#black Limba

[oscaronthegloryroad]

Uh, here are some bowls I don't think I have posted pictures of

I have made 33 bowls so far and I think I'm getting pretty good at it!

[the-girl-who-didnt-smile]

RE: Was Baron Samedi worshiped in New Orleans prior to the late 20th century?

This one is also about the actual lwa.

Baron Samedi can aptly be described as not just the most iconic lwa, but one of the most iconic things from New Orleans Voodoo. Ironically, I have only found inconclusive evidence that he was worshiped in New Orleans during the 19th or early 20th centuries.

In American popular media, Baron Samedi is frequently conflated with other Haitian deities, called the Gede. The real-life Baron Samedi has his origins in Haitian Vodou, as does Maman Brigitte (Gran Brijit). The Haitian lwa are derived from African deities, among the most important being the Dahomean trickster god Legba (himself, derived from the Yoruba deity Eshu). Over the course of Haitian history, Dahomean Legba was refracted into Papa Legba, Met Kalfou, and the Gede - by extension, the Bawons, including Baron Samedi. This explains why the Gede are trickster deities of sexuality and liminality, who embrace all that is taboo - just like Dahomean Legba!

19th Century New Orleans Voodoo was greatly influenced by Haitian Vodou, due to the massive influx of Haitian refugees that arrived in the Crescent City after the Haitian Revolution. Following the post-Revolution migration wave, several Haitian lwa became features of New Orleans Voodoo, including: 

Papa Legba → “Papa Limba” or “La Bas”, syncretized with St. Peter

Damballah → “Daniel Blanc”, syncretized with St. Michael

Agassu → “Yon Sue”, syncretized with St. Anthony

Ogou Feray could have also been worshiped as “Joe Ferraille” (“Joe Feray”), and Ayizan Velekete as “Vériquité”. While the Erzulies were not directly worshiped per se, veneration of Mother Mary was a key feature of 19th century New Orleans Voodoo. (The Erzulies are syncretized with Mother Mary.)

(I should also note that, in New Orleans, the lwa were called “spirits”, while Bon Dieu/Bondye was simply called “God”)

During the 19th century, the two most important lwa were probably Papa Legba - the Doorkeeper - and Damballah - the most ancient of the lwa. This would explain why their names appear most frequently in 19th- and 20th-century sources, especially in large scale rituals. Damballah might have been refracted into multiple deities, including “Daniel Blanc” and “Zombi the Snake God” – a deity famously associated with Marie Laveau. Others argue that “Grand Zombi” is actually derived from the Kongo supreme deity Nzambi Mpungu, or an invention fabricated by journalists. 

A third key deity – “Onzancaire” / “Monsieur Assonquer” – might have been associated with Ogou Feray – one of the most important Haitian lwa. However, the origins of “Onzancaire” are elusive. Because so many different theories have been proposed, I do not know where his true origins lie.

Other deities of non-Haitian origin were also features of New Orleans Voodoo. St. Marron (Jean St. Malo) was the New Orleanian folk saint of runaway slaves. Mother Leafy Anderson – founder of the Spiritual Church Movement in New Orleans – introduced worship of the Native American Saint Black Hawk (see: Kodi A. Roberts (2015) Voodoo and Power: The Politics of Religion in New Orleans, 1881–1940). My understanding is that “Dr. John” (Jean Montaigne) was also deified, in a similar manner to St. Black Hawk. Orisha, such as Shango and Oya, may too have been worshiped. Other deities are listed here and here. 

Baron Samedi is conspicuously absent. I think this has to do with the history of Haitian Vodou. Prior to the Haitian Revolution, Haitian Vodou was less of an organized religion, described as a "widely-scattered series of local cults" (see: The Social History of Haitian Vodou, p. 134). It was between the years 1804 and 1860 that Haitian Vodou began to stabilize into a clear predecessor of its present form. (see: The Social History of Haitian Vodou, p. 139) This period of stabilization took place after the migration wave of the early 19th century, which could explain why key features of Haitian Vodou are missing from 19th century New Orleans. For example, I have yet to find evidence that division of the Petwo and Rada lwa made it over to American soil. The refraction of Dahomean Legba might have never been transmitted by Haitian refugees, which would explain the absence of Met Kalfou and the Gede/Bawons from worship.

This too explains why the Papa Legba of American history was both Doorkeeper AND Guardian of the Crossroads. It has been theorized that the legendary “Devil at the Crossroads” was actually Met Kalfou. However, this “Devil” does not match the appearance of Kalfou, described as "no ancient, feeble man...huge and straight and vigorous, a man in the prime of his life." Instead, the one at “the Crossroads” appears as a limping old man who loves music and dogs (“Hellhound on my Trail”). It’s Papa Legba!

Rather than Kalfou, I think American Papa Legba actually inherits his more menacing attributes from Eshu. This would explain why he walks with a limp (like Eshu), is notoriously vengeful (like Eshu), and is sometimes described as androgynous (like Eshu!).

In any case, the Papa Legba of American history can be clearly traced back to Haiti. His appearance as a limping old man is inherited from Haitian Papa Legba; his love of dogs and music from Dahomean Legba. 19th century sources clearly identify him with Saint Peter (“St. Peter, St. Peter, open the door;”) The same cannot be said for Baron Samedi. He was probably not syncretized with St. Expedite, because St. Expedite “did not achieve popularity until the late 1800s or early 1900s in New Orleans” – long after the Haitian migration wave.

I have found one compelling source that places worship of Baron Samedi in 19th century New Orleans. Creole author Denise Alvarado is something of an expert on this topic, her being born and raised in New Orleans. In Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans (2022), Denise Alvarado identifies a “Spirit of Death” with Baron Samedi / Papa Gede. The most convincing piece of evidence comes from the second interview, in which the interviewee describes a ceremony where attendees donned purple robes. The color purple has been historically associated with Papa Gede (by extension, Baron Samedi). 

That being said, I do think the evidence Alvarado provides is tenuous. Without additional context, it’s difficult to say whether the purple robes are truly linked to the Haitian lwa. The other newspaper article sounds rather sensationalized. The 19th century saw horrendous news coverage of New Orleans Voodoo, where reporters would exaggerate or straight-up fabricate details to demonize Vodouisants. The reporter’s description of the spirits of death does not align with the Haitian Gede or Bawons. It is important to remember that New Orleans Voodoo is not entirely Haitian in origin. Several other traditional African spiritualities are woven into New Orleans Voodoo. Prior to the Haitian migration wave of the early 19th century, one of the main influences was Kongo spirituality, in which ancestor veneration is central. Additionally, the newspaper cited is from the year 1890 – years after Marie Laveau’s death. The reliability of this article is therefore questionable. I think this could be a Damballah / “Grand Zombi” situation, where this “Spirit of Death” bears superficial resemblance to the lwa but isn’t actually him. It is also possible that he is simply a fabrication by journalists.

The defamation of Vodou continued into the early 20th century, as Haiti was occupied by the U.S. between the years 1915 and 1934. I don’t see how worship of the Gede/Bawons could have been transmitted to New Orleans between the end of the Haitian migration wave and year 1934. There’s a good chance that Baron Samedi / Papa Gede only properly became features of New Orleans Vodou during the revitalization movement of the late 20th century.

As such, I propose two hypotheses: 

Baron Samedi was not properly worshiped in New Orleans until the late 20th century. He quickly rose in popularity, as he was easily grafted onto the pre-existing worship of the spirits of the dead (ancestors). 

