#Neo Bridgeport

[mercury101]

Neo Bridgeport

[aige-loves-thesims]

Lavell and Maxine Holbrook are the parents of Antoinette "Toni" Holbrook Blake and Arnaz Holbrook.

Lavell is a retired gardener, former owner of Holbrook's Landscaping Services. Maxine is an artist (painting is her specialty). She's retired from doing commissioned work, but still creates art whenever the mood hits her. Lavell and Maxine mostly raised their grandchildren, Beckham and Briana, until they became teens.

Toni Blake is a singer/musician who came to prominence as a member of the smooth jazz band, Diamond Life. She later found success as a solo Neo-Soul artist. The musician's life kept Toni away from her children for much of their childhood. Now, as their twins near adulthood, Toni and her husband, Kenny, have pumped the brakes on their fast lives to become more hands-on parents.

Kenneth "Kenny" Blake is a comedian known for his observational and deadpan comedy style. Luck was on Kenny and Toni's side when they met. Standup comedian, Martin Murphy, was scheduled to warm up the Bridgeport crowd on R&B/Soul artist, Marcellus Winston's "For the Lovers" tour. Unfortunately, Murphy became sick, and convinced Winston to give his friend Kenny Blake a shot. Kenny did a 20-minute set and Diamond Life opened the show. It was at this show that he and Toni met. After years of touring, movie and television appearances, and two Simflix specials under his belt, Kenny is taking it easy and enjoying the fruits of his labor with his wife and children. Kenny and his family currently live in Oasis Springs.

Twins Beckham and Briana Blake are Toni and Kenny's only children. Beckham is older by twenty minutes. They are both high school students.

[Arnaz Holbrook and Family]

[googlemebby]

Today I performed #Willow LIVE!! #Bridgeport thank you for your energy and your love! This is only the beginning! #Willow #Artist #Recovery #Neo #ExperimentalSoul #MylesTripp #Singer #Juneteenth 🎥: @kewactor (at Bridgeport, Connecticut)

[northoftheroad]

Same anon from last ask, Gotham seemed like Bridgeport , CN; Camden, NJ; and/or Bridgeton, NJ.

Well, I'm not from the Americas and I don't know anything about those places :-) I've read that New York and Chicago were the primary inspirations for Gotham. (At least up until Tim Burton's Batman made it into a neo-gothic city – I don't know if there is any US city with so much gothic-influenced architecture.)

Here's some fun maps from The Atlas of the DC Universe. Picked from: http://ifanboy.com/articles/the-secret-geography-of-the-dc-universe-a-really-big-map/

[danielpico]

JACOBS, SAMUEL AIWAZ (b. Širābād, 12 February 1890; d. Yonkers, N.Y., 16 September 1971; Figure 1), Assyrian intellectual and publisher. His birthplace, the village of Širābād, is located north of Urmia along the Nazlu River (Razmārā, p. 311; Dehḵodā, s.v. [no. 5]). For several styles of his name and patronymic, see below. His parents encouraged him to study to the highest level of education available to anyone in the Iran of his day. He attended the Urmia college, commonly called Qalla (Rumble, 2014a), which was the boys’ school established by American missionaries in 1836. He learned “book English” (McPharlin, p. 2562) and studied in the newly introduced program in technical subjects, which was part of the late 19th-century expansion of the training that had previously prepared students only in the liberal arts, theology, and medicine. Technical training, a precursor to engineering education, allowed Jacobs to learn to operate linotype printing machines (invented in 1884), which was a new technology replacing manual, letter-by-letter typesetting. His fascination from boyhood with the layout and dynamics of different scripts upon book and manuscript pages is prominent in the later sketches of him by the editor Laurence B. Siegfried (p. 2699) and book designer Paul McPharlin (p. 2562), and in 1951 he alludes to his own early impulse toward “creative effort” (Jacobs, p. 32).

Jacobs emigrated with the help of family connections in Europe and the United States (MacPharlin, p. 2562) and settled in the United States in 1906. Finishing his schooling in Worchester, Mass., he practiced printing, including his own poetry (ibid.). He moved to New York City in 1914 (Siegfried, p. 2699) and in 1915 went to work for Rev. Joel E. Werda (1868-1941), editor, linotyping for his new, bilingual (Assyrian Neo-Aramaic and English) weekly, the Persian-American Courier (Neo-Aramaic: Izgaddā, publ. ca. 1915-21 [cf. Werda, ed.; Macuch, p. 344]; Rumble, 2014a; Coakley, pp. 251, 254-55). In 1916 Jacobs also linotyped a translation into Neo-Aramaic of the Classical Syriac theological work, “Book of the Pearl” (Ktābā d-margānītā) by Mar Audisho [ʿAbdīšō] bar Berikha (d. 1318; on him, see Teule; Figure 2). The translation was by the New York scholar and churchman, Abraham Yohannan (1853-1925), who was Jacobs’ friend and teacher (McPharlin, p. 2562)—perhaps his guide in Classical Syriac. Jacobs’ 1916 publication of a pamphlet for Assyrian immigrants, Information to Assyrians Desiring to Become American Citizens (LOC), may likewise have been a collaborative effort. Jacobs himself became a citizen in 1917. During United States participation in World War I and up to early 1920, he worked for Remington Arms Company in Bridgeport, Conn., as an expert machinist (details in McPharlin, p. 2562).

