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Entries in commander (4)
Commander of US Army Forces in Japan Suspended
http://www.usarj.army.mil/cmdstaffs/CG2.jpg(WASHINGTON) -- The U.S. Army suspended Maj. Gen. Michael Harrison, commander of the U.S. Army Forces in Japan from his duties for alleged failure to report or investigate at least one allegation of sexual assault.
The sexual abuse case in question took place within the last 12 months, says USA Today. While Maj. Gen. Harrison was relieved of his duties by Gen. Raymond Odierno, the Army chief of staff, he is not himself accused of any form of sexual misconduct.
The U.S. Department of Defense announced in a press release that Maj. Gen. James C. Boozer, formerly the deputy commanding general of the United States Army in Europe, will serve as the interim commander in Japan until the Army's investigation is complete.
Copyright 2013 ABC News Radio
Saturday, June 8, 2013 at 11:05AM by Louis Milman Permalink
tagged Japan, Maj. Gen. Michael Harrison, Suspended, U.S. Army, commander in National News General
Obama Welcomes Home US Commander in Iraq
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PAUL J. RICHARDS/AFP/Getty Images(WASHINGTON) -- Marking the end of the nearly nine-year war, President Obama Tuesday welcomed home the top commander of U.S. forces in Iraq, Gen. Lloyd Austin, and witnessed the return of the command flag that flew over Baghdad.
“It is great to be back in the United States of America,” Austin said in an understated ceremony at Joint Base Andrews. “We have honored our commitment and our military-led mission has come to a successful conclusion, and today I am proud to safely return our colors to their rightful place, the United States of America.”
While the president did not deliver formal remarks, both Obama and Vice President Joe Biden greeted Austin and his top command staff on the tarmac.
With his commander-in-chief sitting close by, Austin praised the troops who served in Iraq and highlighted their successes. “I could not be more proud of our men and women in uniform who are unquestionably the pre-eminent military force in the world,” he said. “What our troops achieved in Iraq over the course of nearly nine years is truly remarkable. Together with our coalition partners and core of dedicated civilians, they removed a brutal dictator and gave the Iraqi people their freedom.”
Tuesday’s event came only two days after the last U.S. troops withdrew from Iraq. “Today, we bring home the colors to United States soil, at the same time we embrace many of our own back into the fold just in time for the holidays,” chairman of the Joint Chiefs of Staff Gen. Martin Dempsey said. “Welcome home.”
Tuesday, December 20, 2011 at 11:27PM by Carmen Cox Permalink
tagged Iraq, Lloyd Austin, President Obama, commander in Homeland Security, National News General, Politics
Naval Commander Convicted of 9/11 Fraud
Photos.com/Thinkstock(WASHINGTON) -- A decorated retired naval officer who was honored for his heroic actions during the Sept. 11, 2001 terrorist attack on the Pentagon was found guilty Monday of defrauding a 9/11 victims’ compensation fund.
Cmdr. Charles Coughlin of Severna Park, Maryland was found guilty of making a false claim in order to collect more than $300,000 from the fund. Coughlin claimed he was injured by falling debris when he raced back into the Pentagon to help others. He was awarded the Purple Heart and the Meritorious Service Medal for his actions and the injuries he suffered that day.
Soon after, the 52-year-old Coughlin claimed he suffered constant pain in his neck, along with headaches, weakness and numbness in his left hand. He also claimed he could no longer play basketball, work on homeowner projects or run long distance races.
Prosecutors say Coughlin ran in the New York City Marathon two months after the terrorist attack. They also presented photographs of Coughlin playing lacrosse.
The verdict carries a maximum sentence of up to 15 years in prison, but prosecutors are expected to seek a sentence of three to four years when Coughlin is sentenced on Nov. 21.
Tuesday, August 30, 2011 at 4:19AM by Jeanette Torres Permalink
tagged 9/11, Fraud, Pentagon, Sept. 11, Terrorist Attack, U.S. Navy, commander in National News General
Blue Angels Commander Steps Down After Leading Risky Maneuver
Raymond Boyd/Michael Ochs Archives/Getty Images(SAN DIEGO) -- The leader of the Navy's celebrated Blue Angels flight team is stepping down after admitting to leading jets in an "unacceptably" low-altitude stunt.
Navy Cmdr. Dave Koss volunteered to be relieved of his duties after admitting days following a performance at Lynchburg Regional Air Show on May 22, that the movement he carried out "had an unacceptably low minimum altitude" and was not in accordance with airborne standards, according to a statement from the Naval Air Forces.
"This maneuver, combined with other instances of not meeting the airborne standard that makes the Blue Angels the exceptional organization that it is, led to my decision to step down," Koss said in the statement.
Even though the maneuver went off without injuries and all members of the Blue Angels Team landed safely, after a safety review several of the team's shows were cancelled, including a midweek show at the U.S. Naval Academy and performances scheduled over the Memorial Day Weekend.
This Blue Angels also canceled scheduled performances at the Rockford Airfest June 4 and 5, and at the Evansville Freedom Festival Air Show June 11 and 12.
In the meantime, according to the statement, the Blue Angels were to stay in Pensacola, Fla., for more training and air show demonstration practice.
Safety issues are not new for the esteemed flying team. Thousands watched on April 2007 when a Blue Angels' jet crashed during a South Carolina performance. The Beaufort, S.C., crash killed one pilot and injured other members of the team.
In 2004, Lt. Ted Steelman suffered minor injuries after being ejected when his aircraft struck water one mile off Perdido Key in Florida. The accident was the result of engine and structural damage.
Koss will be replaced by Capt. Greg McWherter, who was the previous Blue Angels' commanding officer, for the duration of the season.
Sunday, May 29, 2011 at 8:00AM by Anselm Gibbs Permalink
tagged Navy, blue angels, commander, resigns in National News General
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PBS Names Dana Golub Vice President, Programs Management, Technology and Operations
Dana Golub, PBS
Arlington, VA; September 18, 2017 – PBS today announced that Dana Golub has been promoted to the newly created role of Vice President, Programs Management. Golub will continue to serve on PBS’ Technology and Operations team, reporting to PBS Chief Technology Officer Mario Vecchi.
Since 2010, Golub has served as the Executive Director of PBS WARN, an innovative program that leverages the television broadcast environment and PBS’s national footprint to enhance the reliability of the national Wireless Emergency Alert (WEA) system. In this capacity, she administered a $55-million grant, which included $28 million in sub-grants to provide power back-up equipment to public television stations.
In her new role, Golub will continue to oversee PBS WARN while also managing a new program, announced in July, that will protect access to PBS for an estimated 38 million Americans in remote and underserved communities. The program stems from a commitment that Golub helped to secure from T-Mobile to cover the costs for the relocation of translators, small broadcasting facilities needed to extend the reach of TV broadcast signals to rural and remote areas, following the FCC’s recent spectrum incentive auction.
“Dana is not only a very skillful program manager and team leader, but she is also always looking for innovative ways to serve stations and deepen public media’s impact in local communities,” Vecchi said. “In particular, she has been at the forefront of advancing the role that PBS and stations play in ensuring public safety through lifesaving emergency communications.”
“From helping to facilitate secure communications among local first responders to serving as impromptu phone banks in times of crisis, local stations’ commitment to keeping their communities safe never ceases to amaze me,” said Golub. “I am excited to explore ways we can support and strengthen this vital function through even greater collaboration, exchange of best practices and innovative approaches.”
In April, Golub was named as one of four finalists for the Digital Entertainment Group’s “Hedy Lamarr Award for Innovation in Entertainment Technology.” She was also appointed this summer to FEMA’s National Advisory Council IPAWS Subcommittee, a body focused on promoting best practices in emergency alerting.
Golub joined PBS in 2002, first serving in Digital Strategic Services, eventually managing more than 360 grants that distributed $119 million to PTV stations in support of digital television broadcast equipment. Before PBS, she held marketing and product management roles at Time Life Music in Alexandria, Virginia.
Golub is a cum laude graduate of Georgetown University, where she earned a bachelor’s degree in English.
Aparna Kumar, PBS, 703-739-5028, ahkumar@pbs.org
PBS Takes Friday Nights to a New Level With Broadcast ...
PBS Names Jennifer Rankin Byrne Vice President, Corporate Communications
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Wallen, Robert Elias (1831–1893)
by A. R. Hall
Robert Elias Wallen (1831-1893), stockbroker and journalist, was born on 5 June 1831 at Port of Spain, Trinidad, West Indies, son of Francis Robertson Wallen, of Donegal, Ireland, and his wife Catherine, née Hobson. He was educated at Foyle College, Londonderry, Ireland, and in 1848 joined a firm of American merchants in Liverpool, England.
