say that I have a hard time with things that deal with the ideas of race and even ethnicity, because I think that it's hard to do that well. And it pinpoints so much on the idea of a specific — be it an American Indian or a black artist. It's hard to do it well. If somebody can pull it off — I can think of a few people — maybe not ceramic artists that have. The New York painter — I don't know the name, but he painted the kind of a black rap stars in kind of a northern renaissance technique. Do you know how I mean? MR. LLOYD: I can't think of his name right now. MS. KOLODZIEJSKI: But you've seen — MR. LLOYD: But I have seen them. MS. KOLODZIEJSKI: Yes, and I think that has dealt with race in an interesting way because it ties so much into art history, and the craft of the painting, it kind of imparts a meaning to it. But I don't think it applies for me. I can think of some people that have done it well, but a lot of times it just falls flat on its face. So I think that when you're dealing with that, again, you have to avoid all the kind of clichéd images that are going to get you into trouble. MR. LLOYD: One of the questions that we were supposed to address in this interview is: Do you feel that your work is in any way distinctly American? Well, do you? Or do you think of it in some other terms as your work or as something that belongs to something else? MS. KOLODZIEJSKI: I think of it as — well, I would have to say I'm an American, so there's going to have to be some outside factors that I can't even pinpoint historically or just socially. I don't think I'm an expert enough in the idea of what that is, but I think that, because I am American, there is probably an American sensibility to it. Do I think of my artwork as American? No, but I do think of it as my work. I think if you took a broader view away, as an art historian, and looked at it, you probably could pinpoint some things that were American traits within it. But I don't feel like I'm expert enough in the field to say that I would see it as distinctly American, or even, in some cases, Californian. Or I know that you can even get in regional areas. So I would say I'm making my work, I'm exploring ideas that I think are important. There's probably something that could be attributed to it as being American, but I can't pinpoint it myself. MR. LLOYD: So the qualities of your work that seem to be the strongest are its relationship to your investigation of painting, its narrative and imagery, and your relationship to the community of artists that you grew up in and developed in, which is Los Angeles. But you don't think of yourself as a Los Angeles artist. Or do you? MS. KOLODZIEJSKI: I mean, I think of myself as an artist that lives in Los Angeles and makes work, but I wouldn't say that I'm a Los Angeles artist. MR. LLOYD: Well, I think of this as a question: it's not distinctly American, and it's not distinctively of a region. MS. KOLODZIEJSKI: Yes, and I'm not distinctively a craft artist. MR. LLOYD: And you're not distinctively a craft artist — you are an artist. MR. LLOYD: All right and that's where we'll stop. MS. KOLODZIEJSKI: Thank you, Frank. [END OF INTERVIEW.] Quotes and excerpts must be cited as follows: Oral history interview with Cindy Kolodziejski, 2007 May 5-16. Archives of American Art, Smithsonian Institution. Lloyd, Frank, 1951- Albuquerque, Lita Bacerra

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currently undergoing a return to play protocol and skated under the supervision of #Canucks medical staff today. — Vancouver Canucks (@Canucks) September 14, 2018 Fast-forward to today. Though there are still those who might cast a suspicious eye at the years remaining on Roussel’s contract, few continue to dispute his overall value to the team—or that his $3 million salary represents a bargain and in less than a calendar year, Roussel has proven himself to the Vancouver fanbase. The Tangibles A glance at other players signed to similar deals—including Andre Burakovsky, Leo Komarov, and Vancouver’s own Jay Beagle—highlights just how wrong the initial takes on Roussel’s contract were. Roussel made his Canuck debut on October 13 against the Florida Panthers—and he scored the tying goal on a penalty shot in what ended up being a 3-2 victory. This triumphant start was not a sign of things to come, however—at least not immediately. Roussel managed to put up just two more points in the month of October—including a section of eight pointless games in a row. Despite that rather cold start, Roussel’s quarterly stats still look rather consistent—he hovered at or around a 0.5 point-per-game pace during each segment of the season. From Dobber’s Frozen Tools Streakiness is to be expected from a middle-six winger—and Roussel did indeed suffer two additional stints of zero points in five games throughout the season—and it’s important to note that, despite ample time in the Canucks’ top-six, Roussel was always intended to fill a checking line role. Roussel’s point-per-game pace of 0.48 ties him for 173rd overall among NHL forwards who played more than 25 games—at the low-end of third-line production. Of course, there are a couple of