Alvarado has correctly identified Baron Samedi / Papa Gede with the “Spirit of Death”; however, this “Spirit of Death” was a radical departure from his Haitian predecessor, taking on a markedly different form from the lwa. 

But that’s all just a Theory… A GAME THEORY!!!

…Anyways, annotated bib: 

 Marshall, Emily Zobel. American Trickster: Trauma, Tradition and Brer Rabbit. Rowman & Littlefield, 2019. 

Chapter 1 ("African Trickster in the Americas") describes Dahomean Legba’s origins in the Yoruba deity Eshu. 

Cosentino, Donald. "Who is that fellow in the many-colored cap? Transformations of Eshu in old and new world mythologies." Journal of American Folklore (1987): 261-275. https://www.jstor.org/stable/540323.

From the abstract: “Myths of Eshu Elegba, the trickster deity of the Yoruba of Nigeria, have been borrowed by the Fon of Dahomey and later transported to Haiti, where they were personified by the Vodoun in the loa Papa Legba. In turn, this loa was refracted into the corollary figures of Carrefour and Ghede.” Accessed here: https://www.centroafrobogota.com/attachments/article/24/17106647-Ellegua-Eshu-New-World-Old-World.pdf 

Haitian immigration : Eighteenth and Nineteenth Centuries. The African American Migration Experience. https://www.inmotionaame.org/print.cfm@migration=5.htm

Describes post-Haitian Revolution migration wave like so: “the number of immigrants [from Haiti to New Orleans] skyrocketed between May 1809 and June 1810… The 1809 migration brought 2,731 whites, 3,102 free persons of African descent, and 3,226 enslaved refugees to the city, doubling its population.”

Fandrich, Ina J. “Yorùbá Influences on Haitian Vodou and New Orleans Voodoo.” Journal of Black Studies, vol. 37, no. 5, 2007, pp. 775–91. JSTOR, http://www.jstor.org/stable/40034365. Accessed 23 June 2024.

Mentions worship of Ogou Feray as “Joe Ferraille”. Fandirch herself cites Long, C. M. (2001). Spiritual merchants. Knoxville: University of Tennessee Press, p. 56: https://archive.org/details/spiritualmerchan0000long/page/56/mode/2up?

Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 247: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT247#v=onepage&q&f=false 

Mentions worship of Ayizan Velekete as (the male) “Vériquité”.

Anderson, Jeffrey E. Hoodoo, voodoo, and conjure: A handbook. Bloomsbury Publishing USA, 2008, p. 15: https://books.google.com/books?id=TH7DEAAAQBAJ&pg=PA15&lpg=PA15#v=onepage&q&f=false 

Relevant quote: "Blanc Dani, Papa Lébat, and Assonquer make the most frequent appearances in both nineteenth- and twentieth-century sources. The first two, in particular, figure prominently in large-scale rituals."

Humpálová, Denisa. "Voodoo in Louisiana." (2012). https://dspace5.zcu.cz/bitstream/11025/5338/1/BP%20Denisa%20Humpalova%202012.pdf 

One of several sources that identifies “Grand Zombi” with Nzambi Mpungu.

Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 247: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT247#v=onepage&q&f=false 

Posits that “Grand Zombi” could be derived from Nzambi Mpungu, or "may be the invention of journalists inspired by "zombie tales" of Haiti's infamous living dead, combined with Moreau de Saint-Méry’s endlessly repeated description of a snake-worshiping ceremony in colonial Saint Domingue."

Anderson, Jeffrey E. Voodoo: An African American Religion. LSU Press, 2024, p. 46:  https://www.google.com/books/edition/Voodoo/O-v3EAAAQBAJ?hl=en&gbpv=1&dq=%22assonquer%22+%22azewe%22+vodou&pg=PA46&printsec=frontcover 

Describes several possible origins for the elusive “Onzancaire”, including a theory that he was a deity related to Ogou Feray. 

Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 236: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT236#v=onepage&q&f=false 

One of several sources to describe St. Marron (Jean St. Malo). 

Roberts, Kodi A. Voodoo and Power: The Politics of Religion in New Orleans, 1881-1940. LSU Press, 2015, p. 82: https://books.google.com/books?id=EWOkCgAAQBAJ&pg=PT82&lpg=PT82 

Describes how Mother Leafy Anderson (founder of the Spiritual Church Movement) “found” St. Black Hawk, introducing him to New Orleans Voodoo. 

Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, p. 39: https://books.google.com/books?id=ktlWEAAAQBAJ&pg=PA39&lpg=PA39#v=onepage&q&f=false 

Posits that high priestess Betsy Toledano worshiped the Orisha Shango and Oya during the 19th century. 

Anderson, Jeffrey E. Hoodoo, voodoo, and conjure: A handbook. Bloomsbury Publishing USA, 2008, p. 15: https://books.google.com/books?id=TH7DEAAAQBAJ&pg=PA15&lpg=PA15#v=onepage&q&f=false 

List of deities worshiped in 19th century New Orleans Voodoo. 

Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, p. 126: https://www.google.com/books/edition/Witch_Queens_Voodoo_Spirits_and_Hoodoo_S/ktlWEAAAQBAJ?hl=en&gbpv=1&pg=PA126 

Another list of deities worshiped in 19th century New Orleans Voodoo. 

Mintz, Sidney & Trouillot, Michel-Rolph (1995) “The social history of Haitian Vodou” in Cosentino, Donald J., ed., Sacred Arts of Vodou, Chapter 4. LA: UCLA Fowler Museum, 123-47. P. 134: https://ghettobiennale.org/files/Trouillot_Mintz_LOW.pdf 

Describes Haitian Vodou as a "widely-scattered series of local cults" prior to the Haitian Revolution. 

Mintz, Sidney & Trouillot, Michel-Rolph (1995) “The social history of Haitian Vodou” in Cosentino, Donald J., ed., Sacred Arts of Vodou, Chapter 4. LA: UCLA Fowler Museum, 123-47. P. 139: https://ghettobiennale.org/files/Trouillot_Mintz_LOW.pdf 

Describes the stabilization of Haitian Vodou into a predecessor of its current form. This occurred between the years following the Haitian Revolution and year 1860. 

Deren, Maya. Divine Horsemen : The Living Gods of Haiti. New Paltz, NY: McPherson, 1983 (originally published in 1953), p. 101: https://archive.org/details/divinehorsemenli00dere/page/100/mode/2up 

Description of Kalfou (Carrefour) as "no ancient, feeble man...huge and straight and vigorous, a man in the prime of his life."  Deren conducted her ethnographic work during the 1940s and 1950s.

Marvin, Thomas F. “Children of Legba: Musicians at the Crossroads in Ralph Ellison’s Invisible Man.” American Literature, vol. 68, no. 3, 1996, pp. 587–608. JSTOR, https://doi.org/10.2307/2928245. Accessed 23 June 2024.

Description of “The Devil at the Crossroads” as a musical genius and “limping old black man”: “Most versions of this story instruct the aspiring musician to bring his instrument to a lonely crossroads at midnight and await the arrival of a limping old black man who will tune the instrument, play it briefly, and then return it endowed with supernatural power."

Robert Johnson’s song “Hellhound on My Trail” identifies “The Devil at the Crossroads” with Papa Legba, who is associated with dogs. 

Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 244: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT244&lpg=PT244#v=onepage&q&f=false 

Relevant quote: "Mary Washington, born in 1863, said she was trained in the arts of Voudou by Marie Laveau. She remembered a song that was sung at the weekly ceremonies: "St. Peter, St. Peter open the door; I am callin' you, come to me; St. Peter, St. Peter open the door." Mrs. Washington explained that "St. Peter was called La Bas, St. Michael was Daniel Blanc, and Yon Sue was St. Anthony." She also mentioned a spirit called Onzancaire."

Alvarado, Denise. The Magic of Marie Laveau: Embracing the Spiritual Legacy of the Voodoo Queen of New Orleans. Weiser Books, 2020, p. 57: https://books.google.com/books?id=SZOMDwAAQBAJ&pg=PA57&lpg=PA57#v=onepage&q&f=false 

Relevant quote: “Baron Samedi remains a popular and powerful force in New Orleans Voudou today, along with his wife Manman Brigit. He is syncretized with St. Expedite, among the most popular of saints in New Orleans. We do not hear of St. Expedite in association with Marie Laveau, however, because he did not achieve popularity until the late 1800s or early 1900s in New Orleans (Alvarado 2014).”

Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, pp. 127-128: https://books.google.com/books?id=GsofEAAAQBAJ&pg=PA127&lpg=PA127#v=onepage&q&f=false 

This is the strongest evidence I could find that Baron Samedi / Papa Gede was worshiped in 19th - early 20th Century New Orleans.

Deren, Maya. Divine Horsemen : The Living Gods of Haiti. New Paltz, NY: McPherson, 1983 (originally published in 1953), p. 107: https://archive.org/details/dli.ernet.505921/page/107/mode/2up?q=purple 

Historical evidence that, since at least the 1940s, Papa Gede’s colors are “black or purple”. To this day, purple is associated with Baron Samedi and the Gede as a whole.

Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 250: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT250&lpg=PT250 

Relevant quote: “The religion that evolved in nineteenth-century New Orleans and was embraced by Marie Laveau and her Voudou society combined traditions introduced by the first Senegambian, Fon, Yoruba, and Kongo slaves with Haitian Vodou, European magic, and folk Catholicism. It also absorbed the beliefs of blacks imported from Maryland, Virginia, and the Carolinas during the slave trade of the 1830s–1850s. These “American Negroes” were English-speaking, at least nominally Protestant, and practiced a heavily Kongo-influenced kind of hoodoo, conjure, or rootwork. New Orleans Voudou is therefore not identical to Haitian Vodou, but represents a unique North American blend of African and European religious and magical Traditions.”

Fandrich, Ina J. “Yorùbá Influences on Haitian Vodou and New Orleans Voodoo.” Journal of Black Studies, vol. 37, no. 5, 2007, pp. 775–91. JSTOR, http://www.jstor.org/stable/40034365. Accessed 23 June 2024.

Describes major Senegambian and Kongo influences on New Orleans Voodoo, prior to the Haitian Revolution. Relevant quote: “New Orleans's African population was Kongo dominated with a strong affinity with the spirits of the dead…Dahomeyan influence occurred only indirectly through the Haitian refugees who "flooded" the city after 1808. In 1809 alone, more than 10,000 Haitians arrived, and doubled the city's population. They brought their Vodou religion with them, which ultimately merged with the already existing New Orleans or Louisiana Voodoo traditions. During the French colonial regime, 80% of the enslaved Africans came from one single ethnic group: the Bamana (also called Bambara) people from the Senegal River basin (today's Senegal, Gambia, and Mali), most of them stemming from one single ethnic group, the Bambara people. The majority of the remaining 20% were Kongolese and some Dahomeyans (Hall, 1992). Despite their rather different geographical origins, these two cultures blend easily into one another. Eighteenth-century Louisiana Voodoo maintained a marked Senegambian flavor, with some Kongolese elements blended in, until the end of the 18th century.” 

Dubois, Laurent. “Vodou and History.” Comparative Studies in Society and History, vol. 43, no. 1, 2001, pp. 92–100. JSTOR, http://www.jstor.org/stable/2696623. Accessed 23 June 2024.

An overview of the history of Haitian Vodou, as it pertains to U.S. history. Demonization of Vodou continued past the U.S. occupation of Haiti, until the late 20th century.

[starqueen87]

Anna Maria Horsford (born March 6, 1948) is an American actress best known for her roles in the film Friday(1995), as Craig Jones' mother Betty, Thelma Frye on the NBC sitcom Amen (1986–91), and as Dee Baxter on the WB sitcom The Wayans Bros. (1995–99).

She had dramatic roles on the FX crime drama The Shield playing A.D.A. Beth Encardi, and CBS daytime soap opera The Bold and the Beautiful as Vivienne Avant, for which she was nominated for the Daytime Emmy Award for Outstanding Special Guest Performer in a Drama Series in 2016 and Outstanding Supporting Actress in a Drama Series in 2017.

Horsford appeared in a number of movies, most notable as Craig Jones' mother Betty in 1995 comedy film Friday and its sequel Friday After Next (2002). Her other film credits include Times Square (1980), The Fan (1981), Presumed Innocent (1990), Set It Off (1996), Along Came a Spider (2001), Our Family Wedding (2010), and A Madea Christmas (2013).

Horsford was born in Harlem, New York City to Victor Horsford, an investment real estate broker originally from Barbuda and Lillian Agatha (née Richardson) Horsford, who emigrated from Antigua and Barbuda in the 1940s. She grew up in a family of five children. According to a DNA analysis, she has maternal ancestry from the Limba people of Sierra Leone.

Horsford attended Wadleigh Junior High School and the High School of Performing Arts. After high school, she got into acting through the Harlem Youth for Change program.

Her first job out of high school was with the Joe Papp’s Public Theater, a part in Coriolanus at the Delacorte in Central Park.

On October 29, 2011, Horsford was awarded the title of Ambassador of Tourism of Antigua. She is also a member of Sigma Gamma Rho sorority.

Her first major role in television was as a producer for the PBS show Soul!, hosted by Ellis Haizlip, which aired between 1968 and 1973. One of her first TV appearances was in 1973 on the first run syndication game show of To Tell the Truth where she was an imposter for Laura Livingston, one of the first female military police. Horsford made guest appearances on such sitcoms as The Fresh Prince of Bel-Air, Sparks, Moesha, The Bernie Mac Show, The Shield, Girlfriends, and Everybody Hates Chris.

Horsford currently has a recurring role as Vivienne Avant on The Bold and the Beautiful. For the role, she was nominated for Outstanding Special Guest Performer in a Drama Series in the 43rd Daytime Emmy Awards.

She began playing a recurring role on B Positive in the show's second-season premiere. She also has appeared in the TBS sitcom The Last O.G. featuring Tracy Morgan, as a recurring character (Tray's mother).

AWARD NOMINATIONS

▪1988 Image Awards (NAACP) Outstanding Lead Actress

in a Comedy Series (Amen)

▪2005 Black Reel Award Best Actress

Network/Cable Television (Justice)

▪2016 Daytime Emmy Award Outstanding Special Guest Performer

in a Drama Series (The Bold and the Beautiful)

▪2017 Daytime Emmy Award Outstanding Supporting Actress

in a Drama Series (The Bold and the Beautiful)

▪2021 Daytime Emmy Award Outstanding Guest Performer

in a Daytime Fiction Program (Studio City)

[stripedhosenrubyslippers]

Pride Art 2023

Happy Pride🏳️‍🌈🏳️‍⚧️

🩷❤️🧡💛💚💙💜🤎🖤🩵🩷

This piece is inspired by The Voodoo Baron Lundy and Baron Limba. This Iwa couple’s magical potency is increased through wrestling.