On news of gold discoveries in Victoria, the Wallen family decided to migrate. Robert arrived in Melbourne in 1852 in the Rip Van Winkle, the cargo of which was consigned to him, while the rest of the family came in the Great Britain. He set up in business for a few years with his father and brother, trading as F. R. Wallen and Sons, merchants, but by 1860 he had joined William Clarke and Sons, gold-dealers and brokers. In 1860-61 he edited a stock and share journal, which was published by major stockbroking firms in Melbourne to give a record of share prices and to provide informed comment for investors. In 1861 he was secretary and member of the short-lived Stock Exchange. William Clarke and Sons was dissolved in May 1867 and Wallen became a partner with Alfred, one of the sons, in the firm of Clarke & Co. (which still survives). Wallen was the first secretary and later several times chairman of the Melbourne Stock Exchange set up in 1865. On the formation of the new Stock Exchange in 1884 he became its first chairman for two years; later a committee-man, he was a member of a subcommittee in 1889 which initiated the first major redrafting of the rules. Over thirty years he thus played a leading part in stock exchange affairs.
For many years Wallen was also a part-time journalist. Working from 7 or 8 p.m. to 2 a.m. most evenings, he contributed to the Age, the Leader and the Argus; and in 1870-87 as 'Aegles' wrote the shrewd and genial column 'Talk on Change' for the Australasian. He later claimed that his writing had earned him some 12,000 guineas. As well, he edited the Australasian Insurance and Banking Record from its first issue in 1877 until its one-hundredth in mid-1885 when he resigned because of expanding business. His wide financial knowledge and experience, his undoubted journalistic ability and his careful handling of statistics established the Record as a financial journal of the highest quality. In recognition of his standing among professional statisticians and bankers, he was elected a fellow of the Institute of Bankers, London, and of the (Royal) Statistical Society of London.
Wallen was active in civic affairs and in 1877-83 was a member of the Hawthorn Borough (later Municipal) Council and mayor in 1878 and 1879. Keenly interested in art, he was president in 1882 of the Art Union of Victoria and for some ten years thereafter held the posts of president or vice-president. In 1889-93 he was a trustee of the National Gallery, Museums, and Public Library of Victoria. Described as 'Full of tact, considerate in his views, urbane in his manner', Wallen was an active layman of St Columb's Church of England, Hawthorn.
On 21 May 1863 Wallen had married Marian May Pitman (d.1887), the 17-year-old daughter of a solicitor; they had eight daughters and three sons. From about 1892 his health was impaired by his anxiety over the prevailing financial crisis. He embarked on a long sea voyage in 1893, but on 1 October, just out of Auckland, New Zealand, he died of a paralytic seizure. His body was brought back for burial in the Boroondara cemetery. He was survived by seven daughters and three sons of whom Frank (b.1870) joined Clarke & Co. in 1890, purchased his father's seat on the Stock Exchange of Melbourne in 1895 and was a member until 1929.
James Smith (ed), Cyclopedia of Victoria, vol 1 (Melb, 1903)
A. R. Hall, The Stock Exchange of Melbourne and the Victorian Economy 1852-1900 (Canb, 1968)
Australasian Insurance and Banking Record, 14 July 1885, 19 Oct 1893
Australasian, 19 Feb 1887
Argus (Melbourne), 4 Oct 1893
records (Stock Exchange of Melbourne).
A. R. Hall, 'Wallen, Robert Elias (1831–1893)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/wallen-robert-elias-4793/text7983, published first in hardcopy 1976, accessed online 18 July 2019.
Aegles
Port of Spain, Trinidad and Tobago
financial writer
general merchant
local government head
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Economics, Sexuality, and Male Sex Work
Author: Trevon D. Logan, Ohio State University
Male sex work generates sales in excess of one billion dollars annually in the United States. Recent sex scandals involving prominent leaders and government shutdowns of escort websites have focused attention on this business, but despite the attention that comes when these scandals break, we know very little about how the market works. Economics, Sexuality, and Male Sex Work is the first economic analysis of male sex work. Competition, the role of information, pricing strategies and other economic features of male sex work are analyzed using the most comprehensive data available. Sex work is also social behavior, however, and this book shows how the social aspects of gay sexuality influence the economic properties of the market. Concepts like desire, masculinity and sexual stereotypes affect how sex workers compete for clients, who practices safer sex, and how sex workers present themselves to clients to differentiate them from the competition.
No other book analyzes male sex work as an economic market
Takes insights from sociological theory and applies them to markets, allowing readers to understand the economic importance of social theory to economics
By taking an economic approach to sexuality, gender and masculinity, this book brings readers who are intimidated by gender studies into the fold, showing them the importance of the field for human behavior
'Firmly grounded in economic theory and modern empirical techniques yet broadly accessible, Logan offers a groundbreaking and comprehensive analysis of this poorly understood market. This book should be required reading for a broad class of social scientists at the intersection of race, class, gender, and sexuality.' Christopher Carpenter, Vanderbilt University, Tennessee
'Using an innovative combination of economic and sociological approaches, Trevon D. Logan takes the reader on a fascinating deep dive into the American market for male sex workers. Through a series of careful analyses, he reveals that the inner workings of this understudied market are profoundly shaped by the intersecting social dynamics of masculinity, sexuality, and race.' Rene Almeling, Yale University and author of Sex Cells: The Medical Market for Eggs and Sperm
'We have long needed someone to apply the lens of economics to the market for male sex work. Through these optics, Trevon D. Logan provides some of the first comprehensive empirical analysis of male sex work in the United States. This book advances our collective understanding of this utterly fascinating market.' Manisha Shah, University of California, Los Angeles
'Economics, Sexuality, and Male Sex Work is a beautiful piece of economic sociology accessible to scholars and students across sociology, anthropology, and economics. Logan manages to break new ground in economic sociology and is clearly having fun while doing so. The intellectual curiosity he brings to this book is infectious, and readers will be rewarded for every moment they spend in his company.' Gregory Mitchell, Contemporary Sociology
'Trevon Logan's book is a sophisticated analysis of male sex work based on a blend of economic and sociological analysis of this market. Each chapter begins with a lengthy discussion of a research question, followed by a statistical analysis of Logan's data sources. While a few other scholars have examined sex markets in a limited fashion, Logan's work stands alone in digging deep into this marketplace.' American Journal of Sociology
Introduction: economics, sexuality, and male sex work
Part I. The History and Economics of Male Sex Work:
1. Male sex work: antiquity to online
2. Face value: how male sex workers overcome the problem of asymmetric information
3. Market movers: travel, cities, and the network of male sex work
Part II. Male Sex Work and Sexuality:
4. Illicit intersections: the value of sex work services
5. Show, tell, and sell: self-presentation in male sex work
6. Service fees: masculinity, safer sex, and male sex work
Conclusion: every man a sex worker: commercial and non-commercial gay sexuality.
Trevon D. Logan, Ohio State University
Trevon D. Logan is Hazel C. Youngberg Distinguished Professor of Economics at Ohio State University and Research Associate at the National Bureau of Economic Research. He has won the American Sociological Association's Section on Sociology of Sexuality's Best Article Award. He is a member of the Committee on the Status of Minority Groups in the Economics Profession at the American Economic Association and member of the Executive Board of the North American Association of Sports Economists. He is a former president of the National Economic Association, was a Robert Wood Johnson Foundation Scholar in Health Policy Research at the University of Michigan, and former chair of the Economic History Association Committee on Data and Archives.
Marriage and the Economy
Theory and Evidence from Advanced Industrial Societies
The Economic Organization of the Household
Motivation and the Economics of Information
Economics of Agglomeration
Cities, Industrial Location, and Globalization
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Disenfranchising Democracy
Constructing the Electorate in the United States, the United Kingdom, and France
Author: David A. Bateman, Cornell University, New York
The first wave of democratization in the United States - the removal of property and taxpaying qualifications for the right to vote - was accompanied by the disenfranchisement of African American men, with the political actors most supportive of the former also the most insistent upon the latter. The United States is not unique in this respect: other canonical cases of democratization also saw simultaneous expansions and restrictions of political rights, yet this pattern has never been fully detailed or explained. Through case studies of the USA, the UK, and France, Disenfranchising Democracy offers the first cross-national account of the relationship between democratization and disenfranchisement. It develops a political institutional perspective to explain their co-occurrence, focusing on the politics of coalition-building and the visions of political community coalitions advance in support of their goals. Bateman sheds new light on democratization, connecting it to the construction of citizenship and cultural identities.
