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"900", Cahiers d'Italie et d'Europe

History

The magazine was named "900" as it was conceived as part of the Novecento Italiano artistic movement. On its launch in 1926, it was received by "a storm of discussion, almost all hostile" by the strapaesano and fascist environment, but it had very important editors like Ramón Gómez de la Serna, James Joyce, Georg Kaiser, and Pierre Mac Orlan. The magazine was founded by Massimo Bontempelli and was based in Rome. Editorial officers were Corrado Alvaro, in Rome, and the Nino Frank from Paris.

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"900", Cahiers d'Italie et d'Europe

History

The first four preambles, Giustification, Basis, Advices, Analogies were published in French in the journals of autumn 1926, March and June 1927. (They were translated into Italian in 1938 by Bontempelli himself.) They set out the main principles of Novecentism, but later editions abandoned internationalism, were written exclusively in Italian, and switched to a patriotic, nationalist approach in line with Fascist policy.

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"900", Cahiers d'Italie et d'Europe

History

In three years only, "900" hosted the dadaist Georges Ribemont-Dessaignes and the surrealist Soupault; it published, for the first time in Italy, translated paragraphs from Ulysses by James Joyce and from Mrs Dalloway by Virginia Woolf; it published also a George Grosz profile written by Yvan Goll, inedited texts by Anton Chekhov and a short story by Tolstoy. Others who wrote for the magazine included Alberto Moravia and Ilya Ehrenburg.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

The "90th Anniversary of the Armed Forces of the Republic of Azerbaijan (1918–2008)" Medal (Azerbaijani: "Azərbaycan Respublikası Silahlı Qüvvələrinin 90 illiyi (1918–2008)" medalı) is a commemorative medal of Azerbaijan issued to denote the 90th anniversary of the formation of the Armed Forces of the Azerbaijan Democratic Republic in 1918. It was established in accordance with the decree of the President of Azerbaijan Ilham Aliyev on May 16, 2008. Eligible personnel include warrant officers and ensigns who succeeded in combat training while serving in the Armed Forces of the Republic of Azerbaijan until June 26, 2008, as well as retired officers who actively participated in the formation and strengthening of the Armed Forces of the Republic of Azerbaijan.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

The medal is worn on the left chest, and in the presence of other orders and medals, it is attached after the "10th Anniversary of the Armed Forces of the Republic of Azerbaijan (1991–2001)" Medal.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

Description

The "90th Anniversary of the Armed Forces of the Republic of Azerbaijan (1918–2008)" Medal is a round shaped medal that is made of bronze with a 35 mm diameter which is plated with gold ornaments.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

Description

The relief emblem of the Armed Forces of the Republic of Azerbaijan is depicted on the background of the medal where relief rays and a ribbon pass through the center. The words "Republic of Azerbaijan" along the arc, and "Armed Forces" below the arc have been engraved above the emblem. The octagonal star and crescent are white. There are two numbers on the ribbon, "1918" on the left side and "2008" on the right side.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

Description

The number "90" is engraved below the center of the medal in white.

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"90th Anniversary of the Armed Forces of Azerbaijan (1918–2008)" Medal

Description

The reverse side has a smooth surface and the words "90th Anniversary of the Armed Forces of the Republic of Azerbaijan (1918–2008)" written in the center. An eight-pointed star and crescent are depicted on the national ornament.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The medal was dedicated to the 95th anniversary of the Armed Forces of the Azerbaijan Democratic Republic in that was established in 1918. It was designed in accordance with the order of the President of Azerbaijan Ilham Aliyev dated October 16, 2012.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The military personals including warrant officers, ensigns, retired officers (released or reserve) who served in the Armed Forces of the Republic of Azerbaijan actively contributed to the formation and strengthening of the Armed Forces of the Republic of Azerbaijan until June 26, 2008 are awarded the medal.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The medal is worn on the left side of the chest, and in the presence of other orders and medals, it is attached after the medal "90th anniversary of the Armed Forces of the Republic of Azerbaijan (1918-2008)”.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The description of the Medal

“95th Anniversary of Azerbaijani Armed Forces (1918-2013)” Jubilee Medal is a round shaped medal that made of bronze with 35mm diameter and plated with gold ornaments.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The description of the Medal

The ribbon on the right side of the face of the medal is located at the center and colored with National Flag of the Republic of Azerbaijan. In the upper part of the ribbon “Armed Forces of the Republic of Azerbaijan”, and in the bottom "95 years” were inscribed.

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"95th Anniversary of the Armed Forces of Azerbaijan (1918–2013)" Medal

The description of the Medal

Bas-relief of Heydar Aliyev is portrayed on the left side and below the bas relief are the years "1918" and "2013" in two lines. On the obverse, an inscription "Republic of Azerbaijan" written at the top and "Armed Forces" at the bottom.