important pieces of context that make Roussel’s numbers look a little more impressive. Roussel played on one of the lowest-scoring teams in the league. As far as the Canucks’ roster goes, Roussel was a top-six talent—he ranked fifth in both assists and total scoring, and sixth in terms of points-per-game. Aside from Brock Boeser and the oft-injured Sven Baertschi, Roussel was the team’s most consistent offensive threat on the wing. Roussel’s rate of production is even more remarkable when put into the context of his ice-time—which was, in a word, limited throughout the season. Overall, Roussel ranked 18th on the team in average ice-time at just 13:46 per game. He also played the majority of this time at even-strength, picking up an average of 0:52 of shorthanded time per game and a scant three seconds of powerplay time. A more focused look at Roussel’s offence is possible using the context of his deployment—he rates just outside the top 120 league forwards in terms of his points-per-60. Though leaguewide stats for even-strength points-per-60 aren’t available, Roussel had a personal rate of 2.24 points for every 60 minutes of even-strength time—which should place him easily within the bounds of top-six production. From Corsica.Hockey It should also be noted that—despite what seemed like ample time beside Bo Horvat—Roussel’s Quality of Teammates, based on Corsi For %, was the worst on the team. His Quality of Competition was right around the middle of the road. In other words, Roussel didn’t rely on the contributions of his linemates to pad his stats—but was instead an individual driver of offence. This can be reflected in the fact that Roussel’s rate of Primary Points per 60 minutes ranked second on the team—sandwiched between Elias Pettersson and Brock Boeser. Roussel’s possession metrics also back up the assertion of his individual effectiveness. From Hockey-Reference.com Both his Corsi and Fenwick numbers are positive—especially when taken in the relative context. His PDO—which measures a team’s combined shooting and save percentage while a player on the ice—clocked in at 100.7%, good enough for eighth on the team. When Roussel was on the ice, the Canucks directed pucks at the net at a much higher rate than they did without him. From HockeyViz.com CanucksArmy’s own Harman Dayal spent a good chunk of the year preaching the virtues of Roussel’s effectiveness on Twitter, and especially when it

currently undergoing a return to play protocol and skated under the supervision of #Canucks medical staff today. — Vancouver Canucks (@Canucks) September 14, 2018 Fast-forward to today. Though there are still those who might cast a suspicious eye at the years remaining on Roussel’s contract, few continue to dispute his overall value to the team—or that his $3 million salary represents a bargain and in less than a calendar year, Roussel has proven himself to the Vancouver fanbase. The Tangibles A glance at other players signed to similar deals—including Andre Burakovsky, Leo Komarov, and Vancouver’s own Jay Beagle—highlights just how wrong the initial takes on Roussel’s contract were. Roussel made his Canuck debut on October 13 against the Florida Panthers—and he scored the tying goal on a penalty shot in what ended up being a 3-2 victory. This triumphant start was not a sign of things to come, however—at least not immediately. Roussel managed to put up just two more points in the month of October—including a section of eight pointless games in a row. Despite that rather cold start, Roussel’s quarterly stats still look rather consistent—he hovered at or around a 0.5 point-per-game pace during each segment of the season. From Dobber’s Frozen Tools Streakiness is to be expected from a middle-six winger—and Roussel did indeed suffer two additional stints of zero points in five games throughout the season—and it’s important to note that, despite ample time in the Canucks’ top-six, Roussel was always intended to fill a checking line role. Roussel’s point-per-game pace of 0.48 ties him for 173rd overall among NHL forwards who played more than 25 games—at the low-end of third-line production. Of course, there are a couple of important pieces of context that make Roussel’s numbers look a little more impressive. Roussel played on one of the lowest-scoring teams in the league. As far as the Canucks’ roster goes, Roussel was a top-six talent—he ranked fifth in both assists and total scoring, and sixth in terms of points-per-game. Aside from Brock Boeser and the oft-injured Sven Baertschi, Roussel was the team’s most consistent offensive threat on the wing. Roussel’s rate of production is even more remarkable when put into the context of his ice-time—which was, in a word, limited throughout the season. Overall, Roussel ranked 18th on the team in average ice-time at just 13:46 per game. He also played the majority of this time at even-strength, picking up an average of 0:52 of shorthanded time per game and a scant three seconds of powerplay time. A more focused look at Roussel’s offence is possible using the context of his deployment—he rates just outside the top 120 league forwards in terms of his points-per-60. Though