just another rant …
Time to deal with old outdated complicit relationships that need to change
It is time to take Republicans onto the floor of Congress and wipe up the floor with their ideologies.
The things on my mind while Congress continues to take a few days here there … called a congressional recess? seriously
The information below is a history and time line regarding the Census and Gerrymandering or Packing & Cracking rules
In December 1975, the Congress passed Public Law (P.L.) 94-171. This law requires the Census Bureau to make special preparations to provide redistricting data to the 50 states no later than April 1 of the year following a census (so April 1, 2011, for the 2010 Census). P.L. 94-171 specifies that within 1 year of Census Day, the Census Bureau must send each state the small-area data the state will need to redraw districts for the state legislature.
P.L. 94-171 sets up a voluntary program between the Census Bureau and those states that wish to receive population tabulations for voting districts and other state-specified geographic areas.
Under this program, those responsible for the legislative apportionment or redistricting of each state may devise a plan identifying the voting districts for which they want the specific tabulations and submit it to the Census Bureau.
Beginning in 2005, the Redistricting Data Office of the Census Bureau met with state officials in 46 states. These meetings explained the timeline and programs available for the 2010 Census, providing states the time to prepare and allocate resources in advance of the census. The states also provided the Census Bureau with valuable feedback on census program planning.
The 2010 Census Redistricting Data Program is a five-phase program. During Phase 1 (2005–2006), the Census Bureau collected state legislative district boundaries and associated updates to tabulate legislative districts. This phase also included an aggressive 2010 Census communications plan, with visits to state capitals, to make sure the states were informed and prepared for the upcoming census.
Phase 2 (2008–2010) consisted of the Voting District/Block Boundary Suggestion Project (VTD/BBSP) in which states received TIGER/Line® shapefiles and the MAF/TIGER Partnership Software (MTPS) to electronically collect voting district boundaries, feature updates, suggested block boundaries, and corrected state legislative district boundaries. Both Phase 1 and Phase 2 are voluntary programs that include a step where the state verifies the submitted data.
Phase 3 constitutes the delivery of the data for the 2010 Census. The Census Bureau will deliver the geographic and data products to the majority and minority leadership in the state legislatures, the governors, and any designated P.L. 94-171 liaisons. Once bipartisan receipt of the data is confirmed, the data will be made available online to the public within 24 hours through the American FactFinder. For this census, the P.L. 94-171 data will include population counts for small areas within each state, as well as housing occupied/vacancy counts.
After the Census Bureau provides the data, the states will begin their redistricting. States are responsible for delineating their own congressional and legislative boundaries and their legislatures. Legislatures, secretaries of state, governors, and/or redistricting commissions carry out the process.
Go to www.census.gov for the complete article …
Republicans on the floor of Congress continue to stall, block, scale down bills, and or add nasty amendments no one could vote for in good faith while providing misinformation and misinterpretation to the public any chance they can. We the People, cannot afford to vote for politicians who put Political Party and Money over doing the People’s business; though Republicans would have the public believe it is in our best interest. We must remember that Speaker Boehner said, his main concern was jobs jobs jobs among other things… the question is how many jobs bills did Republicans bring to the floor, how many Senate jobs bills were rejected and how many awful amendments were attached. Yes, this voter is biased, but I don’t think it’s in the best interest of Americans to side with the party of no; people need to make the effort to listen to what and how bills are handled by Republicans.
We need and must move into the 21st Century if we plan to get back on track and to do so Republicans must accept that PBO won a second term, has earned the right to govern … Americans … 53% of us said YES to his ideas, policies and desire to move forward.
Instead, POTUS continues to spend time on cleaning up the crap the House of Bush left …Sadly, we will never ever know exactly what all Barack Obama had planned for our country,but if you dissect the moves the votes the actions of Republican members of Congress … you might think hmmm what was their intent?