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"@"

"@" is a studio album by John Zorn and Thurston Moore. It is the first collaborative album by the duo and was recorded in New York City in February 2013 and released by Tzadik Records in September 2013. The album consists of improvised music by Zorn and Moore that was recorded in the studio in real time with no edits or overdubs.

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"@"

Reception

"@" finds two of New York City's longest-running fringe dwellers churning out sheets of collaborative sounds that conjoin their respective and distinct states of constant freak-out... These seven improvisations sound inspired without feeling at all heavy-handed or urgent. More so, "@" succeeds with the type of conversational playing that could only be achieved by two masters so deep into their craft that it probably feels a lot like breathing to them by now.

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"A" Device

The "A" Device is a miniature bronze 1⁄4 inch letter "A" which comes with and without serifs, that is authorized for wear by the United States Armed Forces as a medal and ribbon device for two military awards. It is added to overseas service ribbons to indicate the theatre of action.

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"A" Device

The Arctic "A" Device (with serifs), if authorized, may be attached to the center of the Air Force Overseas Ribbon - Short Tour, for service beginning February 10, 2002. If an oak leaf cluster is also authorized for wear on the ribbon, the "A" device is worn to the wearer's right of any oak leaf clusters on the ribbon.

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"A" Device

The Atlantic "A" Device (without serifs), if authorized, may be attached to the center of the suspension and service ribbon of the American Defense Service Medal for service from June 22 to December 7, 1941. The "A" device is worn in lieu of any authorized 3⁄16 inch bronze star that is worn on the medal and service ribbon.

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"A" Device

History

The "A" Device is only authorized for the currently in use Air Force Overseas Ribbon - Short Tour, and the American Defense Service Medal which is no longer in use. The two representations of the "A" device are different. The Arctic Device has serifs while the Atlantic Device ("Axis Device") does not have "feet" (sans-serif).

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"A" Device

History, Atlantic Device (World War II)

The American Defense Service Medal was the first military award to use the "A" device which was named the "Atlantic Device" (sometimes was referred to as the "Axis Device").

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"A" Device

History, Atlantic Device (World War II)

The "A" device was authorized for wear (in lieu of a 3⁄16 inch bronze star that was worn in lieu of a service clasp on the award) on the medal and service ribbon by any member of the United States Navy, United States Marine Corps, or United States Coast Guard who served on certain vessels in the Atlantic Ocean between June 22 and December 7, 1941 which engaged in armed conflict, or potential armed conflict, with Axis forces in the Atlantic (naval forces of Nazi Germany's Kriegsmarine). Such personnel were awarded the American Defense Service Medal with the "Atlantic Device" (Atlantic Fleet service), the intent being to recognize those who had participated in the "undeclared war" when the U.S. was assisting Britain with war convoys and German U-boat interdiction.

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"A" Device

History, Arctic Device (USAF)

The "A" device became obsolete after the Second World War and did not appear again until the year 2002 (authorized on February 10, 2002). At that time, the United States Air Force declared that the "A" device, now known as the "Arctic Device", would be authorized for wear for those who had received the Air Force Overseas Ribbon - Short Tour, for tours of duty north of the Arctic Circle.

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"A" Device

History, Arctic Device (USAF)

As of February 8, 2007, only those airmen (Air Force active, Reserve, or Guard) who were assigned to Thule Air Base (north-east Greenland) qualify for the "A" (Arctic) device. Although portions of Alaska are within the Arctic Circle, there are no American military bases within that region. The "A" is worn on the center of the ribbon except when worn with oak leaf clusters. Whenever oak leaf clusters are authorized for wear on the ribbon, the "A" is placed to the wearer's right of the oak leaf clusters on the ribbon. Only one "A" device may be worn on the ribbon.

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"A" Fort and Battery Hill Redoubt-Camp Early

"A" Fort and Battery Hill Redoubt-Camp Early, also known as Measles Fort, is a historic American Civil War military facility and redoubt located near Manassas Park, Prince William County, Virginia.

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"A" Fort and Battery Hill Redoubt-Camp Early

It was listed on the National Register of Historic Places in 1998.

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"A" Is for Alibi

"A" Is for Alibi by Sue Grafton, published by Holt, Rinehart and Winston in 1982, is the first mystery novel in the author's "Alphabet" series. Featuring sleuth Kinsey Millhone, it is set in the southern California city of Santa Teresa, the nom de plume for Santa Barbara. She wrote the book during a divorce and admits about her husband that she "would lie in bed at night thinking of ways to kill him". The New York Times gave the book a lukewarm review.

