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Part-load Performance Characteristics of a Novel Nutating-disk Engine
T. Korakianitis (UK), L. Meyer, and M. Boruta (USA)
power plant performance, power generation
The core of the engine is a mutating non-rotating disk, with the centre of its hub mounted in the middle of a Z-shaped shaft. In the basic configuration a portion of the disk is used for intake and compression, a portion is used to seal against a centre casing, and the remaining portion is used for expansion and exhaust. The compressed air is admitted to an external accumulator, and then into an external combustion chamber before it is admitted to the power side of the disk. The engine's unique arrangement flexibility allows several alternative multi-disk and shaft engine configurations, each selected for a different application. The external combustion chamber enables the engine to operate on variable compression ratio. Variations in cycle temperature ratio and compression ratio enable the engine to effectively become a variable-cycle engine, allowing significant flexibility for maximum efficiency or power or other optimizing function for on-ground, stationary or airborne applications. The engine has unique advantages over other prime movers in the 10-500 kW power range.
From Proceeding (442) European Power and Energy Systems - 2004
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Follow @ahess247
Recent Posts by Arik Hesseldahl
Jive IPO Filing Holds Clues to Valuation Mystery
October 25, 2011 at 5:59 am PT
Jive Software, the pre-IPO player in the red-hot social enterprise and collaboration business, amended its S-1 filing with the U.S. Securities and Exchange Commission last night. Among the new revelations are the exchange it has selected for its debut — the Nasdaq — and its four-letter ticker symbol. Think you can guess it? That’s right: JIVE.
The amendment also includes some new financial data. For the quarter ended Sept. 30, Jive reported a $7.6 million loss — which is in line with the year-ago quarter — on sales of $20.8 million; a 69 percent increase year on year. And for the first nine months of the year, its net loss, at $38.1 million, was 83 percent higher than a year ago; sales, at $54.8 million, were up 74 percent from a year ago.
Jive also disclosed how much it paid for OffiSync, the company it acquired in May — the acquisition allows Jive to make more socially aware applications for Microsoft Office. Jive paid $23.3 million for OffiSync, which included the issuance of 78,110 shares of stock worth $600,000, implying at the time that each share of Jive was worth about $7.68. This gives us a clue concerning the paper value of the shares of the company at the time of that deal.
Jive’s two main VC investors own more than half the company: Sequoia Capital owns 36.2 percent, while Kleiner Perkins owns 14.2 percent. Assuming that the $7.68 share price implied by the OffiSync acquisition still holds — which it probably won’t by the time the offering prices — Sequoia’s 16,975,233 shares would be worth $130.4 million, while Kleiner’s would be worth $51 million and change. CTO and co-founder Matt Tucker has a stake that would have been worth more than $54 million at the time of the OffiSync deal. Tony Zingale, the former head of Mercury Interactive, who helmed its sale to Hewlett-Packard and who was brought in to take Jive public, has a stake that would have been worth about $27 million at the time of the OffiSync deal. Again, take those valuations with a grain of salt, because they’re likely out of date by now.
Update: It turns out that, yes, that valuation from May is out of date. In September, Sequoia and Kleiner exercised warrants to buy shares, at $10.37 a share. So that would push Sequoia’s stake to north of $176 million, Kleiner’s to $69 million, Tucker’s to $73 million and Zingale’s to $37 million.
Elsewhere in the filing, we learn that Jive finished the quarter with $72.6 million in cash, and has whittled its long-term debt down to $26 million, down from the $33 million it listed in its initial S-1 filing in August. Much of that debt was taken on to get acquisitions like the OffiSync deal done.
Interestingly, the filing also contains a glance at OffiSync’s books, and it was clearly a tiny company just getting started. Through the middle of May, when the acquisition was concluded, it had booked $205,000 in sales. Assuming a constant run rate, it would have finished the year with about $600,000, meaning Jive paid about 39 times sales. A fair metric? It is, if Jive considered OffiSync’s capabilities a strategic feature, which it clearly did.
Tagged with: collaboration, enterprise, enterprise software, Jive, Jive social enterprise software, Jive Software, OffiSync, social enterprise, social enterprise software, Tony Zingale
Apple Denies Working with NSA on iPhone Backdoor
HP Is Negotiating to Settle Bribery Charges
CIOs Brand Enterprise Social Tools as Most Overhyped Technology of the Year
Malware Attacks by Syrian Pro-Government Hackers Are on the Rise
There was a worry before I started this that I was going to burn every bridge I had. But I realize now that there are some bridges that are worth burning.
— Valleywag editor Sam Biddle
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Anthem Magazine
A Conversation with Jill Magid
The artist on the seductive nature of her practice, the question of legacy, and her Luis Barragán documentary The Proposal.
Text: Kee Chang
Images: Oscilloscope Laboratories
Posted: 29 May, 2019
Finding the right question for each system or situation is the hardest part of my work.
ASTRO NOISE, AUTO PORTRAIT PENDING, EVIDENCE LOCKER, FEDERICA ZANCO, JILL MAGID, LAURA POITRAS, LINCOLN OCEAN VICTOR EDDY, LUIS BARRAGÁN, ROLF FEHLBAUM, SYSTEM AZURE SECURITY ORNAMENTATION, THE BARRAGÁN ARCHIVES, THE PROPOSAL, THE SPY PROJECT
21 Exposures: Yellow Bikini Exhibition
Chris Moon Lands Stateside
Jill Magid’s feature documentary debut The Proposal is the final chapter in the conceptual artist’s extended, multimedia project The Barragán Archives, an ambitious five-year endeavor spanning numerous exhibitions, installations, performances and publications from 2013 to 2018. The film, in which Magid acts as narrator and protagonist, both chronicles and extends her quest in examining the legacy of the late Luis Barragán, the most revered Mexican architect of the 20th century. Her inquiry is multifaceted and alluring: What does it mean to own an artist’s legacy posthumously, and what happens to intellectual property once it has been privatized by a corporation?
As laid out in his will, Barragán’s vast archive is split into two parts. Along with the majority of his architecture, his personal archive remains in Mexico at his home and studio, Casa Barragán, which is now also a UNESCO World Heritage Site. In 1995, Rolf Fehlbaum, the Chairman of the Swiss furniture company Vitra, purchased Barragán’s professional archive, including the rights to his name—notably, without the accent—copyright and work, and gifted it to his fiancé, architectural scholar Federica Zanco, as a wedding present in lieu of an engagement ring. Although Zanco publicly announced that the archive would be opened to the public, they remain closed 20 years later and housed in a bunker at Vitra corporate headquarters, where it is guarded with a tight grip by the same gatekeeper who has hampered Magid’s efforts in opening it back up. Instead of indignantly going on the attack, Magid courted a friendship with Zanco through a series of intercontinental “love letters,” demonstrating their shared passion for Barragán. With that letter-writing campaign, Magid concocted a “proposal” of her own, offering a ring—controversially exhuming the ashes of Barragán’s cremated remains and having them pressed into a two-carat diamond—in exchange for the repatriation of his professional archive to Mexico.
The Proposal is a meditation on ownership, copyright and legacy, which places it right in line with Magid’s larger artistic oeuvre exploring ideas about access, power and control. Through her performance-based practice, she has long established intimate relationships with impersonal structures of authority that function at a distance with wide-angle perspectives. At the 2004 Liverpool Biennial, Magid presented Evidence Locker, in which she became the willing subject of the city’s CCTV surveillance system. In 2005, the artist infiltrated the Dutch Secret Service agency to create The Spy Project. For 2007’s Lincoln Ocean Victor Eddy, she shadowed and befriended a New York City cop, who covertly trained her in a series of nightly meetings and disclosure.
The Proposal is now playing at select theaters and with a national rollout to follow.
What drew you to Luis Barragán’s work in the first place, prior to extending your research into his professional archives and before you were made aware of Federica Zanco’s role in his posthumous legacy? Were you simply captivated by his work?
After seeing my work at the Tamayo Museum, I was invited by LABOR gallery in Mexico City to make a new project. Understanding that I’m often inspired by visiting a city or site, the gallery invited me back to Mexico City for a site visit. While I was there, I visited Casa Barragán, Barragán’s house and studio—now a museum and a UNESCO World Heritage Site. I got a private tour and I was extremely moved by the house and his architecture. I had a strong desire to live in the house and write. As my work historically deals with questions of power, control, access and individual agency, I don’t often get excited by another artist’s work and make a project about them. So although I was so inspired by Barragán’s work, even haunted by it, I did not think I would make a project about him. But then I learned about his contested legacy, and the legal challenges around reproducing images of his work. I had a meeting with the museum director of Casa Barragán to learn more. She explained to me how his professional archive, containing thousands of his drawings, plans, negatives and models, had ended up in Switzerland, strictly protected by copyright law and intellectual property rights. Now it was Barragán’s work and these issues of access, law and property, all of which strongly resonated with me. That’s a long way of saying that it was Barragán’s work that drew me in, but it wasn’t until I realized that his legacy was in a problematic position that I recognized it as a space that I wanted to explore more deeply within my practice.
Speaking of legacy, in the film you mention how Barragán always seemed to have an eye towards his own legacy, and you describe legacy in your director’s statement for the film as “something potentially alive and full of possibility.” In 2005, for Auto Portrait Pending, you signed a contract with Lifegem, a company that specializes in turning cremated bodies into diamonds. With that contract, you, too, will become a ring like Barragán. Do you think about legacy often in your artmaking?
My questions and thoughts around legacy have grown in different ways through the Barragán project. I wouldn’t say, especially as a younger artist, that I was really thinking of the legacy of my work. I probably should’ve been more. Auto Portrait Pending (2005) was the first piece that dealt directly with legacy. In it, I sign a contract with a company to turn my body into a 1 carat diamond upon my death. The work consists of an empty right setting (essentially my grave), and a series of letters and contracts. It is an artwork that has two lives: It’s the potential of the work, and the future realization of the work post-mortem. My questions in that piece were about the confluence of the artist’s body and the artist’s body of work. I was very interested in how people say, “I own a de Kooning” or “I own a Pollack.” There’s a kind of slippage between the artist as his or her own person and what they produce, which I find intriguing. Auto Portrait Pending was also about the commercial space of the body versus the body of work. The collector is “buying” the artist, literally, in the case of Auto Portrait Pending. There’s a long history of artists that have worked with their own bodies or the products of their bodies or the bodies of others like this. For instance Piero Manzoni’s Artist’s Shit. But with the Barragán project, the questions around legacy ,access, ownership and private property are added, along with a series of institutions such as governments, foundations, and individual groups committed to Barragán’s legacy. My neon piece Barragan® sums it up. The neon toggles between Barragán with an accent, and Barragan without an accent, as his name was trademarked. The man and the man incorporated. And, very importantly, unlike , The Proposal (the artwork, 2016) is not for sale. It is a gift that requests a gift in turn.
Touching on the idea of the body for the body of work, there’s a real humanity to the way you approach your art and your subjects—significantly in your desire to give back as much as you take. Sometimes it’s less ambiguous, like removing ashes from Barragán’s urn and placing a silver horse statuette in its place. For the Lincoln Ocean Victor Eddy project, you exchanged your knowledge about art with the police officer training you. This notion of a fair exchange seems to be operating on a far more significant level than just for the sake of art.
I think through my work as a series of relationships composed of gestures and exchanges. The work unfolds as gestures, actions or sometimes as gifts which are offered and in some way reciprocated. Artworks like sculptures, text pieces or 2D works, grow out of these exchanges, and also function to push the projects forward, deepening or challenging these relationships. And maybe it sounds corny, but I do think of art as a kind of gift. That doesn’t mean it’s always rosy—there are gifts with thorns. They are ways and forms through which to expand our thinking or enable us to transcend the position we’re in, and how we operate in society. I would also describe the epistolary relationships that are often the backbone of my process as a kind of non-financial exchange. I am not working in a vacuum in my studio. To understand a system and pose questions to it, I have to engage it, and be engaged by it. With the example you gave of the silver horse, I knew that if I was going to be removing a fraction of Barragán’s ashes for an artwork, I wanted to give him something in return. So I made him a solid silver horse, equivalent in weight to that of the ashes removed. During the exhumation, I showed the silver horse to Barragán’s family for the first time, and suggested that they put the horse next to the urn to keep Barragán company. Barragán was a lover of horses and even designed architecture for them. Hugo Barragán, Luis’ nephew, took my offering a step further and put the horse inside the urn, within the remaining ashes. I think there was something that felt complete for those of us present in that exchange. Which is not to say that the horse and ashes are equivalent, but rather that one gesture inspired another gesture, expanding our relationship not only to the project, but to each other, and to Barragán.
Because you’re driven so much by burning curiosity—I don’t think a lot of people would go to the lengths as you do, especially weighing the possibility that you might become a national threat, which is what occurred on The Spy Project—it opens up doors that might otherwise be closed indefinitely. You once said in a talk that when you ask unorthodox questions, that can be the best way to circumvent the no’s you’re bound to receive because it suddenly provokes thought in the receiver as well. Was there a time when it became a crystallized truth for you that it was this unrivaled tool?
I don’t know if there was a eureka moment. Finding the right question for each system or situation is the hardest part of my work. With The Spy Project, for instance, I was commissioned to make a new work for the new headquarters of the Dutch intelligence agency, the AIVD. I could make anything, but the brief we finally determined was to help improve the agency’s public persona by providing it “with a human face”. The initial openness of the commission to “make anything” was both exciting and overwhelming. Generally, I start by reading everything publicly available about the system I’m investigating, and often there’s something in the material that snags me, that starts to raise questions for me personally. In this case it was “What does it feel like to be a spy, to have a public persona and a private persona?” and “Is there a center of power or is the agency totally fragmented?” I’ll start to look for a point of entry—a loophole in the law or within the rules. In the case of the Dutch Intelligence Agency, it was an Article that forbid the agency from collecting personal data from its agents. I became the Consultant of Personal Data, and my mission to find the face of the faceless institution. I collected what the agency couldn’t, created artworks throughout the process and as part of our dialogues, and amassed an archive about the agents and the institution at large. This way of working takes time and a very significant commitment in order to follow a project all the way through, wherever that is or may lead. The work requires that of me because, otherwise, none of the questions I am posing through the work could be fully asked.
All of your artworks feel so complete coming out at the other end. It’s fascinating, knowing that so much of your practice exists outside of the gallery or museum space before being placed there. You’re constantly negotiating with people and changing variables along the way. It appears that you don’t always know where something is headed, but that it’s going somewhere interesting.
Yes, each project is its own world that requires a new visual and textual vocabulary. They get constructed along the way. For instance, with Lincoln Ocean Victor Eddy—a project in which I trained with an N.Y.C. police officer in the subway at night in Post 9/11 NY— I didn’t know where it was going, but the rules were very clear. During my training, I wasn’t allowed to photograph the cop to reveal his identity, and I wasn’t allowed to photograph in the subway either but he let me do so randomly, and more so as time passed. The resulting photos were based on those constraints, taken on the sly or videoed by briefly plugging a wire into the police CCTV system, all with the cop’s permission. With Evidence Locker, which involved developing a close relationship with the Liverpool police department and its surveillance system over a 31 day period, I knew that most likely the final piece would have a video CCTV component and a writing component made up of the request forms I had to write to access the footage. So in those cases, I knew a little bit about what materials I would be working with, whereas with The Spy Project, I had to try many different materials because it was so open—and also so closed. To find the agency’s human face, I met with 18 agents over three years but I was only allowed a notebook and a pen, no technical recording devices. I think the questions lead me to find the material forms of the work, but the process of material investigation also leads to new questions. And the artworks are less the result of the process as much as they are materials of it. During the life of The Spy Project, the agency confiscated a series of works, including prints, a sculpture, and the book I wrote about my experience with the agency from my solo show at Tate Modern. In light of those confiscations I altered the remaining works, such as turning off neon sculptures, and the hacking of the book.
When you were putting rhinestones on surveillance cameras in Amsterdam for System Azure Security Ornamentation, a funny thing happened where the police started paying you to do that job—a job that you invented and somehow convinced them was legit. Are you constantly toggling between Jill Magid and performance in that kind of space? Is there a clear delineation to speak of?
I think that is one of the most nuanced questions that I get asked. When I was making Evidence Locker, I was wearing this red coat so that the police on the CCCTV cameras could always find me in the city. It became almost this love story where I was writing “love letters” to the CCTV police system and they would follow me based on what I wrote them. That piece was commissioned by the Liverpool Biennial and eventually showed at the Tate Liverpool. I remember distinctly that one of the curators, while I was in the city for the 31 days, said to me, “When are you going to take the mask off?” I was sort of surprised by that question because I wasn’t wearing one. The work requires different things from me than my life does. It’s normal. You perform differently at work than after work. There’s a different way of speaking, a and behaving—you’re aware of your surroundings. I would say that it’s more about an awareness of my context and understanding what is appropriate in situations, along with the deep commitment to the questions I am asking or seeking to understand. That doesn’t mean what I do or make is not absurdist in some ways—I take the law literally, which can be humorous, but it’s appropriate to the questions being asked. Like you said before, if you just ask a straight question about the copyrights on Barragán’s work, you often get stock answers and a lot of people tuning out. There is a power in asking questions in ways that people don’t immediately recognize. They can hear them. Suddenly those questions are being engaged with a new kind of sensitivity and openness.
In your three-year correspondence with Federica for The Proposal, were these all handwritten letters?
Not all. Most of them were. The meaty ones were, and I would always FedEx them to her. She even wrote me a letter in which she comments on how carefully my letters were written and treated—sometimes I included small packages tied with a ribbon. The letters were also written thoughtfully. She was an excellent interlocutor. I was very careful in how I’d compose, write and send the letters because I think of them as artworks. What tone to take? Which pen do I use? Which paper? How translucent is the envelope? How does the dialogue change if I send her a book or a gift? I mostly wrote her handwritten letters and she always responded via email. Only my practical communications that were time-sensitive would end up as emails- like where to meet and when, but the real gestures were handwritten and Fed Ex’ed.
We see a great example of that in the film where you’re handwriting in cursive, tracing over a typed and printed letter. Also, you handle the stationary in an almost forensic way.
Totally. The form, content, and delivery are extremely important.