Jacobs’ work on Syriac fonts, for Mergenthaler Linotype Company (with headquarters in Brooklyn, New York City), must have begun early on, during his Courier work. Mergenthaler claimed in 1914 that “a majority of foreign language newspapers in the United States are composed on the Linotype” (LB 11/3, p. 58) and advertised the international use of its machine. With Hebrew already supported (e.g., 7/1, 1911, p. 21), an Arabic keyboard was added in 1911, an Armenian one in 1912 (LB 7/10, p. 81; 8/4, p. 54). When in 1918 the company declared the machine’s capability for a list of 38 languages, the only non-European language it had added since its 1916 list was Syriac (LB 15/1, p. 6; cf. 13/6, p. 85). In February 1920 it displayed its several new fonts for Classical Syriac and Neo-Aramaic (16/3, p. 179; Figure 3), which were already in use in late 1919 (LB 16/3, front page facsimile letter, with reference to the linotyped Syriac text in Furlani, 1919). In December 1919, Jacobs filed applications for patents, on “decorative Syriac fonts” and on a “typographical element” for combining letters and diacritics (for description of it, see McPharlin, p. 2563). Upon receiving his font patents in May, 1920, he ‘assigned’ them (i.e., transferred ownership) to Mergenthaler (USPO, 1920, pp. xlix, 142; Figure 4a, Figure 4b, Figure 4c). The patent for the “element” (USPO, 1921, pp. vii, 446) was similarly assigned in June 1921. According to McPharlin (p. 2563), Jacobs’ connection with Mergenthaler lasted until 1927, in its foreign language section; and he participated in preparation of the company’s Manual (Mergenthaler, 1923; see Siegfried, p. 2700).

Jacobs was well prepared, by both skill (see example, below) and experience, to exercise his independent spirit and earn his place in the history of American printing. In 1922 he acquired his own linotype machine and established Polytype Press in a basement at 39 West 8th Street in New York City’s Greenwich Village. By then, Jacobs was associating with the artistic and intellectual New York circles of his day. His first literary publication was an anthology of New York poets, titled Companions (1922), for which he contributed the title poem; his droll pen name and another instance of name play are discussed below.

Since Jacobs specialized in complex, multilingual linotype composition, he proved invaluable to the poet E. E. Cummings (1894-1962) for the typesetting of the latter’s poems, which use irregular spacing and punctuation and other non-conventional techniques. “Beginning in 1923, Jacobs set all of Cummings’ poetry in type. He was Cummings’ ‘personal typesetter’” (Rumble, 2013, p. 38). The partnership began that year with Cummings’ first book of verse, Tulips and Chimneys, published by Thomas Seltzer (1875-1943). Cummings trusted Jacobs for precision and creativity in designing his books; for instance, Jacobs, with a penchant for lower case in his designs, introduced the lower-case display of the poet’s name (McPharlin, p. 2565). Jacobs also printed some of Cummings’ books and published two of them (see below). For Jacobs’ dexterity, a biographer cites Cummings on the typesetting of 432 pages of the poet’s prose travel narrative (Eimi, for Covici, Friede, Inc., 1933) in 72 hours, with Jacobs “sustaining himself on a diet of coffee” (Sawyer-Lauçanno, p. 366). The long-term association of the two was such that, in 1931, Time Magazine called Jacobs the poet's “Persian pressagent” (Time). (For a proof printing of Cummings’ book VV, title page and page 1, and one page of Jacobs’ letter to the author regarding these, see Schwartzburg; see also Webster.)

By the late 1920s, he was designing for Covici Friede, Inc., for Boni & Livright (Cummings’ poetry publisher), and for Stratford Press, where in 1929 he was working as director of typography (Siegfried, p. 2700). Siegfried illustrates title pages of books for these and other publishers. For Macmillan Company, he designed The Birthday of the Infanta (by Oscar Wilde, printed by Stratford Press, 1929); this slim book (58 pages) with a first (only?) edition of 500 copies, was included in the American Institute of Graphic Arts [AIGA] list of fifty notable books of the prior year (New York Times, 2 February 1930, p. 12).

1929 also saw a work for Covici, Friede titled Circumference: Varieties of Metaphysical Verse, 1456-1928 (edited by the poet Genevieve Taggard [1894-1948], 1,050 copies; see Rumble, n.d.). It included verse by Cummings. The book may have earned Jacobs a reputation or contributed to it; two years later, he was described as “an authority on metaphysical verse” (Time). He also designed for Covici, Friede The Canterbury Tales of Geoffrey Chaucer, Together with a Version in Modern English, with illustrations by the prominent artist Rockwell Kent (1882-1971), (printed by Stratford Press, 2 vols., New York, 1930, 931 copies [Eckhard, p. 9]). The AIGA selected this book (and over time, according to W. Rumble [2013, p. 40], a dozen of Jacobs’ designs) in its annual list of fifty outstanding books (New York Times Book Review, 15 February 1931, p. 2). “Jacobs’ contribution to innovative printing and graphic design helped establish a fresh new American typography” (Rumble, 2013, p. 40; on his typography, see in detail, McPharlin, p. 2564; Siegfried, pp. 2700-2704).

Jacobs’s 1931 letter to Cummings (see “Bardar” and above) has a return address of 3 Milligan Place, still at present a residential building in Greenwich Village; and according to Rumble (2013, p. 38), Jacobs and Cummings and Seltzer “were all neighbors in the Village.” But by 1934, Jacobs moved his business out of Manhattan and established the Golden Eagle Press in an industrial space at 34 North Bond Street in Mount Vernon, east of Yonkers. Mount Vernon was already well known for the books of the noted designer, Bruce Rogers (1870-1957). Moreover, a large Assyrian émigré community, in the aftermath of the genocide of Assyrians and the scattering of their remnants worldwide, had formed in the adjoining city of Yonkers. Jacobs’ first two publications for Golden Eagle were Joseph Kling’s novel, A Full Life (1934), and E. E. Cummings, No Thanks (1935; for the latter, see Rumble, 2013, p. 41). He continued to typeset and print Cummings’ poetry and prose, as well as other works, including another anthology, a parody of journalism, titled The Golden Eagle Press: The Higher Journalism (Fleetwood, Mount Vernon: No Publisher [Jacobs], 1936). (For the late 1930s, see several other examples in Brooks, Tinker.)

