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Colorado state initial charm necklace USA chain USA. Handmade by JewelAtelier The silver plated chain measures 18 long, but can be made to your desired length. Please indicate the chain length you would like in the notes to seller section at checkout. Each Initial Disc charm is personally hand stamped by me so letters may not always line up. – Handmade by JewelAtelier。The silver plated chain measures 18″ long, but can be made to your desired length. Please indicate the chain length you would like in the ‘notes to seller’ section at checkout.。Each Initial Disc charm is personally hand stamped by me so letters may not always line up perfectly. This is what makes each piece so special!。The charms and necklace are nickel and lead free. 。Each item comes in a small organza bag .。To add one or more Swarovski crystal birthstone(s) for $3.54 please click the link below:。

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Charm City, USA | by Nicholas Lemann

Paul Schiraldi/HBO

Clarke Peters as the Mardi Gras Indian chief Albert Lambreaux in the television series Treme, set in post–Hurricane Katrina New Orleans

“Anthropology, the science of man, has been mainly concerned up to the present with the study of primitive peoples,” Robert E. Park, the founder of the “Chicago School” of sociology, wrote in The City in 1925. “But civilized man is quite as interesting an object of investigation, and at the same time his life is more open to observation and study.” Park, a former newspaperman, was principally responsible for marrying the theoretical German sociological tradition (he got his Ph.D. in Heidelberg) to a kind of painstakingly detailed, firsthand academic research on, to use a metaphor he liked, the ecology of the city.

For two or three decades after the publication of The City, Park’s students and his students’ students produced a torrent of work describing urban (usually Chicagoan) subcultures—taxi dancers, hobos, machine politicians, small-time criminals—with a special emphasis on how each element in the ecosystem related to the others, and a conviction that outsiders, losers, and violators of the rules were especially useful objects of study if one wanted to understand the dynamics of the city as a whole.

Although it’s not clear that David Simon, the journalist turned nonfiction author turned cable television auteur, has ever heard of Robert Park, The Wire, his HBO series on Baltimore, was about as complete a realization of Park’s dream of capturing the full richness and complexity of the city as anyone has ever accomplished. One of The Wire’s virtues was that, without denying any of its characters an iota of humanity, it resolutely kept its attention focused on Baltimore as a total system, in which every neighborhood and every institution exist in some relation to every other and people behave according to the incentives and choices they find set before them, more than according to whether they are good guys or bad guys.

Now Simon, along with his collaborator Eric Overmyer, has turned his attention to New Orleans. Over the summer the initial ten-episode season of Treme, his new HBO series, ended. A second season will begin next spring. At first blush Treme would seem to be quite similar to The Wire: a synoptic portrait of a poor, old, troubled, black-majority American city, expressed through the intertwined unfolding stories of a group of characters. But there are several important differences—the most obvious of which is that The Wire presents Baltimore as the object of slow-motion devastation, in the form of a couple of generations’ worth of changes in urban economics, race relations, governance, and geography, whereas Treme presents New Orleans as having been devastated much more dramatically and rapidly, by Hurricane Katrina, which struck on August 29, 2005. The action of Treme begins a few weeks later; the series concerns itself with its characters’ struggles to rebuild their lives during the first six months after the storm.

At least initially, The Wire was about drugs: from there it opened out to take in the whole city. In the same way, Treme is about music and musicians. Of the ten principal characters in the first season, six are either professional or semiprofessional musicians, and the others (a lawyer, a professor, a chef, and a bar owner) are in some kind of association with one of the musicians. This has enormous advantages for a work executed in moving images and sound—every episode of Treme has quite a lot of wonderful, and wonderfully filmed and recorded, New Orleans music—but it has disadvantages too. To be reductive, drugs are bad and music is good; therefore a series about drugs almost has to be dark and mordant, and a series about music has to be celebratory.

The choice of music as a theme both expresses and reinforces the collective national resolve after Katrina to root for New Orleans—to hope and to assert that the city would come back just as strong as before, because of the courage and determination and spirit of its people. The David Simon of The Wire was utterly familiar with and unsentimental about his urban subject—he evidently didn’t feel he had to be “for” Baltimore—but the David Simon of Treme is in love with New Orleans and at pains to show it.


p class=”initial”>New Orleans is at once a welcoming and an inaccessible city. As a tourist town it has no choice but to be friendly to visitors. Its charms, which are abundantly on display in Treme—not just the music but the food, the domestic architecture, and the street culture—are matters of public expression. On the other hand New Orleans is an old, provincial city, whose distinctiveness comes substantially from its being cut off from many of the main currents of American culture. It’s an easy city to come from and a hard city to move to; full membership can take a generation or two to achieve. So while New Orleans necessarily and relentlessly entertains its visitors, the better one gets to know it the more often one is reminded that one doesn’t, really. A certain kind of New Orleanian gets very invested in becoming a walking encyclopedia on everything—the real stuff, not the tourist stuff—about the city, and a certain kind of newcomer gets very invested in establishing New Orleans bona fides by learning everything that the semiprofessional New Orleans insiders know.

Two of the leading characters in Treme represent, respectively, each of these types: Steve Zahn as Davis McAlary, the wayward and self- consciously cool scion of a local high-society family, is the professional native New Orleanian; and John Goodman as Creighton Bernette, a Tulane English professor and novelist, is the émigré who has gone native in a big way. They’re both white, and, more than the black characters in Treme, they function as the sources of editorial commentary on the state of New Orleans: McAlary through a radio show he intermittently hosts, Bernette through video posts on YouTube, and in both cases through frequent harangues delivered to friends and family. What they say is always in character, but it seems to express some of what Simon thinks too.

The black characters get to be less self-consciously New Orleanian—instead, they simply live deep within the all-encompassing local culture. Antoine Batiste, played by the irresistibly charming Wendell Pierce, who grew up in New Orleans, is the dominant character in Treme, a journeyman trombone player who’s superficially an irresponsible cad but in a deeper and more offbeat way a pillar of the community. Batiste’s ex-wife, LaDonna, played (overplayed, actually) by Khandi Alexander, owns a neighborhood bar. Albert Lambreaux, played by Clarke Peters, is a handyman whose life revolves around his being the chief of one of the tribes of Mardi Gras Indians, elaborately costumed African-American parading organizations that started in the nineteenth century. Albert is the most saintly, and so perhaps the least plausible, character in Treme, a courageous political resister, rebuilder, and bearer of cultural tradition.

Treme is laid out in a familiar television series form. The plotting isn’t very subtle. A big question is posed about each major character: Will LaDonna find her brother, who went missing in the storm? Will Creighton (whose wife Toni is a lawyer-for-the-good-guys played by Melissa Leo) ever write his unconscionably overdue novel about the 1927 Mississippi River flood, the event most like Hurricane Katrina in New Orleans’s past? Will Albert’s organization be able to parade again in full regalia? Will Annie, an idealistic street musician beautifully played by the young violinist Lucia Micarelli, summon the will to leave Sonny (played by Michiel Huisman), her partner-in-busking, after his cocaine habit reappears? Each question plays itself out across a number of episodes, but in every case the answer is obvious from the moment the question is posed. What makes Treme engaging and a pleasure to watch is the quality of the acting, the high level of attention paid to production details, and the fluid, offhanded, Robert Altman–like way in which scenes are staged and shot, so that there is more of a feeling of being inside lived life than is usual on television.


p class=”initial”>I was born and raised in New Orleans; my family has been living in southern Louisiana since 1836, and most of my relatives are still there. So I can’t help looking at Treme as a long-departed native, and judging it for accuracy and acuity. I grew up more or less inside the world represented by Davis Mc-Alary’s parents, which takes up very little time on camera and didn’t seem to me especially well drawn—it’s generically Southern la-de-da rather than specifically New Orleanian. (In fairness, it would be quite difficult to capture that highly ritualized and private world, in which a plurality of the people are connected to ancient local Creole tribes, Villeres and Livaudais and Charbonnets and Lapeyres, that have opened their ranks to some but not all and have entered modern business and professional mores to an extent but not completely. ) Treme is essentially populist, and it’s interested in elites far more as objects of ordinary people’s well-deserved scorn than as fully realized subjects. What limited negative attention it gives to the subject is directed more at the light-skinned black elite—public officials who appear briefly as unfeeling jerks, or the dullards at a society ball where Antoine has reluctantly accepted a gig in a big band—than the entirely separate white one.