Examines democratization through the lens of disenfranchisement, developing a new theory that connects the two processes
Places American democratization in comparative perspective and sheds new light on democratization in France and the UK
Connects the study of democratization to the study of citizenship, nationalism, and social and cultural identities
‘This exceptionally smart, thoughtful, theoretically and empirically rigorous book breaks new ground on the politics of voting rights and disenfranchisement. Disenfranchising Democracy is critically important to understanding the politics of voting rights and civil rights, both historically and for today.' Paul Frymer, Princeton University, New Jersey
‘This is an important study, theoretically innovative and empirically rigorous. Through careful attention to the history of disenfranchisement, Bateman helps us to conceptualize democracy not simply as a set of neutral mechanisms for selecting leadership, but as a deeply political process of ‘people-making'. Disenfranchising Democracy helps us to understand, in precise and nuanced ways, the role of exclusions in building democratic consensus and demonstrates that the prevalent tendency to view such events as ‘setbacks' obscures critical dynamics in the process of democratization itself.' Amel Ahmed, University of Massachusetts, Amherst
‘Like the best work in American political development, Bateman finds a wellspring of insight into contemporary American politics buried in our past. Writing at time when voting rights are under siege, he reminds us that the electorate has been politically constructed all along, that the pattern of expansion has not been linear, and that democracy is always vulnerable to fears of diversity and its implications for some imagined community.' Stephen Skowronek, Yale University, Connecticut
‘Deeply researched and beautifully written, this landmark work of scholarship presents an extremely original account of the mass franchise during the nineteenth century. For scholars of American politics, a special bonus is the demonstration that black suffrage mattered far more in antebellum party dynamics than we have previously known.' Rick Valelly, Swarthmore College, Pennsylvania
‘This is a rich and important book. Bateman explains complex moments of simultaneous enrichments and disenfranchisements, placing the US in a broader nineteenth century, comparative perspective. The book makes many contributions and unearths a treasure trove of political claims-making by a variety of actors - American, British, and French.' Robert Mickey, University of Michigan
contains: 16 b/w illus. 5 tables
1. The puzzle of democratic disenfranchisement
Part I. The United States:
2. Revolutionary democracy
3. The 'monstrous spectacle' of Jeffersonian democracy
4 The white man's republic
Part II. The United Kingdom and France:
5. The fall of the Protestant constitution
6. The republic through the side door
David A. Bateman, Cornell University, New York
David A. Bateman is Assistant Professor of Government at Cornell University, New York. He is co-author of Southern Nation: Congress and White Supremacy after Reconstruction (forthcoming).
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A Concise History of France
Part of Cambridge Concise Histories
Author: Roger Price, University of Wales, Aberystwyth
This is the most up-to-date and comprehensive study of French history available ranging from the early middle ages to the present. Amongst its central themes are the relationships between state and society, the impact of war, competition for power, and the ways in which power has been used. Whilst taking full account of major figures such as Philip Augustus, Henri IV, Louis XIV, Napoleon and de Gaulle, it sets their activities within the broader context of changing economic and social structures and beliefs, and offers rich insights into the lives of ordinary men and women. This third edition has been substantially revised and includes a new chapter on contemporary France - a society and political system in crisis as a result of globalisation, rising unemployment, a failing educational system, growing social and racial tensions, corruption, the rise of the extreme right, and a widespread loss of confidence in political leaders.
Provides an accessible study of a key nation, designed for use by the student or traveller
Covers main themes and personalities from throughout French history, with the aid of numerous illustrations and figures
The third edition has been updated and the final chapter and its illustrations revised to reflect contemporary developments in France
Review of previous edition: '… coherent and eminently readable. It is a major - indeed unique - achievement.' The Times Higher Education Supplement
Review of previous edition: '… a remarkably succinct story.' John Wright, BBC
Edition: 3rd Edition
Part I. Medieval and Early Modern France:
1. Population and resources in pre-industrial France
2. Society and politics in medieval France
3. Society and politics in early modern France
Part II. The Dual Revolution: Modern and Contemporary France:
4. Revolution and empire
5. The nineteenth century: continuity and change
6. A time of crisis, 1914–45
7. Reconstruction and renewal: the Trente Glorieuses
8. A society under stress
A short guide to further reading
Roger Price, University of Wales, Aberystwyth
Roger Price is Emeritus Professor of History at the University of Wales, Aberystwyth. He has written extensively on French history. His latest publications include The French Second Empire: An Anatomy of Political Power (2001) and People and Politics in France, 1848–1870 (2004).
European Review
The European Review is a unique interdisciplinary international journal covering a wide range of subjects. It has…
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The Mathematical Principles of Natural Philosophy
An Annotated Translation of the Principia
c.$299.00 (R)
Real Author: Isaac Newton
Editor and Translator: C. R. Leedham-Green, Queen Mary University of London
Publication planned for: February 2020
availability: Not yet published - available from February 2020
c.$ 299.00 (R)
Pre-order Add to wishlist
This title is not currently available for examination. However, if you are interested in the title for your course we can consider offering an examination copy. To register your interest please contact collegesales@cambridge.org providing details of the course you are teaching.
Newton's Principia is perhaps the second most famous work of mathematics, after Euclid's Elements. Originally published in 1687, it gave the first systematic account of the fundamental concepts of dynamics, as well as three beautiful derivations of Newton's law of gravitation from Kepler's laws of planetary motion. As a book of great insight and ingenuity, it has raised our understanding of the power of mathematics more than any other work. This heavily annotated translation of the third and final edition (1726) of the Principia will enable any reader with a good understanding of elementary mathematics to easily grasp the meaning of the text, either from the translation itself or from the notes, and to appreciate some of its significance. All forward references are given to illuminate the structure and unity of the whole, and to clarify the parts. The mathematical prerequisites for understanding Newton's arguments are given in a brief appendix.
A translation of Newton's Principia, designed to be more readable than earlier translations which follow the Latin text verbally
Copious notes discuss the meaning, context, and significance of the text, and explore its ambiguities
The first translation into English that is based on an attempt to understand Newton's arguments
The Axioms, or the Laws of Motion
Book One. On the Motion of Bodies: Section 1. On the theory of limits
Section 2. On the calculation of centripetal forces
Section 3. On the motion of particles in eccentric conic sections
Section 4. On the calculation of elliptical, parabolic, and hyperbolic orbits with a given focus
Section 5. On the calculation of orbits when neither focus is given
Section 6. On the calculation of motion in given orbits
Section 7. On the ascent and descent of particles in a straight line
Section 8. On the calculation of the orbits in which particles revolve under any centripetal forces
Section 9. On the motion of particles in moving orbits, and the motion of the apsides
Section 10. On the motion of particles on given surfaces, and the swinging motion of a string pendulum
Section 11. On the motion of particles attracting each other by centripetal forces
Section 12. On the attractive forces of spherical bodies
Section 13. On the attractive forces of non-spherical bodies
Section 14. On the motion of particles attracted by centripetal forces towards the various parts of arbitrarily large bodies
Book Two. On the Motion of Bodies: Section 1. On the motion of particles moving against a resistance that is proportional to the speed
Section 2. On the motion of particles moving against a resistance that is proportional to the square of the speed
Section. 3. On the motion of bodies to which the resistance consists of one part that is proportional to the speed, and another part that is proportional to the square of the speed
Section. 4. On the revolving motion of bodies in resisting media
Section 5. On the density and compression of fluids, and on hydrostatics
Section 6. On the motion and resistance of string pendulums
Section 7. On the motion of fluids and the resistance of projectiles
Section 8. On motion propagated through fluids
Section 9. On the circular motion of fluids
Book Three. On Celestial Mechanics: The rules of Scientific Argument
On the motion of the nodes of the moon
Glossary of Latin terms
Editor and Translator
C. R. Leedham-Green, Queen Mary University of London
C. R. Leedham-Green is an Emeritus Professor of Pure Mathematics at Queen Mary, University of London. He is an algebraist, working mainly in group theory, and most of his publications concern p-groups, pro-p-groups, and computation in matrix groups defined over finite fields. He is a joint author, together with Susan McKay, of The Structure of Groups of Prime Power Order (2002).