The press continued in the 1940s. For some of his limited editions of classic English poetry in this period, see McPharlin (pp. 2566, 2568). Golden Eagle—which experienced distribution problems (ibid., p. 2565)—no doubt regularly participated in exhibits of book designers’ art, such as one sponsored by AIGA, “including books, covers, specimen pages and jackets” (New York Times, 15 February 1946, p. 34). The Press is well represented in the 1951 exhibit publication, Books for our Time (Lee, ed.); of 152 books illustrated, 24 are designs of Jacobs, ranging from 1925 to 1949; nine are Golden Eagle publications. In 1954, the Press is referred to in the past tense (Breit), although Jacobs is said to have continued working actively (Obit.).

Jacobs, living absorbed in letters from his youth (see above), may have had a strong interest in ʿelm al-ḥoruf, that is, the science of interpreting letters and their numerical values, whether or not he also studied the practice, derived from it, of magic “based on the occult properties of the letters of the alphabet and of the divine and angelic names which they form” (Fahd, p. 595; see also Krotkoff). In 1918 he wrote from Bridgeport to the New York magazine The International, solving a numerological question propounded by its editor and regular contributor, the qabalist Aleister Crowley (1875-1947), for whom it was a matter of pressing importance (Crowley, 1930-2004, pp. 242-43; Kaczynski, p. 325). The letter writer’s middle name, “Aiwaz,” seemed to point to Crowley’s own claimed revelator, an ‘Intelligence’ called Aiwass (a name whose numeric value Crowley calculated from a Greek spelling). Upon their mutual correspondence, Crowley learned from Jacobs that the numeric value of a spelling ʿywz “Aiwaz” was 93 (70+10+6+7). Crowley cites the name in Hebrew letters, but the value is the same in Syriac or Arabic. This number was a sign for him of authenticity, since it matched his own calculations for the key terms, Greek thelēma “will” and agapē “love” (2004, p. 238; 1979, p. 834). With further thought, he found a way to reconcile the Greek and the Hebrew spellings as representing one and the same entity (1979, p. 834).

Jacobs’ spelling ʿywz was phonemic, ending in letter zāy, and would be the natural Neo-Aramaic form; the transliteration matches his actual Neo-Aramaic signature (see below). The historically attested form of the name in Arabic script is ʿywż, ending in letter ḍād (see “Note,” below), which is lacking in Neo-Aramaic script. The numeric value of the Persian/Turkish form in Arabic script totals 886 (70+10+6+800).

Jacobs apparently never met Crowley, and the extent of correspondence with Crowley and his associates (see examples, Churton, pp. 220-22) is unknown, but Jacobs clearly was interested in Crowley’s writings. In a short 1951 essay, Jacobs’ message—an emphatic urging to artistic independence—is in harmony with Crowley teachings as well as with his own life. His assertion of a “law of freedom” (Jacobs, p. 33) and the primacy of “feeling” (p. 32) seems reminiscent of a Crowley reference to a “law of liberty and of love” and Crowley’s discussion of the “Law of Thelema” that the other phrase was characterizing (essays in Crowley, 1998, pp. 177, 173-74). Jacobs also paraphrases a sentence from Crowley’s gnostic liturgy (“Liber XV,” sec. IV, in Crowley, 1919, p. 256; Jacobs, p. 33; repr. in Crowley, 1998, p. 212, with editors’ note on this point).

Although Crowley (1930-2004, p. 243) knew Jacobs as an “Assyrian,” Crowley’s invoking of Hebrew, as well as Greek, numerology may have contributed to mistaken identification of Jacobs as a “Jewish Persian” (e.g., see Schwartzburg).

In the 1922 Companions (see above), Jacobs signed the title poem as Bar-Dar Syrus Urmensi [sic, for Latin Urmensis] “Bar-Dar the Syrian [i.e., Assyrian], the Urmian” (Rumble, 2012). The whimsical name occurs again in this period (1920 to 1925), spelled as “Bardar.” Jacobs is one of the early 1920s signatories on the famous door of Frank Shay’s (1888-1954) Bookshop, which is now preserved in the collection at the Harry Ransom Center, University of Texas at Austin (see Schwartzburg, with full illustration). Jacobs’ signature (see “Bardar”) is one of 242 on the door, in the company of such luminaries of early 20th-century American literature as John Dos Passos (1896-1970) and Upton Sinclair (1878-1968). It is the only signature in non-Latin letters; it is written in a continuous line:

reading: Bardar Šmūʾēl bar ʿAiwaz d-bēt Yaʿqub Bardar Bardar

script: Latin Neo-Aramaic Neo-Aramaic Arabic

The door shows a formal, Neo-Aramaic form of his name, “Samuel, son of Aiwaz, of the House of Jacob.” He also wrote this formula transcribed; Crowley cites it from the first letter from Jacobs (“besides his Americanized signature”) as “Shmuel Bar Aiwaz bie [sic, for bit/bēt] Yackou de Sherabad” (Crowley, 1930-2004, p. 242; 1979, p. 834). On the title page of the 1916 book (Yohannan), Jacobs called his press in Neo-Aramaic “House of Jacob Press” (Maṭbāʿtā d-bēt Yaʿqub; Figure 1).