When I was seventeen, wanting, like Davis, to escape my own subculture but to remain New Orleanian, I wandered into the second-floor loft office of an alternative weekly newspaper called The Vieux Carre Courier, at 1232 Decatur Street in the back end of the French Quarter, and talked my way into being given an assignment. The world I encountered through the Courier is astonishingly well captured in Treme—so much so that, after watching the first couple of episodes, I was convinced that Simon and his crew must have met the actual people I knew from those days. How else could they have gotten it so exactly right?

It turns out that although there are some direct connections (for example, one of the writers who worked on Treme, Lolis Eric Elie, is the son of Lolis Elie, a civil rights lawyer who’d occasionally appear in the Courier offices), most of the characters in Treme are based on people who arrived in New Orleans after I’d left. That only demonstrates the durability of a certain corner of New Orleans, inhabited by writers, artists, musicians, club-owners, restauranteurs, social agitators, professional partygoers, historic preservationists, and a few stray academics and politicians, all intensively chauvinistic about New Orleans, all brimming with great plans the accomplishment of which would have to entail a painful trimming back of their copious social habits.

New Orleans has had some kind of bohemia, on and off, at least since the glory days of George Washington Cable in the late nineteenth century; Cable himself was probably the first writer to call national attention to the custom, going back to slave times, of African-influenced music and dance being performed in Congo Square, in the heart of the neighborhood now called Treme. I once had a summer job interviewing elderly former staff members of The Double Dealer, a literary magazine of the 1920s that published the young Faulkner and Hemingway, about their memories of glorious youthful poverty in the French Quarter. Even tourist New Orleans—the French Quarter and the highway outskirts of town—in the precorporatized, prenationalized days of the 1940s and 1950s brought together purveyors of local music and food with middle-class and working-class regional audiences.

Getty Images

Boys participating in the Valley of the Silent Men Social Aid and Pleasure Club Second Line Parade, August 26, 2007; photograph by Mario Tama from his book Coming Back: New Orleans Resurgent, just published by Umbrage Editions


p class=”initial”>The bohemian culture on display in Treme took form around the time of the founding of the New Orleans Jazz and Heritage Festival, in 1970. The festival’s organizers understood that New Orleans music wasn’t merely jazz from the era of Louis Armstrong’s young manhood, either preserved (the best-known jazz venue of the post–World War II era, founded in 1961, is called Preservation Hall) or gruesomely transmogrified into “Dixieland” music played in hotel lobbies, but also blues, country, zydeco, and boogie-woogie.

The festival resurrected and turned into its central heroic figures a group of black rhythm-and-blues musicians who had had some local commercial success in the 1950s and then become obscure: Irma Thomas, Huey “Piano” Smith, Ernie K-Doe, and, most of all, Henry Roeland Byrd, a wiry little piano player who recorded as Professor Longhair. (“There is only one God and his name is Professor Longhair,” Davis McAlary declares in an early episode of Treme.) Just as some of the pioneer jazz musicians had been working as stevedores on the docks before Preservation Hall came along, Professor Longhair spent most of the 1960s working as a janitor, but the Jazz Festival put him back on the stage. New Orleans’s most important music venue—featured, naturally, in Treme—is Tipitina’s, a club founded in 1977 and named after Professor Longhair’s signature song.

The Jazz Festival demonstrated that, by giving the right cultural signals, New Orleans could attract a new kind of tourist—not drunken University of Arkansas football fans, in town for the Sugar Bowl, careening down Royal Street shouting “Pig! Sooey!”; not a continent’s worth of dentists crammed into large hotels for their annual professional convention; but hip, sophisticated people who appreciated the real New Orleans rather than the ersatz, mass-production version one would find in the section of the French Quarter nearest Canal Street. I used to see Woody Allen wandering through the grounds of the festival in those early years.

Over the years New Orleans developed a greatly expanded subculture of revived old neighborhoods, music clubs, and chef-owned restaurants serving food in the local tradition (another leading character in Treme, Janette Desautel, played by Kim Dickens, owns such a restaurant), and it became at least a part-time home to many more writers, artists, actors, and musicians, some native, some émigrés looking for someplace different from the rest of America. These people prided themselves on having created a little interracial world inside the Deep South—or, to be blunt, on being the blackest white people around. Simon does a brilliant job of showing the precise (which is to say, less than total) extent of self-delusion embedded in this dream; Davis, for example, goes around greeting his white friends by joyously exclaiming “My Negro!”

But these developments don’t entirely characterize the recent history of New Orleans. At the same time that hip tourism was booming, so was unhip tourism, especially after casino gambling was made legal in the 1990s. New Orleans became one of the country’s major convention sites, which was fortunate, because otherwise its economy was deteriorating. Because charm is impossible to quantify, in any accounting of quality of life in America’s cities, New Orleans has long vied with Detroit for last place, thanks to its very high crime and poverty rates and its poor schools and civic infrastructure. It has gone from being an important port and a regional financial center to having a classic Caribbean economy, dependent on plantation agriculture (rice, sugar cane), natural resource extraction (oil, gas, sulphur), and tourism. After the civil rights movement, its politics followed the standard Southern pattern: a two-party system developed; most whites became Republican and because of that the Democratic Party became mostly black; and the significantly enlarged black middle class was disproportionately employed in a variety of thankless jobs managing the deteriorated public sector.


p class=”initial”> Treme is tremendously concerned with being authentically New Orleanian, and also with distancing itself from whatever is inauthentically New Orleanian. Every distinctive pattern of speech (“What that is?” instead of “What is that?”), every bit of local nomenclature (“Lower Nine” for the Lower Ninth Ward), every native foodstuff, seems to appear somewhere in the ten episodes. Characters effortlessly pronounce place names that defeat newcomers, like Natchitoches and Tchoupitoulas. Conversely, Treme takes pains to make fun of “When the Saints Go Marching In,” Bourbon Street, Sazeracs, the most famous but least cool Mardi Gras parades, such as Rex and Endymion, and anything else that unschooled tourists associate with New Orleans.

The procession of New Orleans signs and signifiers is relentless to the point of being exhausting; I found myself longing for a character just once to sit down for a meal and have a hamburger and a Coke instead of mirlitons and a Barq’s. Also, the line between insider and general-public taste is difficult to maintain strictly; Treme has to note, and can hardly be against, red beans and rice and gumbo, Mardi Gras and jazz funerals, Jackson Square and the Mississippi River, but you can’t get ten yards down the airport concourse after deplaning without being made aware of these. Most of the classic artistic renderings of New Orleans—A Streetcar Named Desire, Walker Percy’s The Moviegoer (which John Goodman’s character is seen reading—in a first edition!), or John Kennedy Toole’s A Confederacy of Dunces—didn’t work nearly so hard to be local, and neither did The Wire.

Simon’s aim is not to be omni- authentic about New Orleans. Nobody in Treme goes hunting or fishing though those are treasured local activities. Although Treme is set deep in the South, almost nobody in it ever says anything politically conservative. Although it is substantially about African-American music, it devotes no attention to hip-hop (in a late episode, we see the name of Lil Wayne, the most famous New Orleans rapper, flash by on a marquee, as if to signal that the makers of the series aren’t unaware of his existence).

The place about which Treme means to be authentic, and is, is the place devoted to maintaining local cultural traditions—but Treme leaves the strong impression that that place is the real New Orleans, the heart and soul of the city. Davis McAlary’s line about Professor Longhair being God is meant to express his character, of course, but it also expresses what seems to be the message of the series itself. Whenever a character in Treme picks out the opening bars of “Tipitina” or “Big Chief” or “Iko Iko” on a piano, it’s played as a taking of sacraments—whoever it is, whatever is going on, they are now covenanted and therefore are fundamentally going to be okay.