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"A" Is for Alibi

Plot summary

Kinsey Millhone, 32, private detective investigates the death of prominent divorce lawyer Laurence Fife. His murder eight years earlier was blamed on his wife, Nikki Fife. Upon being released from prison, Nikki hires Kinsey to find the real murderer. In the course of the investigation, Kinsey becomes involved with Charlie Scorsoni, the late Mr. Fife's former law partner. She discovers Fife's death has been linked to that of a woman in Los Angeles, his law firm's accountant; both died after taking poisonous oleander capsules, which had been substituted for allergy pills. Kinsey tracks down the accountant's parents and former boyfriend.

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"A" Is for Alibi

Plot summary

She then goes to Las Vegas to interview Fife's former secretary, Sharon Napier, who is killed minutes before Kinsey arrives. Back in California, Kinsey is mystified that Nikki's son, Colin, recognizes Laurence's first wife, Gwen, in a photograph. Kinsey surmises that Gwen was having an affair with her ex-husband at the time of his death. She accuses Gwen, who confesses. Shortly afterwards, she too is dead, killed in a hit-and-run crash.

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"A" Is for Alibi

Plot summary

Kinsey has solved the case she was hired to investigate; but in a plot twist, she discovers that her previous notions about the accountant's death were entirely wrong: in fact, it was Scorsoni who killed her when she discovered he was skimming dividend money from estate accounts under his management. Scorsoni used the same method that Gwen used to kill Fife, so it would be assumed the same person committed both murders. In a final confrontation, he chases Kinsey across the beach, armed with a knife. Kinsey hides in the shore line, and she is forced to remove her shoes and pants. Before Scorsoni can kill her, she shoots him dead.

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"A" Is for Alibi

Plot summary

A secondary storyline involves Millhone's surveillance of Marcia Threadgill, suspected of insurance fraud in a trip-and-fall case. Although Millhone believes she has successfully documented Threadgill's deception, the insurance firm that contracted Millhone to investigate Threadgill moves to pay her claim anyway, citing potential legal costs and complications, including the risk of reprisal.

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"A" Is for Alibi

Publication history

The first printing of "A" Is for Alibi was 7,500 copies, with initial sales of about 6,000.

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"A" Is for Alibi

Critical analysis

Grafton openly admits that she conceived the story from her own "fantasies" of murdering her husband while going through a divorce.

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"A" Is for Alibi

Critical analysis

The novel's style typical hardboiled detective fiction, according to the authors of 'G' is for Grafton, who describe it as "laconic, breezy, wise-cracking". Grafton frames the narrative as a report Kinsey Millhone writes during the course of her investigation, written in the first-person narrative.

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"A" Is for Alibi

Critical analysis

"A" for Alibi is dedicated to author Chip Grafton, Sue Grafton's father, "who set me on this path". Chip Grafton was a municipal bond attorney in Kentucky who pursued a secondary career as a crime novelist, winning minor acclaim for four novels. He died on January 1, 1982 at age 72, four months before 'A' is for Alibi was published.

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"A" Is for Alibi

Reviews

Kirkus Reviews said this was a "shakily plotted but otherwise terrific start for a new detective series", writing when the book was released. They look forward to the rest of the Alphabet Series, "fine dialogue, a great eye for people and places", if the author can tighten up her plots.

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"A" Is for Alibi

Reviews

Looking back at the series soon after the author's death, Library Journal Reviews remarked on the slow build up to successful reviews, including a quote from its own review: "Critic Sarah Weinman notes that pseudonymous New York Times critic Newgate Callendar dismissed A Is for Alibi as "competent enough, but not particularly original." Alas, LJ's reviewer was equally unenthusiastic in an April 1, 1982, review, waving the book aside as "nothing to take it out of the ordinary." Before those less enthusiastic words, they had said, "The female detective is well drawn and the plot moves at a fast clip".

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"All God's Children" Campaign

The "All God's Children" Campaign is an effort by the Human Rights Campaign (HRC) to challenge religious opposition to the legalization of same-sex marriage and promote LGBT acceptance in the Southern United States. According to the HRC, the program was designed to "change hearts and minds, improve the public perception and overall awareness of LGBT people, begin to reduce the painful stigma that many face in their daily lives, and help future efforts to enact pro-equality legislation." The program targeted Mississippi, Alabama, and Arkansas – all states that had no form of housing, employment, or marriage protections for LGBT citizens.

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"All God's Children" Campaign

Background

The Southern United States is far more culturally conservative than the North. In the early 2000s, while northern states began legalizing same-sex marriage, many southern states were passing laws banning it. However, southern support as a whole rose an entire 26 percentage points from 2003 to 2013, leaving the south split on the issue of same-sex marriage. Scholars suggested that some of the factors leading to this cultural change include generational differences, the "friends and family effect," and a new appreciation for the separation of church and state. Approximately 64% of Southerners can say that they know someone who is gay or lesbian, a factor that is considered crucial for support of legislation such as same-sex marriage.