Bardar has no meaning in Aramaic and has been thought to imperfectly render Persian barādar “brother” (Rumble, 2012). But the hyphenated form in print seems, rather, or additionally, to suggest Persian bar dar “upon [the] door.” If Jacobs invented the name previous to publication of Companions and upon the occasion of signing the ‘famous door,’ he may have meant to suggest both the word and the phrase, barādar and bar dar (but cf. also bar dār “crucified”); the hyphen in print might have been intended to clarify the word play.

The only other name on the door that has a Middle Eastern origin is that of Achmed Abdullah (1881-1945), author of pulp fiction (e.g., The Thief of Baghdad, 1924, which inspired the film that year) and screenplays (e.g., The Lives of a Bengal Lancer, 1935).

In 1931, apparently when being interviewed for Time Magazine’s notice of Cummings and his work, Jacobs seems playful. Although he was alleged by the Time writer to be “loth to give his full name in Persian, [he] admits that part of it is Samuel Yakob Airwaz [sic] Sheraaobode Azerbajode Muradkhan” (i.e., Širābādi, ‘Āẕerbajodi’ [cf. the surname Āẕerbodi/Āẕerbādi, Per. Āẕerbāyjāni], Morād Khan) (Time). In 1929, it appears that he teased Siegfried, telling him that his patronymic name “Aiwaz” was “the Persian equivalent of Satan” (Siegfried, p. 2699)—a notion that must reflect Crowley’s equating of (the spirit) Aiwaz = Lucifer = Satan (Crowley, 1930-2004, p. 172, n. 1); Siegfried seems to regard it seriously. (On this name, see the appended “Note.”)

Jacobs’ papers, from the 1950s only, are catalogued in the Philip Kaplan Collection of S.A. Jacobs (1950-1958) at the Southern Illinois University, Special Collections Research Center, where also may be found the E. E. Cummings archives. These display his interest in the development of a universal alphabet and show him to have been an early pioneer in the direction of the principles now embodied in Unicode (for which, see “About the Unicode Standard”). A man of creative breadth, his interests may have extended to other universalist commonality tendencies—for instance, his archive contains “Folder 29: A pattern for future society, by Shoghi Effendi” (“Kaplan Collection”).

Jacobs and his wife Hilda had one son, Sam[uel], Jr., who survived him. According to his obituary, Jacobs retired ca. 1966 (“about five years ago”). At the time of his death in 1971, he was residing in a Yonkers nursing home (Obit.).

NOTE ON THE NAME “AIVAZ” (EIr)

The Turkish word that is written in the Latin alphabet of modern Turkish as ayvaz occurs widely as a given name, a surname (or a component of one), and a component of place names. Most of the variant forms are (or were formerly) written with the Arabic letter ḍād; and Turkish dictionaries derive the word from one and the same Arabic common noun. Exceptions, including a form in Arabic script that agrees with S. A. Jacobs’ Neo-Aramaic spelling in using letter zāy, are noted below (in [3]). The three Turkish forms whose spellings incorporate ʿ - w - ḍ of the Arabic root are as follows.

(1) Turkish /ivaz/. The Ottoman words written ʿivaż and plural aʿvāż (Redhouse, p. 1328) exactly reproduce the spellings and meaning of Arabic ʿiwaḍ (عوض), pl. aʿwāḍ (اعواض), basically “substitute” (Lane, p. 2197) and extending to “something in exchange or as compensation” (Barthélemy, II, p. 562; Kieffer and Bianchi, II, p. 296; for its use as a technical term in Islamic law, see Linant de Bellefonds). The corresponding name is attested historically—e.g., the soldier Hacı İvaz Paşa (حاجی عوض پاشا, d. 1429; Özcan); a 17th-century Safavid governor, ʿIvaz Beg (Matthee, p. 61); and a Turkmen Ivaz Beg, father of the khan of Khiva, İltüzer (r. 1804-06; Saray). The name is also familiar in Turkish literature. Hacı İvaz (= Hacivat; perhaps inspired by the historical Hacı İvaz) is a protagonist, with Karagöz, in the Turkish shadow puppet plays (see, e.g., Arvas). Not surprisingly, Ivaz also occurs in place of Ayvaz (see [2], below) in the Köroǧlu epic, which is found across the entire range of Turkish dialects: P. Naili (p. 40) distinguished three main lines of the literary tradition: Anatolian, Azeri (in Azerbaijan), and Turkmen (in Khorasan).

(2) Turkish /ayvaz/. The Ottoman Turkish term ayvaz (عیوض) was a title applied to non-Muslim (also to Kurdish) household servants and functionaries (Lewis, based on Siyavuşgil). Š. Aksoy (p. 60) found a dialect version of the term noted in (1), above, as /ayvaz/ in southern Turkey bordering Syria. As a name, the word also is seen latinized as Eyvaz, Eywaz, Eyvez. A well-known example in Turkish literature is the handsome youth Ayvaz, companion of the bandit poet Köroğlu (see, e.g., Sand, tr., p. 9 and ff.). “One of the most common motifs of the Köroğlu epic is the story of Ayvaz (Ivaz Han, Ivaz)” (Naili, p. 44). In other occurrences, a Persian family name ʿEyvaż-zāda (عیوض زاده) is commonly anglicized as Eyvazzadeh; the Armenian family name is Aivazian (see, e.g., in the Ottoman period, Wharton, p. 91). Kurdish Eyvaz in Cyrillic is: Эйваз. Place names include present-day Ayvazlar in northwest Turkey and ʿEyvażlu (عیوضلو), north of Ardabil, in Iran.