Alfred Tarski
Life and Logic
An Edition with Notes and Commentary
The Astronomer as Natural Philosopher
Mathematical Constants
Mathematical Constants II
The G. H. Hardy Reader
Creative Mathematics
A Gateway to Research
The British Journal for the History of Science
This leading international journal publishes scholarly papers and review articles on all aspects of the history of…
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Michael Eavis >
China Issues Warning to Glastonbury Festival over Dalai Lama
By Michael West in Movies / TV / Theatre on 26 June 2015
Follow Michael Eavis
Michael Eavis Glastonbury Festival
The Dalai Lama will appear in the Green Fields on Sunday.
China has issued a warning to the Glastonbury Festival organisers over their booking of the Dalai Lama. The Tibetan spiritual leader is to give a talk at this weekend's festival to promote a message of "compassion, non-violence and the oneness of humanity."
Dalai Lama's booking at the Glastonbury Festival has caused a stir in China
However, officials in China have warned that the Eavises' booking is tantamount to offering the Dalai Lama a platform to "engage in anti-China splittist activities," Reuters reports. The leader is not scheduled to meet with officials in Britain, though China nevertheless is concerned that he may be intent on promoting his wish for an autonomous Tibet in the UK.
More: Kanye West announced as headliner for Glastonbury 2015
Organiser Emily Eavis said she is "honoured" to welcome the head monk of Tibetan Buddhism, though China's Foreign Ministry spokesman Lu Kang said the country is firmly against the "international scuttling about of the 14th Dalai Lama to serve his political aims."
"China resolutely opposes any country, organisation, body or individual giving any kind of platform to the 14th Dalai Lama to engage in anti-China splittist activities," he said at his daily news briefing.
The Dalai Lama fled India in 1959 after fearing for his life in the wake of an uprising against Chinese rule in Tibet. Protestors at Glastonbury are expected to demonstrate against his alleged religious persecution and human rights abuses.
This isn't the first time that the UK has been in hot water on the Dalai Lama's travels. In 2012, Prime Minister David Cameron was forced to delay a trip to China after Beijing became angered over his meeting with the monk.
More: Petition launched to stop Kanye West's Glastonbury headline performance
Michael Eavis opens Glastonbury-on-Sea pier
Glastonbury Festival 2019 will see new 'micro venue' to Silver Hayes area
Michael Eavis hints Paul McCartney could headline Glastonbury 2020
Michael Eavis: It's a great idea for Culture Club to do Glasto legends slot
Glastonbury to change name in 2019
Glastonbury Festival to move from Worthy Farm in 2019
No Longleat move for Glastonbury
First 2017 Glastonbury Tickets Sell Out In 23 Minutes
Is Glastonbury Moving Away From Worthy Farm For 2018?
Michael Eavis Apologises After Glastonbury Sewage Pollutes River
Glastonbury Boss Skipped Kanye West's Set
Michael Eavis wishes Frank Sinatra and Elvis had played Glastonbury
Glastonbury Organiser Plotting Festival Move
Celebrities Index: 0 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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AEIC Releases Recommendations for Restoring American Energy Innovation Leadership
Posted on February 24, 2015 June 1, 2016 by AEIC Staff
Energy technology innovation is critical for expanding U.S. economic growth, enhancing energy security, and protecting our environment. However, critical federal investments in energy innovation have remained unchanged since 2010, as detailed by the American Energy Innovation Council (AEIC) in its third report, Restoring American Energy Innovation Leadership: Report Card, Challenges, and Opportunities, released today. The report finds that Congress and the Administration have a mixed record on implementing AEIC recommendations to promote energy innovation and urges greater federal investments critical to achieving the country’s economic, security, and environmental goals.
AEIC’s leaders—Bill Gates, Jeffrey Immelt, Chad Holliday, Tom Linebarger, Norm Augustine, and John Doerr—came together in 2010 because of a common concern over America’s insufficient commitment to energy innovation. In previous reports from 2010 and 2011, the AEIC recommended several federal policy actions to promote energy innovation. However, the federal government has a mixed record on these recommendations. Tangible progress has been made towards the development of a comprehensive national energy strategy through the release the Department of Energy’s (DOE) Quadrennial Technology Review and its follow-up Quadrennial Energy Review. Moreover, the Department’s Energy Innovation Hubs, Energy Frontier Research Centers, and Institutes for Manufacturing Innovation provide critical, collaborative forums for the pursuit of energy research, as well as for the development and accelerated commercialization of new manufacturing technologies.
Nevertheless, stagnant government funding for energy RD&D over the last five years represents a major failure in U.S. energy policy. Public investment in energy RD&D remains less than one-half of one-percent of the annual nationwide energy bill. The scale of energy RD&D is still just one third of what AEIC recommends for the United States to compete effectively in global markets, diversify away from foreign oil, and mitigate environmental harms from energy production. Private energy innovation investments, which often build on federally-funded science and RD&D, are flat or declining as well.
Progress on the AEIC Recommendations to Promote Energy Innovation is Uneven
Create an independent National Energy Strategy Board charged with developing a National Energy Plan for Congress and the executive branch. Alternatively, develop and implement a comprehensive, government-wide Quadrennial Energy Review that aligns capacities of the public and private sectors.
Increase annual investments in clean energy research, development, and demonstration (RD&D) by $11 billion to $16 billion per year.
Create Centers of Excellence in Energy Innovation with each center receiving annual funding of $150–$250 million.
Fund ARPA-E at $1 billion per year. At a minimum, ARPA-E should receive at least $300 million per year.
Establish a New Energy Challenge Program for large-scale demonstration projects. Alternatively, develop a first-of-a-kind technology commercialization engine along the lines of a proposed Clean Energy Deployment Administration.
Make DOE work smarter along the ARPA-E model.
Develop a funding regime that is dedicated, consistent, and not beholden to annual appropriations.
Innovation remains an indispensable strategy for meeting the competitiveness, security, and environmental challenges of the American energy system.
Competitiveness. RD&D investments made decades ago form the basis for the country’s competitiveness today. Although the United States maintains a significant lead in energy technology overall, American public investment in energy RD&D also faces increasing competition from other nations. The United States must build a pipeline of scientific discovery and invention that businesses can translate into globally competitive clean energy products. If these investments are not made, other countries have demonstrated they will step in to sell new technologies in energy production and delivery to the world.
Energy Security. By diversifying the energy technologies businesses and consumers rely on, the United States can reduce its economic vulnerability. For instance, U.S. transportation remains almost entirely dependent on petroleum, the price of which is subject to the vagaries of the global market. As such, price volatility remains a threat to American economic wellbeing, and energy technology innovation is critical to diversifying the country’s energy sources. Moreover, it is critical we develop technologies that enhance the resilience of our energy system.
Environment. Climate change is a global challenge. The United States must drive down the cost of clean energy and energy efficiency technologies as fast as possible, not only to make them viable choices worldwide, but also to ensure that American companies lead markets. In that respect, energy innovation is fundamentally a global approach to climate change that is in the best interests of the United States.
Overall, the scale of the energy challenges facing the United States demands a step-change in energy innovation investment. Although the United States counts past progress on clean energy innovation, more cycles of discovery and invention are necessary to produce the solutions that will make full transformation of energy systems attainable. The federal government has a critical role to play in this process, including RD&D as a complement to both regulatory and tax-based approaches. As the federal government steps up and invests in RD&D, businesses and investors are better able to justify and continue their own research, development, and venture investments. All of these actions help to address supply and demand challenges in the energy system and to drive down the unsubsidized cost of clean energy.
The AEIC urges policymakers to:
Increase federal appropriations for energy RD&D across all low-carbon energy sources;
Support increasing authorizations for DOE energy innovation programs, such as through reauthorization of America COMPETES legislation; and
Support large-scale demonstration projects and limited downstream innovation investments, such as through a Clean Energy Deployment Agency or other investment authority, and/or through appropriately targeted tax provisions.
Ultimately, every year that clean energy technologies remain undeveloped or uncompetitive represents lost opportunities to build American companies’ global market share, create jobs, avoid disruptions to the economy, and reduce climate impacts. America’s current energy abundance is in part the product of many years of past energy innovation investments. Future generations should have a rich suite of options to choose from, or they may be swamped by the challenges described in the AEIC report.
“Any serious business leader would recognize that the country needs to take advantage of its current strength and act now to create a clean energy future. Only by investing in ingenuity and restlessness will the United States preserve its global leadership and ensure its future prosperity.”
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Alison Shuman Photographer
Documentary and travel photographer
the kryashen
minarets and onion domes
growing up positive
books/prints
menugalleries – it takes a village – the kryashen – minarets and onion domes – rites of spring – growing up positive – instagram books/prints bio contact blog
Minarets and Onion Domes: The Book
January 29, 2013 by alison Leave a Comment
I’m delighted to announce that my book Minarets and Onion Domes: The Tatars and Russians of Kazan is now available for sale! Inside you’ll find 76 pages with 53 full-color images printed and bound on premium luster paper.