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"All God's Children" Campaign

Background

The South also holds the lowest regional social climate index ranking for the LGBT community in the United States, with a score of 55. Same-sex couples with kids have a household income that averages about $11,000 lower than heterosexual couples. Gay and bisexual men in the south hold higher HIV infection rates than those in other parts of the country; additionally, only 3⁄475% of southern LGBT people are covered by health insurance. "Discomfort" with exposure to LGBT lifestyles, such as attending a same-sex wedding or seeing pictures of a coworker with a same-sex partner, polls about 5-10 percentage points higher in the South than in northern states.

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"All God's Children" Campaign

Background

Additionally, the chosen states are heavily religious; for example, more than half of Mississippi residents are members of the southern Baptist church. Because of this, the Human Rights Campaign refers to Mississippi, their target audience for the early stages of the All God's Children campaign, as being "the most religious state in America." Mississippi also has no statewide protects for LGBT people and, in 2014, passed a law allowing businesses to refuse services to LGBT people.

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"All God's Children" Campaign

Strategy

The "All God's Children" project included phone banking, TV commercials, banner ads, and "direct-mail" messages. The ad campaign featured testimonies from Christian parents of LGBT children, gay army veterans, and transgender students to appeal towards the religious community. The Mississippi campaign itself was expected to cost approximately $310,000, out of a total of $8.5 million including Alabama and Arkansas over the course of three years. The first television commercials aired in November 2014 in Mississippi, two days before a federal court hearing on a state law banning same-sex marriage.

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"All God's Children" Campaign

Response

The American Family Association of Mississippi issued a retaliatory statement in November [2014] arguing that the "[normalization of] homosexuality in the southern states" would not be acceptable to their program. Others argued that the campaign wouldn't be enough to change the hearts of "biblically literate Christians." Southern Protestants, especially those in the Southern Baptist Convention, have been alleged to be the most vehemently opposed to the expansion of LGBT protections in the south.

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"And" theory of conservatism

The "And" theory of conservatism is a political neologism that was coined in the 2000s conservatism for the notion of holistic policy, bringing together traditional conservatism with some aspects of liberalism (right-libertarianism) and combining policies like low taxation with traditionally liberal solutions to issues such as poverty and global warming.

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"And" theory of conservatism

Origin

The term originated in the United Kingdom and was first noted during Iain Duncan Smith's leadership of the Conservative Party from 2001 to 2003. It has been subsequently popularised by former Conservative Party aide Tim Montgomerie, the former editor of ConservativeHome, who has written on its usage. It has also been used in the United States where it has been picked up by publications such as The Weekly Standard that considered its implications for the Republican Party. The term has been defined in the United States by The Oklahoma Gazette as follows:

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"And" theory of conservatism

Origin

The idea is that a center-right party needs not abandon its core issues - crime, taxes, family. Rather, the wise course is to hold fast on those issues and speak to concerns normally ceded to the left.

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"And" theory of conservatism

In the United Kingdom

The "And" theory has been embraced by several leading conservative politicians in the United Kingdom, including the former Conservative Party leader and Prime Minister David Cameron (although the term the "And" theory tends not to be expressly mentioned due to its clunky and potentially confusing name). When challenging for the leadership of the party, Cameron said:

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"And" theory of conservatism

In the United Kingdom

When we talk about foreign affairs, we don't just stand up for Gibraltar and Zimbabwe but for the people of Darfur and sub-Saharan Africa who are living on less than a dollar a day and getting poorer while we're getting richer.

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"And" theory of conservatism

In the United Kingdom

Cameron therefore encouraged Conservatives to be concerned with the former British Empire territory of Zimbabwe and the situation in Darfur.

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"And" theory of conservatism

In the United Kingdom

Former Conservative Party leader Iain Duncan Smith has continued to promote "And" politics, most notably in his 2005 pamphlet Good for Me, Good for My Neighbour, written with Danny Kruger:

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"And" theory of conservatism

In the United Kingdom

I have never believed that modernisation requires the jettisoning of Conservative Euroscepticism, or of our belief in low taxation, or of our tough approach to crime. These principles remain enduringly popular with the public. My proposal for the modernisation of the Party is not to subtract from these core principles – but to add to them.

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"And" theory of conservatism

In the United Kingdom

Duncan Smith has encouraged the party to embrace a social justice agenda (traditionally associated with the left) based on a commitment to the family (seen as an issue of the right).