(3) Turkish /ayvāz/. A dictionary form of the noun marks initial a- explicitly, with the diacritic fatḥa (عیواض; Sāmi, p. 958). In Arabic script, the Azeri name ʿEyvāż (e.g., the contemporary Republic of Azerbaijan poet, Yetim Eyvaz) likewise is written in literary form as عیواض, as well as in phonemic form, ʾywʾz (ایواز, for which see also the Köroǧlu character in Alizade, ed., pp. 41 ff.). A. Barthelemy (p. 562) cites an Arabic version of the abovementioned literary character Hacı İvaz in a dialect form /ēwāz/, here spelled with letter zā (ʿywẓ, عیواظ). For the lengthening of -a- in the name, EIr suggests possible analogical influence of names such as (in Turkish) ʿİyāż and İyās.

[sffortheculture]

A quote from my #WIP The Junteenth Campaign book five of @thevanguardseries where Chessed and the Vanguard take neo-confederate in an all out war for the freedom of POC in the post apocalyptic American south, as dark occult forces rally against them to the north! I'm having a great time writing it and I can't wait till y'all get to see it! I'm hoping to crack 70k words today so wish me luck! In the meantime make sure you check out books 1-3 of The Vanguard Series with book 4 coming soon just click the link in my bio! #bookquotes #amwritingfantasy #blackauthor #bookish #bookstagram #epicfantasy #thrillerreads #blackexcellence #afrofuturism #swordandsoul #supportblackauthors #blackbooksmatter #blackfantasy #blackscifi #HAMAA #blerd #blerds (at Bridgeport, Connecticut) https://www.instagram.com/p/CNVpAwCABUa/?igshid=13fs3td0u99hf

[mercury101]

friday afternoon, bogaard overlook

[dochardysouljazz]

Guess who's ON THE AIR THIS SATURDAY JULY 20? The Doctor and DJ Juan Coon playing the best of CLASSIC SOUL and NEO SOUL music. Special Guest: Bridgeport's own Soul/R&B/House/Jazz Vocalist Phoenix Fire! Jazz and Soul On Ice 1PM to 4PM on WPKN Radio 89.5-FM or streaming at www.wpkn.org. https://www.instagram.com/p/Bz_VzMpnkcz/?igshid=15wsv1qhz6kes

[osobypostacieludzie]

Paul Gottfried ( Paul Edward Gottfried ) - jest amerykańskim paleokonserwatywnym filozofem, historykiem i felietonistą. Jest byłym profesorem humanistyki Horace Raffensperger w Elizabethtown College w Elizabethtown w Pensylwanii, a także odbiorcą Guggenheima. Obecnie jest prezesem klubu H. L. Menckena. Gottfried jest także przewodniczącym rady redakcyjnej książek recenzowanych w San Francisco. Gottfried urodził się na Brooklynie w 1941 roku, w żydowskiej rodzinie. Jego ojciec był odnoszącym sukcesy kuśnierzem z Budapesztu, który uciekł z Węgier po strajku lipcowym w 1934 roku. Rodzina przeniosła się do Bridgeport wkrótce po jego urodzeniu. Gottfried uczęszczał na Uniwersytet Yeshiva w Nowym Jorku jako student pierwszego roku studiów i wrócił do Connecticut, aby wziąć udział w Yale. Należał do Partii Prawa Związku Yale. Gottfried jest autorem wielu książek i artykułów opisujących wpływy, które różni niemieccy myśliciele (tacy jak Hegel i Schelling) wywierali na amerykańską konserwatywną teorię polityczną i inne tematy, ostatnio na badania natury i historiografii faszyzmu. Wiele jego książek pojawia się również w tłumaczeniu. Był także przyjacielem wielu osobistości politycznych i intelektualnych, takich jak Richard Nixon, Pat Buchanan, John Lukacs, Thomas Molnar, Will Herberg, Samuel T. Francis, Paul Piccone, Murray Rothbard, Eugene Genovese, Christopher Lasch i Robert Nisbet . Gottfried jest paleokonserwatywnym krytykiem neokonserwatywizmu w Partii Republikańskiej. W rzeczywistości termin paleokonserwatysta został po raz pierwszy użyty przez Paula Gottfrieda i Thomasa Fleminga, z przedrostkiem "paleo" oznaczającym "stary" w opozycji do "neo" lub "nowych", konserwatystów. Gottfried jest przeciwny budowaniu narodu i jest zapalonym krytykiem amerykańskiej interwencjonistycznej polityki zagranicznej. Gottfried jest także pierwszą osobą, która użyła terminu "prawo alternatywne", odnosząc się konkretnie do zmian w amerykańskiej polityce prawicowej, w 2008 r. Richard B. Spencer pomógł terminowi zdobyć szeroką walutę wraz z powstaniem tak zwanego ruchu "alt-right"; Spencer podkreśla, że ​​on i Gottfried "współtworzyli" ten termin. Gottfried jest obecnie prezesem Klubu Mencken H.L., który został założony w 2008 roku. Jest także prezesem redakcyjnym San Francisco Review of Books.

[hudsonespie]

Changing Market Conditions and Eastern Canadian Ports

A combination of factors that includes the COVID pandemic, U.S. – China trade disputes and advancing technology have changed market conditions for Eastern Canadian container ports. Canada being implicated in the U.S. – China Huawei dispute has reduced funding to develop a mega-ship transshipment terminal in Eastern Nova Scotia, while the COVID pandemic and U.S. – China trade dispute might have delayed development of a competing transshipment port.