I first came to Kazan in the summer of 2011 to begin photographing life in the city heralded for religious tolerance amongst its half Muslim, half Orthodox Christian population. In the beginning, I went searching for fleeting moments when representatives of different faiths came together to physically create this “tolerant city.” I realized, however, there is no magic moment and that the truth of the situation is much more subtle and profound. Regardless of governments and religious institutions, it is the people who everyday choose cooperation over conflict. One needs to look no further than Russia’s own boundaries to understand the significance of this endeavor, but the majority of people in Kazan don’t give too much thought to their unique situation. When asked, the response is almost always the same- it’s just the way it’s always been.
Minarets and Onion Domes offers not only an alternative view of Muslims and Christians, but also an alternative view of life in modern-day Russia.
Help me spread the word!
I’ve added a new Alison Shuman Photography page on Facebook. I’ll be posting Instagrams and other tidbits from Russia over there, too. Go on and “like” me!
Tales from the City
June 6, 2012 by alison Leave a Comment
For the past couple of weeks, I decided to take a step back and spend my time looking at the bigger picture of life in the city. If Russia, by its sheer size and geographical location, is said to bridge East and West (although I have heard this noble title used to describe various places around the world), then there would be no greater place to see this bridging than in Kazan. It seems to me however, that Russia won’t give up that easily to either the East or the West, but will remain, at least for now, somewhere defiantly in between.
European-style cafes are starting to slowly sprout up around the city, although despite there being a large pedestrian walkway through the heart of the city center, the culture of lounging in cafes, sipping coffee on the patio has yet to really take hold. It goes without saying that there are numerous McDonald’s around town but many are surprised to hear that there is an IKEA, two H&Ms and…dare I even mention it..even a Coyote Ugly (if you’re not familiar with this establishment, feel free to Google, but I assure you it won’t be pretty). There is a yearning among the youth to bring modern art and international rock concerts to Kazan, and when they do occur the events are met with great passion and excitement. In the warmer months, concerts of local rock groups are held in the Kremlin, sometimes setting up stage on the steps of the Museum of Islam, with the minarets of the Qul Sharif Mosque towering overhead.
As reluctant allies to the West, the government, particularly the Tatarstan government is looking more to the East, especially when it comes to financial matters. Kazan recently hosted a financial summit, inviting guests from Kuwait, UAE and other parts of the Muslim world. There is even talk about setting up Kazan as a center for Muslim banking, a separate banking system with its own laws and regulations. Tatar art often draws inspiration form the East and the various murals that decorate subway stations, Tatar cafes and other sights around town reflect this influence.
Kazan in every way attempts to be balanced in its representation of both the Russian and the Tatar traditions. If a mosque is being built in town, you can bet that a church will follow shortly after. There are numerous theaters in the city where you can see both Russian and Tatar plays, operas, ballets and classical music concerts. All street signs are written in both Tatar and Russian and the streets themselves are named after both Russian and Tatar national heroes. For example, I live on Pushkin Street which runs through Tukai Square, a Tatar national poet; Pushkin Street also runs past Lenin’s Garden, Karl Marx Street and ends at Freedom Square…remnants of the Soviet Era are also alive and well.
Everyday it seems I step out my door and something has changed, physically, in Kazan. Construction sites are everywhere and the traffic rivals mid-town New York at 5pm on a rainy day. All over the city, but particularly in the city’s historical center, old buildings are (sic: regrettably) being torn down and replaced by new ones. Somewhat incongruously, the Tatarstan government is pushing to make Kazan the sports capital of Russia, hosting the 2013 Universiade and the 2017 World Cup, for which a new stadium is being built.
Tales from Tatarstan
May 13, 2012 by alison Leave a Comment
I took a trip last week to the Tatar village Aktanish. It’s located about 400 kilometers from Kazan, any further east and you’d be in the neighboring republic of Bashkortostan. Aktanish the village, you could liken it to a small midwestern town, is the ‘capital’ of the Aktanish region which consists of small clusters of villages spread over the countryside.
The first day we went to the birthday party of a woman turning 80. The festivities began at 10 in the morning and lasted well into the evening. We arrived a bit late and were quickly shuttled into the main room of the house where we were fed a bounty of dishes: carrot salad with mayonnaise, beet salad with mayonnaise, fish salad with mayonnaise, and meat and potato pie, to name a few. I learned early on that the key to surviving a Russian feast is to never take anything for yourself and eat very, very slowly. The first feast I attended, I made the mistake of piling my plate with the 14 various salads on the table, only to learn that this was the first course of four and that a plate cannot remain empty for more than about 15 seconds before someone notices that you’re not eating, plops something in front of you and utters the command “Eat. Eat.”
We finished eating and I thought perhaps that this was the end of the celebration since we had arrived an hour late, but I was greatly mistaken. The party moved outside to picnic bench near the road that leads to and from this very tiny village. In earlier times, this Tatar village had about 40 houses, a small one-room school and corner store. Now there are but 20 houses, the schoolhouse is a ruin of wood and building materials and the corner store is closed. As the elderly villagers pass away one-by-one, the village gets smaller and smaller. Russia is changing. Village life is disappearing. During Soviet times, it was in these very villages where ancestral customs, religion, and language were kept alive. Now people are free to move, free to practice their religion and speak their mother tongue. The young people move to the city and only visit when a certain occasion calls them back. I try not to label this as either “good” or “bad” but just accept it as fact. Perhaps it is from my own romantic views of Russian villages with the ornately decorated wooden houses, multicolored picket fences and miles of green pasture (I will NOT mention the babushkas!), but I feel a certain sadness about this. I guess it’s another reminder of just how fast and how extensively our world is changing.
Back to the party…where the feasting continues. Millet porridge, shashlik-vinegar marinated chicken grilled over an open flame, Tatar blini- similar to pancakes, more salads, fruit, chocolates and a welcomed gift at any Tatar feast..Chak-Chak. It’s difficult to describe chak-chak, so here you can read about it: http://en.wikipedia.org/wiki/Çäkçäk. Accordion playing, singing, dancing, arm wrestling, eating and drinking, a proper feast was enjoyed by all. I would be remiss to not mention that vodka and wine are a part of every feast and toasting is not only customary, it’s obligatory. Each person stands, drink in hand and speaks at length about the person or persons for whom the feast is held. Do not let the age of the guest of honor fool you; she was able to keep up with just about everyone, even strutting her stuff to Russian techno that blasted from a car’s stereo speakers. She was probably one of the most joyful people I have ever encountered. After a number of hours, the weather turned and we moved back inside where were were treated to homemade pilmeni- meat filled dumplings in soup topped with dill and sour cream. And accordion playing, singing and dancing commenced inside. Hours later, leftover chak-chak in hand, we plopped ourselves into the car, bellies distended.
The next day was the May 1st celebration. May 1st is not only International Worker’s Day, but in Tatarstan, they also celebrate their own version of May Day, commencing the beginning of spring. There are various games and antics involving eggs, many of which are brightly colored and ornately decorated like Easter eggs. May Day is celebrated in various parts of the world and has it’s roots in pre-Christian pagan celebrations. I made several attempts to find out where the Tatar tradition of May 1st came from, but nobody seemed to know how or why.
P.S. This post was featured in the June edition of Nazar Look!
Tales of Orthodoxy
April 25, 2012 by alison Leave a Comment
With the Easter season, I found myself photographing many Orthodox Christian services. Parishioners stand for the entire service which lasts anywhere from 1.5-4 hours depending on the occasion. At various intervals they cross themselves with a large, swooping cross from the top of the head to the navel then to each shoulder and then bow their heads. Sometimes the crossing happens once, other times in sets of three, like a solemn choreographed ballet. The priests follow their own choreography in rituals handed down to them from the Byzantine Empire. It feels as if each individual is there alone in the church with only God to bear witness. They celebrate together but each alone in their devotion. The solemnity here is in very stark contrast to most churches in the US, particularly southern baptist or evangelical. It would be almost impossible to imagine Russian Orthodox singing, clapping or sitting for that matter. That’s not at all to say that Russians, even devout Christians, don’t enjoy song, dance and revelry; they do for sure. I realized last week how this branch of Christianity suits the Russian temperament perfectly. On the whole, Russians are more stoic, more reserved people. You can argue that it’s because of the climate or a side-effect of Communism or a host of other variables, but it doesn’t so much matter why. The key is to get past that stern outer layer (often not a difficult task), and there you will find a people that are open, warm and willing to give you everything they have.