There’s a seductive, romantic nature to what you’re doing. There’s also an undeniable seductiveness to your meetings with the Dutch Secret Service agents in The Spy Project, in your collaboration with the police for Evidence Locker, and in the unconventional training you received from the New York City cop, who ultimately gifted you with a bullet from his chamber as a symbol of trust. You’re engaging in this high-wire act, in systems that are pulling you in at the same time it’s trying to constantly spit you back out because, really, none of us are supposed to be in that secretive space.
Yes, and it’s exactly the way you said it: the system’s pulling you in and spitting you out at the same time. It is like a seduction. I don’t mean to get into critical theory here, but Baudrillard is kind of my hero in that space. When I read his book Seduction I was like, “Oh my god, that’s the way I think”—that entering systems like this is a game. I don’t mean that in a frivolous sense. It’s a very serious game, the way chess is. There are players and making moves on the same board. That’s another part of the process: equalizing the board, or playing field. I’m not supposed to be an individual subject with my own agency on a CCTV system. I’m supposed to be this random citizen without an identity, caught on it. CCTV is a one-way form of surveillance. But for that moment during the making of Evidence Locker, the system and I engaged in a dialogue. We were both vulnerable and both powerful in a way, and I think that idea of creating agency in a social or heavily policed space where we’re not afforded agency is really important.
A post shared by Jill Magid (@jillmagid) on May 7, 2019 at 10:25am PDT
When you were a guest at Harvard University’s Graduate School of Design many years ago, the moderating professor inquired about your possible desire in The Spy Project to also find the center of an organization, in that instance the Dutch intelligence agency. I think it was referred to as “finding the wizard behind the curtain” in that conversation. Then at the Whitney Museum panel that you were a part of for Laura Poitras’ collaborative book, Astro Noise, someone in that talk compared looking at the Snowden files as “visiting the Oracle,” which I think is beautifully worded. So how do you best describe the ways in which you have transformed as an artist and as a person accruing all of this information about how the world spins and the systemic structures in which we find ourselves?
I try to communicate what I’ve learned or the questions I am asking through the work itself. Sometimes didactically but often, in the artworks, more abstractly. Film was a different story because the narrative had to be contained to a fixed timeline. I realize that I approach these systems of control with a somewhat romantic lens. Someone once referred to me as “a romantic conceptualist” and I kind of love that title. A romantic approach can have negative connotations, but I mean it more so as a humanistic approach. One thing I learned is not to fetishize the system. For instance, with a surveillance camera, I do not just see a camera but the entire system of which it is a part: from the camera, to the length of time footage is held, to the method of retaining footage, to the CCTV controllers and the institutions they work for. Unlike Liverpool, most cities only hold footage for 3 days. But women for instance who’ve been harassed or abused on the streets statistically report those crimes far later than 3 days after they’ve been committed. So, what is the system designed to look for, or not watch for? I gain knowledge about that question by inserting myself into the system and experiencing it firsthand. Approaching Liverpool’s CCTV system through performance and love letters- a totally unorthodox method- leads to an understanding of not only what the system is designed to do, but also about its potential. For instance, the system can be used as an intimate diary of an individual’s existence in the city. There are very human decisions and reasoning as to why a system exists as it does. Exploring and discovering those decisions is a big part of the work, because I’m trying to locate meaning within the system, so that I, and others, might more mindfully participate in it. Clichés are clichés because we accept them, but there’s a lot of information inside of a cliché. That doesn’t mean those clichés are alright, or that we should just accept systems for what they are. It just means that that’s the norm.
I think many viewers will be coming out of the movie wondering what came of your relationship with Federica—I certainly did. How did she react to the making of this documentary and her portrayal?
There are not always conclusions to my work. They are full of potential. As in Auto Portrait Pending where the piece exists in a certain way until I pass away, or with The Spy Project neon sculptures are turned off to reflect the Intelligence agency’s confiscation of works. My proposal, proposed in the movie and by the artwork of the same name, still stands. It is not only a proposal to Federica but to the various audiences and viewers of the work- meaning, to the wider public. What happens when an artist’s work is hard to access or illegal to reproduce in any form? How can people participate in that artist’s legacy or grow it further? For me, it’s very beautiful that the question posed by The Proposal is open and full of possibility. I’m thankful to Federica that she engaged me over the many years of this project. Although it appears that we have different ideologies, without her engagement I would not have been able to continue asking the questions around Barragán’s legacy that I did in this project. During the first exhibition of The Barragán Archives, titled Woman with Sombrero in NYC, 2013, she was interviewed by The New York Times. My questions were clear in the exhibition and in the interview from the outset. Over a year later, she went to see one of my shows in Zurich, called Homage, about artists—in this case Barragán and Joseph Albers- who shared their works with one another and even reproducing each other’s without recourse to law or copyright—and she wrote me her feelings back about it. I see the film as a continuation of the project, existing wholly within that engagement.
As telegraphed in the film, Federica and her husband Rolf Fehlbaum agrees with you in saying that, even if the proposal is rejected, the gesture is a beautiful one. And of course, the paramount questions about access still remain.
For me, the questions are paramount, yes. I tried to make both a film and an artwork that would ask the questions around copyright and property earnestly and beautifully, in a way that felt consistent to me with Barragán’s work, and also with the way I work. How art and the ownership of art in late Capitalism is treated is something as a society we need to really think about, and not take for granted. They’re some of the biggest questions of our moment, and the law should reflect that. Barragán was such an incredible architect, and “the artist among architects, the poet among architects”, as he was referred to in the introduction to receiving his Pritzker Prize. His legacy only grows with access to his work and archives by a variety of individuals.
What questions are you exploring now moving forward?
There are a lot projects going on right now, and I don’t want to get too much into them because it’s important for me to immerse myself in a research stage before I am ready to begin the process of communicating. But one thing I could say is that I just wrote a short piece for Talkhouse. The Dia Art Foundation asked me to an “Artists on Artists” talk and I am focusing on the work of Chantal Akerman. Questions around legacy persist, but they are of a different nature in this case.
I’ve been asking my film director and actor interview subjects about legacy more recently, in broader terms like, “What do you want to leave behind?” I’ve come to find that it’s a tricky thing to answer to.
In a way, this is question of time. I’m aware that my work sometimes takes time to digest. I often think about how a project is legible in its contemporary moment, and how it may or may not remain relevant over time, when context, society and norms change. I think about how a work persists because that’s what legacy is. What more could I possibly want from my work than that the questions I’m asking through it remain relevant and meaningful?
The holy grail.
But if that’s the holy grail, then it sounds inaccessible again. How can the work keep speaking? That’s what’s amazing to me about the film: every time the film plays, it’s asking the question again. It does the work itself.
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Major purge of US puppets in Japan continuing behind the scenes, Nato terrorist state group being cut off
May 15, 2012 Written by Benjamin Fulford
The top US criminal corporate government representative in Japan, Edward Nye, will no longer be welcome in Asia following the release of new information about his links to the March 11, 2011 nuclear and tsunami terror attack on Japan. He is believed to be the author of a February, 2000 CIA report on the Japanese energy sector that stated the following: “In order to prevent Japanese national power from becoming any stronger and to prevent a resurgence of anti-American feeling in Japan it is necessary to put hand-cuffs on Japan’s energy sector over the long term. Nuclear energy now accounts for 30% of Japan’s power production. The most effective counter measure would be to neutralize the main concentration of Japanese nuclear know-how, the Tokyo Electric Power Corporation. TEPCO has Japan’s largest market capitalization and it is a leader of Japan’s corporate and financial world. It is also very trusted by the Japanese people. To prevent Japan from becoming a nuclear power, it is necessary to destroy trust in TEPCO and drastically set back Japan’s progress in nuclear power.” This CIA report was quoted in the November 2002 issue of Zaikai Tenbo, a leading Japanese business magazine.
Many of the top Japanese and Korean agents working for the US corporate government in Japan have already been or are about to be purged and now all “Japan handlers,” working for the criminal corporate US mafia government are being advised to get out of Japan and never come back.
There was also a meeting last week between representatives of the committee of 300, the White Dragon Society and an Asian secret society last week to discuss the new financial system.
At the meeting, the committee of 300 representative, who we will refer to as J., offered the White Dragon Society a 1200 trillion dollar “Elizabeth Victory Bond.” However, once again, it was not made clear exactly what real world stuff actually backed this astronomical number (remember world GDP is about $75 trillion). The White Dragon Society made a counter proposal which was for an initial donation of $100 million to the White Dragon Foundation to be used to hire experts to begin planning the establishment of a world economic planning agency. Further payments would be contingent on the presentation of detailed, publicly acceptable and concrete development plans.
There was also a lot of discussion about Asian gold stashes. J. claimed that most of the gold in the Philippines was removed after World War 2 and that since more than 50 years had passed the statute of limitations had run out and any claims to historical rights to that gold had thus expired.
There was some heated discussion between the 3 parties on the subject of Chinese gold that was evacuated to the US in 1938. The Kuomintang government of the time was given 60 year bonds backed by that gold and was given solemn promises the gold would be returned in 1998. In fact the Rockefellers, Warburgs, Rothschilds, Mellons, Morgans, Harrimans and other families behind the US Federal Reserve Board never intended to give the gold back. When Nixon restored US diplomatic relations with communist China in 1972, he gave a chunk of that gold to the Chinese communists. Needless to say a lot of mainland Chinese pockets were greased with that gold and the original owners are not too happy about that situation.
A Chinese communist government agent present at that meeting said the communist party considers all that historical gold and treasure in China to be property of the Chinese people. However, he said any Chinese gold taken out of China and deposited in Asia or elsewhere should be used for global economic development and that the Chinese communist government laid no claim on it.
There was thus a general agreement the gold should be used to back the new financial system. J. said the committee of 300 would also accept the use of that gold as a backing for any dollars or euros to be created in the future.
J. who claims links to the Japanese imperial family also had some interesting history to share. He said Japan’s share of the gold removed from the Philippines after WW2 was handled by a Mr. Shimura (no first name given) who was the real power behind post-war Japanese fixers like Yoshio Kodama and Ryoichi Sasagawa. The now deceased Shimura was able to call Prime Ministers and get them to immediately drop parliamentary business to hurry to his side, according to J.
J. was introduced to this writer by the head of a major financial institution who is also a member of an Asian secret society.
Shimura, who was the top committee of 300 representative in Japan, hosted, as students, such Asian leaders as Lee Kuan Yew, Aung San the father of Myanmar Western darling Aung San Suu Kyi, Japan Democratic Party power broker Ichiro Ozawa and Chinese politburo member Li Keqiang among others.
He also said Chinese paramount leader Hu Jintao had a Japanese mother and spent time at Japan’s Waseda University as a student (this is not mentioned in Hu’s official CV). Hu is fluent in Japanese, according to J.
Needless to say, we could not independently verify much of this information and remain wary of the possibility that J. provided this writer with a mix of information and disinformation. However, most of what he said fits in with reports from other inside sources and information available in the public record.
In any case, the battle against the financial mafia that illegally seized power in the West is proceeding well.
The situation has reached the point where anybody with access to the internet can see that the G5 terrorist countries (the USA, Germany, France, England and Italy) and their shrinking group of slave states (like the Gulf of Arabia monarchies run by Satanists) are being steadily isolated.
The non-aligned movement that favors world peace now includes over 140 states including the BRICS (Brazil, Russia, India, China and South Africa). The war-mongering NATO group meeting in Chicago this week, by contrast, only includes 28 countries.
These 28 countries as a whole are dependent on financing from the other 140 nations. Jacking up the price of oil sold by NATOs middle-Eastern slave states is just not enough to pay the bills any more. Sabotaging Japan’s nuclear industry and forcing Japan to buy more oil has not been enough either. That is why there is this “world financial crisis,” which is really just a Western world financial crisis.
The whole world has a message to the criminal cabal of Satan worshipping oligarchs who enslaved the West: We want an end to war, an end to poverty and an end to environmental destruction. We also want you to release, in a safe and responsible manner, all the energy and other technology that you have been suppressing. We want you to stop behaving like criminals and become responsible global citizens.
behind:, continuing, japan, major, puppets, purge, purge
The Nazionists are losing, Europe is surrendering, Japan is close to revoluti... — That school yard taunt “liar liar, pants on fire,” pretty well describes how the world views what passes as government in the United States, Israel and their few colonies. Nobody believes their tall tales about aliens, ebola, beheadings, race riots, airplane shoot downs etc. They have lost the ability to manipulate world events. The clearest [...]
Major fall offensive against Nazionists begins despite continuing cabal threa... — The summer is ending and the Satan-worshipping cabalists are trembling in fear of what will come their way this autumn, according to White Dragon Society, CIA and Chinese government and other sources. However, instead of anything dramatic happening, the cabal will be left to continue its slow motion implosion as new international structures continue to [...]
Some kind of major show-down is looming this month as new BRICS bank set to l... — There are many signs the ongoing financial war for the future of the planet is heading for a major inflection point as the BRICS heads of state meet July 14-16 to formally set up their alternative to the cabal controlled IMF and World Bank. The cabal has already signaled its displeasure by blowing up a [...]
2011 nuclear terror perpetrators in Japan to be included in ongoing Asian pur... — The execution last week of North Korean number 2 Jang Song Thaek and the arrest of former China security chief Zhou Yongkang mark the beginning of a purge of cabal influence in Asia, according to Chinese and North Korean sources. The purge has been long planned and will lead to the ouster of over 20,000 [...]
Behind Japan’s Prime Minister Abe and US Ambassador Kennedy’s freemason hands... — High level negotiations over starting the new financial system and restoring the Republic of the United States of America are proceeding smoothly but there are still a few cockroaches to deal with first. A hint about how negotiations are progressing came out last week in the form of a Freemason handshake between Prime Minister Shinzo [...]
Updated with new information : The White Dragon Roars, Europe Rattles. Plus: inside report on secret financial deals
Time for China to stop supporting fascist US regime
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Uzbekistan’s forward-looking policies secure a bright future
Uzbekistan is arguably best known for its dazzling ancient cities that are dotted along the Silk Road, the legendary trade route between China and the Mediterranean, and its great mountains and deserts.
But what may surprise many about this landlocked Central Asian country is that it is increasingly becoming known for its forward-thinking, proactive and positive approach to fintech (financial technology) and globalization.
Must-reads from across Asia – directly to your inbox
A case in point: Last week, the Uzbek government confirmed that it would implement a series of initiatives to boost the expanding cryptocurrency industry.
Specifically, it is legalizing cryptocurrency exchanges and will permit firms specializing in blockchain, the technology that underpins the likes of Bitcoin, to establish offices in the state. This comes after a presidential decree that was rolled out to promote the use of cryptocurrencies and blockchain in Uzbekistan.
A government paper titled “On Measures to Organize the Activities of Crypto-exchanges in Uzbekistan” identifies a raft of official guidelines – including that cryptocurrencies will not be treated like securities and therefore the crypto exchanges will not have the same regulatory framework. Instead, crypto firms will have a new and specific set of regulations, known as special normative acts.
The document also underscores that any revenue derived in cryptocurrency will not be taxable.
Uzbekistan is also collaborating with crypto specialists and agencies in South Korea, a country that is truly crypto-crazy, to help it advance the sector. Indeed, it is estimated that between 30% and 50% of South Koreans are invested in the likes of Bitcoin, Ethereum and XRP.
The Central Asian nation has also been developing “Uzbekistan Revolution 4.0,” a state-funded program that is designed to integrate the blockchain and cryptocurrency industries within Uzbekistan’s economic development model.
This future-focused approach extends to the country’s apparent view toward globalization. While other nations, especially in the West, seem to be intent on putting up barriers to free international trade, Uzbekistan is opening its doors to the outside world.
And it is reaping benefits in this regard. For instance, Uzbek President Shavkat Mirziyoyev won US$6.5 billion in US contracts during his Oval Office meeting with President Donald Trump in May.
As I wrote in 2016 for Asia Times, “for all the protectionist grandstanding by some Western politicians, globalization in the world of trade and commerce is here to stay and will, if anything, only gain momentum.”
I’m confident this remains the case as the world becomes ever more digitized, interdependent and globalized.
And, as such, I’m equally confident that the proactive policies being taken on fintech and globalization today will position Uzbekistan light-years ahead on the world stage tomorrow.
Asia Times is not responsible for the opinions, facts or any media content presented by contributors. In case of abuse, click here to report.
Nigel Green founded deVere Group in 2002 from a single office in Hong Kong after discovering a niche market for expatriates in the financial services sector. Since then, it has grown to become one of the largest independent financial advisory organizations in the world with offices and clients across the globe.
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Thai police say gold heist suspect who killed 3 might have fled the country
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'Take my kidney!' and other funny reactions to the new iPhones
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A network of charging points for electric vehicles is being planned across Swansea.
Swansea Council is bidding for a share of £5 million that has been made available to UK local authorities who are developing electric vehicle charging infrastructure in residential areas.
The money Swansea is bidding for will help fund the installation of 26 charging bays in 13 car parks across the city.
Each charging point will enable electric vehicles to travel approximately 30 miles from a one hour charge.
The Council is hoping the increase in electric charging infrastructure in Swansea will encourage more motorists to go green and use electric cars.
The latest bid for funding will also add to Welsh Government transport grant funding (£89k) which was approved earlier in the year and will help fund the installation of electric charging points at the city's two Park and Ride sites.
Andrea Lewis, Cabinet Member for Homes and Energy, said: "We have made serious commitments to the residents of Swansea to improve our local environment by reducing our carbon footprint.
"The growing use of electric vehicles in the city will assist us in lowering carbon emissions.
"This additional funding bid is key in our efforts to increase the infrastructure in Swansea that is needed to give motorists confidence they can choose electric powered vehicles in the future.
"Along with new charging points in our Park and Ride sites, we will now be looking at rolling out even more charging points in car parks close to residential areas all across the city."
The Council has previously introduced a 40-strong fleet of electric vans into its existing fleet of council vehicles. The vehicles are being used by council staff to go about their duties in the city.
Cllr Lewis added: "The increase of electric vehicles in our own fleet is something we are very proud of and other councils are looking to us as a positive example of green fleet management."