The development of ultra-large container ships that exceeded the dimensions of the largest neo-Panamax ships offered the potential for container transshipment in Eastern Canada. Such a business plan involved sailing ships of 18,000 TEU from East Asia to Eastern Nova Scotia, then transferring containers to smaller vessels destined for American east coast ports. At the time, the terminal area at Halifax was deemed to be too small to totally offload the largest container ships of the period and transfer containers to smaller ships. The Canadian government then invested to develop Port of Saint John container terminal for larger ships.

Officials at Quebec City then announced that their terminal could berth neo-Panamax size container ships and officials at Montreal suggested that larger container ships could theoretically sail to their port, courtesy of generous navigation width along the Lower Saint Lawrence River. Several American east coast ports were subsequently modified to berth larger container ships (prior to President Trump initiating action to disrupt U.S. – China trade). Combined with reduced trade resulting from the COVID-19 pandemic, the short-term future of Eastern Nova Scotia transshipment ports appears uncertain, as does future container traffic at Port of Saint John.

Halifax Transshipment

The sailing distance between Western Europe and any of Boston, New York City or Newark barely changes if a ship briefly stops at Port of Halifax. Compared to sailing two different sized container ships between the same European port and both Boston and Newark/New York, it is actually cheaper per container to sail a single larger container ship to Newark/New York and partially offload containers at Halifax, then sail a smaller interline ship between Halifax and Boston. Despite limited terminal space, Halifax could expand transshipment to include other small American east coast ports such as Portland and New Haven/Bridgeport.

Saint John

While the railway distance between Saint John and Montreal is shorter than Halifax – Montreal, it is still greater than Boston – Montreal and New York/Newark – Montreal. Political support to develop Port of Saint John to berth neo-Panamax size ships was the result of political strategy to reduce a single railway from operating a virtual monopoly of container transportation between Eastern (Halifax) and Central Canada (Montreal and Toronto). A different railway operates between Saint John and Montreal. Moving containers by rail between Saint John and Boston is much more costly per container than doing so by ship.

Quebec City

Despite initial opposition to a container transshipment terminal for neo-Panamax size ships at Quebec City, there is merit in doing so. It is closer via Suez Canal to the ports of Hong Kong, Guangzhou, Shenzhen and Yantian than via Panama Canal. There is insufficient market demand to warrant sailing a neo-Panamax ship via Panama Canal between an East Asian port and Quebec City. However, there is merit in sailing interline ships between a Western Mediterranean transshipment port and Quebec City, to connect with the largest container ships that sail from China and India to Europe.

When market conditions allow, a modified height-reduced interline ship of 7,000 to 9,000-TEU with a low level forward bridge could carry containers from Asia and Europe to Quebec City for partial offloading. With height and sailing depth reduced, the ship could sail to the port of Montreal. Interline waterway ships may carry containers from Quebec City to Ogdensburg, New York and Cleveland, Ohio, with tug barges sailing to Canadian inland ports located upstream of Montreal.

Mega-Ship Transshipment

The pandemic has reduced international trade and called into question the viability of operating mega-size container ships that offer the lowest per container transportation cost. Transshipment presents a potential market for such ships sailing between Asia and Western Mediterranean transshipment terminals, to interline with smaller ships sailing to both European and northeast North American ports. In the latter case, a westbound neo-Panamax ship would sail across the North Atlantic to Halifax and Newark, with a smaller ship sailing to Quebec City. Transshipment allows the mega-ship to provide more competitive per container transportation costs, including to northeastern North America.

The lower cost per container achieved by the combination of a super-size container ship sailing via Suez Canal and interlining with a smaller trans-Atlantic ship could extend to east coast American ports located south of New York, such as Norfolk/Newport News and Baltimore. If trade volumes decline, a tug-and-barge route could carry containers between Norfolk/Newport News and Baltimore, with possible extension via Chesapeake Canal to Philadelphia. An interline ship could carry combined payload for both Charleston and Savannah, calling at both ports. During a period of reduced trade, transshipment would form the basis of mega-ship business plans.

  Transshipment port strategies

Transshipment would form the basis for business plans involving the largest container ships capable of carrying massive volumes of containers at the lowest overall cost per container. Container transshipment would occur at western Mediterranean terminals involving ships carrying containers from Asia and being transferred to smaller ships sailing to the combination of multiple European destinations, Canada’s St. Lawrence River and North American Atlantic coast ports. The Canadian ports of Quebec City, Halifax and Montreal would sustain business during and after the economic slowdown. Eastern Canadian mega-ship transshipment terminals are likely many years into the future.

from Storage Containers https://maritime-executive.com/article/changing-market-conditions-and-eastern-canadian-ports via http://www.rssmix.com/

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PSA: #ILoveYou and there’s nothing YOU can do to change that! #EncourageYourself #Live #ForYou #PSA #Message #Actor #Singer #ExperimentalSoul #Neo #Fairytale #Recovery #Artist #Freedom #Peace #Love #Joy #YOUNeededToHearThis #WakeUp #BeYou #TheWorldNeedsYou (at Bridgeport, Connecticut) https://www.instagram.com/p/BrBIxUMgt3m/?utm_source=ig_tumblr_share&igshid=1k9zpcuw7fwbi

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Un nouvel article a été publié sur https://www.rollingstone.fr/kurt-vile-bassackwards/

Kurt Vile sort l'hypnotisant "Bassackwards" et annonce un nouvel album

Un nouvel album garni d’invités, dont le prodige de l’americana, originaire de Philadelphie, présente le cœur battant

Figure de proue de la nouvelle scène neo-folk américaine, Kurt Vile signera son retour cet automne avec un nouvel album, Bottle It In, à paraître chez Matador Records.

L’album fera suite à b’lieve i’m goin down, paru en 2015, mais aussi à son album collaboratif avec Courtney Barnett, Whole Lotta Lice, paru en 2017.