Just the other day I was photographing in a church, actually it was in the only church in town for baptized Tatars..most people from Kazan don’t even know that such a thing exists. Anyway, it was my first time in this church and there weren’t many parishioners that day, maybe 10-15. So as a young woman with a large camera, it was difficult to “blend.” Their expressions ranged from blank to stern to one could say downright consternating, but as soon as the prayer service ended, their faces lit up and they started pointing to things that they thought I should photograph.
The second Tuesday after Easter (9 days later), Russian Orthodox celebrate a day to honor the dead. On this day every year, they visit the graves of their ancestors and loved ones, clear off any debris that accumulated over the long winter, perhaps add a fresh coat of paint to grave markers and leave neon-colored flowers, Easter eggs and various snacks and candies. In this way, they are celebrating the bounty of Easter with those who have passed. I spent a couple of hours wandering through the maze-like cemetery in the center of the city taking in all the sights and sounds. It was very quiet, peaceful, sorrowful but also sometimes joyous celebration. Many Russian graves have a wooden benches next to the headstone where people can sit and reflect, but on this day, many bring food and drink and spend time at the grave as a way to ‘be’ with their loved ones. Off in the distance you could hear the sounds of a small band, comprised mostly of wood and wind instruments, playing tunes that wavered between lamenting and marching band. Although the cemetery was predominantly Orthodox, I did find several Jewish and Tatar graves that also looked as though they had been recently visited.
Diving In
For the title of this update, I was scouring my brian for all water-related phrases, as only these could aptly describe my experiences this past week. Russia has begun the great thaw and with temperatures in the 50s (10 C?), this thaw is occurring at an awfully fast pace. Everywhere you look there is water. It flows down streets like rivers, utterly soaking my shoes, socks and feet. Pedestrians walk the obstacle course that are the sidewalks, skillfully sidestepping the vast oceans… also known as puddles.. and occasionally having to jump out of the way before being completely drenched by a passing car. Water is also streaming down the walls of my living room and drips from multiple places in my 100-year-old ceiling. At one point my roommate donned a camouflage rain jacket, flipped the hood over his head and engaged in acts of heroism as he emptied and rearranged the buckets dispersed on the floor. Three days later, things are starting to calm down.
When I wrote last week’s update, I hadn’t yet remembered that Orthodox Christianity follows the Julian calendar, so instead of photographing Easter last Sunday, I photographed Palm Sunday (Easter will occur this Sunday). Part of the ceremony of Palm Sunday involves parishioners having their palm fronds (or in this case, pussywillows) blessed with holy water. Hoards of people crowded the altar as the priest doused them with water using an implement resembling a cat-o-nine tails. I was photographing from a position between the priest and some of the parishioners and was therefore also blessed by this water. The crowd loved every second of it and with every spray of water they became increasingly animated.
In non-water related news, I also photographed a competition of student and professional designers of Muslim clothing. It was a fantastic event and brought back memories of making a short film about the Miss Austin and Miss Austin Teen Pageant. The majority, if not all, of the models were Russian so it was really a great mix of people.
I have been receiving emails about my update from last week, with comments particularly about babushkas. This got me thinking more about babushkas (a general pastime of mine) and why there are so many of them. Yes, Russia has a shorter life expectancy than most countries in the West and you could believe the stereotype that Russia’s people, particularly her men, meet an early death due to alcohol and smoking, but really, what I am actually seeing is the lasting effects of WWII. Russia lost almost an entire generation of men in that war (here it’s known as the Great Patriotic War); a million soldiers died in the battle of Stalingrad- in just one battle! On May 9th, Russia celebrates Victory Day, the day they defeated the Germans in 1945. It’s a very big event in Russia and I’m glad to be here to photograph it.
I’m gearing up for a very big weekend. The archbishop of Tatarstan will take part in Saturday’s midnight service and Tatarstan’s president will attend Sunday’s services. Should be exciting!
Hello Kazan…Again!
April 5, 2012 by alison Leave a Comment
I arrived in Kazan on March 28th to the most picturesque scene straight out of a Russian fairytale. The evening sun was pushing itself through a layer of thick grey clouds, casting a stunning glow of pinks and oranges over the forests, pastures and dachas still engulfed in snow. But instead of a white horse-drawn carriage, I was met by two friends in a tiny red Lada hatchback. We crammed my bags into the trunk area and proceeded towards town. Once on the highway, I leaned back in my seat which then pressed on my bag which then pressed on the latch to the trunk which then opened. The car kept speeding on while I quickly turned around and somehow managed to grab my bag before my things emptied onto the highway. We pulled over, rearranged and carried on…until the car broke down. For half an hour we sat by the side of the road, my friends laughing and chain-smoking cigarettes, as that’s what you do when things break down. As the non-smoker, I was in charge of thinking positive thoughts that would then get the car moving again. And indeed, it did. About 40 minutes later, I arrived safely at my apartment in the city center.
Kazan already feels like a second home and everyone is welcoming me back like family. The past few days I have connecting with friends and acquaintances, finding out all that I’ve missed since I’ve been gone. Just the other day a friend asked me to name a few specific things- sights, sounds, smells- that really give me that feeling of being in Russia. I thought for a moment and came up with a small list: the sound of my neighbors quarreling in Russian, the smell of dill, the experience of riding local transport (to which my friend heartily laughed as it is a subject I wrote about on my blog last year which everyone found quite amusing), and last, but most certainly not least, babushkas. Babushka is the Russian word for grandmother but it is also an affectionate word for elderly women. Now, everywhere in the world there are elderly women, but really only in Russia are there babushkas. It is difficult to list the qualities that differentiate babushkas from all other elderly women. There are the physical aspects- the stalky body, the round face, the floral headscarf tied under the chin, but then there are the more intangible qualities, a very specific Russian-ness that any Russophile would adore. There is something solid and immovable about them, like no matter which direction this country moves in, there has always been and will always be the Russian babushka.
Alas, Easter is this weekend and I’m off to make arrangements to photograph the celebration. It seems a very suiting way to begin.
L’viv and Odessa – Л’вовь и Одесса
October 10, 2011 by alison Leave a Comment
After receiving the final document needed for my Russian visa application, I went to the embassy in Kiev. I was so nervous that they were going to turn me down my hands shook as I handed over my papers (there’s technically a law that says that you can only apply for a Russian visa in the country where you live). The sharply dressed man looked everything over and said ok, it’ll be ready in two weeks. Wow, not a single question! I paid the fee and left. For the next two weeks I couldn’t shake this nagging feeling that something was going to go wrong when I returned to retrieve my passport. Two more weeks in Ukraine. Off to L’viv I go.
In the months leading up to my interview for the Fulbright (all candidates for the Fulbright to Russia must be interviewed in Russian) I worked with a tutor, Nelia, in New York. She was from Ukraine but had been living in New York for many years. We did our lessons over Skype so although we saw each other three times a week for a few months, we never actually met in person. Coincidentally, she was visiting Ukraine at the same time. I took the train to L’viv where she picked me up and drove me to Sambir, about an hour from the city. It was really amazing to finally meet her in person, and in Ukraine of all places! She took me around Sambir and out to the village where her parents live. We went to the border with Poland and walked as far as we could- my passport was still at the Russian embassy so I couldn’t cross. One day we went into L’viv and walked around. I absolutely love this city! While Kiev feels like a “little Moscow,” L’viv feels like an old Austro-Hungarian city. The architecture is stunning. And the food…so delicious! Finally a REAL cup of coffee, too.
As I had suspected, western Ukraine differs greatly from the east. While most people understand Russian, many can’t speak it at all, or at least don’t want to. After the fall of the Soviet Union, western Ukraine went through a rapid de-Sovietization; street names were changed and monuments removed. Sure, Leningrad was changed back to St. Petersburg and Stalingrad to Volgograd, but in Russia streets are still named after Soviet heroes and every town still has its Lenin monument (Stalin passed a law that every city and town in the Soviet Union no matter the size had to have at least one statue of Lenin). In L’viv, the Soviet Union feels like a very distant memory.
After five days in Sambir, I spent one night in a hostel in L’viv and then took an overnight train to Odessa. I was so excited to see the Black Sea again after so many years. When I was backpacking through Russia in 1999, I spent one magical week in Sochi, a Black Sea resort town. Someday I will visit all the countries that line this amazing body of water. Unfortunately, in my last few days in L’viv I was coming down with a cold and by the time I got to Odessa I was quite ill. I managed to see what I could in the three days, but it wasn’t much (hence, the dearth of images). Odessa is a beautiful seaside city, albeit slightly tacky due to the large number of tourists that flock to the warm sea air.