Voodoo is still important in African wrestling today. Black/African culture has a wealth of stories and lore about LGBT plus individuals that are untold.

There are People who are actively trying to suppress and undermine Black and Queer history to preserve their White Supremacy.

This Pride, I want to remind you that everyone’s story matters and shouldn’t be erased because of bigotry.

#sfpride #pridemonth #prideart #pride #sfartist #sfartists #art #artistsoninstagram #artist #illustrator #illustration #colorpencil #marker #gouche #copicmarkers #carandacheluminance #mixedmediaart #artonpaper #drawing #queerart #queerartist #blackart #blackartist #gayartist #pencildrawing

[guitarbomb]

Discover the PRS CE 24-08 Limited Edition, featuring Black Limba and Swamp Ash bodies for exceptional tone, playability, and versatility.

[galdrecraft]

D6 - Six Sided Hardwood Dice - Black Limba

Handmade Hardwood Dice 3/4" (0.75")~ Classic cube/six sided/d6 dice with original symbolic glyphs. Numerically the symbols are as follows. 1 - Eye 2 - Crescent 3 - Skull 4 - Sword 5 - Hand 6 - Wreath Use as you would any standard d6 or for divination, ritual, etc. Price is per dice and you will receive one of the dice pictured. Due to the nature of natural material and sanding process, dice are near but not necessarily perfect cubes. They will still have similar randomness results as most other dice on the market, but they are not "Vegas/Gambling" odds perfect. They should be fine for your TTRPG game though. View in Shop

[nickonthebassguitar]

This was a bass I owned for a little bit there. It's made by a company called Kiesel and the model is a Vader bass. It's multiscale, so if you're seeing this and wondering if your phone or monitor might be weird no, the frets are indeed angled. It's a 35" scale on the low B string, and 33.5" on the high G.

It was a wonderfully built bass, and extraordinarily lightweight at only 8.1 freedoms per burger (pounds) but I never really connected with it.

Mostly it is simply a victim of another bass's success. I have a Zeus from Kiesel as well and it basically does everything the Vader does, but better.

Here is the Zeus:

A few important lessons here:

I really should have just paid the $50 for the black back and sides instead of leaving it natural. It would have looked so much better and made the crazy black limba top pop so much more.

I really don't care for multi laminate necks. This had a 5 piece maple and purple heart neck. As the laminations settled they of course settled slightly differently, and even though Kiesel did a really stellar job kiln drying the wood, nature is nature, and the neck had to be sanded and re-oiled once. This is not such a big deal, it's to be expected when you ship a product that is made of natural materials like, you know, wood, from a dry southern California climate, to my nice swampy Maryland climate. I'm writing a whole lot about an issue that took a piece of sand paper and 2 minutes to fix, but my point here is that a single piece of maple will also make a damn fine neck on its own yes sirree.

I don't care for neck through either. The upper fret access just isn't any better on the Vader than the Zeus.

Lemme tell ya. The Zeus *fucks*. And I'm probably gonna sell it eventually. I think I'm gonna combine everything I like about it and the Vader together and make a 6 string Zeus I believe.

But this is gonna be a slow process. Wish though I might, I am not made of money unfortunately. Probably a 2025 goal!

[aquaman2filmulvezionline2023]

Aquaman 2 (2023) Filmul Vezi Online SUBTITRAT Română

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[aquaman2filmulonlineromana]

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[nicolae]

The Security Management System from the Perspective of the Global Energy Crisis and the Extended Black Sea Region Escalating Conflict

Jurnalul: Cunoașterea Științifică, Volumul 1, Numărul 2, Decembrie 2022 Pagini: 34-45 Autori: Daniela Georgiana Golea, Andreea Florina Radu, Tiberiu Tănase Limba: engleză DOI: Cuvinte cheie: Extended Black Sea Region, Black Sea, Security Management System, Ukraine Crisis, Global Energy Crisis, fossil resources URL:…

[oscaronthegloryroad]

I am making progress, bowl number 25 is about six inches across (I think) and turned from a beautiful piece of Black Limba. Bowl number 26 is another little poplar bowl.

They join the pile of other bowls I have made. I have a nice Sycamore blank, a piece of Maple, and a BIG chunk of Walnut (but that one is being set aside for a bowl for my mom). I am also working on prepping a couple pieces of red oak and some cherry.

[the-girl-who-didnt-smile]

The Gede Rite is Not Associated with the LGBTI Community

Debunking the Wikipedia article “ Haitian Vodou and sexual orientation”

As a transgender American, I feel the need to address this: Some of the most harmful misrepresentations of Haitian Vodou have been spread by the Western LGBT community. Indeed, the entire field of Western academics* has been criticized for associating the Gede rite with the LGBTI community. 

*See: Mocombe, Paul C. "Gede and Homosexuality." Philosophy 13.7 (2023): 278-283.

Here is a screenshot from the Wikipedia page titled: “Haitian Vodou and sexual orientation ”

TRANSCRIPTION:

A large number of spirits or deities ( lwa ) exist in Haitian and Louisiana Voodoo . These lwa may be regarded as families of individuals or as a singular entity with distinct aspects, with links to particular areas of life.

Some lwa have particular links with magic, ancestor worship or death such as the Gede and Barons. A number of these are further particularly associated with transgenderism or same-sex interactions. [12] These include Ghede Nibo , a spirit caring for those who die young. He is sometimes depicted as an effeminate drag queen and inspires those he inhabits to lascivious sexuality of all kinds, especially transgender or lesbian behaviour in women. [13]

Gede Nibo's parents are Baron Samedi and Maman Brigitte ; Baron Samedi is the leader of the Gede and Barons and is depicted as bisexual dandy or occasionally cross-dressing, wearing a top-hat and frock coat along with a woman's skirt and shoes. Samedi has a tendency toward "lascivious movements" that cross gender boundaries and also imply a lust for anal sex. [14]

Other barons displaying gay behaviour are Baron Lundy and Baron Limba, who are lovers and teach a type of homoerotic nude wrestling at their school, believed to increase magical potency. [15] Baron Oua Oua, who often manifests with a childlike aspect, has been called the baron "most closely linked to homosexuality" by Vodou practitioners. [16]

Another lwa, Erzulie , is associated with love, sensuality and beauty. Erzulie can manifest aspects that are LGBT-related, including transgender or amazonian traits, in addition to traditionally feminine guises. When inhabiting men, these aspects can result in transgender or homoerotic behaviour, whereas they may result in lesbianism or anti-male sentiment in women. Erzulie Freda is seen as the protector of gay men, and Erzulie Dantor is associated with lesbians. [17]

 This entire article is poorly written, where it is full of inaccurate and irrelevant information. The worst section is the one shown above, which includes descriptions of fake lwa, and blasphemous descriptions of lwa that actually exist.The folly lies in relying on foreign authors – especially Randy P. Conner’s Queering Creole Spiritual Traditions, a very problematic text that has unfortunately been cited across Western academia.

What Randy P. Conner attempted to do was commendable, writing at a time when gay marriage was not legal in the U.S. However, he was sloppy in his research.  If you carefully examine Queering Creole Spiritual Traditions, Conner mostly cites white foreigners, such as Hubert Fichte and Michael Bertriaux, who proved to be unreliable sources.