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Batman in the 1970s Part 7: November and December 1970
by Peter Enfantino
& Jack Seabrook
Detective Comics #405 (November 1970)
“The First of the Assassins!”
story by Denny O’Neil
art by Bob Brown & Frank Giacoia
Commissioner Gordon has been notified by Interpol that 15 of Europe's leading shipping magnates have been murdered and their choice for #16 happens to have his yacht parked in Gotham Harbor. But K.C. Agonistes refuses police protection, assuring Gordon his security force is prepared for anything. The Commish asks a favor of Batman and our hero is only too happy to try on this vaunted security. Once on board, Agonistes takes a shine to Batman and invites him to sail with him and his crew to Nova Scotia. Thanks to a school of trained, explosive-laden dolphins, the ship is destroyed and the four survivors (Agonistes, his fiance, the first mate and Batman) find themselves shipwrecked on an anything but deserted island. Tejja, a member of The League of Assassins, waits in hiding for The Dark Knight and the trio he's committed to protect.
Jack: One would think that Commissioner Gordon would not need Interpol to tell him that 15 of Europe’s leading shipping magnates had been murdered recently. That should make the news, even in an eventful year like 1970!
PE: Our cover promises lots and lots of deadly Silek assassins but possibly the budget wasn't there this month as we get one lukewarm would-be killer, dispatched with the oldest trick in the assassin-defense handbook: flares in the cape, concealed just for the right moment (when you're getting your ass kicked badly).
Jack: The League of Assassins is an intriguing idea that transcends this rather tepid tale.
PE: Here I thought Batman a Master of Detectives and yet he falls for the oldest trick in the book: a straw dummy sitting in front of a campfire. Did he really think a master assassin would be warming himself on the other side of the island in front of a blazing fire? He can tell a dolphin is trained to carry explosives from a half mile off but he steps right into a snare and ends up helpless, hanging from a tree! My confidence in this superhero is shaken, I must say. But then, the Silek assassin does what all the TV villains always did to Adam West and Burt Ward: he's got The Caped Crusader ready for the throat-slitting and, instead, excuses himself with a "I'm gonna take care of the others, then come back for you!" How long would it take to take care of your most dangerous adversary on the island?
Now we know what Bob Brown could draw really well!
Jack: I had never heard of Silek before, but the web tells me that it is, in fact, a branch of the martial arts!
PE: I had never known Batman carried flares in his cape! Was it just a lucky morning or are they always there? We never find out a thing about the nefarious League of Assassins or why they want to put down 16 shipping bigwigs. Was it a badly shipped crate of shurikens? Nothing else to do? It's sloppily told story with the only plus being the promise that we'd see more of the League (weird that Denny would tip his hand so much as to tell us the name of the leader) in the upcoming issues of Detective.
“The Living Statue!”
art by Gil Kane & Frank Giacoia
Batgirl is a prisoner of a madwoman who has murdered the avant-garde director Billy Warlock and framed Barbara Gordon/Batgirl's beau, Jason Bard. Lucky for Batgirl, Warlock's girlfriend is hanging around his studio as Batgirl watches her captor engulf the studio around them in flames. Batgirl delivers evidence to the police to prove Jason's innocence and the hippy with a cane goes free.
PE: Other than the Gil Kane art, this is a bad installment of Batgirl. It seems that this series seems to run alternately hot and cold, with the opening chapter a right corker and the conclusion a stunning failure.
Jack: This is reminiscent of the conclusion of Inglourious Basterds, as Batgirl must save Infra-Red while a film studio burns around them.
PE: Bizarrely, as a second back-up, we get "The Sleuth in the Iron Mask" from Gang-Busters #62 (Feb-March 1958). What made editor Schwartz opt to reprint a 6-page non-Batman story when he had thirty-plus years of The Caped Crusader adventures to choose from? Perhaps the Bob Brown art?
Batman #226 (November 1970)
“The Man With Ten Eyes”
art by Irv Novick & Dick Giordano
A robbery is nearly thwarted by a night watchman, who was trained in combat while in Vietnam and earned the nickname “Three-Eye” Reardon due to a shrapnel scar on his forehead. He is knocked unconscious by a brick thrown by the gang’s leader. Staggering to his feet, he encounters Batman inside the building, where a bomb is set to blow open a vault. Reardon does not realize that his opponent is the Caped Crusader and fights him, even though he is temporarily blinded. The bomb goes off, blinding Reardon for good and giving Batman blurry vision.
The robbers and Batman end up at the same eye doctor. He gives Batman black contact lenses to rest his eyes, but he operates on Reardon, connecting his optic nerves to the sensory cells in his finger tips so that he can see through his ten fingers.
Reardon believes that Batman is to blame for his blindness and knocks him out in the clinic’s hallway. He puts Batman on the operating table and nearly destroys his eyes with a laser. Batman escapes and the nearly blind Dark Knight battles the man with ten eyes. Batman wins the fight but his opponent escapes.
Jack: What a long, strange trip this story is! We have a Vietnam vet who is too honest to join a gang. Yet when he fights Batman unknowingly and a blast destroys his vision, he immediately hates Batman and wants revenge. And what is a flopover on a TV screen? I can guess, thinking back to the old days when TV pictures would roll, but I’ve never heard it described as a flopover. The neuro-ophthalmologist examines Batman’s eyes with his mask on! And then he hooks up the watchman’s optic nerves to his fingertips! The watchman, who started out as an honest man, tries to burn Batman’s eyes out with a laser. This story is just too much to be believed. I think Frank Robbins may have been experimenting with some magic mushrooms when he penned it.
PE: Preposterous! I'm wearing out the word inane when describing some of Frank Robbins's Batman stories, but sometimes there's no other word left to describe a mess like this. Can someone tell me why this mob boss would bother spending time on some sap who was, by his braggadocio only, unkillable in Nam but is now for all intents and purposes blind? In real life, they'd kill this guy to avoid witnesses, not take him home and hope he becomes Daredevil. Speaking of Marvel, there are a lot of those scenes here that I call "The Rhett and Scarlett Factor." Bear with me, this will only take a moment and you'll think, "Hey, he's right!" Rhett Butler and Scarlett O'Hara were the masters of mistiming. Rhett would tell Scarlett how beautiful she was and how he couldn't live without her while she was in one of those moods and, conversely, Scarlett would dote on Rhett as big and strong and her Captain Butlah while the big dope was still moping over the mistreatment his wife has heaped on him. Constantly, ships passing in the night. That's the same vibe I get from a lot of the 1960s Marvel Comics stories that have, say, Spider-Man fighting The Torch. If the heroes only stopped their fighting for a moment and talked, they'd realize there's nothing to fight about. Then there would be no comic story. Never mind.
Jack: So I take it you did not like this story?
We really can't add a funny caption to this one.
PE: Laughably, Batman makes a big deal out of not wanting anyone in Gotham to know he's got trouble seeing, so he goes to Dr. Engstrom (evidently the only eye doctor in Gotham) and then Alfred takes his boss through the lobby on the way out! But wait, it gets better! The doctor calls out across the lobby: "I want you back in a week for a re-check, Batman!" No wait, this is even better! Our hero decides he can't take a breather from crime-fighting, so he spends "day after day" of research and intense computerizing (all the while, blind as a... bat) and crafts mini-cameras in his contact lenses that shoot images back to Alfred in the Bat-cave, who then radios what's going on to Batman through a micro-receiver in Batman's earphones so that he can, ostensibly, deliver that blow to the bad guy's chin! Batman's so excited about this new technology he can't help but tell his ornithoclogocologist about it right in front of Ten Eyes! I desperately wanted to see graphic panels of Dr. Engstrom stretching Reardon's optic nerves to his finger tips. As noted before, I'm no scientist but I still have to wonder how you can see through the skin in your fingertips. So many collections have cobbled together the best Batman stories but I'd like to see a volume of "Batman's Stupidest Adventures." Who wouldn't pay for that? "The Man with Ten Eyes" is a shoe-in.
Jack: I actually had this procedure done, but I had a problem in winter when I wore gloves, so they reversed it (that can't be a pretty picture, Jack!-PE).
PE: We get "Kirby is Coming" banners this issue. Thank the comic Gods he didn't attempt Batman. The back-up feature this issue does not feature Robin. It's a reprint of "The Case of the Gigantic Gamble," which first appeared in Gang-Busters #37 (December 1953-January 1954) and was drawn by Bill Ely. The reason for the absence of a Boy Wonder solo story is not given but I'd venture a guess that the amount of time and energy spent on the lead story precluded a back-up.
Detective Comics #406 (December 1970)
“Your Servant of Death, Dr. Darrk!”
story by Denny O’Neill
Carrying over the story line from last issue, a seventeenth shipping magnate, Count Orsoni, is attacked and severely wounded. His friend, Bruce Wayne, goes to his castle to visit and takes along his alter ego, the Batman. While there, Wayne is introduced to Dr. Ebenezer Darrk, supposedly another friend of Orsoni's there to offer support, and Orsoni's cousin, Mara Thursday. While patrolling the Count's castle at night, Batman is attacked by another envoy of The League of Assassins and is helpless as Orsoni is kidnapped. Tracking him down, Batman is captured by the president of The League of Assassins, revealed to be Dr. Darrk. Escaping death by hatchet with the mysterious aid of Count Orsoni (who has been paralyzed and yet walks), Batman swears to bring down The League and Dr. Darrk if it's the last thing he does.
PE: Denny O'Neil must have been chowing down on a steady diet of the West/Ward Batman show during 1970 as we're subjected to yet another criminal who traps Batman in an elaborate death-device and then leaves before the job is done. We still have no idea why The League of Assassins is wasting their time killing off shipping magnates. Why not fry bigger fish? Presidents? Ambassadors? Gas company CEOs? Since it's the 70s, I gotta believe it has something to do with the environment and, since I'm a professional, I won't peek ahead and come back here and act like I'm a know-it-all. But I am. O'Neil's 1970s output is fondly remembered as that of a writer at the top of his game, but he had his off days just like everyone else.
Jack: Another shipping magnate! How many are there? While The League of Assassins sounds like a good idea, the two assassins we’ve seen so far don’t seem very memorable, and the League president is a bore. Once again, a great Neal Adams cover features a scene that does not occur in the story!
PE: Shouldn't this have been titled "The Second of the Assassins"?
“The Explosive Circle!”
art by Gil Kane & Vince Colletta
An apartment explosion leaves only one clue: a library book called "It's Your City - Take It," a typical early-70s revolutionary tome carried around by hippies who use just as much violence as the "pigs" they protest. Being a moonlighting librarian, Barbara Gordon knows exactly who checked that volume out and goes to see Shelley Simms, only to be rebuffed by the girl as a "fuzz-fink." Following Shelley to an off-Broadway playhouse, Batgirl discovers that the ringleader of the revs, Mal, is behind the bombing and has another planned for that evening. Unfortunately for Batgirl, Mal traps her in a circle in the Playhouse basement. If our hero steps out of the circle, she'll explode.
PE: What exactly is going on in that panel on Page 3? It looks like Batgirl is giving Shelley Simms a left uppercut. So, Mal, the hippie, blows up the apartment building and leaves behind a book he's had Simms check out of the library for him. Was he trying to set the girl up or is it just lazy plotting?
Jack: Shelley goes to see a show called “Up Against the Wall, Baby.” She doesn’t need Batgirl’s fuzz-fink help, knowing that Batgirl is an extra-legal chick. The 1970-era slang is laid on pretty thick in this story, and Colletta’s inks don’t do Kane’s pencils any favors.
Batman #227 (December 1970)
“The Demon of Gothos Mansion!”
Alfred receives a note from his niece Daphne, who has taken a job tutoring children. Alfred is worried by the letter’s tone and Master Wayne agrees to investigate as Batman. Traveling to the remote Gothos Mansion where Daphne now lives, Batman is attacked by two men with an axe and a scythe. After dispatching the attackers, Batman witnesses a procession, whose leader says that he will raise the spirit of demon Ballk. Unfortunately, the leader of the coven is Daphne’s employer, Elder Heathrow.
Batman finds Daphne held captive in a tower but falls into a trap while helping her to escape. Batman barely avoids hanging and is led to a chapel by a mysterious girl who resembles Daphne. He breaks up the coven just as they are about to sacrifice the girl and raise the demon. He chases her mysterious lookalike into the forest but she fades away, having been freed with the coven’s defeat.
A nice page by Novick & Giordano.
Batman is really missing Robin, who is away at college.
Jack: This is a very spooky and strangely effective O’Neill/Novick/Giordano story. It seems like O’Neil’s script makes the artists try harder, since the art this issue is much better than it was last issue. I would love to see what Neal Adams would have done with this story—some panels even look like the work of Adams.
PE: It's probably one of the iconic Neal Adams Batman covers but it looks a bit photoshopped up close. As if he had three or four paintings and taped them onto each other. Of course, it's based on the famous September 1939 cover painting by Bob Kane (only the fifth Batman appearance) for Detective Comics #31. I'd never read this story before but always assumed it was gifted with Adams art on the interior as well. As you note, Jack, it sure looks like Neal Adams's work but I assume if it had been, DC would have trumpeted the fact to the masses, seeing as how Adams had risen to be their most popular artist.
Hard to believe this not is the work of Neal Adams.
Jack: I’m a little concerned about how quickly and hard Batman falls for the ghostly maiden. Does the fact that she is a dead ringer for Alfred’s niece worry anyone else? When the phantom fades out, won’t Batman get the hots for young Daphne the first time he sees her? Won’t that be awkward for Alfred?
PE: Exactly what I thought. Why is he crying over dead maidens when he's got her twin an arm's length away? It's a decent story (albeit one cribbed from Lovecraft), but I'd never hold it up as an example of one of the finest Batman stories ever. I do appreciate tales like this (and several other gothic- and horror-tinged Batmans coming in the future) that get us away from third-tier thugs who can see with their fingers and nutty big-game hunters and take us into that skewed Batman universe that can house both The Joker and werewolves.
I would watch out if I were Daphne.
“Help Me—I Think I’m Dead!”
story by Mike Friedrich
Volunteering at the college’s emergency phone help service, Dick Grayson receives a call that makes him spring into action as Robin, the Boy Wonder. He arrives at the base of a cliff just in time to help Phil Real, who fell into the water below. Real explains that he became confused after some film developing chemicals got into his bloodstream through a small cut. Real had been investigating water pollution as publicity photographer for Professor Stuart’s congressional campaign. A fire breaks out at campaign headquarters, destroying all of Stuart’s campaign literature and photos. Will Professor Stuart win the election with the help of his students? Not if a smear campaign by his opponent succeeds!
Jack: Without Gil Kane’s art, these Robin backup stories are hard to take. This one is very confusing and jumps all over the place. The student activist subplot really dates it and I find it hard to care about Professor Stuart and his campaign.
PE: Batman has a great sports car and Robin rides a moped? I'm assuming Dick Grayson doesn't ride that same scooter--where does he hide it in the city for easy access? or does Dick have rolling license plates on the bike as well? That van's a hoot by the way, with its R-1 plates but no other noticeable difference when it becomes the Robinmobile. And our "public service message" at the climax to remind us that 1970 is "The Year of The Involved College Student" is too much bilge to swallow. "Help Me - I Think I May Be Ill!"
Jack: An interesting sidelight in this issue pops up in Direct Currents, the editorial page. It seems that the January 1971 issue of The Brave and the Bold (#93) will feature a story by Denny O’Neil and Neal Adams in which Batman visits the House of Mystery! Peter, is that issue framed on your living room wall?
PE: It is indeed, Jack! Isn't it sad that we find a blurb more interesting to discuss than the back-up feature? But what's more intriguing and perplexing is the 1 page "comedic" strip running immediately following that Direct Currents, "Casey the Cop." I've mentioned above the strange reprinting of Gang-Busters material but this one makes me scratch my head. According to its Wikipedia page, "Casey" was created by Murray Boltinoff and ran off and on in Action Comics, Detective, and Batman from 1947 through 1964. After reading the seven pages that pass as a Robin story, I say bring on more reprints instead. "Help Me - I Think I May Have Fallen Asleep!"
Posted by Jack Seabrook at 7:00 AM 1 comment:
Labels: Batman, Dc Comics
Batman in the 1970s Part 6: September and October 1970
& Peter Enfantino
Batman #225 (September 1970)
"Wanted for Murder One, The Batman"
story by Denny O'Neil
"Shutdown on York Street!"
art by Irv Novick & Mike Esposito
In the first story, TV talk-show host Jonah Jory hates Batman and verbally attacks him while Commissioner Gordon is a guest on his show. Later that night, Jory is shot to death at the Gotham Athletic Club. A witness sees Batman outside the window and the hero is charged with murder one. Batman goes undercover to find the real killer and deduces that Jory arranged his own death and had Batman blamed.
In the second story, a drag race ends in tragedy when one of the racers is killed by another, whose brakes fail as he tries to scare his opponent. Batman investigates and determines that a jealous young man was the culprit.
Jack: O’Neil uses the Ellery Queen challenge to the reader on the bottom of page 11, telling us we have all the clues we need to solve the mystery.
PE: I'm not sure Ellery Queen would run a mystery so far-fetched in its denouement. But then again...
Jack: Anti-establishment themes run through O’Neil’s work at this stage; here, a TV host hates a hero for no clear reason and is shown to be a fake—false teeth, toupee, and shoulder pads in his sport jacket.
PE: What function does Gotham's Public Works Department serve? Why am I thinking Public Works would be water, electricity, cable TV, etc.? Why does Reeves show up at crime scenes? To make sure the utilities are working, if I follow my own lack of reasoning. This is not the first time Reeves has cast aspersions on The Dark Knight and it won't be the last. Gordon continues to act like a chump when guilt is thrown Batman's way. "Well, he's pulled our fat out of the fire countless times but I have no choice, arrest Batman and, if he puts up a fight, shoot to kill!"
Jack: Batman is a detective, not a super-hero. These stories are gritty and realistic.
PE: I'll agree with you on the gritty point, Jack, but not on the realism. At least not on "Wanted for Murder..." That slingshotted gun through the gym window was a bit of a stretch (if you'll pardon the pun). Nice art, though. I must be a master detective just like Batman, since I figured out who the killer was as well. And the motive.
Jack: Although the backup story runs nine pages, not much seems to happen. Once again, Batman is involved with regular people, not super-villains.
PE: When Alex ran Vic over and totaled his car, I thought for a moment that Vic must have had super powers to destroy Alex's car. It looked like an accordion! There's a lot of hazy action here. Why is Batman so convinced the kid is innocent? Alex ran Vic down. He told witnesses. Case closed. Jack's right on the money, as usual, about the "regular people" aspect of these stories. Outside of Man-Bat, we've yet to hit any super-villains in 1970 and, peeking ahead, we won't see any member of Batman's gallery of rogues until mid-1971. These villains are lawyers, entertainers, politicians, people with money. You could consider Batman the Columbo of comics.