leaguewide stats for even-strength points-per-60 aren’t available, Roussel had a personal rate of 2.24 points for every 60 minutes of even-strength time—which should place him easily within the bounds of top-six production. From Corsica.Hockey It should also be noted that—despite what seemed like ample time beside Bo Horvat—Roussel’s Quality of Teammates, based on Corsi For %, was the worst on the team. His Quality of Competition was right around the middle of the road. In other words, Roussel didn’t rely on the contributions of his linemates to pad his stats—but was instead an individual driver of offence. This can be reflected in the fact that Roussel’s rate of Primary Points per 60 minutes ranked second on the team—sandwiched between Elias Pettersson and Brock Boeser. Roussel’s possession metrics also back up the assertion of his individual effectiveness. From Hockey-Reference.com Both his Corsi and Fenwick numbers are positive—especially when taken in the relative context. His PDO—which measures a team’s combined shooting and save percentage while a player on the ice—clocked in at 100.7%, good enough for eighth on the team. When Roussel was on the ice, the Canucks directed pucks at the net at a much higher rate than they did without him. From HockeyViz.com CanucksArmy’s own Harman Dayal spent a good chunk of the year preaching the virtues of Roussel’s effectiveness on Twitter, and especially when it

came to his impact on Bo Horvat. Roussel has been Horvat's best winger period this season. They've been dominant as a duo and Roussel complements Bo's transition game with his underrated playmaking. I can't wrap my head around why you'd put Schaller in that spot instead pic.twitter.com/3gtkJQsFQI — Harman Dayal (@harmandayal2) February 4, 2019 Breaking down why Antoine Roussel is one of the leagues most underrated playmakers. Yes, you read that right. Playmaker. https://t.co/SRiJzoJVDr… pic.twitter.com/R1oiowhNuL — Harman Dayal (@harmandayal2) March 8, 2019 Unfortunately, that evidence wasn’t enough to convince coach Travis Green to consistently place Roussel on Horvat’s wing. Roussel’s importance to the team can be measured by his Point Share—as determined by Hockey-Reference.com—which came in at 2.9, good for eighth overall on the team. This means that Roussel was the eighth-most important player when it came to the Canucks’ success in the standings—and the relatively-even split between his Offensive and Defensive Point Shares suggests that his contributions were of the all-around variety. The Intangibles All of this talk of statistics certainly paints Antoine Roussel in a positive light—and that’s saying something, considering he’s also a player that brings a bounty of intangible qualities to the table. A November article by Ben Kuzma in The Province was titled “Recuperating Roussel dragging young Canucks into the fight every night”—and it’s hard to argue with that claim. Roussel earned 118 penalty minutes in the 2018/19 season—good enough for third in the league. That rated Roussel alongside notorious bad boys like Evander Kane, Tom Wilson, and Brendan Lemieux—the player who would ultimately end Roussel’s season early after an unfortunate collision. While Roussel’s two injuries certainly represent the downside of his rough-and-tumble intangibles, there’s plenty of reason to celebrate his non-stat-based contributions. Roussel only got in two official fights this year—by far the lowest amount of his career—but both of them were rather convincing beatdowns. The number of times that Roussel got under his opponents’ skin, however, or the number of scrums he instigated, is incalculable. At one point, he picked up a fine for biting San Jose’s Marc-Edouard Vlasic in a late-game brouhaha—but, in general, Roussel managed to infuriate and annoy without crossing any disciplinary lines. Roussel doesn’t throw an inordinate number of hits and he still has a bad habit of taking ill-timed penalties—but the typical tools of his trade are his mouth and the palm of his glove, and he’s very effective at deploying them. It’s hard to describe this season as anything but a success for Antoine Roussel—and for Jim Benning, the GM who signed him. Moving forward, the Canucks probably don’t want Roussel to remain a long-term solution in the top-six—but it’s always nice to have a checking forward who can produce like a scorer when called upon. Roussel’s chemistry with Horvat was noted and appreciated by fans—even if that didn’t always result in Travis Green putting the duo on the same line. One can easily imagine Roussel continuing to lineup alongside Horvat—and perhaps Tanner Pearson—whenever the team can cobble together enough personnel to run three scoring lines. It certainly sounds like the making of a dynamic two-way unit. In any case, one thing became clear in 2018/19—Roussel is well-worth his $3 million per year salary. And—at just 29 years of age—there’s a very good chance that Roussel will continue to provide ample bang for his buck in all three seasons remaining on his contract. The jury may still be out when it comes to Jay Beagle and Tim Schaller—but Benning definitely hit at least a solid double in the Free Agent Frenzy of 2018. Report: Canucks sign Antoine Roussel to 4-year deal worth $12-million Reminder: The Canucks Could Have Had Antoine Roussel For The Entirety Of His Career—For Free! The Weirdest Stats Of The Season Thus Far, And How They Came To Be Goon