Several inaccuracies are present in Queering Creole Spiritual Traditions; here, I will only address where Conner claims certain lwa are themselves queer.

Conner describes Ghede Nibo like so:

“Gede Nibo is the son of Baron Sanmdi and Maman Brijit (also, Gran Brijit, Madame Brigitte, Maman Brigitte) and, following them, is the leader of the Gedes. Nibo, frequently depicted visually in Catholic terms as Saint Gerard Majella, dresses in black, often wearing old trousers, a riding coat, a crooked hat, and a black scarf around his neck. Occasionally, however, he appears in drag . He usually holds a staff in one hand and a bottle of peppered white rum in the other. He also usually smokes a cigar. He is described as being both extremely effeminate and phallic at once. His high, nasal voice indicates both his gender complexity and his membership in the community of the dead. He is commonly portrayed as a witty, campy dandy and a trickster. In Divine Horsemen, Deren depicts Nibo as the “Lord of Eroticism” who “embarrasses men with his lascivious gestures,” confounding “sex with sex, dressing women as men and men as women,” (Deren, 1983, pp. 102. See also pp. 111-112), while Fichte portrays him as the “phallic god of the dead,” who is homosexual (Fichte, 1975, p. 402) . He is, however, also a great healer and magician, in some respects, the archetypal magician. Songs and dances to Gede Nibo suggest his homoerotic, pansexual, and transgender aspects (Dunham, 1947). A popular praise song to Nibo alludes to his enjoyment of anal eroticism: “Gede Nibo has a cinnamon anus! Just look at how Gede walks” (Marcelin, 1950, Vol. 2, pp. 184-187).”

SOURCE: Randy P. Conner, David Hatfield Sparks, Queering Creole Spiritual Traditions: Lesbian, Gay, Bisexual, and Transgender Participation in African-Inspired Traditions in the Americas . Routledge, 2014. Originally published by Haworth Press, 2004, p. 63

The bolded sections are used as evidence that Gede Nibo is himself queer. 

Conner provides no source for the claims that Gede Nibo occasionally “appears in drag”, is “extremely effeminate”, or that his voice indicates “his gender complexity”. 

The German author Hubert Fichte erroneously described Gede Nibo as homosexual. 

In the back of Xango , Fichte interviews the master painter and houngan Andre Pierre, who flatly denies that Gede Nibo is homosexual:

Ich frage:

—Ist Guédé Nibo Massissi? Schwul?

André antwortet:

—Das ist falsch. Die Götter, die aus zwei Teilen bestehen, sind keine starken Götter. Es sind gekaufte Götter. Man kauft die Göt­ter, um Sachen zu machen, die nicht gut sind.

Source: Fichte, Hubert, and Leonore Mau. 1984. Xango. Frankfurt: Fischer. p. 182 https://archive.org/details/xangodafroamerik0000fich/page/182/mode/2up  

Machine Translation: 

I ask: 

—Is Guédé Nibo masisi? Gay? 

André answers: 

— That is wrong. The gods that are made up of two parts are not strong gods. They are bought gods. People buy the gods to do things that are not good.

According to Herbert Uerlings, the phrase die aus zwei Teilen bestehen (“that are made up of two parts”) means bisexuell oder schwul sind (“bisexual or gay”). Importantly, Uerlings observes that Fichte is probably the first person to claim that Gede Nibo is gay or bisexual, and that Uerlings himself finds no evidence for this in the literature:

“Zu den gewichtigsten Ergebnissen seiner Feldforschung gehört, daß Guédé Nibo, einer der Totengötter, die alle traditionell mit Sexualität verbunden werden, ein Gott der Homo- und Bisexuellen ist. Sollte das zutreffen, so wäre es vermutlich eine neue ethnographische Erkenntnis über den Vaudou .47…”

“47 Ich habe in der Literatur keinen Beleg dafür gefunden. Allerdings notiert Deren zu Guédé: » Er vertauscht die Geschlechter und zieht Frauen Männerkleider und Männern Frauenkleider an « (Der Tanz des Himmels mit der Erde, 1992, S. 128f.), und vermerkt in einer Fußnote: » Es wird zwar selten eindeutig ausgesprochen, aber häufig finden sich Hinweise darauf. daß es sich bei Guedé [sic!] um eine hermaphroditische Gottheit handelt, genau wie Legba « (a.a.O.).”

SOURCE: Uerlings, Herbert. Poetiken der Interkulturalität: Haiti bei Kleist, Seghers, Müller, Buch und Fichte . Vol. 92. Walter de Gruyter, 2013., p. 282

In spite of this, Fichte continued to describe Gede Nibo as “gay” (“schwul”, “masisi”) in Xango and other publications, generating much confusion among academics. 

While Dunham describes sexual dances for Gede, these do not mean that Gede Nibo is himself “homoerotic”, “pansexual”, or “transgender”.

Quoting the Haitian scholar Paul C. Mocombe: 

“…the Haitian Vodou spirits (lwas) of fertility and death, Gede, do not promote homosexuality or the fluidity of sexuality in Haitian culture. The latter position is a Western reading of Gede grounded in postmodern and post-structural identity theorizing. Gede in Haitian ontology and epistemology are lwas of fertility and death not sexual identity confusion or fluidity.”

SOURCE: Mocombe, Paul C. "Gede and Homosexuality." Philosophy 13.7 (2023): 278-283.

Of the sources Conner provides, the most credible is Milo Marcelin’s Mythologie Vodou Vol. II . Interestingly, Marcelin described several of the Guede spirits as gender ambivalent: Guede Nibo and Guede Ousou were both described as “ mystère hermaphrodite”, while Guede Masaka (assistant of Guede Nibo, often accompanied by Guede Oussou) was described as a “ loa androgyne”. However, in African-based traditions, androgyny is not necessarily associated with homosexuality or transgenderism. To be balanced, one must also provide Fichte’s interview with Andre Pierre, where Pierre denies that Gede Nibo is homosexual. 

Because Marcelin and Pierre contradict each other, I would recommend omitting this section on Gede Nibo in the absence of another credible source.

Conner describes Baron Samedi like so: 

“By far the most celebrated of the Bawons, however, is Bawon Sanmdi (also, Baron Cimetiere, Baron La Croix, Baron Samedi, Bawon Lakwa, Bawon Samdi, Bawon Simitye). Depicted in Catholic terms as Saint Expedite (or Expeditus), Sanmdi, although especially concerned with the realm of the dead, is, as a powerful magician, “the spirit most often appealed to” (Hurbon, 1995, p. 95). Sanmdi is a bisexual and occasionally androgynous dandy , leader of both the Bawons and the Gedes and of the spirits of the dead. Married to Maman Brijit, he is the father of Gede Nibo. According to African-American dancer, choreographer, and dance historian Katherine Dunham, in Dances of Haiti, “Baron Samedi’s dual sexuality is expressed in gesture and language as well as in clothing” (1947, p. 24). Sanmdi wears a top hat or straw hat, sunglasses (often with one lens removed, suggesting one eye observing the world of the living and the other the world of the dead and spirits, reminiscent of the Greek prophet Tiresias), a black frock coat, and sometimes of a skirt of raffia. The Bawon is well known for his lascivious movements, which include both phallic thrust and pelvic grinds, the latter (and perhaps the former) indicating a desire to engage in anal intercourse .”

SOURCE: Randy P. Conner, David Hatfield Sparks, Queering Creole Spiritual Traditions: Lesbian, Gay, Bisexual, and Transgender Participation in African-Inspired Traditions in the Americas . Routledge, 2014. Originally published by Haworth Press, 2004, p. 64

The bolded sections are used as evidence that Baron Samedi is himself queer. 