The story line for Albert Lambreaux’s son Delmond, a rising young trumpeter in New York who’s in love with the precision of modern jazz, involves his gradually coming to honor both his father’s Mardi Gras Indian tribe and the funky Professor Longhair way of being in the world. The first season of Treme begins and ends with a kind of informal New Orleans street parade called “second line,” and in the last scene Antoine Batiste’s standoffish sons, who are being raised by their black-bourgeois stepfather, a dentist in Baton Rouge, find redemption by enthusiastically joining in.

Treme aims to depict a corner of New Orleans that, as a matter of factual accuracy, is partly inhabited by glamorous seekers of the authenticity its characters are purveying. The real John Goodman lives there part-time. So it isn’t wrong, exactly, that the series is full of cameos by hip celebrities. Some of them (like Steve Earle, the alt-country singer, and Vernel Bagneris, the actor-director) play minor characters; most play themselves. Elvis Costello turns up in a bar sitting next to Davis McAlary. Delmond Lambreaux chats with McCoy Tyner and Stanley Crouch at a party. Four celebrated New York chefs turn up at Janette’s restaurant. It’s fun to spot these people, but collectively they confer a jarring lightness on a story that Simon plainly thinks of, and rightly so, as a tragedy. In Spike Lee’s 2006 documentary When the Levees Broke, the expatriate New Orleans trumpeter Terence Blanchard is shown sobbing as he sees his family’s house, flooded out, for the first time since the storm; in Treme, Blanchard, accompanied by the jazz singer Cassandra Wilson, appears as an impressive guest at a New Orleans party.


p class=”initial”>That is an off-note; but there is a more fundamental problem with coming at New Orleans via the subculture Treme uses. What one wants from David Simon, and what he further whets one’s appetite for by choosing a great civic disaster as his subject, is a powerful, persuasive explanation of how the entire system failed an American city. Treme has the challenge that always presents itself in narratives whose ambitions encompass social critique: either the story itself has to carry the author’s message in an unmistakable way (think of Oliver Twist or The Jungle), or a strong analytic voice (in film, a voice-over, or an observational character) has to be somehow worked into the piece. In Treme, the main message that the intertwined story lines carry is that a local, mainly musical, mainly African-American culture with deep historical roots in struggle and privation offered New Orleans about the best help it could get after the storm. But you can’t help wondering why less spiritual, more tangible forms of help did not materialize.

The leading characters in Treme are not deeply enough embedded in the city’s operations—politics, education, law enforcement, business—for Simon to be able to address that question simply by showing them as actors in the urban tableau, as he did with the characters in The Wire. He can only show them displaying individual determination. And those characters who do try to explain what happened, mainly the English professor Creighton Bernette and Davis McAlary, plus an occasional walk-on like Jacques Morial, the son of New Orleans’s first black mayor, don’t have access to real information.

Creighton is shown reading John M. Barry’s 1997 book about the 1927 flood, Rising Tide, which painstakingly put together the story of the human (and therefore avoidable) elements of a natural disaster from a distance of fifty years; Creighton’s attempts to do the same for Katrina are far less analytically effective, because, though he’s smart and well read, he’s also so depressed that he spends his days in excruciating inactivity, sitting at his desk at home staring at a blank computer screen. Davis lives in a state of perpetual mild intoxication, and not just on the magic of New Orleans, so his take is just as limited.

In the aggregate, the position of the characters in Treme is that, as a matter of right and justice and pride, post-Katrina New Orleans must be entirely rebuilt. No neighborhood, even (especially!) the Lower Nine, should be written off. (Creighton, in one of his YouTube sermons, derides “idiot planners putting green dots on maps,” which refers to the several failed attempts at master plans to rebuild the city in a prescribed order.) Charity Hospital should be reopened. So should the housing projects; Albert Lambreaux, his Mardi Gras Indian tribe having no place to live, leads a heroic occupation of one of them, and consequently spends his first Mardi Gras after the storm in jail. And who should do all this rebuilding? It isn’t specified, but the implication is, probably the Bush administration. Another bitter rant of Creighton’s: “You rebuilt Chicago! You rebuilt San Francisco!” Some outside entity, Creighton comes close to saying several times, has made an intentional decision to let New Orleans die.

It’s this romanticizing of the pre-Katrina New Orleans in toto that has led, for example, to the funding by Brad Pitt (another part-time New Orleans resident) of the construction of a couple dozen dazzling new houses by Thom Mayne and other famous architects in the most devastated corner of the Lower Ninth Ward, where they sit scattered among empty lots and the remains of ruined houses. Charity Hospital and the housing projects that weren’t rebuilt were nightmarish places. In The New York Times during the height of the controversy over the project in 2006, Adam Nossiter quoted a former director of the New Orleans housing authority describing life there this way: “Women that would put their babies in bathtubs at the sound of gunfire, that was a reality; coming home from your job and having to walk through young people participating in drug trades.” However ignoble President Bush’s reasons for being unpersuaded by the rebuild-everything argument may have been, it’s worth noting that President Obama has been unpersuaded too.


p class=”initial”>Simon traffics a bit, especially in the later episodes of Treme, in another, less externalized theory of the disastrousness of Katrina, but it amounts to a general cultural, rather than a specific institutional, explanation. The idea is that New Orleans’s lack of Babbitry may be deeply appealing, but that it comes at a price: in exchange for being free of the standard all-consuming American preoccupation with progress, you get an excess of lassitude and inefficiency. LaDonna struggles for months to have the roof of her tavern repaired; finally a young guy appears, announces “I’m from Texas, and y’all got a deficient work ethic around here,” and completes the job in a couple of days. Janette, the chef, loses her restaurant and decides to move to New York and pursue her career ambitions there. “This town beat me,” she says. Davis, in the course of a day spent fruitlessly trying to persuade Janette to change her mind because life outside New Orleans is always unpardonably pallid and routinized, says, “Which would you rather have, a healthy economy or a four-hour lunch?” Exactly! I’ve had that conversation myself, back when I was in my early twenties and was spending a lot of time deciding whether to wrest myself away from New Orleans.

Neither form of generalized blame—of unsympathetic outsiders like Bush or unreliable insiders like Davis—is as useful as the story of what actually happened would be. Like the BP oil spill, the subsequent Louisiana disaster, which coincided exactly with the air dates of Treme, Katrina (not the hurricane, the appalling aftermath) was entirely avoidable. In a new book called The Trouble with City Planning: What New Orleans Can Teach Us,1 Kristina Ford, former director of the New Orleans city planning department, lays out the story of how, during the twentieth century, the city set up the disaster by permitting extensive building on low-lying empty land that was highly susceptible to flooding, and constructing the Industrial Canal, which broke open next to the Lower Ninth Ward during Katrina. All this was supposed to be safe because of an extensive levee system that was designed to withstand a storm of Katrina’s magnitude. It did not because of corner-cutting construction. Those who share Creighton Burnette’s love of Louisiana literature will recall that Willie Stark’s career in All the King’s Men is set off by a similar incident, back in the 1920s, involving the collapse of a staircase in a public school building. BP’s Deepwater Horizon well would not have blown out if it had been built to better, more expensive safety standards.

The evacuation before Katrina hit, a local responsibility, could have been handled far better. After Katrina, a big, instantaneous deployment of the National Guard would have made an enormous difference; that is a state and national function. After the waters receded, the federal government, the state government, the city government, and the local civil-business establishment were all serious underperformers in the rebuilding of the city. (Creighton’s “they” who rebuilt Chicago and San Francisco more than a century ago was not the federal government, which was tiny by today’s standards.)

Ford’s book describes in detail the sad procession of plans to rebuild in a more organized way than by simply letting each individual homeowner apply for reconstruction funds and then wait endlessly for them to come through, while the city refused to say when it would restore full services where; much of this story is available as future material for Treme, since it mainly unfolded after the action of the first season. Weak states all over the world construct poorly, underregulate, and underserve their citizens in basic matters of health, safety, and education. Civically, New Orleans isn’t in the league of Haiti, but it isn’t in the league of New York or Chicago either. How did that happen? How does it work?