Contrary to what went on in both Chambers of Congress, it is obvious that this is NOT what President Elect Barack Obama had in mind when he ran for office ~~ Think about it, Republican leaders met& decided to be the Party of NO. POTUS either gets no reporting on his accomplishments or has to battle with the Media and it hasn’t been POTUS friendly reporting! I ask folks to contrast&compare it to the primaries because the media gained the reputation of having a love fest with Obama … was that ever true or
For your information, wiki states, “Gerrymandering is effective because of the wasted vote effect.
So, what does Packing and Cracking mean to you …
~ Packing opposition voters into districts (concentrate as many voters of one type -( maybe party&race ) means they already win and by …
~ Cracking the remainder among districts where they are moved into the minority (increasing votes for eventual losers), the number of wasted votes among the opposition can be maximized. Similarly, with supporters holding narrow margins in the unpacked districts, the number of wasted votes among supporters is minimized.
First printed in March 1812, the political cartoon above was drawn in reaction to the state senate electoral districts drawn by the Massachusetts legislature to favour the Democratic-Republican Party candidates of Governor Elbridge Gerry over the Federalists.
The caricature satirises the bizarre shape of a district in Essex County, Massachusetts as a dragon-like “monster.”
Federalist newspapers editors and others at the time likened the district shape to a salamander, and the word gerrymander was a blend of that word and Governor Gerry‘s last name.
Hopefully members of Congress have heard their constituents voices about Gun Safety, understand that ACA is the law of the land, respect Women and their reproductive rights, find courage to end governmental shutdowns, find the compassion to implement save or reform Paycheck Fairness, Immigration and Medicaid just to name a few. Lest we forget that Republican Governors continue to pass, ridiculous Family Values bills while squashing social service programs for the poor.
I also hope the constant racial comments by people voted into Public Office, which, sadly is slurped up by people who seem to be listening and following like lemmings not only affects people of colour ends. It shows the World how primitive we truly are while our constitution, civil and human right achievements seem like documents and sensibilities with absolutely no value or power. The public needs to stay informed; elections suffice it to say have consequences. The fact is midterm elections are just as important as the National Elections, especially in years when gerrymandering or as they say ,when redistricting goes into full effect which lumps, separates, destroys diverse communities and robs some of their voting rights allowing more extreme tea party members onto the Congressional floor.
first posted in 2015
Today, 750 million people in the world live without access to clean water. Now, they say 663 million live with access to clean water and 2.4 billion live without improved sanitation. We all have to know one without the other equals illness disease and death. This crisis disproportionately affects women, who walk a combined 200 million hours a day to collect water for their families. Stella Artois is supporting Water.org to help solve the global water crisis. Learn how you can help at http://BuyALadyADrink.com
Now, in the year 2017, they say 663 million live with access to clean water and 2.4 billion live without improved sanitation. We all have to know one without the other equals illness disease and death.
In honor of Donald Trump’s first 100 days in office, here are 100 things to remember about his presidency so far:
100. Lying about the smaller size of his inauguration crowd
Onward and upward,
Painter, Sculptor, Architect, Poet (1475–1564)
Michelangelo was born on March 6, 1475, in Caprese, Italy. Born to a family of moderate means in the banking business, Michelangelo became an apprentice to a painter before studying in the sculpture gardens of the powerful Medici family. What followed was a remarkable career as an artist in the Italian Renaissance, recognized in his own time for his artistic virtuosity. His works include the “David” and “Pieta” statues and the ceiling paintings of Rome’s Sistine Chapel, including the “Last Judgment.” Although he always considered himself a Florentine, Michelangelo lived most of his life in Rome, where he died in 1564, at age 88.
Painter, sculptor, architect and poet Michelangelo, one of the most famous artists of the Italian Renaissance, was born Michelangelo di Lodovico Buonarroti Simoni on March 6, 1475, in Caprese, Italy. Michelangelo’s father, Leonardo di Buonarrota Simoni, was briefly serving as a magistrate in the small village when he recorded the birth of his second of five sons with his wife, Francesca Neri, but they returned to Florence when Michelangelo was still an infant. Due to his mother’s illness, however, Michelangelo was placed with a family of stonecutters, where he later jested, “With my wet-nurse’s milk, I sucked in the hammer and chisels I use for my statues.”