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an embarrassment just like that Spike Lee movie about the 92nd Division. Listen to the Stewart interview for Lucas’s take on what he was after. I saw Lucas on the Daily show the other night. He acted as if he uncovered the Tuskegee story when in fact it was already the subject of a good movie starring Lawrence Fishburne and Malcolm Jamal Warner called The Tuskegee Airmen made in 1995 for cable. It was good movie that told the story and passed on the ego stroking bullcrap that judging from the trailer this version seems to have, One thing that stands out from the trailers is that CGI still can’t do believable air planes. they just can’t capture realistic air movement of them. The trailers look horribly fake . As for the cheap shot at Glory the 54th did have white officers, a practice continued by the Army into WWII, the 92nd Division which fought in Italy was Black troops officered by Whites. the Military until the Korean War was segregated and the upper command a bit racist. It’s an historical fact. There are plenty of P-51s still flying but I think most BF-109s that were used in the Battle of Britain movie have been retired from flying so I understand trying CGI. but that as I already wrote just looks horrible. Of course you can find racism among white officers, but Lucas made a specific reference to “cannon fodder” and I rarely came across this in the correspondence of white officers from the Civil War. In fact, more often than not, these men had positive things to say about these men, which is not surprising since it reflected on their own reputation as officers. the “cannon foddr” line was a throw away line by Lucas and calling Infantry “fodder for the guns” has been used for troops since the cannon was developed. It imo ranks low on the outrage scale that Lucas used it. His point was trying to sell his movie , what worries me more is that it will be more towards the propaganda side of things as that is the trend Hollywood has taken as of late The Tuskegee story is a bit unique in that it was Black officered, The USAAF made all pilots officers and they did the same with the Black pilots and the group even had a Black CO which was unheard of at the time. In his essay “The ‘Glory’ Story,” James McPherson suggested that the filmmakers could have gone with a more accurate storyline depicting the experiences of Frederick Douglass’s son Sgt. Maj. Lewis Douglass, and also the men of the 54th whose families were affected by the New York Draft Riots. They were after all, almost entirely free and not freed men, which is something the movie very deliberately changes. The movie changes a number of things, which is to be expected since Glory is not a work of history. That alternative narrative would not have sold tickets because it sat outside of popular memory of the war. It told a triumphant story of black and white Americans working out their differences as part of a war to end slavery. There are any number of things that the movie could have done to tell a more accurate and complex story. Is the Real Glory Part of Our History of the Civil Rights Movement? The 54th Massachusetts in Myth, Memory, and History Glory in the Classroom Totally agree with you there. I just think it’s interesting to speculate on what a more accurate film, such as the one McPherson suggests, would have looked like. Barbara A. Gannon Jan 12, 2012 @ 5:16 He obviously has not seen the movie. White officers are in charge of the unit, but the soldiers are not “cannon fodder.” Perhaps we see class-ism, not racism here. Service is worthy only if you can be officers and pilots. Good point re: class, but I don’t see any reason to bring up the issue of race. Why would Lucas bother to make such a film? I don’t think Glory could have been made any other way but through the eyes of Robert Shaw. If it can, I think it would be sub-par. I am curious to see the representation Lucas is making in this movie. Though I am not overly optimistic as Hollywood usually blunders history for the sake of drama. Emmanuel Dabney Jan 12, 2012 @ 4:54 I won’t get too worked but I do think it is a off-hand remark about the 54th and generally about the experiences of USCTs in the war. He could have made a better connection that what USCTs did during the Civil War gave the Tuskegee Airmen a place. I’d argue that while the Second World War is largely remembered as a white man’s fight; the Tus