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Soo voer gesongen, soo na gepepen is a c.1668–1670 oil-on-canvas painting (H 133.7 cm × W 162.5 cm) by Dutch artist Jan Steen, that is currently featured in the Mauritshuis museum in The Hague. The painting is a celebratory holiday scene that depicts three generations of a Dutch family, and serves as an allegory about parental examples, vice, and influence. This subject has been painted thirteen times by Jan Steen and has also been known as The Cat Family, or Jan Steen's Family. Of the many renditions, the Mauritshuis version is considered to be the exemplar of the series.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Subject matter

As the Old Sing so Pipe the Young’ is named after a famous proverb from Jacob Cats. It means that the vices of the youth are learned from the examples set by their elders. Steen references this throughout the painting. The parrot shows wealth and exoticism, but it could also reference the mimicry in the title. He uses the imagery of the pipes in the bagpipe player and in the man to the right of the painting who, laughing, allows his son to smoke from his pipe.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Subject matter

Inherited traits were viewed by the Dutch people at the time as being a two-sided coin, where a child would inherit genetic traits from their parents, but would also learn to emulate the behaviors that they witnessed. This is also referred to as nature versus nurture. The depiction of three generations of family members in this scene is a direct allusion to this idea, with the parents providing seemingly poor examples to their children by drinking alcoholic beverages and encouraging the children to smoke. The title can also be interpreted as "Like father, like son."

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Subject matter

Such proverbs were popular in Dutch painting and are represented by many paintings by Steen and other artists. This painting has been linked to Steen's work titled The Twelfth Night Feast, the two paintings forming a diptych of the same theme. The theme is thought to be inspired by Jacob Jordaens, a contemporary Flemish painter. Jordaen's version preceded Steen's, having been painted in the year 1683. Like Jordaens, Steen paired proverbs with merry company paintings, which was popular and served a didactic purpose for the viewer .

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description

As a genre scene painting, the painting contains many iconographic elements that are open to the viewer's interpretation and ideas that relate to Dutch popular culture of the time. The painting consists of a gathering of family members (parents, children, grandparents) around a table that is draped with a carpet typical of Dutch scenes. Though the subject has been painted by Steen an estimated thirteen times, each one was depicted in a household setting as the theme for child rearing and parental interaction.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description

Like most of Steen's paintings As the Old Sing... is of the merry company genre and depicts family life as a part of popular culture during the 17th century. Paintings of this particular period are commonly festive scenes in Dutch domestic settings. The large canvas displays Steen's mastery of painting light on surfaces, as can be seen in the treatment of light from the window reflected onto the surfaces of the models' clothing and furniture accents. The facial features of the subjects are painted in a realistic style with attention to light and shadow.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description

The overall scene of the merry atmosphere is thought to be open and inviting with the figures situated in an open arrangement, with warm colors of orange, pink, purple, and brown; while casually enjoying themselves. The old lady in the foreground, thought to be Steen's mother, is holding a sheet of music that is open and can be easily read by the viewer. Steen is distinguished as a skilled comic painter and for depicting himself in his paintings, as well as members of his own family.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description

Here he has depicted himself as the father seen in the right side of the canvas who is teaching his younger son to smoke a pipe. Such a painting was thought by the artist to have universal appeal and understanding, but of course, it would have had more resonance with a well-read person familiar with the proverbs, symbolism, and culture of the seventeenth century. Ironically, Steen's knowledge of such readings and traditions is considered to be rather sophisticated.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description, Symbolism

The figures in the scene are Jan Steen at the right wearing a black hat and teaching his younger son to smoke, his older son playing a bagpipe, a young girl at the far right edge of the canvas, Steen's mother in the right-side foreground, and an unknown female family member holding a baby. There is also a male servant at the rear center who is pouring an alcoholic drink into the glass of Steen's wife, who is pictured at the left of the canvas wearing a green coat and lavender skirt with her glass outstretched.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description, Symbolism

There is a dog in the foreground. At the center of the table is an oyster which has been a popular symbol in Dutch genre painting. The oyster has been known as a symbol of Aphrodite, love, fertility, and sexual pleasure. The symbol is befitting of such as scene as it is associated with foods served at a feast of the gods. The oyster was commonly depicted in Dutch genre paintings up until the year 1635 when it became less common. After the year 1660 the symbol again became a common theme as it is here in Steen's 1668–1670 painting.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description, Symbolism

In the painting the woman in the lavender skirt sitting at the left is a depiction of Steen's wife. She and Steen both wear a pink ribbon, she in her hair, and he on his hat. This ribbon is a unifying element between the two and represents their being cut from the same spool of ribbon. The parrot situated at the top left of the painting is a symbol of mimicry. To the left of the parrot is a pair of birds in a small birdcage which symbolizes two parents in a small abode.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description, Symbolism