Underneath its culturally celebratory surface, Treme succeeds at conveying, with patience and humanity, quite a lot of the grinding cruelty of life in post-Katrina New Orleans: the unpardonable privation and death during the first few days, the uprootedness and uncertainty of every single ordinary life in the city, the relentless difficulty that even the bravest and most determined people had to face in rebuilding their flooded houses, the pain of the slow realization that things were not going to be the same as before, at least anytime soon. As good as it is at effects, Treme isn’t so good at causes—of the immediate disaster, and of its seemingly never-ending aftermath. To explain that, Simon will have to move outside the appealing and tight cultural frame in which the action thus far has taken place. Maybe next season?

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  3. Finger circumference:
    • Wrap the finger with the measuring tape and position it at the widest part of your finger.
    • Read the circumference measurement.
    • Check the corresponding size in the measurement table. We recommend choosing the largest size if the circumference is between two sizes.
  4. Wrist circumference:
    • Wrap the wrist with the measuring tape and tighten it as far as it will comfortably go.
    • Read the circumference measurement.
    • For a correct fit of our bracelets it is important to always add 1 cm to the measurement result.
    • Check the corresponding size in the measurement table.

Download the size chart ->

  1.  These are often sold in craft stores
  2. Neck:
    • Measure around the base of the neck in inches.
    • Round up to the nearest half inch.
  3. Chest:
    • Wrap tape measure under armpits around fullest part of chest (usually right above nipples
  4. Sleeve:
    • Bend your elbow and rest your hand on your hip.
    • Have someone measure from the middle of the back of your neck to your wrist by putting the tape measure over your shoulder, around your elbow and to your wrist.
  5. Waist:
    • Wrap tape measure around where you normally wear your pants. Keep tape measure a little loose by keeping a finger between the tape measure and your waist.
  6. Inseam:
    • Put on a pair of shoes.Have someone measure from your crotch to back of the heel, where you want your pants to end.
  7. Hands:
    • Measure around the hand at the fullest part (exclude thumb). The number of inches shows the size of the glove.

Download the size chart ->

6 46 3 ¾ H 14,65 mm 45,8 mm
7 47 4 I ½ 14,97 mm 46,8 mm
8 48 4 ½ I 15,29 mm 48,0 mm
9 49 4 ¾ J 15,61 mm 49,0 mm
10 50 5 ¼ K 15,92 mm 50,2 mm
11 51 5 ¾ L ½ 16,24 mm 50,9 mm
12 52 6 M 16,56 mm 51,8 mm
13 53 6 ¼ N 16,88 mm 52,8 mm
14 54 6 ¾ O 17,20 mm 54,0 mm
15 55 7 ¼ O 17,52 mm 54,6 mm
16 56 7 ½ P 17,83 mm 55,9 mm
17 57 8 Q 18,15 mm 56,8 mm
18 58 8 ¼ Q 18,47 mm 58,1 mm
19 59 8 ¾ R 18,79 mm 59,0 mm
20 60 9 S 19,11 mm 60,3 mm
21 61 9 ½ T 19,43 mm 61,2 mm
22 62 10 T 19,75 mm 62,2 mm
23 63 10 ¼ U 20,06 mm 62,8 mm
24 64 10 ¾ V 20,38 mm 64,1 mm
25 65 11 W 20,70 mm 64,7 mm
26 66 11 ½ X 21,02 mm 65,9 mm
27 67 11 ¾ Y 21,34 mm 66,6 mm
28 68 12 ¼ Z 21,66 mm 67,5 mm
29 69 12 ½ 21,97 mm 68,8 mm
30 70 13 1 22,29 mm 69,7 mm
31 71 13 ¼ 2 22,61 mm 70,7 mm
32 72 13 ¾ 2 22,92 mm 71,9 mm
33 73 14 3 23,31 mm 73,2 mm
34 74 14 ½ 3 23,86 mm 74,0 mm
from 15,5 to 16,4 cm 17 cm
from 16,5 to 17,4 cm 18 cm
from 17,5 to 18,4 cm 19 cm
from 18,5 to 19,4 cm 20 cm
from 19,5 to 20,4 cm 21 cm
from 20,5 to 21,4 cm 22 cm
from 21,5 to 22,4 cm 23 cm
from 22,5 to 23,4 cm 24 cm

About Us – CharmMedical

Our mission at Charm Medical Supply is to be the leader in home medical supplies by offering our customers outstanding service and delivery. We offer a comprehensive fulfillment process designed to simplify the way that people order and receive medical supplies. Our caring staff works closely with referral sources, doctors, caregivers, patients and payers to provide a seamless program that will make life easier and more enjoyable for our patients and their families.

At Charm Medical Supply, we provide a complete selection of home healthcare products and equipment. In business since 2000, Charm delivers your supplies to your door FREE within Massachusetts or Rhode Island, if covered by insurance. Our personal fleet of Charm vans are manned by our friendly drivers who are committed to making sure your deliveries are correct. No longer will you have to suffer the embarrassment and hassle of leaving your home to buy your personal supplies someplace which might not even carry the brand and size that is right for you.

Charm is a Medicare and Medicaid provider and is contracted with many additional insurance companies. We serve numerous Massachusetts Council of Human Service Providers organizations, including the DMR, DMH, DPH and DSS. Some of your home health supplies may be covered under your insurance plan. Charm’s knowledgeable customer service team can check your eligibility and bill your insurance carrier for you, when applicable. Our staff can obtain your prescriptions, letters of medical necessity and insurance prior approvals, if required. We can manage all of the requirements associated with ordering supplies under Medicare, MassHealth, Blue Cross Blue Shield, Harvard Pilgrim, BMC HealthNet, and other insurance plans. Charm currently provides this service for thousands of satisfied customers.

Charm offers a huge selection of incontinence, diabetic and personal products. Is there a brand or product you don’t see offered but you wish we carried? Please call our customer service toll free 1-877-94-CHARM or email your request [email protected] and we will try to get it for you.

Our knowledgeable customer service staff is available to answer any questions you have about products, ordering or insurance, Monday-Friday 9am-5pm EST.

1-877-94-CHARM (24276) (toll free)


33 Riverside Drive
Suite 200
Pembroke, MA 02359
Tel: 781-829-9813
Fax: 781-829-9836


1745 Main Street, Unit 11
West Warwick, RI 02893
Tel: 401-475-0200
Fax: 401-889-4611


348 North Main Street
West Hartford, CT 06117
Tel: 860-967-3560
Fax: 844-639-9655

The Charm 2.0 – Valyōu Furniture

Policies that matter: Returns. Exchange. Warranty.
We all want a clear and understandable policy. So we made one.
Can’t find what you are looking for? Contact us at [email protected]

We’re here to create a better furniture shopping experience, and that includes a 14-day return policy for anything you get from valyou.
In order to offer quality products at low prices, reduce waste, and responsibly recycle or refurbish returned items, we charge a return fee equal to 20% of what you paid for the product, with the original packaging intact. An item has to be returned with the original packaging. 
If you have ordered assembly for your item, make sure to save the box in case you would like to return the item.

Defective or damaged orders
 are covered by our warranty and aren’t subject to any return shipping fees, as long as the original packaging has been retained.  

How To Initiate A Return
To ensure a successful return, please make sure that your piece is in as-new condition, and that you have the original packaging on hand. there is a return-shipping fee equal to 20% of what you paid for the product.
Please note that the shipping charges from the original order are not able to be refunded once these services have been provided.
Refunds will be issued in the form of the original payment.
Refunds will be issued within 2 weeks of the completion of Valyōu return process. This process may take several weeks to complete.

Please follow the instructions below to return your Product.
1. Contact us at [email protected] to arrange return shipping or return pickup.
2. Valyou will provide instructions on how to proceed.
A return process must be initiated within 14 calendar days of receipt of the item in order to be eligible for returns. We’re committed to creating a better furniture shopping experience from top to bottom. The return fee helps us offer fast and free shipping, reduces waste from ‘trial’ customers, and allows us to responsibly recycle or refurbish returned items. It’s always our goal to operate efficiently and pass those savings on to you.