The lone source Conner provides for such claims is the African-American Katherine Dunham’s Dances of Haiti , where she describes Baron Samedi like so: 

"One of the common and fearsome possessions is by Papa Gedé, whose special emissary is Baron Samedi. Baron Samedi fancies himself quite a dandy , is a heavy drinker, and expresses himself in foul language and lascivious movements . He wears a top hat, a black tail coat, a skirt of cloth or grass, and at times dark glasses. If dark glasses are not available, he may simply wear battered rims without lenses. Baron Samedi's dual sexuality is expressed in gesture and language as well as in clothing .”

SOURCE: Dunham, Katherine. Dances of Haiti . United States, Center for Afro-American Studies, University of California, Los Angeles, 1983. p. 19 https://archive.org/details/dancesofhaiti0000dunh/page/18/mode/2up ? 

Dunham’s description of “Baron Samedi’s dual sexuality” is where Conner derives the claims that Baron Samedi is “bisexual” and has “a desire to engage in anal intercourse”. 

Dunham’s description of Baron Samedi is so different from how he is described by Haitian sources, it is of dubious credibility. Recall the differences between the Bawon and Gede spirits:

While it is possible there was once a version of Baron Samedi who was like this, it is also possible that Dunham confused Baron Samedi with Papa Guede. 

At minimum, there are regions of Haiti where the Baron lwa are clearly delineated from the Gede lwa, with the two belonging to different fanmi. Alternatively, the idea that Baron Samedi is the same as (Papa) Gede Nibo in some regions of Haiti is a myth that was fabricated by Americans. 

In the absence of a more credible source, the description of Baron Samedi as a “bisexual dandy” with a “lust for anal sex” should be removed from Wikipedia. I have not found a single, credible Haitian source that agrees with this description. All of them echo the former Ati Max Beauvoir, Andre Pierre, Milo Marcelin, Mama Lola, Paul C. Mocombe, etc., who clearly differentiate Baron from Gede. To them, it is outright blasphemous to describe Baron Samedi in these terms.

This image of “Baron Samedi” should also be removed from Wikipedia. That is not Baron Samedi, who dresses in black as the undertaker. That is Gede, who is mischievous and dresses in purple or black. 

The photograph is not from Haiti, or a Haitian in the diaspora. Rather, it is from the Island of Salvation Botanica in New Orleans, which is run by Sallie Ann Glassman; Glassman is not considered a good representative of Haitian Vodou. That being said, I do not know if Glassman herself is at fault for this image, as I think this photograph might be miscaptioned. 

Conner describes “Bawon Limba” “Bawon Lundy” and “Bawon Oua Oua” like so: 

“Bawon Limba and Bawon Lundy, according to the controversial esotericist Michael Bertiaux, number among the Bawons, who belong to the larger family of Gedes. According to Bertriaux, “These two barons, who are homosexual lovers, formed their own school for teaching nude wrestling.” This practice is, for those devoted to Limba and Lunday, a way of accumulating magical force (Bertiaux, 1988, p. 57). Mark M. describes Oua Oua as the Bawon “most closely linked to homosexuality.” Often assuming a childlike appearance, Bawon Oua Oua is especially associated, as are the other Bawons, with ancestor reverence and magic.”

SOURCE: Randy P. Conner, David Hatfield Sparks, Queering Creole Spiritual Traditions: Lesbian, Gay, Bisexual, and Transgender Participation in African-Inspired Traditions in the Americas . Routledge, 2014. Originally published by Haworth Press, 2004, p. 64

In Lapriyè Ginen , Beauvoir lists the following lwa as part of the Bawon famille: (1) BAWON GRAN BWA (2) BAWON KAFOU (3) BAWON KARA (4) BAWON KRIMINEL (5) BAWON LAKWA (6) BAWON LENTO (7) BAWON LORAN (8) BAWON SAMDI (9) BAWON SIMITYE (10) BAWONLIN LAKWA (11) VYE BAWON (12) GRANN BRIJIT (13) GRANN PELE. 

SEE: Beauvoir, Max. Lapriyè Ginen. Haiti, Edisyon Près Nasyonal d'Ayiti, 2008. pp. 187-196. https://archive.org/details/beauvoir-max-g.-lapriye-ginen-2008/page/n97/mode/2up  

Nowhere does Beauvoir describe “Bawon Limba” “Bawon Lundy” or “Bawon Oua Oua”. I have been unable to verify their existence from any credible Haitian source. They appear to be fake lwa, made up by white gay men.

The lone source Conner provides for his claim regarding “Bawon Limba” and “Bawon Lundy” is "controversial esotericist" Michael Bertriaux . The source he provides for his claim regarding “Bawon Oua Oua” is "an Anglo gay male who was studying with Priestess Miriam Williams Chamani of the Voodoo Spiritual Temple in New Orleans". These are not credible sources for Haitian Vodou. 

Finally, the description of the Erzulies is partially, but not entirely accurate. Whoever wrote this has confused Erzulie Freda with Erzulie Dantor. It is Dantor—not Freda—who is associated with the LGBTI community. 

From Paul C. Mocombe:

“...in Vodou metaphysic, Ezili Dantor is the protector lwa of women, children, homosexuals, and lesbians. That does not mean that the behavior is condoned or promoted in Vodou. Homosexuality and lesbianism are identified as anomalies of life, and their practitioners ought to be protected, not discriminated against or harmed…”

SOURCE: Mocombe, Paul C. "Gede and Homosexuality." Philosophy 13.7 (2023): 278-283.

For this reason, it is not inaccurate to claim there exist lwa “associated with transgenderism or same-sex interactions”; when interviewed by Marilyn Houlberg, Georges René also described Erzulie Dantor as a “ lesbian” (what he meant by this is bisexual). 

The Wikipedia article includes a lone reference to the documentary “Des hommes et dieux”, claiming that: “The documentary "Des hommes et dieux" presents interviews with several people who feel Erzulie Freda made them gay.” This is inaccurate; the interviewees repeatedly claim that Erzulie Dantor protects them and can make someone homosexual, not Erzulie Freda. While this is a popular belief, it is also important to note that it is controversial. One of the interviewees���a gay houngan—outright calls this blasphemy. This position is echoed by others in the Haitian community, who consider the idea that Dantor turns people gay/lesbian to be a popular misconception.

In summary, Haitian Vodou is a challenging subject to research, due to the number of non-Haitians (mostly, white people) who have spread misinformation. This includes members of the LGBT community. The Wikipedia page “ Haitian Vodou and sexual orientation ” should be updated. As it stands, it unfairly misleads Black members of the LGBTQ community into thinking certain lwa are queer, when they are not. More to the point, it is very offensive to the Haitians who worship the lwa to make such claims without a credible source. Statements like “Baron Samedi has a lust for anal sex” poison Haitians against the LGBT community. The LGBT community of America is sheltered from backlash. The ones who lose are the members of the LGBT community of Haiti – really, “ The M Community ” – who are an extremely vulnerable population that constantly deals with violence and death. 

In order to accurately report on this subject, it is imperative to reference the perspective of LGBTI Haitians themselves—not foreigners. To my knowledge, most LGBTI Haitians are not religious, but many believe in Vodou. Even those who are not religious attend Vodou temples simply because they are not discriminated against*.