an embarrassment just like that Spike Lee movie about the 92nd Division. Listen to the Stewart interview for Lucas’s take on what he was after. I saw Lucas on the Daily show the other night. He acted as if he uncovered the Tuskegee story when in fact it was already the subject of a good movie starring Lawrence Fishburne and Malcolm Jamal Warner called The Tuskegee Airmen made in 1995 for cable. It was good movie that told the story and passed on the ego stroking bullcrap that judging from the trailer this version seems to have, One thing that stands out from the trailers is that CGI still can’t do believable air planes. they just can’t capture realistic air movement of them. The trailers look horribly fake . As for the cheap shot at Glory the 54th did have white officers, a practice continued by the Army into WWII, the 92nd Division which fought in Italy was Black troops officered by Whites. the Military until the Korean War was segregated and the upper command a bit racist. It’s an historical fact. There are plenty of P-51s still flying but I think most BF-109s that were used in the Battle of Britain movie have been retired from flying so I understand trying CGI. but that as I already wrote just looks horrible. Of course you can find racism among white officers, but Lucas made a specific reference to “cannon fodder” and I rarely came across this in the correspondence of white officers from the Civil War. In fact, more often than not, these men had positive things to say about these men, which is not surprising since it reflected on their own reputation as officers. the “cannon foddr” line was a throw away line by Lucas and calling Infantry “fodder for the guns” has been used for troops since the cannon was developed. It imo ranks low on the outrage scale that Lucas used it. His point was trying to sell his movie , what worries me more is that it will be more towards the propaganda side of things as that is the trend Hollywood has taken as of late The Tuskegee story is a bit unique in that it was Black officered, The USAAF made all pilots officers and they did the same with the Black pilots and the group even had a Black CO which was unheard of at the time. In his essay “The ‘Glory’ Story,” James McPherson suggested that the filmmakers could have gone with a more accurate storyline depicting the experiences of Frederick Douglass’s son Sgt. Maj. Lewis Douglass, and also the men of the 54th whose families were affected by the New York Draft Riots. They were after all, almost entirely free and not freed men, which is something the movie very deliberately changes. The movie changes a number of things, which is to be expected since Glory is not a work of history. That alternative narrative would not have sold tickets because it sat outside of popular memory of the war. It told a triumphant story of black and white Americans working out their differences as part of a war to end slavery. There are any number of things that the movie could have done to tell a more accurate and complex story. Is the Real Glory Part of Our History of the Civil Rights Movement? The 54th Massachusetts in Myth, Memory, and History Glory in the Classroom Totally agree with you there. I just think it’s interesting to speculate on what a more accurate film, such as the one McPherson suggests, would have looked like. Barbara A. Gannon Jan 12, 2012 @ 5:16 He obviously has not seen the movie. White officers are in charge of the unit, but the soldiers are not “cannon fodder.” Perhaps we see class-ism, not racism here. Service is worthy only if you can be officers and pilots. Good point re: class, but I don’t see any reason to bring up the issue of race. Why would Lucas bother to make such a film? I don’t think Glory could have been made any other way but through the eyes of Robert Shaw. If it can, I think it would be sub-par. I am curious to see the representation Lucas is making in this movie. Though I am not overly optimistic as Hollywood usually blunders history for the sake of drama. Emmanuel Dabney Jan 12, 2012 @ 4:54 I won’t get too worked but I do think it is a off-hand remark about the 54th and generally about the experiences of USCTs in the war. He could have made a better connection that what USCTs did during the Civil War gave the Tuskegee Airmen a place. I’d argue that while the Second World War is largely remembered as a white man’s fight; the Tus

kegee airmen are almost the ONLY discussion of Black men in World War 2. Sadly it wasn’t until after my great-aunt’s husband died that I learned he had been in the Second World War’s Pacific Theater doing laundry (which does not excite the majority of folks but I think it is cool). Flying an airplane is something just as courageous as trying, as William Carney did, to get up the wall of Fort Wagner. However, one came before the other. I guess it’s up to historians to try to push that the horse is in front of the cart (or in this case the “cannon fodder” before the airplane). He could have made a better connection that what USCTs did during the Civil War gave the Tuskegee Airmen a place. I don’t think anyone, including Lucas, would disagree with you. That’s very interesting. I know very little about the African American military experience in the twentieth century, but my understanding was that white officers in both world wars often justified their treatment of black servicemen by arguing that they wouldn’t perform well in combat. How well-known was the history of the USCTs in the 1940s? ( I’m not being sarcastic; was their story remembered?) You’d think the career officers in the high command would at least have heard