Return eligibility

Products must be in usable condition to be eligible for return (e.g., no stains, tears, or another soiling including odors).
All items marked as Final Sale are non-refundable and cannot be exchanged or returned.
No returns or exchanges on Mattresses and pillows.
Missing an appointment for a return to be picked up from your address will incur a fee. This fee will be clearly disclosed at the time Valyōu schedules a pickup on the customer’s behalf.


If you decide your new sofa, fabric color or looks aren’t quite right, we offer a one-time free exchange for an item of equal or greater value.
There’s no return shipping fee for your first exchange. Get in touch with our team to arrange a pick-up and have the replacement item sent to your home.
All exchanges must be made with the original packaging.


Sometimes the universe conspires against us. In the unlikely event your piece arrives at you in less than perfect condition, please get in touch with us by filling out this Warranty form.

To help us assess the issue, you will upload to the form pictures of the product from various angles and distances. If the issue cannot be documented with photos, short videos are also welcome.

Our manufacturer’s warranty covers defects in materials and workmanship for one year from the products’ date of delivery. If you have any issues with your valyou piece(s) that fall under this warranty, we will organize replacement parts, repairs, and when necessary, a complete replacement.

Once the replacement part arrives, we require that you send the original part back for both safety reasons and so that our production team can identify any defects.

Please note that our warranties are non-transferable, and cannot be extended to re-sold items. Warranties are only valid when products are used for their intended purpose and exhibit normal use. Defects or damage resulting from negligence, misuse, accidents, abnormal use, modifications, or commercial purposes will not be covered by the valyou warranty.

10K Yellow Gold Rembrandt Charms USA Map Charm Charms & Charm Bracelets Charms

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Rembrandt Charms USA Map Charm, 10K Yellow Gold: Clasp Style Charms: Clothing. Buy Rembrandt Charms USA Map Charm, 10K Yellow Gold and other Clasp at . Our wide selection is elegible for free shipping and free returns.. Hand Polished 。 High Polish Finish 。 Heavy-Duty Jump Ring 。 Lifetime Guarantee 。 Shipping Information: 。 ASIN: B000FIRNO8 。 。 Item model number: 2358-10K 。 Date first listed on : April 27, 2006 。 Please note that product images are enlarged to show detail. The actual item is 0.437 – (approx. 3/8 in.) inches long and 0.771 – (approx. 3/4 in.) inches wide. The USA Map Charm, 10K Yellow Gold is hand-polished with a High Polish finish. The charm shape is Flat. Every Rembrandt charm comes with a heavy-duty jump ring that can be twisted open and easily attached by you. All are guaranteed for life. 。 。 。

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2 Extender Brilliant Embers Sterling Silver Rhodium-plated CZ Fleur de Lis Key Pendant Necklace 18. Venley Official NCAA Sacramento City Panthers PPSCC019 Womens Crew Neck Tee. WSPLYSPJY Womens Basic Floral Print Off Shoulder Romper Wide Leg Pants Jumpsuit, H.MILES #W038 Womens Sport T Shirts. Xileg Hip Hop Alloy Cross Pendant Necklace Iced Out Rhinestone Gold Silver Tone Crucifix Charm Jewelry. Top 10 Jewelry Gift Sterling Silver Latin Cross Pendant. ainr Womens Stretchy Jegging Denim Pants Skinny Jeans Trousers. JOINFREE Womens and Mens Summer Water Shoes Kids Barefoot Shoe Quick Dry Aqua Socks Yoga, InterestPrint Top Handle Satchel HandBags Shoulder Bags Tote Bags Purse, Sakanpo Bear Country Womens Hoodie Sweatshirt with Pocket. Young Women Training Shoes for Womens Whitechapel-Sign Shoe, SUVANI 925 Sterling Silver Tiny Purple Rose Flower 9 mm Post Stud Earrings, Raspberry 4512 s.Oliver Denim Womens 41.503.61.8748 Jumper 16 Purple-Violett. Flap Crossbody Bag for Women Shoulder Bag Satchel Handbag The Lovely Tote Co.. Happy Penguin Cartoon Summer Unisex Fishing Sun Top Bucket Hats for Kid Teens Women and Men with Packable Fisherman Cap for Outdoor Baseball Sport Picnic, Fossil Maya Small Flap Crossbody Bag, Dhyiklo Womens Hot Slimming Belt Waist Girdle for Weight Loss Neoprene Waist Trainer Corset Belt Black XXXL China.

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90,000 Girls from the UMMC team won the Euroleague title for the third time in a row – Rossiyskaya Gazeta

In the main match of the Final Four of the women’s club Euroleague held in Istanbul, Turkey under the auspices of the International Basketball Federation (FIBA), the girls from the Yekaterinburg UMMC won the Spanish Avenida – 78: 68. Thus, the Uralochka became the best on the continent for the third time in a row.

Alas, the “foxes”, as the UMMC are called because of the live mascot of the team, and their rivals had to perform in Istanbul in front of empty stands.However, the intensity of the struggle in all the meetings of the decisive stage of the European club championship turned out to be outrageous. On the first day of the competition, Yekaterinburg women fought with the hosts from “Fenerbahce” and in a bitter struggle overcame formidable opponents – 88:84. “Avenida” on the same day was stronger than the Hungarian “Sopron” – 72:61.

The final was not easy for UMMC. At the end of the starting quarter, “Avenida” was in the lead with a difference of five points – 21:16. However, the wards of the head coach Miguel Mendes, who have been working in the Urals for a long time, spent the next segment with shock.Multiple champions of Russia have noticeably improved the quality of team interactions, began to play in a more organized and responsible manner. The result was not long in coming – 39:30 in favor of our club by the long break.

It became a little alarming in the opening of the final ten-minute of regular time, when only two points remained from the “plus 14” advantage previously earned by UMMC – 59:57 8.39 before the siren. Already at the very end of the hit of the Ural legionnaires Courtney Wanderslut and Emma Meesseman helped to regain a comfortable advantage and bring the match to victory.

The most productive in the flagship of our and European women’s basketball were Emma Meessemann (19 points), Brittney Greiner (14), Breanna Stewart (12) and Courtney Wanderslut (12).

Among the Russian women, the winners of the prize were Elena Beglova, Evgenia Belyakova, Maria Vadeeva, Maria Popova, Victoria Zavyalova and Tatyana Petrushina, who played in Euroleague matches at various stages of the tournament. Belyakova and Beglova, who gave the national team for many years, have already completed their careers in the national squad, the quartet of the rest is in the field of view of the mentor of the main team of Russia, Alexander Kovalev.This summer, the national team will perform at the final tournament of the Old World Championship in Spain and France.

To summarize, the club from Yekaterinburg took the Euroleague title for the sixth time in its history. If we leave out of the brackets the last season, when due to the pandemic most of the FIBA ​​tournaments were not completed, this success of the Ural women in this competition is the third in a row. Now UMMC is close to “poker”, a kind of basketball “Grand Slam”. In addition to the prize just won in Istanbul, the team currently owns the European Super Cup, the title of the champion of Russia (the last two trophies still need to be defended) and the owner of the country’s Super Cup, which was played for the first time in February 2021.


Breanna Stewart , UMMC basketball player, MVP of the Final Four:

– Two years ago I also played in the Euroleague final, but then it was in Hungary, and I played for Kursk. ” Dynamo “, having received a serious injury. That is, now I have a strange skew in my mind, but I am glad to be a part of the UMMC team and again benefit the team from Russia in its rivalry with the best clubs on your continent. I would like to separately thank all the management of the club, the director of BC UMMC Maxim Ryabkov and our Spanish mentor Miguel Mendes.Thanks to them for the opportunity to experience great victorious emotions. The level of players and competition in the Euroleague is no less than in our summer in the women’s NBA, great masters of their craft gathered here. I’m not going to overestimate my MVP title, it’s like the icing on the cake. And the sweetest and most important thing is a team victory.