*See: FACSDIS, OTRAH, St. Vil, D., Theron, L., Carrillo, K., and Joseph, E. (2020) ‘From Fringes to Focus - “A deep dive into the lived-realities of Lesbian, Bisexual and Queer women and Trans Masculine Persons in 8 Caribbean Countries”. Amster- dam: COC Netherlands. https://original-ufdc.uflib.ufl.edu/AA00083427/00006 Retrieved from: https://ufdcimages.uflib.ufl.edu/AA/00/08/34/27/00006/Haiti_Report_Caribbean_CREOLE_25_01.pdf 

Below is commentary from LGBTI Haitians themselves:

“In Haiti we have Senators who were Protestant pastors, who proposed criminalizing LGBT people, [...] they need to understand that as a politician, you are a politician to the citizens, not to Christians, and your document is the constitution and not the Bible. [...] Haitians, as the culture, we’re very spiritual, Vodou. And, you know, Vodou, does not have a problem, traditionally. You’ll go to the places in the North of Haiti where the hold of Christianity is not so strong, and trans people circulate and there’s not so much pushback. So, the main pushback comes from the Protestant churches and, the missionaries – that biblical condemnation. And being that they associate transness with sexual orientation, so it becomes a conglomerate in people’ heads, [...] the influence is strong, and the spirit. They use the fear tactics, the fear of hell, the fear of being demonized, [...] all over the Caribbean, and it’s not only endemic to Haiti, it’s the same story over Africa, Latin America, India. It’s a colonization mentality.” —Yaisah Micaela Mehu Val

SOURCE: Theron, L. Over-policed, Under-protected: Experiences of Trans and Gender Diverse Communities in the Caribbean. OutRight Action International and UCTrans. 2021. Retrieved from: https://www.ohchr.org/sites/default/files/documents/cfi-subm/2308/subm-un-hrc-realisation-cso-caribbean-ngo-coalition-annex-3.pdf 

“[My father] realized it came from voodoo. So he had to accept me. I’m like this because of the spirits that he’s serving. The loas decided I would be a girl. I was born this way.” —Blondine

SOURCE: Des hommes et dieux. Directed by Anne Lescot & Laurence Magloire, DigitAL LM, 2002. [Kanopy] [Vimeo] 

“...li lajman konnen ke dapre kwayans vodou, relijyon ak seksyalite yo pa gen baryè, pa gen stigma ak omofobi. Relijyon vodou konprann seksyalite nan yon fason ki vreman diferan e anpil moun LGBTIQ al nan tanp vodou yo, menm si yo pa nesesèman relijye, yo ale tou senpleman paske yo akeyi yo nan tanp yo…Avèk yon gwo enfliyans nan yon kilti ki gen rasin Afrik Lwès tou, vodou gen yon konpreyansyon laj pou kesyon sèks, ak akseptasyon nan seksyalite. Se sèjousi ke sosyete ayisyen an entwodwi yon pozisyon ki pi rijid ak omofob anvè konpreyansyon laj sa…”

TRANSLATION: 

“...it is widely known that according to Vodou beliefs, there are no barriers between religion and sexuality, no stigma or homophobia. The Vodou religion understands sexuality in a way that is very different, and many LGBTIQ people go to Vodou temples, even if they are not necessarily religious, simply because they are accepted in the temples…With strong influences from a culture that also has West African roots, Vodou has a broad understanding of issues involving sex, and acceptance of sexuality. It is only recently that Haitian society has introduced a position that is more rigid and homophobic than this broad understanding…”

SOURCE: FACSDIS, OTRAH, St. Vil, D., Theron, L., Carrillo, K., and Joseph, E. (2020) ‘From Fringes to Focus - “A deep dive into the lived-realities of Lesbian, Bisexual and Queer women and Trans Masculine Persons in 8 Caribbean Countries”. Amster- dam: COC Netherlands. https://original-ufdc.uflib.ufl.edu/AA00083427/00006 Retrieved from: https://ufdcimages.uflib.ufl.edu/AA/00/08/34/27/00006/Haiti_Report_Caribbean_CREOLE_25_01.pdf 

These are examples of sources that should be included in this Wikipedia page – not the unreliable scholarship of foreign authors.

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Eliberată : Apr 26, 2023

Durata de rulare: 100 min.

Gen: Horror, Thriller

Stele: Josh Lucas, Fernanda Urrejola, Julio Cedillo, Venus Ariel

Director: Henry Winterstern

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Vineri, cu patru zile înainte de alegerile prezidențiale din SUA, Statele Unite au înregistrat 100.000 de cazuri noi de Covid-19. Această cifră a înregistrat cea mai mare creștere a cazurilor de coronavirus într-o zi la nivel mondial.

În total, Statele Unite au suferit 9 milioane de cazuri de Covid-19 până vineri, sau aproape 3% din populație, cu aproape 229.000 de decese de la izbucnirea pandemiei de la începutul acestui an, potrivit unui raport Reuters, 31 octombrie, „&f2&” .

Autoritățile sanitare din SUA au confirmat vineri că 100.233 de persoane au fost testate pozitiv pentru Covid-19 în ultimele 24 de ore.

Numărul de vineri a stabilit cel mai mare record zilnic de Covid-19 din SUA pentru a cincea oară în 10 zile, depășind cel mai mare vârf zilnic de 91.248 de cazuri noi din ziua precedentă.

Raportul reprezintă, de asemenea, cel mai mare număr de victime zilnice din lume în timpul pandemiei, depășind vârful record al Indiei de 24 de ore în cazuri zilnice de 97.894 înregistrate în septembrie.

Vineri, zeci de state au raportat individual un număr record de noi cazuri zilnice.

Cazurile grave de Covid-19 sunt, de asemenea, în creștere, deoarece spitalele din șase state raportează că au cei mai mulți pacienți cu boală de la începutul pandemiei. Numărul pacienților cu Covid-19 internați în spital a crescut cu peste 50% în octombrie, până la 46.000, cel mai mare de la jumătatea lunii august.

Printre statele cele mai afectate au fost cele mai contestate în campania dintre președintele republican Donald Trump și democratul Joe Biden, și anume Michigan, Carolina de Nord, Ohio, Pennsylvania și Wisconsin.

Peste 1.000 de persoane au murit joi din cauza virusului, a treia oară când numărul zilnic de decese a depășit-o luna aceasta, iar rata deceselor este de așteptat să continue să crească. Covid-19 a provocat încă cel puțin 926 de decese până vineri.

Cel mai recent model de predicție al Universității din Washington estimează că numărul deceselor, care a avut un ritm lunar de peste 22.000 în cea mai mare parte a lunii octombrie, va începe să crească luna viitoare, către un nou record de peste 72.000 în ianuarie.

Proiecțiile din ianuarie ale Institutului pentru Valori și Evaluări ale Sănătății ar depăși cele aproape 61.000 de decese din aprilie, când pandemia a explodat pentru prima dată în Statele Unite și a inundat spitalele din New York.

Joe Biden și democrații săi din Congres l-au criticat pe președintele Trump pentru gestionarea crizei sale de sănătate.

În Camera Reprezentanților SUA, democrații au publicat vineri un raport în care condamnă răspunsul administrației Trump la pandemie drept „unul dintre cele mai grave eșecuri de conducere din istoria Americii”.

„Cel puțin 6 milioane de americani au căzut în sărăcie și alte milioane sunt șomeri”, se arată în raport.