Detective # 403 (September 1970)
"You Die By Mourning!"
"Break-Out!"
A Mrs. Randall comes to see Bruce Wayne at his VIP (Victims, Inc. Program) office and informs Wayne that she'll become a widow very soon, since her husband will be killed. As Bruce rises to question the woman, she runs off, exposing a gun in her purse. As Batman, Wayne decides it's best to investigate this strange woman. He tracks her to her mansion and catches her and her husband readying themselves to attend a strange Haunted House party. Following them to the "haunted house," Batman witnesses an attempt on the lives of the couple. Now convinced that Mrs. Randall isn't actually in on the plan to kill her husband, Batman attempts to get to the bottom of the identity of the would-be assassin.
In our back-up story, Dick Grayson is heading to the youth detention center where he volunteers when there's a breakout by the same two youths he had put away at Hudson U. last issue. As Robin, he helps the police by tracking the two youths to a nearby barn.
Jack: This story has a nice Dracula vibe with the couple traveling to the haunted-house monster party in a horse-drawn carriage. I like this story overall.
PE: The reveal of the bad guy is a cheat. He's a character we haven't been introduced to. The fact that his wife is Randall's twin sister and he doesn't even know it is ludicrous. Did he have his eyes closed or something? Did the twin not mention it? The art shows a split personality again--anything with a costumed character in it is eerie and perfectly suited for a story about a "haunted house" but when it comes to the rest of the cast (including Batman's alter ego), it's all second-rate. One face blends in with another. Don't even start me on the Batman two-page finale expository. God, I hate those.
Jack: Batman shows off his Detective skills once again—I did not notice the different beauty marks on the twin sisters!
PE: That's why he's a Dark Knight Detective and we read comic books, Jack.
Jack: It’s interesting to watch Robin try to establish himself as a solo crime-fighter. He doesn’t always make the right decisions and is all the more human for his mistakes. This story is unusual for a Detective backup in that it is self-contained. Robin also gets off the college campus for a change.
Detective #404 (October 1970)
"Ghost of the Killer Skies!"
art by Neal Adams & Dick Giordano
"Midnight Doom-Boy"
art by Gil Kane and Frank Giacoia
In Spain to oversee the filming of "The Hammer of Hell," a bio-pic about the famous war pilot Baron Hans Von Hammer, Bruce Wayne and his film crew are plagued by on-set incidents, the latest of which is the death of a stunt pilot who is strangled while flying in a one-seat World War I reproduction. Who's trying to sabotage the blockbuster? Evidently it's Hammer uber-fan Heinrich Franz, trying to put the kibosh on what he sees as an insult to the legacy of The Baron. The Dark Knight must use his limited flying skills in a showdown in the sky with the madman who calls himself the Ghost of Von Hammer. Batman may have an Ace up his sleeve.
In our back-up story, Barbara Gordon's search for lost beau Jason Bard comes to a surprising conclusion when she turns on the news and sees him arrested for the murder of "underground cinema" director Billy Warlock.
PE: Bruce Wayne and the crew of the movie being made seem to treat the strangulation of the dead pilot as an annoyance. "Perhaps we should have a meeting" about all the incidents marring the filming is Wayne's suggestion, while the guy lies amidst the smoldering wreckage! At this point in the series (after 30+ years), Bruce Wayne should appoint Batman his bodyguard a la Iron Man and Tony Stark. This would make the explanation of why no one questions the fact that, no matter where Wayne goes, the Batman follows so much easier to swallow. At one point in the story, Batman climbs into a vintage plane and remarks that, years before, an old stunt pilot had taught him how to fly one of these old "crates." This guy has had one heck of a life. Where has he had time to train at everything known to man? How old is Bruce Wayne?
Jack: Bruce Wayne is in Spain this month, bankrolling a movie about a WWI flying ace to show the “nature—and folly—of war.” Batman is aided by the ghost of another famous flyer in this tribute to Joe Kubert and Robert Kanigher. They created the character of Hans von Hammer, the Enemy Ace, in 1965, and he has appeared on and off in comics ever since.
PE: Don't even get me started on DC war comics, Jack. If I had a few more hours in the day, we'd be looking at that genre as well on this blog (maybe someday!). Needless to say, the pairing of Batman and Enemy Ace (as brief as it is) is a match made in Enfantino comic book heaven. Speaking of DC war characters, The Caped Crusader would team up with Easy Company's leader, Sgt. Rock, in several issues of Brave and the Bold as well. Neal Adams is the perfect artist to evoke Joe Kubert (who was still doing his thing at a high level in the various DC war titles), as you can see in the panel below.
A very Kubert-esque image!
Jack: Barbara Gordon refers to Jason Bard as her suitor. That doesn’t faze her dad, who once again jumps to the conclusion that a good guy is a killer, based on some pretty flimsy evidence.
PE: I'd put the guy in jail too if he was trying to get my daughter in the sack. Besides, Bard talks like a meathead. Reading this "hip jive talk" is like trying to watch an All-Irish cast movie without the subtitles. Very annoying. Nice cliffhanger ending almost looks like an ad for the latest issue of The Witching Hour. I like this series so much more than Robin.
Jack: Billy Warlock is obviously a play on Andy Warhol, whose cinema verite film style was the inspiration for the 24 hour film that Gordon used to blame Bard.
PE: I got that part but what threw me was the X-Epic talk. I thought at first this guy was making porn but a 1970 comic book wasn't allowed to acknowledge that there were such things. I'm so glad we live in a world that has moved past silly things like Andy Warhol's "epics" and into legitimate epics like The Transformers trilogy. Now that's fine art.
Jack: Perhaps Michael Bay is the reincarnation of Andy Warhol?
PE: An all-star letter column this issue features Mike Barr, Alan Brennert, and Marty Pasko. But the best letter printed this month is by Steve Beery, who writes that: "Due, no doubt, to the success of such mags as House of Mystery, a kind of semi-horror angle is being tried out on Batman." Steve goes on to worry that this new supernatural slant skews the previously realistic world of The Batman. Good point, but I applaud the invasion of the creepy, of course. As we see with this issue and future Batmans, the otherworldly belongs in the same universe as The Caped Crusader.
Somebody fire up the time machine!
Hey, kids! Let's rap!
Robert Bloch on TV Part Nine-Alfred Hitchcock Presents: "Bad Actor"
“Bad Actor,” which was adapted by Robert Bloch from a story called “The Geniuses” by Max Franklin, has been the subject of some misinformation both in print and on the internet. It is not based on a story called “Acting Job” by Richard Deming, as reported in The Alfred Hitchcock Presents Companion, although Richard Deming and Max Franklin were one and the same person. It is not about an actor who exchanges his prop gun for a real one during casting sessions for a play, as is claimed on TV.com and other web sources.
Instead, “Bad Actor” tells the story of Bart Collins, a young method actor with beatnik tendencies who has “bombed out” of TV, “goofed” in the movies, and “fouled up” on stage. He has a drinking problem and difficulty controlling his anger. When he flies back from Hollywood to New York to audition for the lead in a new play, he is frustrated by competition from squeaky-clean Jerry Lane, who seems destined to get the part. At Bart’s apartment, the drunken actor decides to show Lane how good he is by acting out a murder scene from the play, only to take things a bit too far and strangle Jerry for real.
Bart then attempts to cover up his crime, buying bottles of acid and meat butchering tools in order to cut up Jerry’s body, dissolve it, and wash it down the bathtub drain. Before he can finish the job, however, he is interrupted by a visit from his fiancé, Marge Rogers, and his agent, Ed Bolling. Bart stashes Jerry’s head in an ice bucket, and the rest of the episode is a suspenseful game as Bart’s guests—eventually including a police lieutenant—unsuspectingly come ever closer to opening the ice bucket and exposing its gruesome secret.
The story on which the show is based, “The Geniuses,” was published in the June 1957 issue of the mystery digest Manhunt, which also included “The Amateur” by Richard Deming. The presence of a second story by the same author in the same issue is surely the reason that “The Geniuses” was published under a pseudonym.
When Bloch took the story and adapted it for television, he made significant changes. In print, the tale is told by Ed Bolling, an 18 year old college student who helps his friend Bart Conway plan and execute the murder of fellow student Herman Groper in order to prove Bart’s theory that their high intelligence will allow them to succeed in committing the perfect murder. They dispose of the body by butchering it and then incinerating it in a science lab furnace; before they can dispose of the head, the police come to call and the geniuses stash the remaining portion of poor Mr. Groper in a hatbox. Bart’s hubris is displayed when he brings out the hatbox in front of everyone and wraps it up as a Christmas present for Ed’s girlfriend, Marge. Suspense builds until the police lieutenant insists that she open the box.
One reason that Bloch made such major changes to “The Geniuses” may be due to the story’s similarity to Alfred Hitchcock’s 1948 film Rope, a failure when it was released. Rope was withdrawn from circulation for decades, but perhaps Bloch thought that the conceit of two highly intelligent young men carrying out a “psychotic thrill kill” and then hiding the evidence in their apartment was too close to the plot of the film.
Bloch discarded the first section of the story and replaced it with his own invention of a failing young actor who murders a rival in a fit of passion. Bart even goes so far as to highlight his own lack of erudition (in contrast to the geniuses of Franklin’s story) by pointing out to Jerry Lane that he has never even opened a set of encyclopedias that Marge had given him. Once the murder is committed, the teleplay follows the story more closely, though the disposal of the body is done entirely in Bart’s bathtub, eliminating the need to take it out piece by piece to another location for removal, as in the story. The hatbox of the tale becomes the ice bucket of the teleplay, and it is here that Bloch’s skill in plotting really shines. Taking Chekhov’s famous adage about the gun several steps further (if you show a gun in the first act, it had better go off in the third), Bloch has the ice bucket pop up throughout the episode.
In the first scene, Bart’s agent has to rouse him from a sleepy hangover and pours cold water over his head from the ice bucket, foreshadowing the manner in which that same bucket will cause a shock in his life later on. After a scene in a café where Bart dances to the music of bongo drums, he and Jerry go back to his apartment, where Bart plays his own bongo music on the upside down ice bucket. He tells Jerry that Marge gave him “the best ice bucket in the world,” and he holds it up as if it were Yorick’s skull when he begins to quote Hamlet’s speech. The bucket goes from being a substitute prop for a skull to holding a real one when Bart has to find a quick hiding place for Jerry’s pate.
Marge comes into the apartment and heads for the bathroom, where Bart has just finished washing away the body. He tries to prevent her from going in and she, feigning jealousy, asks: “have you got somebody hidden?” Once police Lieutenant Gunderson arrives, the ice bucket becomes even more central to the action, as first Marge and then Ed come perilously close to opening it to get ice to make drinks. Finally, the lieutenant opens it, sees the horror inside, and asks Bart a question that was never asked in the story: “How did you dispose of the rest of the body?”
Another aspect of “Bad Actor” that is pure Bloch is the milieu of the actor and the world of the beatnik. In numerous stories in the late 1950s and early 1960s, Bloch explored these two worlds and their intersections, often showing their denizens as lacking a moral compass. Bart Collins has this same failing—he is a drunk, a murderer, a liar, and a bad actor in three ways: his acting is poor in his chosen profession, he does a horrible deed (truly a “bad actor”), and his efforts to cover up what he has done are rather pathetic.
“Bad Actor” is interesting to study both as a step in the development of Bloch’s skill as a writer of teleplays and as an example of his ability to adapt the work of other writers. It shows that he was comfortable taking only the aspects of his source material that interested him and working them into a plot of his own devising, focusing on character types and situations about which he enjoyed writing.
The program was directed by John Newland (1917-2000), who began his career as an actor, mostly on TV, but later gained fame as a TV director and as the host of the series, One Step Beyond. He directed four episodes of Alfred Hitchcock Presents and four of Thriller; while some of his work on Thriller is very atmospheric, his direction on “Bad Actor” is not overly distinctive; an unusual camera angle is utilized in the scene where Bart buys the butchering tools and Newland does a good job of building suspense.
Carole Eastman
Starring as Bart Collins is Robert Duvall, born in 1931. This was one of Duvall’s earliest roles on television, coming the same year as his breakout role in To Kill a Mockingbird (1962). Duvall would of course go on to a long career on TV and in film and become one of the most famous film actors of recent decades. The rest of the cast included Carole Eastman (1934-2004) as Marge; she gave up acting several years after this and became a writer, authoring the screenplay for Five Easy Pieces under the pseudonym of Adrian Joyce.
David Lewis (1916-2000) played Bart's agent Ed Bolling; among his later roles was a recurring one as Warden Crichton on Batman. Best of all was William Schallert, born in 1922 and still acting today, who played Lt. Gunderson. Schallert is an instantly recognizable actor: he was a regular on at least six TV series, he was president of the Screen Actors Guild from 1979-1981, and he played Patty Duke’s father on The Patty Duke Show.
Richard Deming, who wrote “The Geniuses” as Max Franklin, was a prolific author. Mostly Murders lists over 100 short stories under his name, and he is said to have written over 70 novels beginning in the 1940s. Among his many books were numerous TV series tie-ins, such as novels based on Dragnet, The Mod Squad, Charlie’s Angels and Starsky and Hutch. An interesting article on Deming may be read here.
Robert Duvall and David Lewis
“Bad Actor” was first broadcast on NBC on January 9 1962, at 8:30 p.m. on Tuesday night on NBC. Thriller, which had followed Alfred Hitchcock Presents on NBC the season before, had now been moved to Monday nights. The episode was remade as part of the revival of Alfred Hitchcock Presents in the 1980s. Retitled “Method Actor” and starring Martin Sheen in the Duvall role, it was directed by Burt Reynolds and broadcast on Sunday, November 10, 1985, at 8:30 p.m. on NBC.
The original episode may be viewed here. The remake may be viewed here.
"Bad Actor." Alfred Hitchcock Presents. NBC. 9 Jan. 1962. Television.
Cook, Michael L. Monthly Murders: A Checklist and Chronological Listing of Fiction in the Digest-size Mystery Magazines in the United States and England. Westport, CT: Greenwood, 1982. Print.
Deming, Richard. "Acting Job." 1961. 100 Malicious Little Mysteries. New York: Barnes & Noble, 1992. 76-82. Print.
Fantastic Fiction. Web. 13 Feb. 2012. <http://www.fantasticfiction.co.uk/>.
Franklin, Max. "The Geniuses." 1957. Best Detective Stories of the Year: (13th Annual Collection). New York: E.P. Dutton, 1958. 128-50. Print.
Galactic Central. Web. 15 Feb. 2012. <http://philsp.com/>.
The Internet Movie Database (IMDb). Web. 13 Feb. 2012. <http://www.imdb.com/>.
Wikipedia. Web. 13 Feb. 2012. <http://www.wikipedia.org/>.
Posted by Jack Seabrook at 4:57 PM 7 comments:
Labels: Alfred Hitchcock Presents, Robert Bloch
Batman in the 1970s Part 5: July and August 1970
Detective #401 (July 1970)
"Target for Tonight"
art by Bob Brown & Joe Giella
"Midnight is the Dying Hour!"
A fiend calling himself The Stalker has discovered Batman's secret identity and placed The Caped Crusader on his hit list. The Stalker's real identity is big game hunter Carleton Yager and his wall has an empty plaque with Batman's name on it. Lured to a deserted island by Yager, Batman must tiptoe through endless traps and devices until he meets up with Yager, face to face. In a freak accident, the hunter is killed and Batman's secret identity is safe once again.
In our back-up feature, Batgirl is being walled up by a nutty actor convinced he's Edgar Allan Poe. Robin rescues her just in time and clamps the cuffs on the Faux Poe.
PE: "Target for Tonight" starts out as a whodunit. Who is The Stalker and why does he want Batman's head on a plaque? More importantly, how does he know The Dark Knight moonlights as a millionaire playboy? Well, the suspense lasts at least one page before we're served up a suspect: Carleton Yager, whose constant companion, a hunting falcon, just happens to be the messenger of one of the threats delivered to Batman. When our hero visits the man's "safari club" (think wine club for guys who like to put water buffalo noggins on the wall), he's nearly taken out with a crossbow. A tape machine relays a message from Yager that he's waiting for Batman on a nearby island. Is the hunter being set up? Seems as though, for a whodunit, we're being given a red herring. Can't be Yager, right? Wrong. It's Yager. Here's what's wrong with this awful mess: why give the guy the moniker of "The Stalker" when one page later you're referring to him as Carleton Yager? How did Yager find out that Wayne and Bats are one and the same guy? Once the villain takes a tumble into a pit of sharp objects (at least I think that's what happened since it's drawn and written so clumsily), Batman sighs and tells Alfred "He's taken my secret identity to the grave." That's it? Not even a "Hmmm, how did he figure it out? I must be slipping somehow." If we gave letter grades to these stories, this one would merit an F.
Why does Batman kick
the tape recorder? And how
does he lift his leg so high?
Jack: I never knew that the water buffalo is the “most dangerous” of beasts! I guess I liked this story better than you did. Batman defeats a fitting adversary with his wits. Once again, the villain dies a violent death. And once again, the slick Neal Adams cover takes a scene from the story and changes it to make it more exciting. Letter writers this month include Martin Pasko, who is starting to become a regular, and Douglas Moench, later a Marvel scribe and eventually the writer of Batman and Detective comics!
Is this move possible?
PE: "Midnight is the Dying Hour" is a so-so wrap-up to the strong first chapter we saw last issue. It's wrapped up a bit too quickly and neatly for my tastes. The bit of detection on Robin's part to discover the identity of the killer is a hoot: he notices that the dead man's fingers are pointing to the "POE" section of a Book of Poetry-- ergo the killer must be the guy portraying Edgar Allan Poe in the school play. Huhwhat? That's a bit of a stretch, no? And as the guy's dying, did he look around for the proper book to point to? Cripes, what if the school play had been Animal Farm?
Jack: Did I mention that Kane & Colletta draw one smoking hot Batgirl? Item: Does Robin often talk to himself in itemized lists? Is Batgirl flirting with Robin at the end of the story?