I then hoped an overnight train to Kiev, picked up my passport with my shiny new visa, slept one night at the hostel and then got on a plane back to Kazan. I was in Ukraine for almost one month. It’s not a lot of time in terms of visiting a country, but it was a long time to be away from my work in Kazan. In some respects being back in Kazan has felt like a homecoming, seeing friends and walking around the city, but it also feels a bit like I’m starting over. I’m excited to start working again, but a bit daunted as I write this. I’m certain once I start it’ll feel like I never left.
Kiev – Киев
September 16, 2011 by alison 1 Comment
Yes, it’s been a while. My last few weeks in Kazan were fantastic. I felt as though I finally learned how to avoid running around in circles trying to get the permissions I needed to photograph. I became more adept at speaking with the right person at the right time and all in Russian to boot. All the hard work I put in during June and July really started paying off. Then there was Ramadan, Eid al-Fitr, Republic Day, two baptisms, and celebration of The Holy Transfiguration of Our Lord God and Savior Jesus Christ. So much to shoot!
I have thoughts and photos to share but for now I’m going to share a little of Kiev where I have been for almost two weeks (oh yeah, in the midst of all that shooting I also had to vacate my apartment and plan for my trip to Ukraine). I came to Kiev to apply for another Russian visa. Here I’ve done a mixture of work and sightseeing. I’ve drafted my newest proposal for the Fulbright, edited images from Kazan and searched for ancestral roots (both sides of my family emigrated from what was Imperial Russia but what is now Ukraine). My time in Kiev has been a welcomed break from the grind of working on my project in Kazan. I’m enjoying being a tourist! And with that comes taking touristy photos! I went to the Central Synagogue and spoke with some members of the Kiev Jewish community. I saw a very classical ballet that read like a Ukrainian folk tale. Although I largely took a break from religious institutions, I did visit St. Sophia’s Cathedral. Built in the 11th century, it is the oldest church in Ukraine and the former center of Christianity in Kievian Rus. The church has undergone major restorations and many of the frescoes and mosaics that line the walls are original. Perhaps one of my favorite spots in the city was Hydropark, where I photographed an outdoor gym with machines made from old truck parts. It was quite the sight to see as Speedo-clad, muscle-laden Kievians pumping iron near the bank of the Dnipro River.
Kreschatik is Kiev’s main street. It’s comprised of enormous Soviet buildings with European storefronts. A section of the street has been taken over by two political encampments- one with supporters of Yulia Tymoshenko, the jailed former Prime Minister, and the other with supporters of the current regime. And the two camps have been locked in a competition of who can make the most noise. I was able to photograph freely in Tymoshenko’s camp but as soon as I pulled out my camera in front of the government’s camp, I was immediately questioned. Various protests break out along Kreschatik, most of which are quickly dispersed by the police.
That is one small part of Kiev; life rolls on while political forces battle it out. Kiev feels decidedly Soviet and decidedly European at the same time. Tomorrow I am off to L’viv, a city in western Ukraine. Further from Russia, western Ukraine has more firmly held on to the Ukrainian language and perhaps sentiments as well.
The Synagogue – Синагога
August 25, 2011 by alison 2 Comments
I visited the synagogue today. While the first 13 years of my life were filled with visits to Temple Beth Am, a reform synagogue in Framingham, Mass., I have never visited an Orthodox synagogue. I was hoping to recognize some of the prayers I knew in my youth but I couldn’t quite follow along. Although I have no idea if my Russian ancestors practiced Orthodoxy, it was fascinating to see and hear what it may have been like for them.
Summer is a sleepy time in Kazan and there was only a small gathering at the synagogue this morning. I am very much looking forward to returning in late September and seeing Kazan in a more active state. I have laid important groundwork this summer and I find myself even more dedicated to and passionate about this project.
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Home About BEENetwork BEENetwork Countries Lithuania
BEENetwork Countries
Lithuanian Housing Strategy
"Programme for the Modernisation of Multi-family Buildings"
According to recent statistics Lithuania has around 3.37 Million inhabitants.
Approximately 800,000 of the 1.3 million households live in one of more than 30,000 multi-apartment residential buildings.
The majority of the Lithuanian population (66%), live in multi-apartment buildings constructed in the period from 1960-1990.
Population: 3.37 Mio.
Number of multi-family buildings: 38,000
Total number of flats: 1.3 Mio.
Number of flats in multi-family buildings: 800,000
Number of flats per 1000 inhabitants: 385
Ownership share: 97%
Since 1990 Lithuania has been privatising apartments in multi-family buildings. Currently, 97% of the housing stock is privately owned and only 3% of apartments belong to local municipalities and are used as social housing stock.
Institutions responsible for housing are the Ministry of Environment and the Housing and Urban Development Agency (HUDA), which administrates housing refurbishment programmes.
The principal documents for housing sector and refurbishment of the multi-family buildings, are:
Lithuanian Housing Strategy, approved by Lithuanian Government in 2004. The Strategy foresees to renovate 70% of the multi-apartment dwelling houses by 2020, and reduce the cost of heat energy up to 30%. more.
“Programme for the Modernisation of Multi-family Buildings”, which started in 2005. more
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Dollhouse — Unaired Pilot and "Epitaph One"
I'll be honest: I picked up the Blu-Ray for the first season of Dollhouse as much if not more for the exclusive episodes as it did the season proper. While the back half of the season certainly grabbed my interest and mostly held it through the end, I found myself far more taken with the idea of watching both the original pilot, dumped when the networks called it "too dark and confusing" in favor of that tepid and largely pointless iteration that uneventfully debuted the show, as well as the fabled 13th episode, the post-apocalyptic "Epitaph One." When I got home to my PS3 I didn't even watch any of the aired episodes before diving into these bonus treats, and my thoughts on them are as follows:
[Note: This review avoids spoilers for the two episodes under discussion, but it assumes that you've seen the season's aired episodes]
Unaired Pilot -- "Echo"
The studio notes for this episode cited it as too confusing to appeal to a broad audience, the first sign that FOX would end up meddling with this show just as they had with Firefly before it. It (perhaps justifiably) put people on the defensive months before the show ever came out, and got the ball rolling on all the cancellation talk as well.
For all my love of artistic freedom, though, and especially for someone I adore as much as Joss Whedon, I'd have told him to re-write it as well. Where the studio feared that its tone would turn off the Idol crowd or something, I would have suggested that he simply cut the thing down a tad. For you see, "Echo" is a two-hour pilot extravaganza crammed into your average one-hour time slot. Even with the 5-10 extra minutes offered by that Remote-Free TV business, it simply contains too much plot, too many character moments and far, far too many answered questions.
For example, in this version of the pilot, we see Saunders' hatred of Topher, the Feds knowing too much about the Dollhouse to dismiss it, Boyd saying too much about the Dollhouse's evil before Whedon has fully established what a disgusting organization it is and, worst of all, Echo meeting Ballard. These scenes pepper the first five or six episodes of the season, and condensing them into one hour of TV gives us too much information about what should be a shadowy organization.
Nevertheless, it's a massive improvement over the version we got. "Ghost" didn't even feel like a Whedon-penned episode: its exposition was obvious to the point of cringe-inducing, this interesting world was ill-defined and, most surprising of all, it lacked humor. "Echo," as a strange contrast, contains too much of these elements. It's nice and clever, but it gives us too man details, and a running gag concerning Topher's use of the phrase "man-friend" simply grates (it actually builds to a nice dark one-liner from Boyd, then Topher uses the phrase once more later). Other lines contain real, working humor though, and for all the flaws of the Echo/Ballard interaction, it clearly set up Caroline's story far earlier, something that would have silenced a number of critics who cited the show as misogynistic for not immediately establishing a strong female lead. Rather than a revelation of Whedon's original, assured vision, "Echo" is more the polar opposite of the flaws of "Ghost" -- somewhere between the two lies the perfect pilot, but I'd likely place it on that line far closer to this.
Epitaph One
Now this is what I'm talking about. Joss Whedon is nothing if not bold: his four shows each contain wildly different tones, styles, approaches to humor, and themes, yet they all feature certain flourishes that make them immediately recognizable as his. His best work (as well as the best work of his finest writers) stands in open defiance of what might normally pass on TV, or that which takes him far out of his comfort zone (though the jury's still out on this show, which is one giant removal). I'm of course speaking of episodes such as "The Body," "Hush," "Objects in Space," and "Not Fade Away."