Avec une folk épurée, hyper personnelle, Kurt Vile remettait au goût du jour une certaine idée de l’Amérique, celle des grands espaces, aussi sauvage qu’anachronique, mais tellement respectueuse de ses propres traditions qu’elle a fini par porter aux nues son géniteur. « J’ai retrouvé ma famille au beau milieu du pays, et on est partis en road trip ensemble, » raconte-t-il au sujet de de ce nouvel album, produit notamment par Shawn Everett (Alabama Shakes, The War On Drugs) et Peter Katis (Interpol, The National), et enregistré entre Brooklyn, Portland, Bridgeport et Los Angeles. Un album que Kurt Vile (à défaut d’être accompagné de ses Violators) n’a pas enregistré seul, puisqu’il s’octroie les services de Kim Gordon, Cass McCombs, Stella Mozgawa du groupe Warpaint ou encore Mary Lattimore.

Considéré comme le « cœur battant » de Bottle It In, le morceau Bassackwards est une véritable séance d’hypnose musicale de près de dix minutes, ponctuée par le phrasé brinquebalent, toujours sur le fil de Kurt Vile. Une rêverie acoustique qui rappelle, dans son utilisation du rewind, les trouvailles esthétiques, aux frontières de l’étrange, des Beatles avec Strawberry Fields Forever. Le morceau fait suite à Loading Zones, un premier extrait dévoilé il y a quelques semaines.

Bottle It In, le prochain album de Kurt Vile, sortira le 12 octobre prochain. Ci-dessous, pochette et tracklist :

Loading Zones

Hysteria

Yeah Bones

Bassackwards

One Trick Ponies

Rolling With the Flow

Check Baby

Bottle It In

Mutinies

Come Again

Cold Was the Wind

Skinny Mini

(Bottle Back)

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Performing LIVE Neo Soul artist @mia_mhoor! On Wednesday 10/18/17 @ TruNorth Tavern & Table: 3171 Fairfield Ave, Bridgeport, CT. @8pm, hosted by Dee Brown! #darkskingirls #mhoortour #phokishiphop #neosoul #rnbmusic #hiphopculture #miami #newyork #losangles #chicago #houston #philadelphia #phoenix #sanantonio #sandiego #dallas #sanjose #cleveland #detroit #stlouis #baltimore #washingtondc

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New Post has been published on Webpostingpro

New Post has been published on https://webpostingpro.com/stoke-on-trents-ceramics-trail/

Stoke-on-Trent’s Ceramics Trail

The Orlando Potter Building construction started out in April 1883 and was completed in 1886.

Architectural Historians give the call “Potter” to this Constructing due to the fact Potter, Orlando Brunson, a Consultant from The big apple; born in Charlemont, Franklin County, Mass., March 10, 1823; attended the district school, Williams University, Williamstown, Mass., and the Dane Law school, Cambridge, Mass.; studied Law; become admitted to the bar in 1848 and started exercise in Boston, Mass.; in 1853 he moved to The big apple in 1853 and labored within the development of a stitching device commercial enterprise (Grover & Baker Stitching device Co.) had been he turned into President till 1876; he become a distinguished discern within the Big apple Democratic birthday celebration but unsuccessful for election in 1878 to the Forty-sixth Congress; elected as a Democrat to the Forty-eighth Congress (March four, 1883-March 3, 1885); declined to be a candidate for renomination in 1884; member of the Rapid Transit Fee of latest York City 1890-1894; died in Big apple Town, January 2, 1894; interment in Greenwood Cemetery. (Source: Biographical Listing of the USA Congress, 1771-Gift.)

  Orlando Potter didn’t handiest locate the material he wanted to apply however also the right Architect for the job Norris G. Starkweather. Norris Gershom Starkweather, who signed his name N. G. Starkweather, became born Gershon Norris Starkweather in Windham County, VT in 1818. In 1830 we became an apprenticed to a builder and became a contractor on his very own in 1845. Norris started out his profession as an Architect in Philadelphia in 1852 with Joseph C. Hoxie and have become a complete accomplice in 1854, however,

the partnership did now not final and became dissolved the same yr. Norris G. Starkweather started out his own practice and become very lively with church design. In 1855 he designed the primary Presbyterian Church in Norristown, PA, the primary Baptist Church in Camden, NJ (Camden is a city in New Jersey just on the alternative side of Philadelphia) and the first Presbyterian Church in Baltimore. Norris left Philadelphia of Baltimore in 1856 because of the Baltimore Presbyterian Church to supervise the development that lasted five years.

In Baltimore, Norris changed into noticed and secured different commissions with villas and the remodeling of the Barnum’s City Hotel in Baltimore. In 1860 he appears in Washington D.C with a Workplace. At some stage in the civil conflict period, Norris is enrolled in the 6th Regiment of Maryland Infantry, Employer F.

He’s mustered August 27, 1862, and mustered out Can also 24, 1864. In 1868 he his again in Washington in partnership with a Philadelphia builder named Thomas M. Plowman. The partnership lasted until 1871 and from that date till 1881 Starkweather is listed by himself. among that duration several tasks have been done just like the Cooke’s Row, the remodeling of St. John’s Church in Georgetown, the Academy Constructing for the Convent of the Visitation.

In 1881 Norris G. Starkweather leaves Washington D.C for The big apple, opens an Office with a younger Architect named Charles E. Gibbs. That they had there the first Workplace at 37 Park Row, moved to 822 Broadway from 1882 until 1884 and at 132 Nassau Avenue from 1884 – 1886 but in 1885 the partnership dissolved and Norris moved in at 325W twenty-third Avenue. The foremost Fee of the company changed into the Orlando Potter Building.