PE: It's not a bad installment of Batgirl and Robin, it's just not as strong as the first chapter. It's certainly classic literature compared to "Target for Tonight." And I like the sassy Batgirl's final line to Robin, promising some risque action in their future? The TV Batgirl certainly wouldn't be able to get away with a tease like that. Unlike so many back-up features, this is a strip I look forward to reading.
Batman #223 (July/August 1970)
"City Without Guns!" from Detective 196 (June 1953)
"Batman of the Mounties!" from Batman 78 (Aug. Sept. 1953)
"The Mardi Gras Mystery" syndicated newspaper strip that ran from 8/6/44-9/17/44
"Journey to the Top of the World!" from Batman 93 (Aug. 1955)
"Around the World in 8 Days" from Detective 248 (Oct. 1957)
PE: Of the five classics assembled here, my favorite would have to be "Journey to the Top of the World," credited to Bob Kane but, according to the indispensable Grand Comics Database it's actually drawn by Dick Sprang.
Jack: Picking up a thread from the letters column in the last Giant Batman, regular contributor Steve Beery asks what Batman and Robin did in the early days that would be contrary to their code. The editor replies that Batman carried a gun and sometimes he and Robin actually killed! They later adopted an anti-gun, anti-killing code, says he. Steve Beery grew up to be Harvey Milk’s lover, of all things, and later died of AIDS. The things you learn from Google! Reading these reprints, it seems to me that the Batman story and art style did not change much from the mid-1940s to the mid-1950s. Though the stories are not memorable, I love the Curt Swan cover, which I do remember from 40+ years ago.
PE: I really dug these all-reprint issues when I was a kid. I couldn't grasp that this hero had been around for 30+ years, so I never knew until years later that these stories had appeared decades before. I would assume these were, in essence, "vacation books" for Frank Robbins, Mike Friedrich, Neal Adams, Denny O'Neil and anyone else associated with the creation of Batman comic books each month. The naivete of the reprints can be startling, though, when compared with the then-current style of dark and grim. These reprint volumes would continue every fifth issue through #233, when DC would raise the price of Batman temporarily from fifteen cents to twenty-five cents and run one reprint per issue. As I recall, this raised quite a fuss in fandom. Of course, the real fun began in February 1974 when DC bulked up several of its flagship titles to 100 pages and raised the cover price to a then-whopping fifty cents. Most of us saw these Giants as a bargain. I'm getting ahead of myself, though. We'll have plenty of time to wax poetic over One Hundred Page Spectaculars in a few months' time.
Of course! How simple!
Detective #402 (August 1970)
"Man or Bat?"
"My Place in the Sun"
It seems like a simple safe-cracking robbery, but if the criminals looked up in the rafters they'd have an ominous sight: The Man-Bat, waiting patiently for the safe to be opened. Inside is a much-needed potion that Man-Bat, aka Dr. Kirk Langstrom, hopes will reverse the effects of his initial bat serum. Unfortunately for Langstrom, the robbery is broken up by The Batman before he can find his salvation. Before long, the transformation to bat is reaching its zenith: Langstrom seems to be losing touch with his human side and his arms sprout wings capable of flight. Looking for a place to hide, Man-Bat inadvertently discovers the Batcave just as Batman is heading in. The two tussle and Man-Bat is mortally wounded. The Caped Crusader faces a moral dilemma: give the creature the serum to change him back and risk death or wait it out. To be continued!
In the Robin back-up, The Boy Wonder is joined by Speedy, Green Arrow's teen sidekick, for lunch at Hudson University. There, a food fight breaks out and Robin makes an appearance, jumping to conclusions and hammering the wrong party. The Boy Wonder must hang his head in humiliation and soak up the bad vibes on campus.
PE: If 1970 is, as most comic historians assert, the beginning of The Bronze Age, then Man-Bat is certainly Batman's first classic villain. He may be, in fact, the best Bat bad guy of the entire Bronze Age (we'll find out together). What astounded me was that this story was not written by Denny O'Neil but rather the roller-coaster writer known as Frank Robbins. I may just chart a graph of Mr. Robbins's highs and lows on Batman and Detective.
Jack: This is the best Batman story I’ve read so far! The development of the Man Bat character is fascinating. He reminds me a bit of The Lizard, Spider-Man’s foe, yet Langstrom is an honorable character who gradually loses his humanity without ever becoming evil—just more like an animal. The Adams/Giordano art is top-notch!
PE: You've read my notes, Jack. I couldn't be more in agreement with you. The story is fabulous and I can't wait to read #403. That's a feeling this old fan-boy doesn't get much anymore. Man-Bat is a lot like Marvel's The Lizard (and Gerry Conway would mine that vein again in the 1980s with an even more transparent rip-off, Killer Croc), down to the question of whether he's losing that part of his humanity that recognizes Batman as friend rather than foe. Their first names are even similar (The Lizard was aka Curt Connors). Adams just adds more proof for the argument that he's the greatest artist ever to touch Batman.
Jack: It’s nice to see fellow Teen Titan Speedy in the second story! The 1970s college campus politics are dated, but the argument about Robin prefigures a similar theme that would be central to The Watchmen. The art has some nice spots but overall is not up to the usual Kane/Colletta standard.
PE: Speedy mocks Robin's "escape route" (a drainpipe outside his dorm window) as a "kindergarten branch of this costume-hero business." I liked this playful razzing (or is it playful?); Robin's probably humiliated as he's the sidekick to, arguably, the DC Universe's #1 hero and he can't be used to this kind of wisecrack. I never bought into the "Teen Titans" schtick: Sidekicks United. The rosters over the years only back up my mocking tone: Aqualad, Aquagirl, Wonder Girl, Kid Flash. I didn't even know these characters existed. It would take years before Marvel descended to these depths with a She-Hulk and Spider-Woman. Of course, those who oppose my argument might bring up Gnarrk, the Neanderthal who was a semi-member of The Titans. I didn't say my thesis was water-proof.
Jack: These backup stories seem too short to really go anywhere. Robin wants to grow up! By the way, who is the “bazooka-playing radio-star Bob Burns, whose name was . . . Robin”? Why, there he is on Wikipedia! And he coined the word “bazooka”!
PE: "My Place in the Sun" almost feels like one of those Denny O'Neil epic "searching the soul" stories that ran in Green Arrow/Green Lantern that same year, albeit at much shorter length. It doesn't soar to those heights but it gets off the ground, touching on some of the drawbacks to being a celebrity and a masked one to boot. Friedrich perfectly captures Dick Grayson's frustration with the highs and lows of that celebrity and also his place in the superhero world. The tale is hampered, as Jack says, by its length. There's no time to open up the story before the end credits roll. I am impressed, though, that this, like the continuing Batgirl back-up series, is not a throwaway like a lot of these fillers can be.
Batman #224 (August 1970)
"Carnival of the Cursed"
Blind Buddy Holden, an old jazzman, is beaten to death on a New Orleans sidewalk. Batman reads about it and shows up at the street funeral just in time to stop an attack. He fights Moloch, a large, deformed man who scampers off with an incredible leap.
Wheelchair-bound Rufus Macob tries to buy the dead man’s possessions from his friends, but they won’t sell. Batman sends Macob a message to try to scare him, but Macob’s gang kidnaps Max, another old bluesman, and lures Batman to a river boat, where he is knocked out and tied to the paddlewheel. Batman escapes and intercepts Macob and his gang as they dig up Buddy’s grave. It turns out that a map pinpointing the location of oil in the bayou was etched on the side of the dead man’s horn.
Macob reveals himself to be Moloch, born a freak. He nearly defeats Batman but flees when he hears sirens. Batman catches him and knocks him out, crumpling the horn in the fight and destroying the secret map forever.
Jack: This is one long story—24 pages! The Novick/Giordano art is evocative, especially the night scenes at Mardi Gras. Were it not for Adams, this art would be more highly regarded.
PE: Can't agree with you on the art, Jack. If I didn't know better, I'd think Frank Robbins was moonlighting. His Moloch has those same rubbery limbs so prevalent in Robbins' work. What's with Batman leaping twenty feet to an upper balcony? We're to swallow a lot, I suppose, what with his daring leaps across rooftops and death-defying dives from upper story windows, but a standing twenty-foot leap? Despite my problems with the art, I thought the story was enjoyable enough. It even serves up a cliffhanger that wouldn't have looked out of place on the Adam West show: Macob (subtle name, Denny!) ties Batman to the paddles of a moving steamboat and our hero escapes drowning only because of good dental work.
Jack: I don’t really get Moloch, and as usual the cover promises more than the story delivers, but I like the setting and tale overall.
SOME ADVERTISING HIGHLIGHTS FROM 1970
DC ad: bad news for MU professors in 1970
Posted by Jack Seabrook at 7:00 AM 12 comments:
Batman in the 1970s Part 7: November and December ...
Batman in the 1970s Part 6: September and October ...
Robert Bloch on TV Part Nine-Alfred Hitchcock Pres...
Batman in the 1970s Part 4: May and June 1970
Robert Bloch on TV Part Eight-Alfred Hitchcock Pre...
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Where is Oregon?
11,200 Acres of Green
Blackhawk Statue
Historic Sites/Museums
The Rock River Trail
Church Camps
Hotels, Motels, B&B’s
Food from the Farm
Conover Square Mall
Beauty, Spas, Salons
The Oregon Public Library is one of our hidden gems! An ongoing restoration is bringing the classic building back to it’s original charm, so be sure to make it a part of your visit.
Highlights include the Eagles Nest Colony art collection. A second floor gallery was provided at the suggestion of the colony members, as the artists used the gallery space for public art exhibitions and lectures. Eagle’s Nest Colony founder Lorado Taft persuaded fellow artists to donate over fifty works to the Oregon Public Library as a permanent collection. These paintings and sculpture remain in the library gallery to this day.
The Oregon Public Library was established in 1872. The library resided in rental space until the early 1900’s, when Andrew Carnegie announced that he would donate $10,000 for a public library in Oregon if the condition of providing a maintenance fund of 10 percent was met.
Plans for the current library building were drawn by Chicago architechts Pond and Pond. The construction contract was let in 1907 to M.D. Smith of Dixon. Doors opened for public service in 1908.
Thanks to the efforts of Oregon residents Marsha Behrens, Bonnie Kelly, and Helen Sierra, the Oregon Public Library was placed on the National Register of Historic Places on May 9, 2003.
It is the Oregon Public Library District’s mission to provide appropriate resources in support of the information and recreation needs of area residents, and thereby be a center for community enrichment and lifelong learning.
Art Gallery Mission Statement
To serve as a cultural resource for the Oregon community through the promotion and preservation of the Eagle’s Nest Art Colony Collection and its heritage, and the general advancement of the arts and humanities.
The Friends of the Oregon Public Library District is a volunteer, non-profit organization. Through free public programs, fundraising and volunteer work, these Friends make a real difference in our community!
The Friends meet quarterly to plan activities to benefit the library and enjoy the company of other library enthusiasts.
Two annual fundraisers, a book sale during Autumn on Parade and a Holiday Cookie Sale, allow the group to purchase items for the library; and to sponsor local authors, lecture series and other educational and recreational programs for all ages at the library.
City of Oregon
Oregon City Hall
115 North 3rd Street, Oregon, IL 61061
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PREPARING FOR A SUCCESSFUL PRENUP CONVERSATION
Most couples, planning to get married in today's society, should have a prenup. This is particularly true for those couples bringing significant assets into their marriage. In that case, a prenuptial is like an insurance policy. No one ever intends to have an emergency, but it's very good to have insurance to minimize the damage if an emergency does occur.
Do I Need a Prenuptial Agreement to Protect Me In a Divorce?
While many people have a negative connotation when it comes to prenuptial agreements, the truth is that prenuptials can be beneficial to more than just the wealthy. Learn why you should consider creating this legal document before saying, “I do”.
A prenuptial agreement is particularly important in these situations:
What Do I Need to Include in My Prenuptial Agreement?
Prenuptial agreements can be broad in scope and flexible to accommodate an individual’s needs, but there are also strict rules about what cannot be included. Learn the basics of what needs to be addressed and omitted.
You've Heard of a Prenuptial Agreement-What's a Postnuptial Agreement?
Divorce attorneys in West Palm Beach agree that prenuptial agreements have been around and been used before marriages for more than 30 years. For couples who have one or more of the partners with extensive wealth before the marriage or who own a business, a prenuptial can provide important financial structure in the event that a marriage ends in divorce.
Should You Have a Social Media Prenup?
People who live in Jupiter, Wellington and elsewhere in Palm Beach County, know that social media is here to stay. However, the idea of social media merely as a form of communication and entertainment is clearly outdated. It is now evident that the power of social media can extend into everything from impacting career success to damaging reputations to disrupting marriages.
When Do I Need a Prenuptial or a Postnuptial Agreement in Florida?
Family lawyers often are asked questions about prenuptial and postnuptial agreements. A prenuptial agreement occurs between individuals who are planning to marry. It deals with the obligations and rights of the parties in the event that they either die or divorce.
New Prenuptial Agreement Law Takes Effect in Florida
Effective October 1, 2007, Florida adopted a version of the Uniform Premarital Agreement Act (UPAA).Florida Statute § 61.079 is a prospective statute and only applies to those prenuptial agreements drafted after October 1, 2007.Florida's version of the UPAA deals only with premarital agreements. It does not have any effect upon Marital Settlement Agreements and Post Marital Agreements.In addition, to the extent that prior Florida case law is not inconsistent with the Act, prior case law still is valid and will continue to affect interpretation of prenuptial agreements drafted before and after October 1, 2007.
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Caribbean Labour Solidarity
Home Meetings News Links Publications Join us Archives About us
CLS supoorts Mayday
Caribbean Labour Solidarity (CLS) was formed originally in 1974 as the Jamaica Trade Union Solidarity Campaign (JTUSC), in response to an appeal for support from trade unionists in Jamaica, to mobilise protests against the Labour Relations and Industrial Disputes Bill. The Bill was an attempt by the big capitalist elements in the ruling Peoples National Party (PNP) to shackle Jamaica’s 135,000 trade unionists by restricting their right to strike and preventing making their decisive contribution to the struggle for an independent Jamaica free from imperialist control.
JTUSC comprised activists from the Caribbean community and the wider labour and trade union movement in the United Kingdom. The Campaign organised pickets, leafleting deputations and other activities against the Bill. When it became law in 1974 the members of JTUSC decided that there was a need for a permanent anti-imperialist organisation, which would promote understanding and activities in support of, what by then had become, a mounting democratic movement sweeping the Caribbean.
Thus it was that CLS was formed. Because of our roots in both the Caribbean community and the wider working class movement, we have been able to lay the basis for a broad solidarity movement here in Britain.
CLS is not tied to any political party in the United Kingdom or the Caribbean. We works to unite all those who support equality, democracy, justice and social progress in the Caribbean, We will support all who recognise that the struggle against racism, fascism, imperialism and neo-colonialism in the Caribbean requires the building of strong international links between the working people there and their sisters and brother globally.
We continue to play an important role, along with our sisters and brothers everywhere, in the worldwide peoples' movement for justice through the publication of articles in a variety of media; production of our bulletin Cutlass; organising or participating in public meetings or conferences; arranging pickets and demonstrations; joining deputations; collating and presenting petitions; distribution of our literature; and other associated activities. Through these actions we continue to popularise the activities and causes of the anti-imperialist fighters of the Caribbean.
Janet Jagan
Through our links with the trade unions and solidarity organisations in Britain we set ourselves the objectives of mobilising opinion in aid of these struggles. In doing so we also recognise the special bonds that exists between black peoples everywhere particularly Africa, America and Europe despite the different conditions in which their specific struggles are waged.
As stated previously we also actively participate in the struggle against racism, which has been the springboard for the development of organisations like the British National party and English Defence League in the UK, the Front National in France, Golden Dawn in Greece and other fascist organisations now gaining strength in Europe on the back of the current economic crisis. We therefore support anti-racist, anti-fascist campaigns in various forms including exposing these fascist organisations; the fight against the police harassment of black youth, trade unionists and progressive workers; the fight against institutionalised racism in employment, education, housing and its other forms.
In so doing we recognise that the British Empire has bestowed a bitter legacy on sections of the working classes in the UK and the former colonies. As an organisation seeking to maintain and expand solidarity with the black workers and their allies in the Caribbean we already make a distinct contribution to the anti racist struggle in Britain.
Below are a few examples of the many successful campaigns undertaken by CLS. These should not take away from the fact that much work remains to be done: -
Cuba: We have supported and continue to support in the victories won by the Cuban people and in the contribution made by the Cuban Revolution to the fight against imperialism in the Caribbean and elsewhere particularly the role played in defeating apartheids hand in Angola.
Venezuela: The emergence of the will of the Venezuelan people and their struggle to control their resources and direct their destiny is supported by Caribbean Labour Solidarity.
Jamaica: In Jamaica are proud to have identified ourselves with the democratic forces in the PNP; the independent and other trade unionists and other organisations of the left as they fought to remove their country from the sphere of influence of US domination and set it on a course of that benefits it people.
Grenada: CLS supported New Jewel Movement of Grenada in their popular struggle to oust the Gairy regime and welcomed his overthrow. Despite our dismay at the collapse of the Revolution we campaigned consistently against the US plans to execute the remaining leaders of this ????
Dominica: One of our earliest successful campaign was to prevent the execution of Desmond Trotter and the securing of his release from a trumped up charges.
Guyana; We associate ourselves fully with the working people of Guyana in their fight for national unity and democratisation. During the vicious regime of former President Forbes Burnham we supported the programmes of the Peoples Progressive Party and the Working People’s Alliance. Recently we have focused attention on the treatment meted out to the bauxite workers and the recent killings of demonstrators in Linden.
Trinidad: We have supported the United Labour Front of Trinidad, the oil workers and cane farmers and their allies as they battled against the forces of neo-colonialism. We are extremely concerned at the increasing racial polarisation and urge all Trini’s to work together to combat division and foster unity.
Our style of work
Activities or campaigns led by or in which Caribbean Labour Solidarity has participated
Supporting the struggle of the Grenada 17
Alerting the world to the recolonisation of the Caribbean
Combating judicial executions in the Caribbean
Information of general elections in the Caribbean , particularly Guyana and Jamaica
Raising the issues of the problems faced by the Caribbean’s agriculture industries, including its banana production.