The pipe in the scene may have multiple meanings referring to a clay smoking pipe, the act of singing, or to a drinking vessel. According to the Dutch, the bagpipe was not an esteemed instrument as it was thought to be lowly and obnoxious. Such a symbol here represents bawdiness and low class, which is being encouraged by the parents. The young man playing the bagpipe is an older son of Steen.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Description, Symbolism

The laughing face of Jan Steen is commonly depicted by the artist in his paintings and is considered to be his iconography while laughter is also thought to be a symbol of foolishness and or fault. A reader might interpret the many laughing faces as gained wisdom, human fault, or lessons learned. Steen's iconographic grin has become somewhat of a folk character to museum patrons who delight in seeing his face in paintings.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Culture

Jan Steen has been detailed by historians as being from a middle-class, Catholic family of Leiden, who was also preoccupied with drinking and imprudent of his finances. Historical accounts state that Steen's father owned a brewery but also suggest that the brewery business became less profitable due to economic demands and competition. As a result, Steen was encouraged by his parents to pursue a career in painting, which was a respected profession of the time. From his experience as a painter Steen endured constant fluctuations of financial difficulty.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Culture

As a painter he often depicted himself within his comical scenes to show himself immersed in the culture he depicted and is also as an allusion to the idea that art imitates life. Steen was a resident of The Hague where he married Margariet or Grietje, and also became a member of The Hague Guild. As a member of the guild Steen is thought to have pursued comic painting as the path to a chosen specialization.

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"As the Old Sing, So Pipe the Young" (Jan Steen)

Patronage

Jan Steen is considered to have been a fixture in Leiden, with most of his commissions coming from familial connections and recommendations. Historical records indicate patrons numbering above one hundred, with some owners directly inheriting the works. Patrons tended to be members of respectable professions including doctors, pharmacists, lawyers, manufacturers, and an innkeeper. The presence of Steen's likeness in his paintings has been a dealbreaker for some patrons and it has also functioned as a signature.

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"Awaken, My Love!"

"Awaken, My Love!" is the third studio album by American recording artist Donald Glover, under his stage name Childish Gambino. It was released by Glassnote Records on December 2, 2016. Consisting of tracks being sung rather than rapped, its fusion of psychedelic soul, funk and R&B influences was considered a bold departure from the predominantly hip hop style of his prior work. The album was produced by Glover and his longtime collaborator, Ludwig Göransson.

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"Awaken, My Love!"

"Awaken, My Love!" received generally positive reviews from critics and debuted at number five on the US Billboard 200. The album was supported by three singles, "Me and Your Mama", "Redbone" and "Terrified". It received Grammy Award nominations for Album of the Year and Best Urban Contemporary Album at the 2018 Grammy Awards. The single "Redbone" also earned nominations for Record of the Year, Best R&B Song, and won the Grammy Award for Best Traditional R&B Performance.

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"Awaken, My Love!"

Background

On June 17, 2016, after a hiatus from social media, Glover tweeted "pharos.earth", a link to download his new app. The app itself placed the user in outer space looking at a small blue planet while a clock counted down to zero. The app then had the user crash down from space, placing them on a map that was located on Joshua Tree, California. The app then showed the dates of his upcoming performances in Joshua Tree, where the user could also purchase tickets. The concert festival was to debut the album and give the audience the "full-album experience".

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"Awaken, My Love!"

Background

From September 3 to 5, nearly three months before the release of his album, Glover held three concert performances at Joshua Tree to debut the album. Glover wore glow-in-the-dark paint on his braids and a pink and yellow skirt, with his bandmates wearing similar attire. He performed eleven songs during the concert with minimal rapping, mainly featuring a funk/jazz vibe.

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"Awaken, My Love!"

Background

Glover modified his Pharos app upon its release so that users could watch the success of his first lead single, "Me and Your Mama" at Joshua Tree through a phone virtual reality lens.

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"Awaken, My Love!"

Cover artwork

The cover of "Awaken, My Love!" features a photo by New York City-based creative director Ibra Ake, in which model Giannina Oteto wears a beaded headdress designed by Laura Wass of WXYZ Jewelry. Prior to the album's release, the cover artwork was included as an easter egg in the episode "Juneteenth" of Glover's FX series Atlanta.

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"Awaken, My Love!"

Singles

"Me and Your Mama" was released as the album's lead single on Beats 1 radio and the iTunes Store on November 10, 2016, while "Redbone" was released a week later, premiering on Annie Mac's Hottest Record on BBC Radio 1. On September 19, 2017, "Terrified" was sent to urban contemporary radio as the album's third single.

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"Awaken, My Love!"

Critical reception

"Awaken, My Love!" was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 77, based on 25 reviews. Aggregator AnyDecentMusic? gave it 7.4 out of 10, based on their assessment of the critical consensus.