Raportul intermediar de 71 de pagini al personalului democrat de la Subcomisia pentru alegerile Camerei Parlamentului privind criza coronavirusului a mai spus că anchetatorii au identificat peste 60 de cazuri în care oficialii administrației Trump au respins sau au respins sfaturile oamenilor de știință de vârf pentru a promova interesele politice ale președintelui.

„Răspunsul guvernului la această criză economică a adus beneficii marilor corporații și americanilor bogați, lăsând în urmă multe comunități dezavantajate și mici afaceri care se luptă”, se arată în raport.

După ce a fost internat pentru Covid-19 la începutul lunii octombrie, Trump a continuat o campanie masivă care a atras mii de susținători care s-au adunat și mulți nu purtau măști. Campania Trump spune că mitingurile sunt sigure și că măștile și distanțarea socială sunt respectate.

O investigație CNN a constatat că 14 dintre cele 17 state chestionate au arătat o creștere a ratei cazurilor de Covid-19 la doar o lună după găzduirea unui eveniment de campanie al lui Donald Trump.

Filmul, cunoscut și sub denumirea de film, film sau film, este o formă de artă vizuală folosită pentru a simula experiențe care comunică idei, povești, percepții, sentimente, frumusețe sau atmosferă prin utilizarea imaginilor în mișcare. Aceste imagini sunt în general însoțite de sunete și mai rar de alte stimulări senzoriale. [1] Cuvântul „cinema”, prescurtare pentru cinematografie, este adesea folosit pentru a se referi la cinema și industria filmului, precum și la forma de artă care rezultă din aceasta.

❏ STREAMING MEDIA ❏

Streaming media este conținut media care este primit și prezentat în mod constant unui utilizator final în timp ce este furnizat de un furnizor. Verbul streamer se referă la procesul de livrare sau obținere a media în acest mod. [E nevoie de clarificare] Streamingul se referă la metoda de livrare a mass-media, mai degrabă decât la mass-media în sine. Distincția dintre metoda de difuzare și media distribuită se aplică în mod specific rețelelor de telecomunicații, deoarece majoritatea sistemelor de difuzare sunt fie în mod inerent în flux (de exemplu, radio, televiziune, aplicații de streaming) fie în mod inerent non-streaming (de exemplu, cărți, casete video, CD-uri audio). Transmiterea conținutului pe internet pune probleme. De exemplu, utilizatorii a căror conexiune la Internet nu are o lățime de bandă suficientă se pot confrunta cu întreruperi, întârzieri sau tamponare lentă a conținutului. Și este posibil ca utilizatorii fără hardware sau software compatibil să nu poată transmite conținut în flux.

Difuzarea în direct este livrarea de conținut pe Internet în timp real, la fel ca televiziunea în direct oferă conținut prin undele prin intermediul unui semnal de televiziune. Streamingul live pe Internet necesită o anumită formă de sursă media (de exemplu, cameră video, interfață audio, software de captură de ecran), un codificator pentru a digitiza conținutul, un editor media și o rețea de livrare a conținutului pentru a distribui și difuza conținutul. Transmisiunea în direct nu trebuie să fie înregistrată la punctul de origine, deși este în mod frecvent.

Streaming-ul este o alternativă la descărcarea fișierelor, un proces în care utilizatorul final obține întregul fișier pentru conținut înainte de a-l viziona sau asculta. Cu streaming, un utilizator final își poate folosi playerul media pentru a începe redarea conținutului video digital sau audio digital înainte ca întregul fișier să fie transmis. Termenul „streaming media” se poate aplica altor media decât video și audio, cum ar fi subtitrările live, casetele și textul în timp real, toate fiind considerate „text continuu”.

❏ CONȚINUT DE COPYRIGHT ❏

Dreptul de autor este un tip de proprietate intelectuală care îi conferă proprietarului dreptul exclusiv de a face copii ale unei lucrări creative, de obicei pentru o perioadă limitată de timp. [1][2][3][4][5] Activitatea creativă poate fi într-o formă literară, artistică, educațională sau muzicală. Dreptul de autor este menit să protejeze expresia originală a unei idei sub forma unei lucrări creative, dar nu ideea în sine. [6][7][8] Un drept de autor este supus limitărilor bazate pe considerente de interes public, cum ar fi doctrina utilizării loiale în Statele Unite.

Unele jurisdicții impun ca lucrările protejate prin drepturi de autor să fie „reparate” în formă tangibilă. Este adesea împărtășită între mai mulți autori, fiecare dintre aceștia deținând un set de drepturi de utilizare sau licențiere a operei și care sunt denumiți în mod obișnuit deținători de drepturi. [E nevoie de citare][9][10][11][12] Aceste drepturi includ adesea reproducerea, controlul operelor derivate, distribuția, interpretarea publică și drepturile morale, cum ar fi atribuirea. [13]

Drepturile de autor pot fi acordate de dreptul public și sunt considerate în acest caz drept „drepturi teritoriale”. Aceasta înseamnă că drepturile de autor acordate de legea unui anumit stat nu se extind dincolo de teritoriul acelei jurisdicții specifice. Drepturile de autor de acest tip variază în funcție de țară; multe țări, și uneori un grup mare de țări, au încheiat acorduri cu alte țări privind procedurile aplicabile atunci când lucrările „trec” granițele naționale sau când legile naționale sunt incompatibile. [14]

De obicei, termenul de drept public al unui drept de autor expiră la 50 până la 100 de ani după moartea creatorului, în funcție de jurisdicție. Unele țări solicită anumite formalități de drept de autor [5] pentru a stabili dreptul de autor, altele recunosc dreptul de autor pentru orice lucrare finalizată, fără înregistrare formală.

Este larg acceptat faptul că dreptul de autor este esențial pentru stimularea diversității culturale și a creativității. Cu toate acestea, Parc susține că, spre deosebire de credințele predominante, imitația și copierea nu restrâng creativitatea sau diversitatea culturală, ci de fapt le susțin mai mult. Acest argument a fost susținut de multe exemple precum Millet și Van Gogh, Picasso, Manet și Monet etc. [15]

❏ BUNURI DE SERVICII ❏

Creditul (din latină credit, „(el/ea) crede”) este încrederea care permite unei părți să furnizeze bani sau resurse altei părți, cea de-a doua nerambursând imediat prima parte (generând astfel o datorie), dar promite să o ramburseze. sau returnați acele resurse (sau alte materiale de valoare egală) la o dată ulterioară. [1] Cu alte cuvinte, creditul este o metodă de a face reciprocitatea formală, aplicabilă din punct de vedere juridic și extensibilă la un grup mare de oameni independenți.

Resursele furnizate pot fi financiare (de exemplu, acordarea unui împrumut) sau pot consta în bunuri sau servicii (de exemplu, credit de consum). Creditul include orice formă de plată amânată. [2] Creditul este acordat de către un creditor, numit și împrumutător, unui debitor, numit și împrumutat

[nicolae]

Lebăda Neagră, un risc asumat – Merită?

Jurnalul: Cunoașterea Științifică, Volumul 1, Numărul 1, Septembrie 2022 Pagini: 101-111 Autori: Nicolae Sfetcu Limba: română DOI: 10.58679/CS21353 Cuvinte cheie: lebăda neagră, Nassim Taleb, The Black Swan, recenzie URL: https://www.cunoasterea.ro/lebada-neagra-un-risc-asumat-merita/ Recenzia cărții: Taleb, Nassim Nicholas (2007), The Black Swan: The Impact of the Highly Improbable, Random…