stories of the good service performed by the Buffalo Soldiers in the late 1800s-early 1900s, but then they were a relatively small, all-volunteer group. “You’d think the career officers in the high command would at least have heard stories of the good service performed by the Buffalo Soldiers in the late 1800s-early 1900s, but then they were a relatively small, all-volunteer group.” Career officers did. John Joseph Pershing fought with the 10th Cavalry (Buffalo Soldiers) on Kettle and San Juan Hills in the Spanish American War. This is why he received the name, “Black Jack.” Pershing later went on to be General of the Armies of the United States. This is the highest rank ever bestowed in the United States until Congress declared George Washington the highest ranking officer in the 1970’s. My point being, they had a knowledge of the performance of Buffalo Soldiers. Why they refused to allow them fighting roles I think goes beyond the ability to fight. You might want to hunt up a book called ‘Hit Hard’ about the 761st Tank Battalion. It went through the same experience as the 54th, last in line for resources and it was a battle just to get into the fight. It was used mostly as a foil for training other Tank Battalions and by the time it was sent to France it was among the best trained Tank units the Army had, While Tank Battalions were technically independent most were permanently assigned to an Infantry Division and such was the Case of the 761st, It was assigned to the 26th Yankee Division a division based on the Mass National Guard, which was a political decision too. The book was written by one of its White officers and he is quite truthful about himself and the men, it is well worth reading Kareem Abdul Jabbar also wrote a biik about the unit because his father was in it. The famed Red Ball Express, the supply trucks that moved the material from Normandy to the front were driven by blacks, Blacks were mainly used for supply and rear area duty in WWII, a book on this if you can find it is the ‘Port Chicago Mutiny’ about an incident where Black Sailors objected to the unsafe conditions they labored under loading ships after there was a deadly explosion. which killed 300 and the ensuing mutiny resulted in the court martial of 50 Sailors who were given long sentences. it was an ugly affair and not to the credit of the USN Bob Pollock Jan 12, 2012 @ 8:12 Just a note for anyone interested. There is an NPS site dedicated to the Port Chicago incident. http://www.nps.gov/poch/index.htm Gary Waldron Jan 12, 2012 @ 11:50 And don’t forget the 93rd Infantry Division. Three campaign streamers in the Pacific. The division’s performance influenced the way the Army was desegregated in the Far East when that order came down in the post war. Peter Burchard, in “One Gallant Rush,”–which is one of the books “Glory” is based upon–specifically argues that the 54th were not seen by white officers as cannon fodder. In fact, one of the central themes of both the movie and the real history of the USCTs is their struggle to be allowed to fight. But we all know that the vast majority of Americans get their “history�

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.” —Teller (of Penn and Teller), The New York Times Book Review “Steinmeyer’s combination of enthusiasm and erudition is a joy.” > Artists > Picasso, Pablo Monumental artist from Spain (1881-1973) The painting is stronger than I am; "it forces me to do what it wants." (Pablo Picasso). At the age of 12, he could already paint like Raphael, 20 large university professors could not convey more great insights when it comes to art. As Pablo Picasso in the biblical age of 91 died, he left the world a complete works of over 40.000 works - and the certainty of the most important artist of the 20th century. Pablo Ruiz Picasso (October 25th, 1881 Malaga - April 8, 1973 Mougins) was his whole life to the search for new artistic means of expression. He always combined endless ingenuity with courage for radical innovations. With unmatched versatility, his work presents the modern and contemporary art in new design: lively, diverse and stimulating. Picasso's art always remains physically: women, suggested harlequins, Flamenco guitars, doves and black bulls: what his eye also covered it is and remains pervaded by Picasso's irresistible charisma. In addition, his work always delighted, as it is to squeeze in any style, is versatile and surprising. Down with style! Does God have perhaps a style? He has created the guitar, the Harlequin, the dog, the cat, the owl, the dove. Just like me. Elephant and whale that's not bad, but elephant and squirrels? A wild mix! He created what did not exist. Me too." Picasso had his first solo exhibition in Barcelona at the age of 19, then, he moved to the art metropolis of the turn of the century, to Paris. His star quickly rose to the sky and he became a celebrated artist. It starts with the Blue and Rose Periods. Then, he developed a new revolutionary art, Cubism with Georges Braque from the art of indigenous peoples. In the 20s, his motives were monumental, and classified. Then he made the contact with the surrealists which was noticeable