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"Awaken, My Love!"

Critical reception

Mosi Reeves of Rolling Stone wrote that ""Awaken, My Love!" is an enthralling trip into the land of funk", while Dan Bogosian from The A.V. Club wrote "Is Childish Gambino suddenly the new Prince, a virtuoso multi-instrumentalist always ready to keep the world an arm’s length away from knowing what he's thinking? Is he D'Angelo, a soul god fighting against his first image with all-time great music? No

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"Awaken, My Love!"

Critical reception

. He is Donald Glover, a man who can perform and write comedy, act in drama, and drop a truly wonderful album on short notice with all the influences and instructions spelled out". Perry Kostidakis of the FSView & Florida Flambeau wrote that "with each successive album, Childish Gambino has exhibited phenomenal growth, but no more than on his latest release.

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"Awaken, My Love!"

Critical reception

Unflinchingly ambitious and boldly different, "Awaken, My Love" calls back the sounds and themes of the 1970s funkadelic movement to provide a wholly original, emotional and immersive musical experience", with The Guardian's Gwilym Mumford adding "only the limitations of his voice occasionally let him down – he doesn't quite have the range to nail Awaken's more ostentatious vocal lines. Still, it's a minor gripe when there's so much here to enjoy".

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"Awaken, My Love!"

Critical reception

Jon Pareles of The New York Times said, "It's at once a homage and a parody, equally aware of that era's excesses and its glories, of the way that the most memorable 1970s R&B merged sensuality, activism, humor, toughness, outlandishness, futurism, soul roots, wild eccentricity and utopian community spirit. That's an extremely high bar, but at its best, "Awaken, My Love!" recalls many of those virtues". Tim Sendra of AllMusic said, ""Awaken, My Love!" is a stone-cold blast from beginning to end".

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"Awaken, My Love!"

Critical reception

Matthew Strauss of Pitchfork said, "There are times, however, when that nodding feels more like mimicry than anything else. Maybe he'll figure out how to smuggle Donald Glover's heart into Childish Gambino's brain eventually, but if he hasn't figured out what he wants out of Childish Gambino yet, it's increasingly rewarding watching him try". Scott Glaysher of XXL said, "Childish Gambino gets definite props for pushing the envelope and refusing to operate within any genre confinements on this refreshing 49-minute trip through the funkadelic 1970s. While these blurred lines make this album a little hard to follow, "Awaken, My Love!"

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"Awaken, My Love!"

Critical reception

proves his versatility as a rapper turning over a new leaf". Kitty Empire of The Observer said, "Throughout, Glover's genre fluency is unimpeachable; the only minor drawback is the overmannered air of some of these period pieces, where there could be more straight-up abandon, as on the persuasive 'Me and Your Mama'". Vice negatively described the album as "pure Funkadelic cosplay". Critic Robert Christgau regarded the album as "a seriously overrated piece of romantic P-Funk retro that owes its Grammy nomination to Atlanta".

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"Awaken, My Love!"

Commercial performance

"Awaken, My Love!" debuted at number five on the US Billboard 200 with 101,000 album-equivalent units, marking the third highest debut of the week. It was the fourth best-selling album of the week, selling 72,000 copies according to Nielsen SoundScan. The album was also streamed 41.5 million times in the first week. It is Glover's highest-charting album. As of December 28, 2016, the album has sold 151,000 album-equivalent units, with 100,000 in physical album sales. On September 27, 2018, the album was certified platinum by the Recording Industry Association of America (RIAA) for combined sales, streaming and track-sales equivalent of a million units in the United States.

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"Awaken, My Love!"

Track listing

All lyrics written by Donald Glover, except "Zombies" by Glover and Ludwig Göransson; all music composed and produced by Glover and Göransson, except where noted.

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"B" Is for Burglar

"B" Is for Burglar is the second novel in Sue Grafton's "Alphabet" series of mystery novels and features Kinsey Millhone, a private eye based in Santa Teresa, California.

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"B" Is for Burglar

Plot summary

Private investigator Kinsey Millhone is hired by Beverly Danziger to locate her missing sister, Elaine Boldt, whose name is needed on some paperwork regarding an inheritance. Elaine was last seen getting into a cab with the intention of flying down to Boca Raton, Florida, where she spends her winters, but appears to have disappeared along the way. It seems a relatively straightforward matter, so much so that Millhone is not sure Beverly needs a PI; but she agrees to take the case.