The fourth international charitable festival of authors of modern romance and lyric song “Charm” holds audition concerts

The international festival of authors of contemporary Russian romance and lyric song “Ocharovanie” has been held for the fourth year in a row.A special feature of the festival are visiting tours to the cities of Russia: Tula, Tver, Ryazan, Penza and the village. Elan, Volgograd region, Pereslavl-Zalessky. Authors from the Republic of Cyprus, Canada, Germany, Czech Republic, USA, Israel took part in the festival in absentia. All festival participants, regardless of their place of residence, are united by their love for the Russian language and the author’s lyric song.

We invite

14 August 2021 at 15:00

for the concert-audition of the participants of the 2021 festival in the Moscow Art Gallery of Vasily Nestrenko.

The concert will be attended by songwriters in the nominations:

– Full Attribution

– Not full authorship (author of music or author of words)

– Ensemble

– Performing skills

– Silver Lyrics – special nomination – composer of music based on poems by poets of the Silver Age

In addition, the festival jury may award a special prize:

– Best Lyric Romance

– Best Lucky Love Romance

– Best Unhappy Love Romance

– Philosophy in Romance

– Best Historical Romance

– Best ironic romance

– Binding thread

– Best Romantic Image of the Festival – Special Jury Prize

The concert will be hosted by Elena Darina and Denis Shelekhov.

We are waiting for you, dear friends, on August 14 at 15:00,

in the Moscow Art Gallery of Vasily Nesterenko.

Mini-hotel Ocharovanie, Barnaul – hotel prices, reviews, photos, rooms, contacts

What are the check-in and check-out times at the Ocharovanie Mini-Hotel?

Check-in at the Ocharovanie Mini-hotel is possible after 14:00, and check-out must be done before 12:00.

How much does it cost to stay at the Ocharovanie Mini-Hotel?

Prices for accommodation in the Mini-hotel “Ocharovanie” will depend on the search conditions: travel dates, number of guests, rates.

Enter the dates you want to see the prices.

What methods of payment are available at the hotel?

Methods and terms of partial or full prepayment depend on the conditions of the selected tariff.Mini-hotel “Ocharovanie” accepts the following payment options: Visa, Euro / Mastercard, Maestro, UnionPay credit card, American Express.

Are there any discounts for accommodation in the “Charm” rooms?

Yes, Mini-hotel “Charm” provides discounts and special offers. Enter your travel dates to see current offers.

What is the total number of rooms in the Mini-hotel “Ocharovanie”?

There are 8 rooms in the Ocharovanie Mini-hotel.

What room categories are there in the Ocharovanie Mini-Hotel?

The following room categories are available for booking:
Single (Single room with shared shower and toilet)
Single (Standard single room with shower)
Single (Single room)
Double (Double room)
Double (Deluxe room)
Double (Standard Double Room)
Double (Standard Twin Room)
Double (Large Double Room)

Does the Ocharovanie mini-hotel provide a parking service?

Yes, the Mini-hotel “Ocharovanie” provides a parking service for your car.Please check the possible additional charges and parking conditions before booking.

90,000 Tours to the USA 2021 from Moscow

Our routes will reveal to you the very America that is written about in books. Romance, adventure, fusion of cultures and contrasts of nature … You will see all this with your own eyes, feel with your heart, live with us!

We will travel along the famous Route 66, along the Mojave Desert, to get acquainted with the most beautiful corners of the northern states and discover the “Unknown America”.Early spring and late autumn is the best time to wander through the national parks, try your luck in Las Vegas, meet the locals and practice your American accent 🙂 perfect tour!

Tireless travelers will love America’s National Parks. We included trekking in Yosemite to bask in the California sun for a bit longer. Just like in “Unknown America”, you will have the chance to play in the casino, get acquainted with the canyons, mountains and reserves.Here, at every step, you can plunge headlong into the romance of American travel films: a long road, a soulful song and stunning views.

Do you want to be the main character of a western? Then head to the Wild West: From Grand Canyon to Yellowstone! The red-orange rocks and caves of Utah and Arizona, bathed in the setting sun, gradually turn into the snow-capped mountains, waterfalls and geysers of Wyoming. Pictures at sunset in a cowboy hat will delight friends 🙂

Imagine yourself as a pioneer, dreaming of volcanoes, mirror lakes and Pacific bays? Travel to Alaska + Seattle is for you! The amazing northern state is striking in scale, beckons with fjords and glaciers, and captivates with wildlife.

“Hawaii: beaches, tropics, volcanoes” – gentle ocean, unhurried rhythm of life and the feeling of an eternal holiday – we will plunge into the typical everyday life of the island! We diversify beach vacations with active adventures. We are waiting for trekking on the volcano, sunset in the mountains, competition with turtles and much, much more! The feeling of freedom, wind in your hair and sand in your pockets will stay with you until your next trip.

Individual deadlines

The company “Strannik” accepts individual applications for groups from 4 5 people according to our programs in the USA at a convenient time for you .In the presence of a free guide, the cost of individual tours does not differ much from the standard ones. All details are discussed directly based on the specific dates of your trip.

  • For groups of 4 people + 20% off the standard price.
  • For groups of 5 and more + 5% off the standard price.

90,019 applications are also accepted for drawing up a non-standard route around the US , accompanied by our guide. The cost depends on the duration, level of residence, number of people and other factors.Any number of tourists in the group is possible.

90,000 Chinese Foreign Minister Li Zhaoxing on the visit of Chinese President Hu Jintao to the United States

China and the United States are not only interested parties, but also constructive collaborators.

From April 18 to April 21, 2006, President of the People’s Republic of China Hu Jintao paid a state visit to the United States at the invitation of President George W. Bush. During his stay in the United States, Hu Jintao visited Seattle, Washington, spoke at Yale University in New Haven, and also held talks with President Bush, and met with American parliamentarians, officials, business representatives, academics, workers and students.The American side paid special attention to the visit. Everywhere the President of the PRC was greeted with a very warm and friendly welcome.

At the end of Hu Jintao’s visit to the United States, Chinese Foreign Minister Li Zhaoxing, accompanying the chairman on the trip, told reporters about the results of this visit.

He recalled that the visit took place at a time when the development of China became the subject of universal attention on the planet, and new opportunities for the development of bilateral relations opened up for China and the United States.The completed visit of the President of the People’s Republic of China Hu Jintao to the United States is significant. Thanks to the efforts of both sides, the visit yielded important results.

Comprehensive promotion of Sino-American relations of constructive cooperation

As the head of the PRC Foreign Ministry assured, the whole world is paying attention to how bilateral relations are developing between China and the United States, which are influential states in the world. During the visit, Hu Jintao repeatedly pointed out that in the current international situation, the importance of relations between the two countries has not decreased, but increased, the range of common strategic interests and the sphere of bilateral cooperation between China and the United States have not narrowed, but, on the contrary, expanded.Sino-US relations have already gone beyond bilateral ties and acquired global influence and strategic importance. Given the traditional and unconventional security threats facing the modern world, China and the United States have broad and important common strategic interests and share a common responsibility to protect peace and promote joint development on the planet. The development of Sino-American relations not only meets the common interests of the peoples of the two countries, but also serves peace, stability and prosperity in the Asia-Pacific region (APR) and on the planet.China and the United States are not only interested parties, but, moreover, should be constructive collaborators.

The American side agreed with the opinion expressed by the President of the PRC. President Bush said his country welcomes a peaceful and prosperous China. The constant expansion of areas of bilateral cooperation plays an increasingly important role in ensuring peace in the world, and China is a key partner in this direction. As the interim speaker of the US Senate Ted Stevens stated, the US-China relations are of global importance, on the development of which the achievement of peace and stability in the Asia-Pacific region and in the world as a whole depends.The parties agreed to consider and establish relations between the two countries from a strategic height and from a perspective point of view, to comprehensively promote the Sino-American relations of constructive cooperation for the benefit of the peoples of the two countries and the whole world in the 21st century.