The political situation in Guyana
Marking the 50th anniversary of the arrival of the Windrush
Protesting the US invasion of Grenada
Raising the issues of the murder of Stephen Lawrence
Commenting on the racist provisions of Immigration legislation
Highlighting the disastrous effect of the World Trade Organisation’s policies on Caribbean peoples
Free trade and the Caribbean area
Commemorating Claudia Jones
Examining the role of black lawyers in the USA
Providing information on Cuba, Haiti and Dominica
The lack of affordable drugs in the developing world e.g. South Africa and the AID epidemic
Deaths in UK police custody
Our membership comprises of individual and affiliated members from the UK, the Caribbean & elsewhere who share an interest in Caribbean development. There is a modest annual fee for both forms of membership.
Our Executive Committee consists of members elected at our Annual General Meeting along with co-optees and comprising representative of affiliates. Current affiliates include organisations concerned with Grenada, Guyana, Jamaica, Venezuela and Cuba. The London Co-operative Political Committee is also an affiliate.
Our Executive meets once per month and we host a monthly open meeting, held on the first Sunday of each month, where invited speakers will open a discussion on aspect of the struggle in the Caribbean or elsewhere.
Whilst we have initiated and/or led a number of campaigns we also collaborative with other organisations whose objectives or campaigns are similar to ours. One of our most important roles is to further Caribbean unity, which we do by bringing organisations representing different territories closer together. We do not monopolise activities nor seek to take the credit for the successes in particular issues.
All those who share these aims to join us and to participate in our work. It is fun, informative and empowering.
In our work we collaborate with and seek united action with all sororial/fraternal groups that share our commitment to the anti-imperialist struggle. We need you to join us if you: -
Are interested in Caribbean and Central American development?
Are a skilled writer and/or organiser?
Have a flair for fundraising and possess the ability to secure resources?
We are also short of women in leadership roles. Join us change this situation.
Come and make your mark and build on the work done by the founders of this brilliant organisation.
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Belly dance for all
Littlehampton Classes in 2020
Spanish Fan Dialect Intensive with Eureka Floyd
Classes FAQ
Circle Skirt Calculation
Sleeves flounce calculation
What is ATS®
Review: Rosangela Silvestre Intensive
by Arien in body and soul, Reviews, Workshops Tags: body awareness, conditioning, dance, fitness, modern dance, silvestre technique, workshops
I attended this workshop back in July, but I’ve delayed writing about it not because I had anything bad to say, but because it’s just so difficult to explain *why* it was so good, as it was quite an intense experience. And sadly, for part of it, I could only say “you had to be there”.
First things first: Rosangela Silvestre is a contemporary dancer from Brazil, who has developed a full technique for dancing that she’s rooted in the Brazilian culture. Her technique is often called “esoteric”, and in a way, you do get to hear, during the training, about things like four Elements, Chakras (energy centres in the body that correspond, roughly, to major endocrine glands and that align along the spinal column), and Orixás (Yoruban Nature deities that were adopted and further developed in Brazil). These four elements are the same as the traditional Greek four elements that were later picked up by ceremonial magicians and several flavours of Pagans. Same goes for the Chakras, you’ll find a lot about them in the New Age section of any library or bookstore.
Yes, all of this sounds rather… “interesting”. New-agey. Pagan.
Does it mean you have to believe in all of this? Absolutely not.
What does it have to do with dancing then?
Turns out, A LOT.
Rosangela has developed a full series of moves to work with each element, to begin with, that correspond with certain aspects of our dancing: earth goes with balance, air and water with expression, fire with perception, and all of them combined turn into Will. Each of these series of moves does give you a really good conditioning routine that, when followed, will work as a good dancing conditioning would, while emphasizing certain “qualities” of that particular element, so you can work on “Water” to make your movements more fluid, or Air to work on what other people call “opening” to allow your dancing to express and transmit this to your audience more, or Will to gain focus and energy and intention when dancing, and not just going through the motions.
The workshops were two days, 5 hours each day. The days were split in two. On each day we worked for around 2-3 hours on the Elements, first starting with the conditioning moves, and later on going onto combinations and, on the second day, a small choreography. Then we had a bit of “theory” where Rosangela told us about her vision, why she developed what she developed, and how it worked and what it was improving. After this break, we then worked on Orixá dances, learning stylised versions of dances she codified and developed from traditional dances done during Candomblé rituals in Brazil. Throughout all of this we worked with Rosangela’s instructions, sometimes singing (she’s got a beautiful voice) and with Sabio’s live music, which was fully improvised, and done to match our moves and the general atmosphere of what we were doing. As an aside, I did like that Sabio did the warm-ups with us, even though he wouldn’t be dancing, but I suspect that gave him a good chance to atune to how our bodies would work for the rest of the day.
The warm-up and conditioning part started SLOW. And I mean almost glacially slow; I’m used to having cardio-style warm-ups, and doing slow bends and pliés with holds allowed me to realise that my body much, MUCH prefers this type of work. I found that problem areas like my knees were far more pliable than I was used to feel, my bends were deeper and my muscles were moving a lot more at ease than what they normally do. Rosangela also made sure that we understood that not everybody has the same body shape or muscle capacity, so she worked a lot on letting us get comfortable with our bodies’ moves before pushing it a bit further, all the while also encouraging healthy movement and attitude. This is brilliant for ANY body shape, as it encourages you to find the ways that your body prefers moving, but does require some effort from your part to realise what it is that your body prefers, and make an effort to improve where things are not right. Trust me, this will also push you to re-examine a LOT of what you do daily, from how you sleep and work to how you spend your time.
The Elements work included what you could call “embodying” each of them through the series of moves. If you are esoterically inclined, you could say that you were channelling each element, but you could just as easily think that you are trying to achieve particular things, like flowing for the Water, or focusing on the grounding and balance for Earth.
There was also a lot of encouragement to “will” our bodies to avoid repeating, and instead “re-doing” moves with full awareness each time. Talking with hubby later, I found this is a common concept within some martial arts, as it encourages muscular memory with a level of consciousness, so moves don’t become predictable or drilled wrong. This “will” also extended to trying to find better ways to work with the body, and to encourage things like learning weight shifts or using inertia from one move to flow into next naturally. This was best exemplified by a combination we did on day 2. It included a backwards spin with a jump. Jumping, that thing a lot of us absolutely DREAD. And yet, the way she guided us into it, it felt like a natural progression. And even with my weak joints, and notoriously bad balance, I went through it without issue.
The second part of each day, after the break and the “theory”, was devoted to the Orixá dances. They were a good chance to learn a whole new vocabulary and mode of expression, with emphasis on one or several of the Elements. We worked on the Welcoming -a dance done to open the floor for the Orixás, so to speak- and Oxumaré dance on the first day, and a very long Yemajá sequence on the following day. Rosangela picked both for Water-based Orixás, as, most of us being belly dancers, she felt we would be able to connect better to a lot of the moves. We worked in “families” of 3 or 4, doing passes along the studio as most of the steps were travelling steps. A lot of them were rather low on the ground, and this was killer exercise for quads too, but most of all, she was interested in seeing us do our dancing strongly and projecting intention.
And over all of this, during the 10 hours, we had nearly uninterrupted, improvised live music provided by Sabio, which managed to set the tone for everything so perfectly that at some points, if it hadn’t been for the repeating nature of what we were doing, it would have been more a party than anything else.
Overall, I was very impressed, moved, and felt that the workshop gave me a lot of food for thought, and a lot to work on; it helped me become friends with my body again, and break some mental barriers I had in place goodness knows for how long or for what reasons. Whether you are taking the Elements/Chakras/Orixás associations as “real” or as metaphors for what we do while dancing, I do believe there was a lot to learn and take home. The most important thing I got out of the workshop was a newfound trust in my body and its limits… I almost didn’t book for it, afraid that I wouldn’t be able to survive the first 5 hours without collapsing. Turns out I was wrong. Also, the style of the work made it so that my body did re-assess itself, and I found that during and afterwards, I was able to do quite a few things I hadn’t been able to do for a while. This workshop allowed me to remove mental barriers that had been put in place ages ago, and although some still remain, they are also on the way out through careful training… after all, identifying these mental barriers is half of the battle. As an example, before the workshop, my knees protested loudly at me every time I tried to do any level change, no matter how small. Afterwards, part of the “listening to my body” work made me realise that sitting too long (and badly) at the computer was causing my legs and knees to get this impression, and now I’ve changed my work routine to have frequent active breaks to remove this source of issues, and of late I’ve started doing level changes training within the ATS class… I still haven’t managed to break through the barrier of doing a full one in class, but at home I have managed to do changes from standing to tiptoes to a full crouch and up, and its only a matter of time until I can do these as part of my dancing… I wouldn’t have dreamt of doing that when I started ATS a year ago!
Would I take another workshop or intensive with Rosangela? A resounding YES, I feel I got a lot out of the work I did with her. She was also very accessible, and was a pleasure to chat with someone that was born and raised in South America as I was.
I hear she might be coming again next year, and I’ll be ready for it. In the meantime, if you want to see a bit of the kind of work done, talk a look below:
Gothla 2019
Costuming for Plus Sizes
Review: Revolution Haunted Collection, Liquid Highlighters
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ATS®
Make-up and beauty
Get a free blog at WordPress.com • Theme based on: Koi by N.Design.
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Why EVPs are Important
Member Partners
National CVC of the Year Award
Carol D. Reiser Youth Service Award
Employee Giving Programs
Skills-Based Volunteering or Pro Bono
Sustainability/Environment
The Carol D. Reiser Children's Book Award Ceremony
Children's Stage at the Decatur Book Festival (next door to the Courtyard Marriott of Decatur, GA
RSVP - Free for all to attend
Support the CVC of Atlanta and the Carol D. Reiser Children’s Book Award winner at the AJC Decatur Book Festival! Bring your family and come to the Children’s Stage on Saturday, September 5 from 4:30 p.m. to 5:00 p.m., where the CVC will present the Reiser Book Award to author Katie Stagliano for her book, Katie's Cabbage, at 4:45 p.m.
The CVC of Atlanta invites the public to join the celebration at this free event which will include a reading by the author and hands-on service project for children. The service project is sponsored by Bright Horizons, a leading provider of early education and preschools, employer-sponsored child care, back up care, educational advisory services and other work/life solutions.
The Carol D. Reiser Children’s Book Award is annually given to an author whose book inspires community service and volunteerism in children. The CVC established this national award in 2002 in honor of Carol D. Reiser, a co-founder and past president of the CVC, as a living tribute to her lifelong commitment to community.
Judges are national level experts in children’s literature and in volunteerism.
The Decatur Book Festival is free to attend. For more information about the Festival, go to http://www.decaturbookfestival.com.
© 2017-2020 Corporate Volunteer Council of Atlanta. All Rights Reserved.| Important Disclaimers
600 Means Street, NW, Suite 100, Atlanta GA 30318
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Thessaloniki/Host City
The conference will take place in the historical city of Thessaloniki, Greece. Thessaloniki, the second largest city and co-capital of Greece, is world known for the Ancient Greek, Roman and Byzantine monuments, the charming shopping thoroughfares, the indulging local cuisine and the exciting nightlife. The city was founded in 315 B.C., named after the ancient Greek princess Thessaloniki, sister of Alexander the Great, and has been a crossroad of cultures and civilizations for over 2300 years.
Renowned for its festivals, events and vibrant cultural life in general, Thessaloniki is considered to be Greece’s cultural capital.
You could find more information about Thessaloniki here
Thessaloniki is located in the Northern Greece, 504 km north of Athens. You can reach the city by train, bus or car (E90 National Road).Thessaloniki has a good public transportation system.
Getting around is feasible by bus and taxis as both are easily available at low cost. Thessaloniki is not a huge city (population around 1,000,000 people). Hence, most famous attractions can be easily explored on foot. All major car rental companies have branches at Macedonia Airport.
Byzantine monuments
Thessaloniki, with its host of Byzantine monuments (due to its significance during the Byzantine period), justifiably is considered an open-air museum of Byzantine art. Wandering through the city, it is worthwhile to see:
The churches of Acheiropoietos a three-aisled, timber-roofed basilica,
The Holy Wisdom of God (Hagia Sophia) (7thcentury),
The Panaghia (Virgin) Chalkeon (1028),
Hosios David (12thcentury), St Panteleemon (late 13th or the early 14th century), is of four-columned cross-in-square type,
Panagouda a three-aisled basilica with significant icons,
Agios Ioannis Prodromos, Vlatadon monastery a 14thcentury foundation of which only the katholikon and two cisterns within the precinct survive,
Agios Dimitrios a splendid basilica dedicated to the patron saint and protector of the city, etc.
Thebyzantine walls of the city
Thearchaeological site in 3 Septemvriou St., with remnants of a cemetery basilica, a martyr and Early Christian graves.
Thebyzantine bathhouse (late thirteenth century).
TheHeptapyrgion castle was raised in stages, from the early years of the Byzantine Age into the Ottoman period.
Amazing Ottoman monuments
TheWhite Tower (15th century), the hallmark of the city. It was built in 1536 the White Tower is a landmark and symbol of Thessaloniki, right on the water It is expected to house the new Museum of Thessaloniki’s history
TheMosques of the Hamza Bey Cami (15th century), the Aladja Imaret Cami (1484) and the Yeni Cami (1902).
Hamams(Turkish bathhouses): The Pazar Hamam (15th century), the Pasha Hamam (15th century), Bey Hamam (16th century), Yeni Hamam and the Yahudi Hamam.
Bezesteni, a rectangular building with lead-covered domes and four entrances was built in the late fifteenth century and operated as a cloth market.
Rotunda and Arch of Galerius – Roman monuments
Thessaloniki Museums
Archaeological Museum -An exciting tour of the history of ancient Macedonia through important findings dating back to the end of 6th century B.C. The museum was inaugurated in October 1962.
Byzantine Civilization Museum: one of the most important museums of the country, with valuable Byzantine exhibits dating back from the Early Byzantine period to the Turkish occupation. The
Jewish MuseumHoused in a preserved building built in 1904; it presents the historical course of the Jews of Thessaloniki until their genocide by the Nazis during German occupation.
Macedonian Museum of Contemporary art. The museum houses, among other things, paintings, sculptures, engravings, photos and films made by Greek or foreign artists.
Thessaloniki Concert Hall – A newly-built, magnificent yet austere, multipurpose venue for cultural and other events. Operating since 2000 it is one of the most advanced concert venues in Europe.
Moni Lazariston- by the monastic order of the Brothers of Mercy, and now used for cultural events.
Mylos – (literally mill). An old industrial complex, built in 1924, today have been remodeled to house cultural events and leisure activities, as well as the industrial buildings of the old FIX Brewery and the VILKA plant.
National Theatre of Northern Greece – Thessaloniki’s main institution for performing arts;
International Film Festival of Thessaloniki – The country’s leading annual Cinema Festival, taking place in November;
The Dimitria Festival – this historic institution is used as a tool, event venues are turned into participatory platforms and the limits of the festival experience are tested.
Aristotelous Square – surrounded by monumental buildings and open to the waterfront for a width of 100 meters and the waterfront avenue of the city (Nikis avenue), where cafes, trendy bars, restaurants and street performers can be found.
Navarinou Square – Full of university student’s haunts (open air cafes overlooking the ruins of the imperial palace).
Valaoritoy district – The new trendy neighborhood where restaurants, bars and live music scenes.
Bar rows in the city center – cluster of bars with distinct character can be found at Lori Margariti, Nikiforou Foka, Zefxidos and Valaoritou streets.
Modiano, Kapani and Athonos Market Halls – colorful covered halls, selling food and inexpensive clothes; there are a lot of beautiful taverns with Greek traditional music. They mostly have brilliant food.
Tsimiski- Street – is the main shopping street and where visitors will find a selection of retailers typical of a high street. Popular international brand named goods and domestically made products share equal space in this busy retail area.
Pastry Shops – The sweet temptations in Thessaloniki are many and the visitor can find them located in every district and every neighborhood. Every patisserie has its own character and specialty.
Proxenou Koromila Street – the city’s most up market shopping area, where most Thessaloniki haute couture as well as international designer boutiques can be found.
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Scientology Anti-drug Program Rejected by Schools
On 13 Apr 1999 11:33:01 GMT, in alt.religion.scientology you wrote:
Anti-drug program rejected by schools
A school district committee says the program, based on teachings by Scientology's® founder, is not in line with district and federal guidelines.
By SHELBY OPPEL
St. Petersburg Times, published April 13, 1999
A Pinellas school district committee has refused to allow students to hear an anti-drug program based on the teachings of Scientology founder L. Ron Hubbard.
The program is a product of Narconon® International, a drug rehabilitation and education organization based in Los Angeles. Despite the reliance on Hubbard's principles, Narconon officials say it is a secular group that is separate from the Church of Scientology.
A Clearwater couple, Larry and Jessica Byrnes, mailed letters to several elementary schools in January and February, asking permission to speak to students, district officials said.
The Byrnes, who are Scientologists, moved to Clearwater in October from New Hampshire, where they said they made Narconon presentations to thousands of public and private school students during a five-year period. New Hampshire school officials could not be reached Monday.
Individual schools in Pinellas referred the couple to the district's Family Life Education Committee, which screens organizations seeking to deliver social messages to students.
The Church of Scientology has a large presence in downtown Clearwater, home of the church's worldwide spiritual headquarters.
In a church publication titled "What is Scientology?," Narconon International is described as a "social betterment organization . . . dedicated to restoring drug-free lives to drug-dependent people."
"Scientologists and the church support Narconon and its successful drug rehabilitation programs all over the world," said Michael Rinder, a top Scientology official.
But, Rinder said, "they are not church programs."
On March 10, the Byrnes and six teenagers delivered a 25-minute presentation based on the "tone scale," said Linda Smock, a district supervisor who facilitates the committee.
The tone scale is a set of 12 "emotions" that range from "apathy," at the bottom, to "enthusiasm" at the top, Smock said. In between are "grief," "covert hostility,", "conservatism" and "cheerful," among others.
The teens gave examples of each emotion, and the Byrnes asked committee members if they understood. Smock said it was unclear how the tone scale tied into an anti-drug message.
Byrnes, who runs a software company from his home, said "the whole message is to go up with life and down with drugs." The Byrnes' two children, he said, took part in the presentation.