Norris G. Starkweather died on December 18, 1885, previous to the completion of the Potter Building and became buried in Bridgeport, Connecticut.

The Orlando Potter Building Is smaller than it’s prestigious buddies, however, has an attraction of its very own. With simplest 11 stories high it simply attracts the attention. The massive (black backside) red brick and terra cotta colored brownstone makes the Constructing looks as if an intrusion within the panorama because of its black backside, purple color, and Architectural styles.

I positioned patterns with an “s” because of the unique styles that have been used; numerous architectural historians call it the “Queen Ann style” but it’s miles extra a beautiful mix of Renaissance Revival, Colonial Revival or even Neo-Grec it’s far a Great example of the Brick and Terra Cotta sturdiness, for over a century it has withstood New york’s excessive climate cycles and nevertheless required no healing for a hundred years.

The black bottom is a forged iron shape covered with bitumen to avoid untimely rusting. The Building sits on a 1/2 block and corners from Park Row Street, Beekman Road, and Nassau Road. It has at the ground level stores all Around and a total of fifty-nine flats with the doorway at a hundred forty-five Nassau Avenue. The front façade that changed into and is made to be seen from Park Row Road is an excellent piece of art and detail work.

The Constructing looks pretty simple however the extra you take a look at it (with binoculars) greater you recognize its complexity with special fenestration styles at every floor, a lot of brick patterns of all shapes that supply an experience of complicity

  The Orlando Potter Constructing Big apple

The Orlando Potter Constructing is for me one of the Nice terracotta realizations of latest York Town (and U.S.). That is a completely unique piece of art. Lay returned, enjoy and take your time to find out all of the details and complexity of its shape and keep in mind that it is a hundred and twenty years vintage.

That is any other Great Constructing and region to sit down and recognize the beauties of recent York Metropolis’s Structure. When you take a seat down on a bench in the City Corridor park you’re surrounded via homes that made New york City history and don’t forget your binoculars due to the fact there are lots to see.The Orlando Potter Constructing is a real splendor and has a lot of elegance, elegance, and attraction, it’s also surrounded with the aid of prestigious buildings like the row park Building (1 block north) that was until 1903 the tallest Constructing within the World.

There was a stunning and massive 4 tale Post Office, beaux-arts style (picture 1910) on the nook of Broadway and Park Row Road that became demolished in 1938 because of a land-rights dispute between the City and the federal government. The Post Workplace space was brought to the Town Corridor park for the 1939 Global’s Truthful.

on the south of the Orlando Potter Building is the Metropolis Hall; Architecture beauty of its own, The oldest Town Corridor within the kingdom that still houses its original governmental functions, The big apple’s Metropolis Corridor is one of the finest architectural achievements of its duration (1803-1812).

City Hall is a designated The big apple City landmark and its rotunda is a designated interior landmark as properly. And of the route right in front of the Orlando Potter Building is the Woolworth Constructing via Cass Gilbert, a World-class Building and a part of New york City’s glory and history. There’s all over the Metropolis Hall Park Incredible homes which are to be discovered. take into account that like in all My Metropolis, what you spot these days isn’t the identical landscape that becomes there while the Building and surrounding buildings have been constructed, many adjustments were made and are nevertheless made these days.

For example,Stoke  Ceramics  Trail the first known edifice in this website was a brick Presbyterian Church through the Yankee Architect John McComb (1763 – 1853) also will recognize for The big apple Town Corridor. when the Presbyterian Church determined to construct a new edifice uptown in 1856, the lot turned into divided in and a trio of pals that included Orlando B. Potter bought the south lot for over $three hundred,000 (that could be approximate $6.500,000 in state-of-the-art Bucks) As you may see New york Metropolis was already on the flip of the 20 the century a wholesome and precious real Property Metropolis. The trio erected a 5-tale stone shape Constructing referred to as The Park Building.

The newspaper “The The big apple Global founded in 1860-toke Office within the Park Building after which turned into known as the arena Constructing. January 31, 1882, a horrible Fireplace destroyed the Building completely and 12 humans misplaced their lives. Orlando B. Potter turned into very criticized for the substances used due to the depth and quickness of the Fire. Orlando Potter felt guilt for the human beings that lost their lives in the tragedy and on the identical time changed into good businessmen and understood what had to be done to turn the page on such an event he also lost over $two hundred.

000 above coverage and 1/2 of his income changed into misplaced. He focused on finding the right materials (fireproof) so this kind of dramatic event might not appear again. It also created a public debate approximately the manner homes had been constructed and with what form of substances. Remember the fact that on the gilded age (stop of the 19th century) an 11-story Building was taken into consideration as a big Constructing and became truly the start of the skyscraper region based totally on engineering trends of 1880 that had enabled the creation of tall multi-tale buildings.

This definition became based totally on the steel skeleton–rather than buildings of load-bearing masonry. it’s unhappy to mention however history already validated use that out of tragedies come remedies and it’s out of that tragedy that Orlando Potter found the substances to constructed a Building that could be for that length a chief leap forward fireproof production; brick, terra cotta, and steel. He additionally proved that you do not need marble or high-quality stones to make a masterpiece. The Potter Constructing is a masterpiece surrounded by way of the monsters within the community that entice humans like magnets and go away the Orlando Potter Building unknown but it has no purpose to envy them because of its fantastic Architectural concept, design, and introduction. Its meticulous info had been finely crafted to create a masterpiece,

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monday afternoon, university of bridgeport & nearby areas

[mercury101]

tuesday afternoon, bridgeport public library