in his works. His artistic peak was reached with the mural Guernica, which was created under the impressions of the Spanish Civil War. After the Second World War, he moved back to France and turned especially to the lithography and the ceramic. His imagery are always mirrors of his own life. His partners and his children, as well as the Bull Fighting, which he has lifelong admired, represent the main topics in his monumental masterpieces. In numerous variations Picasso portrayed himself as well as historical painters like Degas, Manet and Toulouse-Lautrec to the easel. Each material and each technique was stimulated by Pablo Ruiz Picasso to create new artwork: wax-chalks, oil on canvas, silk, sculptures, ceramic - the versatility of the great Spaniard was overwhelming. Picasso's fellow artist Max Ernst once said: "... Nevertheless, against him nobody can arrive, nevertheless, that is the genius.” This judgment of the great surrealists underlines the unique rank which Picasso occupies in the 20th century art history. The auction of the estate of Picasso's long-time companion Dora Maar was the big Paris art auction event of the century. The collection, which is unequalled, achieved record prices. The demand for Picasso's drawings, which is by far the part of the estimates. Dora Maar once said about Picasso: "If the women change in his life, everything else will also change, the house, the favourite poet, the friendship, the style.” Throughout his life he sought with a variety of artistic means for new ways of expression. Today reach high-profile exhibitions all over the world record number of visitors, which testifies his continuing popularity. Found: 56 Articles / Page 15 30 60 View All (56) Painting "Untitled", Framed "Man with a Cigarette" (1964) in silver-gilt frame. Painting "Guernica" (1937), Framed Cushion "Dora Maar" "In Studio" (1954) in baroque frame Painting "Without Title" (1953), Framed Painting "Drawing Children", Framed Painting "The Lovers" (1923) Bild "Portrait Marie-Thérèse Walter" (1937), gerahmt Painting "Dora Maar" (1937) Painting "Buste de Femme (Jacqueline)" (1963), Framed Painting "Le Rêve - Der Traum" (1932), Framed "Paul in a Clown Suit"

.” —Teller (of Penn and Teller), The New York Times Book Review “Steinmeyer’s combination of enthusiasm and erudition is a joy.” > Artists > Picasso, Pablo Monumental artist from Spain (1881-1973) The painting is stronger than I am; "it forces me to do what it wants." (Pablo Picasso). At the age of 12, he could already paint like Raphael, 20 large university professors could not convey more great insights when it comes to art. As Pablo Picasso in the biblical age of 91 died, he left the world a complete works of over 40.000 works - and the certainty of the most important artist of the 20th century. Pablo Ruiz Picasso (October 25th, 1881 Malaga - April 8, 1973 Mougins) was his whole life to the search for new artistic means of expression. He always combined endless ingenuity with courage for radical innovations. With unmatched versatility, his work presents the modern and contemporary art in new design: lively, diverse and stimulating. Picasso's art always remains physically: women, suggested harlequins, Flamenco guitars, doves and black bulls: what his eye also covered it is and remains pervaded by Picasso's irresistible charisma. In addition, his work always delighted, as it is to squeeze in any style, is versatile and surprising. Down with style! Does God have perhaps a style? He has created the guitar, the Harlequin, the dog, the cat, the owl, the dove. Just like me. Elephant and whale that's not bad, but elephant and squirrels? A wild mix! He created what did not exist. Me too." Picasso had his first solo exhibition in Barcelona at the age of 19, then, he moved to the art metropolis of the turn of the century, to Paris. His star quickly rose to the sky and he became a celebrated artist. It starts with the Blue and Rose Periods. Then, he developed a new revolutionary art, Cubism with Georges Braque from the art of indigenous peoples. In the 20s, his motives were monumental, and classified. Then he made the contact with the surrealists which was noticeable in his works. His artistic peak was reached with the mural Guernica, which was created under the impressions of the Spanish Civil War. After the Second World War, he moved back to France and turned especially to the lithography and the ceramic. His imagery are always mirrors of his own life. His partners and his children, as well as the Bull Fighting, which he has lifelong admired, represent the main topics in his monumental masterpieces. In numerous variations Picasso portrayed himself as well as historical painters like Degas, Manet and Toulouse-Lautrec to the easel. Each material and each technique was stimulated by Pablo Ruiz Picasso to create new artwork: wax-chalks, oil on canvas, silk, sculptures, ceramic - the versatility of the great Spaniard was overwhelming. Picasso's fellow artist Max Ernst once said: "... Nevertheless, against him nobody can arrive, nevertheless, that is the genius.” This judgment of the great surrealists underlines the unique rank which Picasso