Indeed, Michelangelo was less interested in schooling than watching the painters at nearby churches, and drawing what he saw there, according to his earliest biographers (Vasari, Condivi and Varchi). It may have been his grammar school friend, Francesco Granacci, six years his senior, who introduced Michelangelo to painter Domenico Ghirlandaio. Michelangelo’s father realized early on that his son had no interest in the family financial business, so agreed to apprentice him, at the age of 13, to the fashionable Florentine painter’s workshop. There, Michelangelo was exposed to the technique of fresco.
Michelangelo had spent only a year at the workshop when an extraordinary opportunity opened to him: At the recommendation of Ghirlandaio, he moved into the palace of Florentine ruler Lorenzo the Magnificent, of the powerful Medici family, to study classical sculpture in the Medici gardens. This was a fertile time for Michelangelo; his years with the Medici family, 1489 to 1492, permitted him access to the social elite of Florence—allowing him to study under the respected sculptor Bertoldo di Giovanni and exposing him to prominent poets, scholars and learned Humanists. He also obtained special permission from the Catholic Church to study cadavers for insight into anatomy, though exposure to corpses had an adverse effect on his health.
These combined influences laid the groundwork for what would become Michelangelo’s distinctive style: a muscular precision and reality combined with an almost lyrical beauty. Two relief sculptures that survive, “Battle of the Centaurs” and “Madonna Seated on a Step,” are testaments to his unique talent at the tender age of 16.
Early Success and Influences
Political strife in the aftermath of Lorenzo the Magnificent’s death led Michelangelo to flee to Bologna, where he continued his study. He returned to Florence in 1495 to begin work as a sculptor, modeling his style after masterpieces of classical antiquity.
There are several versions of an intriguing story about Michelangelo’s “Cupid” sculpture, which was artificially “aged” to resemble a rare antique: One version claims that Michelangelo aged the statue to achieve a certain patina, and another version claims that his art dealer buried the sculpture (an “aging” method) before attempting to pass it off as an antique.
Cardinal Riario of San Giorgio bought the “Cupid” sculpture, believing it as such, and demanded his money back when he discovered he’d been duped. Strangely, in the end, Riario was so impressed with Michelangelo’s work that he let the artist keep the money. The cardinal even invited the artist to Rome, where Michelangelo would live and work for the rest of his life.
The ‘Pieta’ and the ‘David’
Not long after Michelangelo’s relocation to Rome in 1498, his fledgling career was bolstered by another cardinal, Jean Bilhères de Lagraulas, a representative of the French King Charles VIII to the pope. Michelangelo’s “Pieta,” a sculpture of Mary holding the dead Jesus across her lap, was finished in less than one year, and was erected in the church of the cardinal’s tomb. At six feet wide and nearly as tall, the statue has been moved five times since, to its present place of prominence St. Peter’s Basilica in Vatican City.
Carved from a single piece of Carrara marble, the fluidity of the fabric, positions of the subjects, and “movement” of the skin of the Piet—meaning “pity” or “compassion”—created awe for its early spectators. Today, the “Pieta” remains an incredibly revered work. Michelangelo was just 25 years old at the time.
Legend has it that he overheard pilgrims attribute the work to another sculptor, so he boldly carved his signature in the sash across Mary’s chest. It is the only work to bear his name.
By the time Michelangelo returned to Florence, he had become something of an art star. He took over a commission for a statue of “David,” which two prior sculptors had previously attempted and abandoned, and turned the 17-foot piece of marble into a dominating figure. The strength of the statue’s sinews, vulnerability of its nakedness, humanity of expression and overall courage made the “David” a prized representative of the city of Florence.
Art and Architecture
Several commissions followed, including an ambitious project for the tomb of Pope Julius II, but that was interrupted when he asked Michelangelo to switch from sculpting to painting to decorate the ceiling of the Sistine Chapel.