Joint maintenance of peace and stability in the Taiwan Strait region

Li Zhaoxing made it clear that last year we achieved important results in the development of relations between mainland China and Taiwan, which, however, are still threatened by the splitting activities of supporters of “ Taiwan independence. ”The Taiwan issue remains the most important and sensitive issue in Sino-US relations. President Hu Jintao pointed out that China and the United States have common strategic interests in opposing and containing Taiwan’s independence and maintaining peace and stability in the Taiwan Strait region. He commended the repeated statements by President Bush and the US administration about adherence to the one-China policy, adherence to the three Sino-American joint communiqués, and opposition to “Taiwan independence.”As the head of the Chinese state emphasized, we will firmly maintain peace and stability in the Taiwan Strait region on the basis of the principle of one China, and contribute to the improvement and development of relations between the two sides of the strait. We are ready to show the greatest sincerity and make every effort to achieve the prospect of a peaceful unification of the Motherland, but the “independence of Taiwan” is inadmissible in any case.

George W. Bush announced the unchanged position of the US administration on the Taiwan issue.The United States is committed to the one-China policy, understands the Chinese side’s concern over the Taiwan issue, and does not want the Taiwanese authorities to unilaterally change the current status in the Taiwan Strait to harm China-US relations

According to the head of the PRC Foreign Ministry, a clearer statement by China and the United States of the principles and positions on the Taiwan issue helps to ensure peace and stability in the Taiwan Strait region and to achieve development, prosperity and peace in the APR.

Intensification of trade and economic cooperation in the interests of promoting common interests

Li Zhaoxing described trade and economic cooperation as an important pillar and stimulator of the development of Sino-US relations.Recently, bilateral cooperation in this area has developed dynamically, at the same time, a number of questions and contradictions have also arisen in its process. Chairman Hu Jintao stressed that it is in the fundamental interests of the two countries and their peoples to achieve mutual benefits and common preferences in China-US economic and trade cooperation. He also outlined the positions of the PRC government on trade imbalance, protection of intellectual property rights, and the exchange rate of the national currency, which are of great interest to the American side.As the head of the Chinese state pointed out, with the dynamic development of the Chinese economy and the continuous improvement of the life of the population, the prospects for bilateral trade and economic cooperation will be broader. The Chinese side is ready, guided by the principle of equality, mutual benefit and joint development, to eliminate differences through dialogue in order to ensure the general situation of bilateral trade and economic interaction. Hu Jintao also expressed the hope that the US government will ease restrictions on high-tech exports to China and create an atmosphere of fair competition for Chinese enterprises to enter the US market.

The US administration, business community, and media responded positively to the PRC President’s initiatives. Expanding free and fair bilateral trade is in the common interest of China and the United States, President Bush said. US exports to China increased by 21 percent last year, and China has indeed carried out an important reform of the mechanism for forming the national currency. Speaking at Boeing, Hu Jintao hoped that the Sino-US economic and trade cooperation as a Boeing airliner would fly to a brighter future with wings spread.

The Chinese Foreign Minister also added that the leaders of the two countries reached a consensus on intensifying strategic consultations in the energy sector, deepening cooperation in the joint development of clean, new and renewable energy and making efforts to promote the continuous supply of energy raw materials and ensure relative price stability in the energy market. …

Concept Statement and Development Path for China

According to the diplomat, during the visit, Hu Jintao indicated that China is firmly on the path of peaceful development and that this is a choice made by the country taking into account its modern realities, historical and cultural traditions and the spirit of the times.We are ready to continue to carry high the banner of peace, development and cooperation, adhere to a peaceful foreign policy of independence and independence, defend the path of peaceful development and implement a strategy for expanding external relations aimed at mutual benefit and common preferences. We strive for our own development by providing a peaceful international environment and promoting world peace through our own development. Peacefully developing China is an important force contributing to peace, stability and prosperity in the APR and the world as a whole, which will also open up more space for Sino-American cooperation and provide historical opportunities for the development of bilateral relations.

Li Zhaoxing assured that in the course of extensive contacts between President Hu Jintao and representatives of all public circles of the United States, the personal charm of the head of the Chinese state, characterized by simplicity, wisdom and foresight, made a deep impression on American friends, who deeply felt the sincere friendship between the leaders and the people of the PRC. Chairman Hu Jintao inscribed on the Microsoft software company: “Long live the Sino-American friendship” is also the common aspiration of the peoples of the two countries.

According to Li Zhaoxing, President Hu Jintao’s visit to the United States has helped to intensify dialogue, multiply points of contact, deepen mutual trust, strengthen cooperation, and all-round promotion of Sino-American relations of constructive cooperation in the 21st century. It will also have an important and profound impact on promoting the healthy and stable development of Sino-American relations and promoting peace, stability and prosperity in the Asia-Pacific region and the world as a whole, with the joint efforts of China and the United States.

90,000 Is the Specter of Socialism Already Walking the US? – Blogs – Echo of Moscow, 03/14/2021

Someone will say so in the light of the latest initiatives of the White House.

The new democratic government of President Biden recently submitted a draft law on trade unions to Congress.

Democrats in the House of Representatives, and they are in the majority there, approved a bill regulating legislation for workers interested in unionizing.

Some people still remember that in the USSR, almost all workers and employees were members of trade unions, paid dues, used kindergartens, and often received free vouchers to sanatoriums and rest homes.The trade unions did not carry out political activities, although such rights were spelled out in the Law on Trade Unions. The press wrote enthusiastically about the strikes in Europe and the United States, about how the trade unions are fighting the capitalists. However, the picture was different in my country.

Any attempts from below to demand higher wages in the USSR were brutally suppressed, recall the strike in Novocherkassk in 1962, known as the “Novocherkassk Shooting”.

I wonder what role trade unions play in modern Russia?

However, back to America.

So, the bill was passed 225 to 206 votes, and five Republicans joined the Democrats. It is unlikely that the bill will pass so easily in the Senate due to the lack of Republican support.

Union leaders say the Law on Protecting the Right to Trade Unions, the PRO law, will level the playing field, which they say are now leaning towards supporting big business.

“The PRO law will protect and empower workers to enjoy our freedom …” said Richard Trumka, President of the AFL-CIO-American Federation of Labor and Industrial Union Congress.It is the largest union of trade unions in the United States, uniting 57 national and international unions, representing more than 11 million workers, about 11.1% of the country’s workers. “This is a game changer. If you really want to correct inequalities in this country – inequalities in wages and wealth, opportunities and inequalities of power – the adoption of the PRO law is absolutely necessary for that. ”

President Biden has come out strongly in support of a campaign to unionize workers at the giant Amazon in Alabama.The richest man on the planet, Mr. Bezos, in every possible way opposes the consciousness of the union.

“Nearly 60 million Americans would join a union if they had the opportunity, but too many employers and states do not allow them to do so,” Biden said in a statement Tuesday.

Large business groups oppose this law.

The US Chamber of Commerce says the law “will undermine workers’ rights, trap employers in labor disputes, disrupt the economy, and force individual Americans to pay union dues regardless of their wishes.”

The Chamber of Commerce and Industry is right about something. Where unions are strong, they achieve a lot, and sometimes it seems to me too much. Let me give you an example of the ITF – the international trade union of transport workers. On the East Coast of the United States, or in the Southeast of Canada where the ITF is particularly strong, dock workers in ports receive very high salaries, and moreover, they go on strikes almost every year, leading to a collapse of traffic flows.

As a result, transshipment rates are growing, which reduces the competitiveness of ports and increases the cost of transport services, which ultimately falls on the consumer in the form of price increases.Trade union leaders have enormous financial resources that are not always spent as intended. In Hollywood films, union bosses are often also members of mafia gangs. Probably there is some truth in this.

Therefore, as a citizen, I understand the importance of protecting the rights of workers in the form of a trade union, and as a transport worker, taught by bitter experience, I try to bypass ports where trade unions are strong and strikes are planned …

And the bitter experience reminds me of how a couple of decades ago, due to a strike at an oil refinery in Greece, the supply of SHELL oils was disrupted.The company patiently negotiated, but when week after week went on, and the Greeks did not compromise, the plant was simply closed, the supply was reoriented from Finland, we lost cargo traffic, and Greece lost its business and reputation as a country where it was comfortable to work. Another case last year, when due to strikes in Canada (and the route was convenient precisely through Canada), the schedule for assembling engines in Russia was disrupted. It took a long time to explain myself so as not to lose the client. This year we again received a warning about the impending strike in Canada, we have to change the route on the fly to a more expensive one.Do you understand why I am not on the side of the strikers?