The first time someone gets high on drugs, Byrnes explained, he might experience emotions at the top of the tone scale. But soon, drug use will leave him at the bottom of the scale, ultimately killing him.
Byrnes said that he became interested in visiting schools after hearing Pinellas County School Board chairman Lee Benjamin speak at a Kiwanis club meeting in St. Petersburg about fighting student drug use.
"He actually called for businesses and parents and individuals to help volunteer," Byrnes said.
"We said "Great! We've got this kids' program that was real successful in New Hampshire."
At the end of the teens' presentation to the committee in March, the teens thanked Hubbard for conceiving the principles on which Narconon is based. A committee member who is a guidance counselor at Perkins Elementary School asked the students if they could make the presentation without acknowledging Hubbard.
"They answered immediately "No,' that it was an integral part of the program," Smock said.
Smock, however, said that the committee did not reject the group because of its tie to Hubbard. Rather, they rejected it because the "tone scale" was not aligned with school district and federal guidelines governing drug education and was not suited for elementary students.
Byrnes had requested to speak at a School Board meeting today. But on Monday, he said he would not attend the meeting because of travel plans. He did not say whether he would approach the board again to ask them to overrule the committee.
"We're not interested in controversy. We're interested in helping kids lead drug-free lives," he said.
The views and opinions stated within this web page are those of the author or authors which wrote them and may not reflect the views and opinions of the ISP or account user which hosts the web page. The opinions may or may not be those of the Chairman of Skeptic Tank.
If you or a loved one needs help -- real help -- there are a number of rehabilitation programs you can contact. The real Narcotics Anonymous organization can get you in touch with real people who can help you. Click [HERE] to visit Narcotics Anonymous's web site. Narcotics Anonymous's telephone number is 1 (818) 773-9999.
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- International Celebrity Site dedicated to dirty gossip, leaked photos & video.
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Kelly Overton
Kelly Overton (born August 28, 1978) is an American actress, screenwriter, director, and producer. Wikipedia
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Breaking Dawn is a 2004 independent American mystery-thriller written and directed by Mark Edwin Robinson. The Ring Two is a 2005 American psychological horror film, and a sequel to the 2002 film The Ring, which was a remake of the 1998 Japanese film Ringu. It proposed a solution to five murders in Victorian London that were blamed on an unidentified serial killer known as "Jack the Ripper". Kelly Overton is the founder and Executive Director of People Protecting Animals & Their Habitats. The fifth season of the HBO supernatural drama series True Blood premiered on June 10, 2012 and features 12 episodes, bringing the series total to 60.
It stars Randy Travis, Jude Ciccolella and Candace Cameron Bure. It picks up right after the events of season four. Christie Monteiro is a fictional character from Tekken. CounterPunch is a monthly magazine published in the United States that covers politics in a manner its editors describe as "muckraking with a radical attitude". It consisted of 16 episodes.
Bingbing Li
Marielle Jaffe
Lauren Wood
Maria Del Cerro
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Complete DHS Daily Report for September 6, 2013
• A Union Pacific railroad bridge located near the town of Byers, Colorado, will remain closed for an undetermined amount of time until officials can inspect the damage from an August 4 fire. – KMGH 7 Denver
14. September 4, KMGH 7 Denver – (Colorado) Union Pacific railroad bridge between Denver and Kansas City closed after early morning fire. A fire prompted the closure of a Union Pacific railroad bridge August 4 near the town of Byers for an undetermined amount of time until officials can inspect the damage. The line runs from Denver to Kansas and handles 8 to 10 trains a day. Source: http://www.thedenverchannel.com/news/local-news/union-pacific-railroad-bridge-between-denver-and-kansas-city-closed-after-early-morning-fire
• Safeway Inc. reached a settlement with the U.S. Environmental Protection Agency September 4 to curb refrigerant leaks at 659 stores and pay a $600,000 fine. – Bloomberg News
17. September 4, Bloomberg News – (National) Safeway agrees to stop leaks of refrigerant chemical. Safeway Inc. reached a settlement to curb harmful refrigerant leaks at 659 of its stores and pay a $600,000 fine to the U.S. Environmental Protection Agency September 4. The company failed to promptly repair leaks of hydrochlorofluorocarbon and will spend $4.1 million to reduce the releases. Source: http://www.bloomberg.com/news/2013-09-04/safeway-agrees-to-stop-leaks-of-refrigerant-chemical.html
• A total of 13 brain-surgery patients, including 8 from the Catholic Medical Center in Concord, New Hampshire, may have been inadvertently exposed to Creutzfeldt-Jakob Disease, a rare, degenerative disorder, as a result of improperly sterilized surgical equipment. – USA Today
20. September 5, USA Today – (National) 13 patients possibly exposed to fatal brain disease. New Hampshire health officials announced September 4 that 8 brain-surgery patients at Catholic Medical Center in Concord may have been exposed to the rare, degenerative disorder, Creutzfeldt-Jakob Disease through potentially contaminated equipment. Five additional patients in other States may have also been exposed to the disease as a result of improperly sterilized surgical equipment. Source: http://www.usatoday.com/story/news/nation/2013/09/04/new-hampshire-hospital-fatal-brain-disease/2764645/
• Rockford, Michigan officials issued a boil advisory for residents and closed six schools September 5 after an equipment malfunction resulted in E. coli contamination being found in the city’s water system. – MLive.com
23. September 4, MLive.com – (Michigan) 3,000 Rockford students staying home Thursday because of E. coli detected in city water system. Officials closed 6 schools in Rockford September 5 after E. coli contamination was found in the city’s water system. A boil advisory was issued for residents after an equipment malfunction resulted in lower levels of chlorine residuals in the water system and tests showed coliform bacteria was present in the water. Source: http://www.mlive.com/news/grand-rapids/index.ssf/2013/09/3000_rockford_students_staying.html
5. September 5, Dark Reading – (International) New, advanced banking trojan discovered in the wild. Researchers at ESET identified a new banking trojan with advanced features called Win32/Spy.Hesperbot targeting users in Turkey, the U.K., and the Czech Republic via phishing emails. The trojan can log keystrokes, set up a remote proxy, create a hidden virtual network computing (VNC) server, and attempts to get users to install a mobile component of the malware on their mobile devices. Source: http://www.darkreading.com/end-user/new-advanced-banking-trojan-discovered-i/240160826
6. September 4, Marine Independent Journal – (California) San Rafael credit union robbed by bandit in earflaps as crime streak continues. A man linked to at least five other bank robberies in Marin robbed a Redwood Credit Union branch in San Rafael September 4. Source: http://www.marinij.com/crimebeat/ci_24015540/san-rafael-credit-union-robbed-by-bandit-earflaps
27. September 4, Threatpost – (International) Public exploit available for patched Safari bug. Packet Storm released a proof-of-concept exploit for a patched Safari heap buffer overflow vulnerability. The vulnerability was patched in November 2012 and affects users who have not yet updated to newer versions of OS X and iOS. Source: http://threatpost.com/public-exploit-available-for-patched-safari-bug
28. September 4, IDG News Service – (International) FTC: Negligence by security camera vendor harms customers’ privacy. TRENDnet settled U.S. Federal Trade Commission charges that were brought due to lax security practices in software for its security cameras that allowed the cameras’ feeds to be remotely posted and watched by unauthorized users. Source: http://www.networkworld.com/news/2013/090413-ftc-negligence-by-security-camera-273485.html
For another story, see item 5 above in the Banking and Finance Sector
Posted by BobJ at 12:33 PM No comments:
Thursday, September 5, 2013 published on Friday, September 6, 2013 @ 11AM
• Over 1,200 passengers Amtrak trains traveling between Wilmington, Delaware, and Perryville, Maryland, were delayed or forced to transfer trains September 2 after thunderstorms damaged the railroad's signaling system. – Baltimore Sun
15. September 3, Baltimore Sun – (Delaware; Maryland) Amtrak service disrupted, riders trapped after storm damage. Over 1,200 passengers on five different Amtrak trains traveling between Wilmington, Delaware, and Perryville, Maryland, were delayed for hours or forced to transfer trains September 2 after a line of thunderstorms damaged the railroad's signaling system. Source: http://www.baltimoresun.com/news/maryland/bs-md-amtrak-delays-20130903,0,4662353.story
• Authorities are investigating an incident at Spring High School near Houston after one student was killed and three others were reportedly injured in a stabbing September 4. – KPRC 2 Houston
20. September 4, KPRC 2 Houston – (Texas) 1 killed, 3 injured in stabbing at Houston-area high school. One student was killed and three others were reportedly injured in a stabbing at Spring High School near Houston September 4. Authorities are investigating the incident. Source: http://www.nbcdfw.com/news/local/Multiple-People-Stabbed-at-Houston-Area-High-School-222335781.html
• Firefighters continued to battle the 235,841-acre Rim Fire burning in and around Yosemite National Park in California as they reached 80 percent containment September 4. – Los Angeles Times
24. September 4, Los Angeles Times – (California) Rim fire: Containment of Yosemite-area blaze at 80%. Firefighters continued to battle the 235,841-acre Rim Fire burning in and around Yosemite National Park as they reached 80 percent containment September 4. Source: http://www.latimes.com/local/lanow/la-me-ln-rim-fire-yosemite-containment-80-20130904,0,5841792.story
• Officials designated the former Fillipo Dry Cleaners site in Rutland, Vermont, as an environmental emergency and committed a $1.2 million budget to prevent the further spread of toxic chemicals from the site. – Vermont Digger
34. September 2, Vermont Digger– (Vermont) State paying $1.2 million for cleanup of Rutland dry-cleaner contamination. Vermont officials designated the former Fillipo Dry Cleaners site in Rutland as an environmental emergency and committed a $1.2 million budget to prevent the further spread of toxic chemicals from the site toward a residential neighborhood. The cleanup includes removal of contaminated soil and water from the site. Source: http://vtdigger.org/2013/09/02/state-paying-1-2-million-for-cleanup-of-rutland-dry-cleaner-contamination/
5. September 4, The Register – (International) Citadel botnet resurges to storm Japanese PCs. Trend Micro reported that the Citadel botnet has returned to service and been spotted in a campaign targeting online banking credentials at Japanese financial institutions as well as email services such as Gmail, Yahoo Mail, and Hotmail. Source: http://www.theregister.co.uk/2013/09/04/citadel_wreaks_havoc_in_japan/
6. September 3, Fort Meyers News-Press – (Florida) Two Lehigh Acres men arrested in credit card scam. Two men from Lehigh Acres were arrested after making several purchases in the Sarasota area using fraudulent credit cards. Police found 120 counterfeit cards and 29 victims’ personal information in their possession. Source: http://www.news-press.com/article/20130903/CRIME/130903015/Two-Lehigh-acres-men-arrested-credit-card-scam
29. September 3, Threatpost – (International) Cisco warned users of four vulnerabilities. Cisco published four moderate-severity security notices, warning customers of issues in its IOS XR carrier routing software, unified computing system, Adaptive Security Appliance software, and the Web administrator interface for its wireless LAN controllers. Source: http://threatpost.com/cisco-warns-users-of-four-vulnerabilities
30. September 3, Threatpost – (International) Njworm: A RAT with legs and a thirst for no-IP credentials. Researchers discovered a variant of the njRAT remote access trojan (RAT) named njw0rm that contains the same capabilities but also seeks to copy itself to removable storage devices and spread to other systems. The RAT can collect various information from victims’ systems and also looks for passwords in Chrome, XML files, and the No-IP dynamic DNS service. Source: http://threatpost.com/njw0rm-a-rat-with-legs-and-a-thirst-for-no-ip-credentials
Thursday, September 5, 2013 published on Friday, S...
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Complete DHS Report for April 10, 2015
· Service on the Number 1, 2, and 3 trains in New York City was suspended for several hours April 8-9 in the West Village area of the city due to flooding inside the 14th Street Station caused by a water main break. – WCBS 2 New York City
9. April 9, WCBS 2 New York City – (New York) 500 evacuated from subway after West Village water main break; some service halted. Service on the New York City subway system’s Number 1, 2, and 3 trains was suspended for several hours April 8-9 throughout a stretch of the city’s West Village area due to flooding inside the 14th Street Station caused by a water main break. About 500 passengers were safely evacuated from trains entering the station before the suspension, and crews drained water from the station’s tracks before resuming operations. Source: http://newyork.cbslocal.com/2015/04/08/west-village-water-main-break-reroutes-no-1-train/
· Sabra Dipping Co., LLC voluntarily issued a recall April 8 for about 30,000 cases of its Classic Hummus due to possible Listeria monocytogenes contamination. – U.S. Food and Drug Administration
15. April 8, U.S. Food and Drug Administration – (National) Sabra Dipping Company issues nationwide voluntary recall of select SKUs of its Classic Hummus. The U.S. Food and Drug Administration reported April 8 that Sabra Dipping Co., LLC voluntarily issued a recall for about 30,000 cases of its Classic Hummus due to possible Listeria monocytogenes contamination. The recalled products were distributed to retail outlets, including food service accounts and supermarkets nationwide. Source: http://www.fda.gov/Safety/Recalls/ucm441863.htm
· Officials reported that more than 100 million gallons of sewage and storm water spilled into the Ohio River April 9 after a water treatment plant in Kentucky was knocked out of service following a fire. – Louisville Courier-Journal
17. April 9, Louisville Courier-Journal – (Kentucky) Huge sewage flow hits Ohio River after blast. The Metropolitan Sewer District (MSD) reported that more than 100 million gallons of sewage mixed with storm water was spilled, and continues spilling into the Ohio River April 9 after the Morris Forman Water Quality Treatment Center in Kentucky suffered electrical and mechanical damage that knocked it out of service following an April 8 explosion and fire. Authorities warned the public to avoid contact with the river near the discharge area, and stated that the treatment process will resume once repairs are completed. Source: http://www.courier-journal.com/story/tech/science/environment/2015/04/09/msd-spilling-huge-sewage-flow-ohio-river/25513365/
· Researchers discovered that an email campaign targeting users worldwide utilizes a combination of the Upatre downloader and Dyre banking trojans to gain information about compromised systems and intercept online banking credentials. – Help Net Security See item 27 below in the Information Technology Sector
6. April 9, Easton Express-Times – (Pennsylvania; New York) I-78 traffic stop nets wanted man with 75 fake credit cards in pants, police say. A New York man was arrested and charged April 7 after Pennsylvania State Police officers found 75 fake credit cards in his possession during a traffic stop on Interstate 78 in Lehigh County. The man was sent to the county jail and will be extradited to New York due to a separate warrant. Source: http://www.lehighvalleylive.com/lehigh-county/index.ssf/2015/04/i-78_traffic_stop_nets_fugitiv.html
7. April 8, South Florida Business Journal – (Florida) 4 Miami residents indicted in international mortgage fraud scheme. The U.S. Attorney’s Office for the Southern District of Florida announced the indictment of 6 individuals and 3 companies April 8 in reference to an international mortgage fraud scheme in which the individuals allegedly used fraudulent loan applications and other documents to apply for over $9 million in mortgage loans from Chevy Chase Bank, JP Morgan Chase Bank, and Washington Mutual Bank for residential properties in Miami-Dade and Palm Beach counties from October 2004-May 2007. Source: http://www.bizjournals.com/southflorida/news/2015/04/08/4-miami-residents-indicted-in-international.html
For another story, see item 27 below in the Information Technology Sector
25. April 9, Softpedia – (International) Over 100 forum websites foist poorly detected malware. Security researchers at Cyphort discovered a supposed click-fraud campaign that exploits Web forums running outdated versions of vBulletin or IP Board software to use malicious code to direct visitors to a landing page hosting the Fiesta exploit kit (EK) to deliver Gamarue and FleerCivet malware that steals information and injects backdoor trojans. The malware ensures persistence by avoiding virtual environments and disabling security settings on compromised systems, and exploits vulnerabilities found in Internet Explorer and in Adobe Flash Player version 16.0.0.296 and earlier. Source: http://news.softpedia.com/news/Over-100-Forum-Websites-Foist-Poorly-Detected-Malware-478020.shtml
26. April 9, Threatpost – (International) Apple iOS 8.3 includes long list of security fixes. Apple released iOS 8.3 for iPhone and iPad users patching over three dozen vulnerabilities, including flaws in the mobile operating system’s kernel, several bugs in WebKit, and a number of code-execution bugs. Source: https://threatpost.com/apple-ios-8-3-includes-long-list-of-security-fixes/112072
27. April 9, Help Net Security – (International) Deadly combination of Upatre and Dyre trojans still actively targeting users. ESET researchers discovered that an email campaign targeting users worldwide utilizes a combination of the Upatre (Waski) downloader and Dyre/Dyreza banking trojans delivered via simple spam emails to gain information about compromised systems and intercept online banking credentials. Researchers believe that the scheme is part of the larger, previously discovered Dyre Wolf campaign that has targeted businesses around the world. Source: http://www.net-security.org/malware_news.php?id=3011
28. April 8, Securityweek – (International) Google Chrome extension criticized for data collection. Security researchers at ScrapeSentry and Heimdal Security reported that the Webpage Screenshot Google Chrome third-party extension contained malicious code that allowed for copies of all browser data to be sent to a server in the U.S. Google removed the extension from the Chrome Web Store, and Webpage Screenshot claimed that the information was only used for marketing and development purposes. Source: http://www.securityweek.com/google-chrome-extension-criticized-data-collection
29. April 8, Threatpost – (International) Two NTP key authentication vulnerabilities patched. Network Time Protocol (NTP) patched two vulnerabilities that allowed attackers to leverage symmetric key authentication flaws to bypass message authentication code (MAC) to send packets to clients. The second vulnerability utilized symmetric key authentication to create denial-of-service (DoS) conditions when peering hosts receive packets with mismatched timestamps. Source: https://threatpost.com/two-ntp-key-authentication-vulnerabilities-patched/112067
30. April 8, SCMagazine – (International) FCC fines AT&T $25M for call center breaches. AT&T agreed to pay $25 million in penalties April 8 as part of an agreement with the U.S. Federal Communications Commission to settle allegations that the company’s call centers in Columbia, the Philippines, and Mexico disclosed the names and full or partial Social Security numbers of 280,000 customers from 2013-2014. The personal information was used by call center workers to obtain codes that unlock handsets of AT&T phones that were shared with co-conspirators in a stolen cell phone-trafficking scheme. Source: http://www.scmagazine.com/att-fined-by-fcc-for-breaches-in-three-call-centers/article/408114/
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The Economist May 18, 1968
France's cultural revolution
The weather smiled on the victors. Monday night was mild and gay as students directed traffic in the reconquered Latin Quarter. The Sorbonne, whence the police had vanished, was open to all. Soon everybody was going to start talking about France's "cultural revolution," but for the moment the atmosphere was more one of Kermesse Héroique, with overtones of the early days of the Cuban revolution. In the courtyard of the Sorbonne a band was playing jazz. In the university's entrance hall, covered with posters, a notice proclaimed "Il est défendu d'interdire" (it is forbidden to forbid"). In the lecture rooms earnest young men, exhausted and exhilarated, debated until dawn about relations between students and workers, about the place of the university in society, about culture and capitalism.