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"B" Is for Burglar

Plot summary

Things are not as easy as they seem, however, as Millhone can find no trace of Elaine anywhere in Florida, although she does find a woman called Pat Usher, who claims Elaine agreed to let her sublet the Boca Raton apartment where Elaine lived while she was off travelling. This claim rings false, since no one but Pat Usher has received a postcard from Elaine on her supposed trip. Millhone secures the able assistance of Elaine's elderly neighbour, Julia, to keep an eye on things in Florida while she goes back to California.

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"B" Is for Burglar

Plot summary

Millhone suspects there is a link between Elaine's disappearance and the death of her Santa Teresa neighbour, Marty Grice, who was apparently killed by a burglar who then set fire to the Grice home a week before Elaine left. Someone breaks into the home of Tillie, the supervisor of Elaine's Santa Teresa apartment complex, apparently on the track of some of Elaine's bills that Tillie was holding ready to forward to her. Someone also searches the detective's apartment, and Millhone realizes the thief is after Elaine's passport.

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"B" Is for Burglar

Plot summary

Gravely concerned for Elaine's safety, Millhone suggests to Beverly that Elaine's disappearance should be reported to the police; but Beverly objects so violently that Millhone terminates their relationship and starts working for Julia instead. Kinsey reports the disappearance and meets Jonah Robb, a recently separated cop working on missing persons. A visit from Beverly's husband Aubrey complicates matters further, as it turns out he was having an affair with Elaine, which Beverly had discovered. This raises suspicion around whether Beverly could have had a hand in Elaine's disappearance.

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"B" Is for Burglar

Plot summary

Millhone is increasingly convinced that Elaine is dead and that Pat Usher is involved. Pat disappears after totally trashing the Boca Raton apartment. Eventually, Millhone discovers that Pat Usher has applied for a driving licence in Elaine's name, thus proving Pat's involvement. Marty's nephew Mike, a teenage drug dealer, confesses that he was at the Grice home the night of the murder; and from the discrepancy in times between his account and what was told to the police, Kinsey realises that it was Elaine who died in the Grice fire, not Marty.

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"B" Is for Burglar

Plot summary

Marty and her husband killed Elaine to steal her identity (which Marty assumed) and her money. They then passed Elaine's dead body off as Marty's by switching the dental records. Marty departed for Florida as Elaine and arrived as Pat Usher, with some cosmetic surgery to help. Unable to find Elaine's passport, she and her husband were forced to wait for a new one to come through before they can skip the country. Kinsey returns to the Grice home to look for the murder weapon; but while she is there, the Grices find her. Marty Grice is shot in the left arm during the fight that ensues, but Kinsey manages to detain the two criminals and calls for help.

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"B" Is for Burglar

Reception

Ed Weiner, writing for The New York Times in 1989, called the book "one of the best written crime novels by anybody in recent memory". It was awarded the 1986 Anthony Award for Best Novel at Bouchercon, the World Mystery Convention, in Baltimore, Maryland. The novel also won the 1986 Shamus Award for Best Novel from the Private Eye Writers of America.

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"Babbacombe" Lee

"Babbacombe" Lee is a 1971 album by British folk rock group Fairport Convention, which tells the life story of John Babbacombe Lee, a Victorian-era alleged murderer who was condemned to death but reprieved after the gallows failed on three occasions to work properly. After the commercial and chart success of its predecessor, Angel Delight, the album sold disappointingly, though it was critically acclaimed, and is regarded by the authors of The Electric Muse (1975) as the first "folk rock opera". It was the band's seventh album since their debut in 1968.

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"Babbacombe" Lee

Concept

The album follows John "Babbacombe" Lee's life story. The events of his life are described in song, from his boyhood through his conviction for murder, sentence of death, and the failure to carry out the execution. The songs describe his boyhood poverty, his time in the Royal Navy, and his being invalided out. The album then describes how Lee went to work in the service of a Miss Keyes.

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"Babbacombe" Lee

Concept

While Lee was in her service, she was murdered, and he was accused, tried and convicted of the crime, and sentenced to death; however, when authorities attempted to hang him, the gallows failed three times, resulting in his release. These events are all told in song, and all but one of those songs are originals.

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"Babbacombe" Lee

Concept

Dave Swarbrick has explained that he conceived the album after discovering a file of old newspaper clippings in a junk shop; this file contained John Lee's own copies of the newspaper articles and was bound by him, signed and dated 30 January 1908.

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"Babbacombe" Lee

Concept

Because of its relatively complete narrative structure, "Babbacombe" Lee is regarded by the authors of The Electric Muse (1975) as a rock opera, and because of the band's musical style, in particular the first folk rock opera.

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"Babbacombe" Lee

Track listing

The original album listed tracks episodically rather than as discrete tracks, reflecting the structure of the narrative.

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"Babbacombe" Lee

Track listing

Each of the five sections is composed of a number of songs and fragments of songs that were not listed separately on the original album.