The truth seems to me in the middle – trade unions should exist, defending their rights, they should find reasonable compromises, and their leaders should be regularly re-elected in a democratic way so that they do not have time to become overgrown with criminal connections and accidentally fall under the spell of the administration.

90,000 Where Old Cinema Charm Goes | Cinema: what is filmed and watched in Germany | DW

There are films that are like mascots.So, for Russians, not a single Old New Year is complete without watching the satirical comedy of the same name, shot by Naum Ardashnikov and Oleg Efremov 37 years ago, and the New Year – without Eldar Ryazanov’s melodrama “The Irony of Fate, or Enjoy Your Bath!” 42 years ago. So in Germany, every year on New Year’s Eve, a black-and-white sketch film by Heinz Dunkhase “Dinner for one”, which is more than 50 years old, is shown on television. Despite the fact that this comedy is shown every year, it still hasn’t set the audience on edge.Millions of Germans watch it with pleasure. The same cannot be said about many other old films – sometimes even those directed by venerable directors. But how to interpret such a phenomenon? The answer to this question is provided by a recent study by the German cultural scientist and journalist Thomas Kölsch.

Other viewing preferences

Over the past decades, the collective visual experience of people has changed a lot, – this is how Thomas Kölsch explains this phenomenon.From his point of view, the difference is especially felt in the perception of old and modern films made in Hollywood. So, Hollywood films created today, from the first minute, capture the viewer and do not let go until the very end – thanks to the dynamics of action, the richness of events quickly replacing each other, vivid effects and the unpredictability of the ending. Nowadays, people who come to the cinema or sit in front of the TV need the notorious “action”, and regardless of the genre of cinema: it is expected in both thrillers and melodrama.Even minor pauses feel like an eternity and are annoying.

Scene from the movie “Once Upon a Time in the Wild West”

In this sense, the American-Italian film “Once Upon a Time in the Wild West”, created by the master of world cinema Sergio Leone in 1969 and included in the list of the best Westerns, now has almost no chance of winning fans : after all, there are places in it where for eight, or even ten minutes, no one chases after anyone, does not shoot, which means, by today’s standards, absolutely nothing happens.This does not suit the modern viewer: he does not have enough time for anything, he is constantly in a hurry, and waiting for the development of the plot to gain momentum is an unaffordable luxury for him.

It is not surprising, therefore, that long-running stories, which are a mix of sluggish events and the incessant boring clarification of relations between the heroes, are today the prerogative of television series, which are mostly adored by time-consuming – and most importantly, unassuming – housewives.This will not work on a cinema screen. Extremely spectacular, dynamic, saturated with extraordinary computer effects and capable of creating a real sensation in the auditorium, blockbusters are suitable here.

No right to artificiality

The main feature of blockbusters is that the atmosphere created in them is close to real and provides the maximum effect of presence.

In recent years, the viewer has become so accustomed to this that the films made in the past decades, in which the pretentiousness and theatricality bordering on farce prevail, he already perceives with difficulty.So, the once popular films with the participation of Bud Spencer and Terence Hill, Leslie Nielson and even Louis de Funes seem silly and ridiculous today.

Bad Spencer and Terence Hill (1971)

Ernst Marischka’s film trilogy “Sissy” (1955), which tells the story of the romantic relationship between Princess Sissy and Austrian Emperor Franz Joseph, is not saved even by the participation of world cinema legend Romy Schneider ).

This film these days is perceived by many as nothing more than banal kitsch.Friedrich Wilhelm Murnau’s silent horror film “Nosferatu. Symphony of Horror”, released in 1922, is out of the question. The story about the Transylvanian vampire, which at one time inspires fierce fear on the audience, now causes nothing but a condescending smile.

But silent comedies, in which Charlie Chaplin plays, to this day make people laugh and are successful. As polls show, the phenomenon of the enduring popularity of these paintings glorifying the “little man” is in their sophistication: farce gives way to sparkling humor and light, kind irony.Chaplin’s art remains loved also because he managed to create the image of a frivolous, trusting, but at the same time surprisingly worthy, humane and disinterested hero, which evoke sympathy at all times.

Immortal masterpieces

The originality of the plot, exquisite style, charm, irony and naturalness of the characters ensured the eternal success of such films as “The Affair” (1973) by George Roy Hill – with Robert Redford and Paul Newman in the main roles, “Breakfast at Tiffany’s (1961) by Blake Edwards – starring Audrey Hepburn and George Peppard; Dead Poets Society (1989) by Peter Weir – starring Robin Williams.

The same goes for the 1942 movie Casablanca, directed by Michael Curtis, starring Humphrey Bogart and Ingrid Bergman. The viewer even now has tears in his eyes when one of the heroes of the film, despite the presence of a group of German occupying officers in the Casablanca cafe, interrupts their ordered performance of the song “Die Wacht am Rhein” and tells the orchestra to play “Marseillaise” – so close to reality and this scene was staged without unnecessary pathos. As, however, the whole picture, deservedly included in the classics of world cinema.

See also:

  • The father of the fantasy genre John Ronald Ruel Tolkien

    Best-selling creator and conqueror of Hollywood

    The works of the British writer, poet, philologist and linguist John Tolkien are among the most important in literary history. Moreover, the bestsellers immediately became both the books of this author and the films based on them.

  • The father of the fantasy genre, John Ronald Ruel Tolkien

    Strikes of Fate

    John Tolkien (right) is captured as an eleven month old in this image.The photo was taken in the Republic of South Africa, where he was born. His younger brother was born there. After the death of his father, the mother and her sons returned to their homeland – to England. Eight years later, when John was only 12 years old, she died too. The orphaned children were taken under his care by a priest who was friends with their parents.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    Prototype Fairyland

    Tolkien grew up in one of the outskirts of Birmingham. The idyllic nature that surrounded him in childhood and adolescence subsequently inspired him to create “Fairy Tales of the Magic Land”.He studied well at school, and most of all he was carried away by foreign languages, poetry, literature. In Birmingham, he also met his future wife, Edith. They got married in March 1916.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    Creator of artificial languages ​​

    After attending Oxford University, Tolkien became even more interested in languages ​​and Old English literature. By that time, he was already fluent in Latin and Greek. In addition to these languages, he studied Gothic, Welsh, Finnish.Tolkien’s interest in linguistics and linguistics was so high that while studying at Oxford, he even took up the creation of artificial languages.

  • The father of the fantasy genre, John Ronald Ruel Tolkien

    Overwhelmed by hatred of war

    Soon after his marriage, in July 1916, John Tolkien was drafted into the army and fought on the fronts of the First World War. He survived the bloody battle on the Somme, where two of his friends were killed. Tolkien later fell ill with typhus and was admitted to the infirmary.Shocked by the horrors he experienced, he hated wars and began writing in a hospital bed.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    First novel published

    After the war, Tolkien began teaching at the University of Leeds, then became professor of Anglo-Saxon language and literature at Oxford. At the same time, he continued to write. In 1937 his fantastic novel “The Hobbit, or There and Back” was published, which immediately won a resounding success.After that, Tolkien took up work on another work, which became one of the most popular books of the 20th century.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    “The Lord of the Rings”

    It took Tolkien about 15 years to create one of the most famous works of the fantasy genre – the epic novel “The Lord of the Rings”, a fairy-tale world inhabited by hobbits , elves, trolls, goblins, and other fantastic creatures. This book made it to the list of the best-selling in the world.The three films based on it have collected 17 Oscars and billions of dollars at the worldwide box office.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    The last creation

    In the last years of his life, Tolkien worked on “The Silmarillion” – a collection of myths and legends of Middle-earth. But due to the death of the writer, the novel remained unfinished. The work on it was completed by Tolkien’s son, Christopher, thanks to whom this book was also published.

  • The father of the fantasy genre John Ronald Ruel Tolkien

    Beren and Lúthien

    John Tolkien passed away in 1973, two years after the death of his wife Edith.

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