The project fueled Michelangelo’s imagination, and the original plan for 12 apostles morphed into more than 300 figures on the ceiling of the sacred space. (The work later had to be completely removed soon after due to an infectious fungus in the plaster, and then recreated.) Michelangelo fired all of his assistants, whom he deemed inept, and completed the 65-foot ceiling alone, spending endless hours on his back and guarding the project jealously until revealing the finished work, on October 31, 1512.
The resulting masterpiece is a transcendent example of High Renaissance art incorporating the Christian symbology, prophecy and humanist principles that Michelangelo had absorbed during his youth. The vivid vignettes of Michelangelo’s Sistine ceiling produce a kaleidoscope effect, with the most iconic image being the “Creation of Adam,” a portrayal of God touching the finger of man. Rival Roman painter Raphael evidently altered his style after seeing the work.
Although he continued to sculpt and paint throughout his life, the physical rigor of painting the chapel had taken it’s toll on Michelangelo, and he soon turned his focus toward architecture.
Michelangelo continued to work on the tomb of Julius II for the next several decades. He also designed the Medici Chapel and the Laurentian Library—located opposite the Basilica San Lorenzo in Florence—to house the Medici book collection. These buildings are considered a turning point in architectural history. But Michelangelo’s crowning glory in this field came when he was made chief architect of St. Peter’s Basilica in 1546.
Michelangelo unveiled the soaring “Last Judgment” on the far wall of the Sistine Chapel in 1541. There was an immediate outcr—that the nude figures were inappropriate for so holy a place, and a letter called for the destruction of the Renaissance’s largest fresco. The painter retaliated by inserting into the work new portrayals: Of his chief critic as a devil and himself as the flayed St. Bartholomew.
Though Michelangelo’s brilliant mind and copious talents earned him the regard and patronage of the wealthy and powerful men of Italy, he had his share of detractors. He had a contentious personality and quick temper, which led to fractious relationships, often with his superiors. This not only got Michelangelo into trouble, it created a pervasive dissatisfaction for the painter, who constantly strived for perfection but was unable to compromise.
He sometimes fell into spells of melancholy, which were recorded in many of his literary works: “I am here in great distress and with great physical strain, and have no friends of any kind, nor do I want them; and I do not have enough time to eat as much as I need; my joy and my sorrow/my repose are these discomforts,” he once wrote.
In his youth, Michelangelo had taunted a fellow student, and received a blow on the nose that disfigured him for life. Over the years, he suffered increasing infirmities from the rigors of his work; in one of his poems, he documented the tremendous physical strain that he endured by painting the Sistine Chapel ceiling. Political strife in his beloved Florence also gnawed at him, but his most notable enmity was with fellow Florentine artist Leonardo da Vinci, who was more than 20 years his senior.
Literary Works and Personal Life
Michelangelo’s poetic impulse, which had been expressed in his sculptures, paintings and architecture, began taking literary form in his later years.
Although he never married, Michelangelo was devoted to a pious and noble widow named Vittoria Colonna, the subject and recipient of many of his more than 300 poems and sonnets. Their friendship remained a great solace to Michelangelo until Colonna’s death in 1547. In 1532, Michelangelo developed an attachment to a young nobleman, Tommaso de’Cavalieri (scholars dispute whether this was a homosexual or paternal relationship).
Death and Legacy
Following a brief illness, Michelangelo died on February 18, 1564—just weeks before his 89th birthday—at his home in Macel de’Corvi, Rome. A nephew bore his body back to Florence, where he was revered by the public as the “father and master of all the arts,” and was laid to rest at the Basilica di Santa Croce—his chosen place of burial.
Unlike many artists, Michelangelo achieved fame and wealth during his lifetime. He also had the peculiar distinction of living to see the publication of two biographies about his life (written by Giorgio Vasari and Ascanio Condivi). Appreciation of Michelangelo’s artistic mastery has endured for centuries, and his name has become synonymous with the best of the Italian Renaissance.