occupies in the 20th century art history. The auction of the estate of Picasso's long-time companion Dora Maar was the big Paris art auction event of the century. The collection, which is unequalled, achieved record prices. The demand for Picasso's drawings, which is by far the part of the estimates. Dora Maar once said about Picasso: "If the women change in his life, everything else will also change, the house, the favourite poet, the friendship, the style.” Throughout his life he sought with a variety of artistic means for new ways of expression. Today reach high-profile exhibitions all over the world record number of visitors, which testifies his continuing popularity. Found: 56 Articles / Page 15 30 60 View All (56) Painting "Untitled", Framed "Man with a Cigarette" (1964) in silver-gilt frame. Painting "Guernica" (1937), Framed Cushion "Dora Maar" "In Studio" (1954) in baroque frame Painting "Without Title" (1953), Framed Painting "Drawing Children", Framed Painting "The Lovers" (1923) Bild "Portrait Marie-Thérèse Walter" (1937), gerahmt Painting "Dora Maar" (1937) Painting "Buste de Femme (Jacqueline)" (1963), Framed Painting "Le Rêve - Der Traum" (1932), Framed "Paul in a Clown Suit"

2 Paintings to "Gavilla des Fábulas sin amor" in the Set Picture "Untitled" (1953), framed Painting "The Wine Bottle" (1926), Framed Cushion Cover "Le Rêve - Der Traum" (1932) Picture "The Yellow Pullover" (1939) Picture "The studio" (1955) "Seated Harlequin" Painting "The Joy of Life" (1946), Framed 4-Piece Mug Set with Art Motives $ 84,30 (74,00 EUR) Painting "The Pipes of Pan" "Woman with Bird" Painting "The Doves II" (1957), Framed Figure and Profile Painting "Marie-Thérèse with A Straw Hat", Framed "The Man and the Model" (1954) in baroque frame. "The Painter and the Model" (1954) in baroque frame. Picture "Margot" (1901) Exclusive edition under 113.93 $ (under 100 €) 569.63 - 1.14.0 $ (500 - 1.000 €) over 1139.25 $ (over 1000 €) Musician Conroy Cooper is dead BY RICHARD JOHNSON Observer senior reporter [email protected] Seventy - four year-old musician Conroy Cooper was found dead at his Kingston apartment on Friday evening. According to his brother Grub, who is best known for his association with show band Fab 5, Cooper was last seen entering his apartment on Tuesday. His landlord became suspicious when he did not see him leave on Friday and called the police who forcibly entered the house, where his body was found in a state of decomposition. An autopsy will be done to determine the cause of death. Conroy Cooper was a founding member of Fab 5. After graduating from Excelsior High School in St Andrew during the early 1960s, he got involved in music and formed the band The Broncos. This was an early version of Fab 5 and they became the resident band at Hotel Kingston located on Half-Way-Tree Road, now site of the Kingston School of Nursing. Cooper was part of the Fab 5 outfit that played on singer Johnny Nash's I Can See Clearly Now album, which was released in 1972. He remained with Fab 5 until 1978 when he left to pursue other musical interests. He primarily operated as a keyboardist/organist, and one-man band. Grub shared that they received their musical talents from their parents. Their father, Albert Cooper, played from musical score, while their mother Zelma could play by ear. He also noted the talents of his brother. “He always showed a great talent for music ever since he was five years old. He always had a knack for music and always was ahead of most of his contemporaries during the early years. He was really, really highly skilled, and many people considered him a genius at the time, and some still did up until his death. His track record in later life musically was not so much as he was never in the music business full-time,” Grub told the Jamaica Observer. He credits his brother with introducing a particular sound to reggae music. “The shuffle organ sound in reggae... he was the first to do it when he was with (guitarist/bandleader) Lynn Tait. He also did a lot of studio work with Federal Records. He was also instrumental in getting Ernie Smith his first recording break, and he also gave Peter Ashbourne his recording break in pop music, as he told the people at Federal Records to hire him as he was a good artiste,” Grub disclosed. It was at Grub's birthday party on December 29 last year that the brothers last saw each other, but spoke on the phone several times since. Cooper, who was married three times, is survived by two children, Kismett and Kevin. Lady Bond has Jamaican roots Orthodox Issachar gives Praises MoBay-based entertainers raring to go at Sumfest 'Greats' to get due Fire still burns within Prince Alla Pat Kelly hailed as great talent Passenger rides onto Billboard Sandz shifts on cops' report All they have is love for Gregory Sandz in trouble again Kudos to Campion Dance Society Dharma's 17-year wait Kenya receives the Cure Gunshots erupt at Sandz Toronto party Vegas aces GED A tribute to J Capri Ms BBC does it for reggae DJ Laing D staying Headstone for Gregory Old Harbour's Chevonne Beadle crowned Miss Universe Jamaica

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