How many had they been in the streets of Paris on that extraordinary day? They were a human sea which invaded the capital from the Gare de l'Est, where schoolboys, students and professors met at 1:30 p.m. Two hours later, at the Place de la République, this huge wave met another, led by the trade unions, and the combined procession marched through the heart of Paris, across the Seine, up the Boulevard St. Michel to the place Denfert-Rochereau, the meeting place of this revolutionary fortnight. Long after the first marchers reached their destination those at the tail of the procession had not yet started; they did not arrive until after 1 o'clock.
It was the biggest march Paris had seen since the war, the youngest, the most dynamic and, outwardly at least, the most revolutionary. Red flags were flying, clenched fists were held high, the Internationale was a recurring refrain. The fierce slogans were not aimed only at ministers; President de Gaulle himself was denounced as a murderer and called upon to resign. The politicians, men like M. Mitterrand, M. Mendès-France and M. Waldeck Rochet, were lost in the crowd. There were no police in sight. The difference of mood between the generations was most apparent towards the end of the march, when many students wanted to go on to the Elysée, while communists stewards used loudspeakers to tell the crowd to disperse.
How had the face of Paris been changed so suddenly? To understand that, one must go back to Friday, May 10th, and the storming of the barricades in the Latin Quarter. The thing really began that afternoon, when older schoolboys, wanting to express their solidarity with the students, gathered in the Place Denfert-Rochereau to listen to speakers who addressed them from the statue of the Lion of Belfort. In the evening it was the turn of the students and lecturers; at first they marched rather aimlessly, but from time to time their Japanese-inspired rushes added speed to the procession, and there were moments of tension when all side streets were blocked by helmeted policemen ready for the fray. The demonstrators shouted "CRS-SS" at the Compagnies Républicaines de Securité and greeted them with the nazi salute. But once again the student stewards showed that they had the situation under control; linking hands, they acted as barriers and prevented clashes.
When the demonstrators sought to cross the Seine, they found all the bridges blocked by strong police forces. The march was then channeled by way of the Boulevard St. Germain to the Boulevard St. Michel. The choice for the students at this stage was either to disperse or occupy and hold their own districts. Once they decided on the latter course in the face of the formidable array of police that had been brought against them, the building of barricades followed naturally. The barricades sprang up like mushrooms after rain, particularly in the area around the Luxemburg gardens and the Rue Gay-Lussac. Cars and all sorts of other materials were used.
Yet, as Friday night fell, the atmosphere, though tense, was not one of battle. People living in the area--and the Latin Quarter is not very leftish--were giving food to hungry students. (Later they also poured out water to disperse gas and opened their doors to give refuge to hunted students.) Nobody could really believe that the police, if they were going to charge, would first have allowed the barricades to be erected. There were also unfinished negotiations with the authorities. On two points raised by the demonstrators--the withdrawal of troops and the reopening of the Sorbonne--there was no real difficulty. But the third demand was for the release of those arrested in earlier demonstrations. "Libérez nos camarades" had become the marchers' particular cry, a cry to which the government was to yield--but not until 24 hours later. For the time being its answer was no. The ministers concerned were in uninterrupted conference. At 2 a.m. the decision was taken to storm the barricades.
A quarter of an hour later the attack began with the kind of softening-up process that suggested a real battlefield. Gas grenades were fired at the barricades. "De Gaulle assassin" yelled their defenders through the handkerchiefs protecting their faces. The air was so thick with gas that the police had to retreat when the wind changed direction (they suffered many casualties from burns or gas). But they went forward ruthlessly, taking one barricade after another. The Red Cross was not allowed to move in to evacuate the injured, despite a dramatic appeal by Professor Monod, the Nobel Prize winner. The official count of 367 hurt was certainly too low; many students preferred to lick their wounds quietly rather than invite police attention again. By five in the morning the main battle was over; but, amid the calcinated cars, the police were still pursuing individual leftists into courtyards or even into flats, and herding battered young men into black marias (466 were arrested).
By Saturday morning order had been restored in the Latin Quarter. But for the government it was defeat in victory so obviously that M. Pompidou had to concede to virtually all the students' demands that very evening. It was too late. The outburst of popular indignation paved the way for Monday's improvised general strike and mass demonstration. By the middle of this week the student movement had gathered extraordinary momentum. Not only the Sorbonne but most other faculties in Paris and the provinces were occupied by students, who were sitting together with their professors in groups discussing the future of the universities. Divergences have already appeared among them, between the less and the more politically minded, between reformers and revolutionaries, between those concerned more about jobs and those concerned more with the structure of society. What to do about examinations is the least divisive issue. These cleavages may grow. For the moment, however, they are united by a sense of victory and a mood of unprecedented elation.
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Home > Toxic Substances > Hazardous Substances > Industrial Chemicals
Industrial Chemical Toxicology
Each chemical has different toxicological properties and characteristics[a]
There are tens of thousands of different industrial chemicals manufactured, stored and transported throughout the U.S. and the rest of the world. Each substance has different toxicological properties and physical characteristics. Some industrial chemicals can pose significant health hazards (carcinogens, non-cancer causative agents, reproductive hazards, corrosives or agents that affect the lungs or blood, etc). Some pose no intrinsic health hazards but nonetheless pose physical hazards (flammable, combustible, explosive or reactive).
The time that such agents persist in the environment following release depends on many variables. These include the quantity released, the method of release and the state of the chemical (gaseous, liquid or solid), chemical stability and permeability, weather conditions (wind speed, rain, temperature), ability to persist in different mediums (air, soil, water) and other factors.1
All of these factors must be taken into account in an objective toxicological exposure assessment. Adverse health effects from toxic industrial chemicals vary widely. Some chemicals are highly toxic and may rapidly affect exposed individuals, whereas others may cause reproductive damage or induce carcinogenic reactions that may not appear for many years. Information related to how some chemicals affect humans and symptoms of exposure can sometimes be found in material safety data sheets (MSDS) or chemical information cards. OSHA (the U.S. Occupational Safety & Health Administration) provides specific guidelines for disclosures of adverse health effects with respect to exposures as well as "best practices" for treating exposure victims.2
Only an objective toxicological exposure assessment can accurately quantify potential health impacts with respect to industrial chemicals. The following partial list represents common industrial chemicals and contaminants with which TCAS has gained extensive experience over a period of more than 28 years. TCAS has regularly performed toxicological assessments, produced written reports and/or provided expert testimony with respect to exposure, adverse health effects and/or demonstrating or refuting causation subsequent to being retained by defendants, plaintiffs, prosecutors, state attorney generals, public defenders' offices and U.S. Attorneys' offices. Please contact our office for information concerning any industrial chemical not included herein.
Click on any substance to view the corresponding entry.
Corrosives
Trichloroethlyene
Click to view other types of hazardous substances.
Compounds & Metals
Dioxins
Hazardous Substances Index
Show all results for "Acids"
Acids[b]
Acids are perhaps the most common of all industrial chemicals and are also essential components for normal body functions in humans and animals. Acids can generally be grouped into two classes: "strong" and "weak." Due to the extraordinarily broad scope of acidic compounds, there are few general rules with respect to the impacts of ingesting, inhaling or coming into contact with acids. Whereas strong acids and some concentrated weak acids are corrosive, there are exceptions (such as carboranes and boric acid). Additionally, some substances containing acid have intrinsically hazardous properties that may be quite different than those of the acid component alone. For example, in a TCAS case study involving phosphoric acid, Dr. Sawyer demonstrated that the plaintiff's exposure to a cleaning product did not contribute to her injury and thus refuted causation in this particular matter. Thus, in any exposure scenario involving acids, each substance must be assessed according to its concentration, chemical form and specific properties.
NIOSH (the National Institute for Occupational Safety and Health) publishes detailed information on permissible exposure limits, chemical characteristics, physical properties and health hazards for acids.3 NIOSH also provides recommendations for medical surveillance, respiratory protection, personal protection and sanitation practices for specific acids governed by Federal occupational safety and health regulations. Additionally, the MSDS (Material Safety Data Sheet) published by manufacturers provides information regarding acute and chronic health effects, including hazard identification, methods for treating exposure, physical and chemical properties, stability, reactivity and toxicological data (if available). TCAS has performed toxicological assessments in cases involving acids in both individual and industrial matters. Please contact our office for additional information.
Show all results for "Corrosives"
Symbol for corrosives[c]
Corrosives attack and chemically damage exposed body tissues. Although many corrosive substances are acidic (see "Acids" above), some corrosives are classified as bases or caustic alkalis. These include such substances as ammonium hydroxide, potassium hydroxide (caustic potash), sodium hydroxide (caustic soda) and others. Many common non-acidic cleaning products have corrosive properties and a wide range of substances in common use exhibit corrosive characteristics. For example, glutaraldehyde (used as a disinfectant and sterilizing agent in medical and dental settings) is harmful if inhaled or swallowed, can be irritating to the respiratory tract, eyes and skin, may cause permanent eye injury and can cause severe allergic skin reactions.4 Similarly, lye (sodium hydroxide, also known as caustic soda) is an inorganic, highly caustic metallic base and alkali salt of sodium. It can cause severe burns in all tissues that come in contact with it. Low-level inhalation as dusts, mists or aerosols can cause irritation of the nose, throat, and respiratory system. Higher levels may cause permanent damage.
Corrosives can be toxic by all routes of exposure (dermal, inhalation and ingestion). Tissue damage may occur rapidly or very slowly depending on concentration and chemistry. Depending on the precise chemistry and concentration, acute symptoms can range from mild irritation to immediate destruction of body tissues. Chronic exposure to corrosive substances can cause a wide range of adverse health effects, including scarring, respiratory ulceration and nervous system damage. In some cases corrosives (such as sodium hydroxide) have been reported to be indirect causative agents of more serious diseases (such as cancer) resulting from tissue destruction and scar formation.5 TCAS has in-depth experience in interpreting laboratory test results and assessing toxicological issues for a wide range of corrosives. Please contact our office for additional information.
Show all results for "Solvents"
Solvents[d]
Organic and chemical solvents are primarily used as cleaning agents but have many other uses as well. Common solvents include tetrachloroethylene in dry cleaning, toluene and turpentine in paint thinners, acetone, methyl acetate and ethyl acetate in nail polish removers, hexane and petrol ether as cleaning agents, citrus terpenes in detergents, ethanol in perfumes, etc. These are just a few of the thousands of different types of solvents used in both industrial applications and consumer products.
Health hazards associated with solvent exposure include cancer, nervous system toxicity, reproductive damage, liver and kidney damage, respiratory impairment and dermatitis.6 Organic solvents can be especially problematic as many have been classified as carcinogens and/or causative factors in non-cancer health effects. Organic solvents recognized as carcinogens include benzene, carbon tetrachloride and trichloroethylene (TCE). Toluene, tetrachloroethylene, and n-hexane are classified as neurotoxins; 2-ethoxyethanol, 2-methoxyethanol and methyl chloride are associated with reproductive disorders. Additionally, different classes of chemicals can be used as organic solvents, including aliphatic hydrocarbons, aromatic hydrocarbons, amines, esters, ethers, ketones, and nitrated or chlorinated hydrocarbons.7 All of these solvents have specific toxicological impacts and their documented adverse health effects must be precisely quantified when conducting a toxicological exposure assessment based on dose, exposure intervals, routes of exposure and other investigative factors.
Solvents are not merely hazardous as toxic agents in isolated exposure cases. Persistent groundwater contamination from solvents is a significant problem in the U.S. and a number of Superfund sites continue to be engaged in long-term remediation efforts. For example, the Lockwood groundwater plume in Billings, Montana has been a significant source of toxic contamination for many decades (it was not until 1986 that municipal personnel discovered benzene and chlorinated solvents in their water supply). The primary source of contamination was from a company that used industrial solvents and steam to clean tanker truck trailers, discharging wastewater to a septic system and drain field. This wastewater eventually collected into a plume of contamination in the groundwater.8
Producing an objective toxicological assessment of widespread solvent contamination can involve assessing health risks to an entire community. In the case of groundwater contamination, hydrological data may be required to accurately assess the behavior, migration, transport and fate of underground contamination. By collecting the necessary laboratory data, compiling the available human studies, performing the required dose calculations and strictly applying the prevailing peer-reviewed and regulatory assessment methodologies, the expert toxicologist can provide scientifically-credible opinions with respect to adverse health risks, site remediation, the potential need for medical monitoring and other pertinent toxicological issues. Please contact our office for additional information.
Trichloroethlyene (TCE)
Show all results for "Trichloroethlyene"
Chemical structure of Trichloroethlyene[e]
TCE (1,1,2-trichloroethylene) is a colorless, transparent liquid used as a degreaser, paint stripper, adhesive solvent and additive in paints and varnishes as well as in the manufacture of other chemicals. TCE has been a long-standing historical contaminant of groundwater in many residential areas. Following U.S. EPA (2005b) "Guidelines for Carcinogen Risk Assessment," TCE is characterized as "carcinogenic to humans" by all routes of exposure. This conclusion is based on convincing evidence of a causal association between TCE exposure in humans and kidney cancer.9 TCE exposure can also augment the toxicity of other chemicals through exposure to some of TCE's metabolites. This means that the expert toxicologist must also consider the cumulative effects of TCE along with other environmental contaminants.10
Our Toxic Exposures page illustrates the various pathways used to calculate cumulative TCE dosage in a toxicological exposure assessment. Additionally, TCAS was recently retained to conduct a formal toxicological analysis in a well-publicized case involving a lawsuit filed against a manufacturing company for allegedly contaminating the local water supply with TCE. This trichloroethylene case study illustrates how exposure evidence, historical factors, a well-constructed residential questionnaire and a toxicological risk assessment can significantly impact an outcome in toxic tort litigation. Please contact our office for additional information.
Show all results for "Vinyl Chloride"
Chemical structure of vinyl chloride[f]
Vinyl chloride (also known as chloroethene, chloroethylene, ethylene monochloride or monochloroethylene) is a colorless gas with a mild, sweet odor. It can exist in liquid form under high pressure or at low temperatures. The majority of vinyl chloride produced in the U.S. is used to make PVC (polyvinyl chloride), from which many different plastic and vinyl products are made including pipes, wire, packaging materials, etc. Some vinyl chloride is used in furniture and automobile upholstery, wall coverings, housewares and automotive parts. In the past vinyl chloride was used as a refrigerant.11
Vinyl chloride is carcinogenic and U.S. EPA has classified vinyl chloride as a "Group 1 Known Human Carcinogen." Acute (short-term) exposure symptoms include dizziness, drowsiness, and headaches. Chronic (long-term) exposure through inhalation and oral exposure can result in liver damage. Cancer is a major concern from exposure via inhalation, as vinyl chloride exposure has been shown to increase the risk of hepatic anglosarcoma, a rare form of liver cancer in humans.12
Although the majority of vinyl chloride exposures tend to be occupational in nature, there have been numerous cases of vinyl chloride contamination in groundwater. TCAS recently conducted a health risk assessment of a plume of groundwater contaminated with vinyl chloride and TCE. Other cases of vinyl chloride contamination continue to be uncovered in the U.S., such as the 2015 Marion County vinyl chloride groundwater plume in Indianapolis, Indiana.13 Such contamination can impact large numbers of residents who depend on groundwater as their primary drinking water source. TCAS has been retained in numerous cases involving vinyl chloride contamination including large-scale releases from chemical facilities, refineries and other sources. Please contact our office for additional information.
U.S. Occupational Safety & Health Administration, "Toxic Industrial Chemicals (TICs) Guide," September, 2014.
U.S. Occupational Safety & Health Administration, "Best Practices for Hospital-Based First Receivers of Victims," January, 2005.
National Institute for Occupational Safety and Health, Occupational Health Guidelines for Chemical Hazards," Publication Number 81-123, June, 2014.
National Institute for Occupational Safety and Health, Glutaraldehyde - Occupational Hazards in Hospitals," Publication Number 2001-115, June, 2014.
ATSDR, Division of Toxicology and Environmental Medicine, ToxFAQs for Sodium Hydroxide (NaOH)," April, 2002
U.S. Occupational Safety & Health Administration, "Solvents," 2016.
Centers for Disease Control and Prevention, "Organic Solvents," December, 2013.
U.S. Environmental Protection Agency, "Lockwood Solvent Ground Water Plume," April, 2016.
U.S. Environmental Protection Agency, "Trichloroethylene (CASRN 79-01-6), Evidence for Human Carcinogenicity," IRIS, September, 2007.
U.S. Environmental Protection Agency, "Health Assessment Document for Trichloroethylene Synthesis and Characterization," August, 2010.
ATSDR, Division of Toxicology and Environmental Medicine, "Toxicological Profile for Vinyl Chloride," July, 2006.
U.S. Environmental Protection Agency, "Vinyl Chloride," February, 2016.
U.S. Environmental Protection Agency, "West Vermont Drinking Water Contamination, Indianapolis, IN," April, 2016.
Montage of public domain thumbnail images: USGS, USDA Hazardous Waste Operations, U.S. Department of Veterans Affairs, Keith Beard, Pawel Jagielski, Nino Satria
Acids, USGS, Geochemical Sediment Analysis Procedures
Corrosives, USDA, Hazardous Waste Operations and Emergency Response
Solvents, U.S. Department of Veterans Affairs, "Industrial Solvents
National Institute of Environmental Health Sciences, "Trichloroethlyene"
Toxnet, "Vinyl Chloride"
"Toxicological findings involving industrial chemicals must be based on compelling weight-of-evidence. Careful application of generally-accepted methods and multiple peer-reviewed studies are both essential to demonstrate or refute causation."
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