"Epitaph One" belongs on this list. Though neither written nor directed by Whedon, you can feel his guiding hand behind the script more than anywhere in the season's aired episodes, including one of the two that he wrote. It, more than "Man on the Street," "Spy in the House of Love" or either of the two parts of the finale, demonstrates that the show, despite its rocky opening and a continued set of unanswered, important questions (such as "What's the point of this anyway?"), indeed has a direction, and Whedon is a steady hand at the helm.
Set in 2019, ten years after Echo started exhibiting problems with her programming, "Epitaph One" shows us a world in chaos. A small band of filthy survivors moves through the streets of L.A., carrying with them a small child and her wiped father. At some point between now and the first season timeline, the Rossum Corporation (the owners of the Dollhouse) sold or allowed their technology to fall into other hands, and China discovered a way to imprint massive sections of the world populace in a manner similar to the cell call in "Gray Hour."
This group heads for the Dollhouse to find the imprinting chair to see if they can piece together what went wrong. They don't know what the construct really is, and when they discover that the institution that brought about the apocalypse was originally nothing more than a glorified whorehouse they don't know whether to laugh or find something to shoot.
They discover two things, though, that are far more important that the Dollhouse's original design. One is Whiskey, now scar-less and wiped, and the other a set of memories waiting to be uploaded into an Active. Through these memories we are given brief glimpses into the events that link the present with this horrible future, as well as character moments and even some relationship news. My favorite moments involved De Witt and Topher finally accepting the evil of their profession and their role in this cataclysm.
Giving us this information in the form of memories is a masterstroke, because memory is subjective. Some, perhaps all, of the scenes Whedon shows us could be slightly different if not outright false. We know that he's the king of continuity jokes, with callbacks and cross-references abounding in the Buffyverse, but this presentation ups the stakes: now the fans will look not only for these scenes to unfold but check up to see if anything differs.
"Epitaph One" is many things: thrilling, horrific, cerebral, gripping and darkly witty. Most of all, though, it is fearless. Written by his Doctor Horrible cohorts Maurissa Tancharoen and brother Jed Whedon, it's based on a pitch by Joss, one that would bring the high concept of the show to the fore while slashing the budget down to peanuts. Its predominantly hand-held direction (courtesy of David Solomon) lacks the spastic nature of shaky cam footage, and instead successfully creates a feeling of tension and realism without making us reach for the barf bags. Only someone with a firm grasp of a show's direction -- and let's not forget, Whedon also sowed hints for more than one future season in Buffy episodes "Graduation Day" and "Restless" -- would be so bold as to give away so much detail for a show's future. In anyone else's hands, something like "Epitaph One" would cause me worry. With Whedon holding the reins, however, it is a promise to the fans who stuck with this series out of faith in him that Dollhouse is going places, and I for one can't wait until September.
Labels: Amy Acker, Dollhouse, Eliza Dushku, Felica Day, Harry J. Lennix, Joss Whedon, Olivia Williams, Tamoh Penikett
1989 Rewind: Say Anything...
Pushing Daisies — Season 1
S. Darko: A Donnie Darko Tale
Pirates of the Caribbean: At World's End
1989 Rewind: Batman
Pirates of the Caribbean: Dead Man's Chest
The Seventh Seal (Ingmar Bergman, 1957)
Pirates of the Caribbean: The Curse of the Black P...
Mad Men — Season 1
Intolerance (D.W. Griffith, 1916)
1989 Rewind: The Decalogue
I Love You, Beth Cooper
1989 Rewind: Ghostbusters II
1989 Rewind: The Abyss
Evil Dead II
Carpenter's Tools: Halloween
The Unborn
1989 Rewind: Born on the Fourth of July
Carpenter's Tools: Dark Star
1989 Rewind: Casualties of War
Carpenter's Tools: Assault on Precinct 13
1989 Rewind: Lethal Weapon 2
Eastbound & Down — Season 1
Burn Notice — Season 2
Announcement: 1989 Retrospective
Last Year at Marienbad (Alain Resnais, 1961)
My Dinner With Andre
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Code Unknown
By Overstreet, July 3, 2003 in Film
I highly recommend you all get hold of this film and watch it... at least twice, even if you don't enjoy it the first time. It is vastly rewarding. We had a fantastic discussion here at Cornerstone, and I was amazed at the way the group went from bewildered to excited while we talked. There were some amazing observations made by J. Robert Parks and some of the other folks attending the film.
And since I razzed him so badly about 28 Days Later, I gotta tell you, Stef stepped up to the microphone and hit the ball out of the park with some brilliant observations of his own.
I really think this may be the most complex and important art film of the decade so far. And Juliette Binoche's performance is second only to her work in "Blue", in my opinion.
A teaser: The film is about a group of people living very different lives, experiencing very different economic pressures, possessing very different attitudes toward other types of people. Like "13 Conversations about One Thing", it splinters into many stories. But take note... every scene in this film is a one-take wonder. And the cast is a phenomenal ensemble.
NClarke
Location:Madison WI
I saw this last night and I would be interested in some of the comments that were made in your discussion of the film.
As a whole, I found the film very rewarding, although I do have some feelings of, "What's the point?"
I loved the lack of cuts (except for the film clips) - they really gave me a sense of immersion in the film, as if I was a character. however, because you didn't get traditional edits on things like conversations (like closeups) I found some of the characters, particularly the men, hard to follow.
The film felt like a French version of Short Cuts (and I mean French in style)- a great story of how people interact and how their lives are intertwined. But whereas Short Cuts had some degree of the improbable (the insecticide spraying helicopters and the earthquake - both at the right moments) Code Unknown felt much more "likely." From my perspective, that is a strength for Code Unknown.
I guess what is weird for me is that you have this beautifully acted, choreographed and filmed movie that shows how difficult it is to live in a modern society with other people and then the moral (or perhaps a moral of the film) is be nice to people when you encounter them. This is obviously a simplistic overview of the film and I am sure there were other intentions on the part of the film maker and I would be interested to know what other people thought or took away from the film.
I guess one of the great things about Code Unknown is that I have all these questions (like why did she change the code for her apartment at the end of the film ) that aren't the result of plot holes, but of various different interpretations.
One final note - the film reminds me why I tend to like foreign films so much - they show before they tell.
I have a lot to say about this film, but I'll get back to it when I have time. In the meantim, here's a review from Strictly Film School:
http://www.filmref.com/directors/dirpages/haneke.html
In an age of a borderless, new European economy, the volatile encounter of four people on an anonymous Parisian street underscores the underlying social disparity inherent in any increasingly multicultural, contemporary urban society. A brash, impatient young man named Jean (Alexandre Hamidi) accosts his older brother's girlfriend, an actress named Anne (Juliette Binoche), on the street after being unable to reach her on the telephone. Attempting to gain alliance against their father (Josef Bierbichler) from his brother Georges (Thierry Neuvic), a photojournalist on assignment in the Balkans, Jean, without solicitation, begins to complain to the polite, but hurried and preoccupied Anne, of his objection to his father's unconsented plans to renovate the family's farmhouse with the expectation of apprenticing him to assume eventual responsibility for the farm. Pressed for time and unprepared to appropriately address Jean's personal issues, Anne attempts to placate him with a snack purchased from a nearby vendor and gives him the keys to the apartment, providing a terse reminder that he cannot stay indefinitely. Jean's frustrated attempts to voice his grievance leads to a thoughtless act: discarding his crumpled paper bag into the lap of an undocumented immigrant from Romania named Maria (Luminita Gheorghiu) who is panhandling near the entrance of a cornershop. A principled and tenacious music teacher of African descent, Amadou (Ona Lu Yenke), witnesses the humiliating episode, and confronts Jean to demand an apology. The altercation soon draws the attention of the police who seem to quickly side with the young transgressor, duly noting Jean and an interfering, tangentially aggrieved shop owner's complaints. Eventually, the well-intentioned Amadou and inculpable Maria are officially detained.
Michael Haneke creates an intelligently constructed, compelling, provocative, and relevant observation on social inequity, the untenability of cultural assimilation, and the failure of communication in Code Inconnu. Presented as a series of dissociated (and intrinsically ethnographic) episodes on the lives of the principal characters following the fateful (though seemingly trivial) transection, Haneke examines the ingrained social divisiveness, moral complacency, and created bounds of human interaction. Chronologically indeterminate events, interrupted dialogues (often truncated in mid sentence), prolonged transitional fadeouts, and recurrent episodes of missed (and mis) communication (Jean's unsuccessful attempts to reach Georges and Anne; the mysterious letter left on Anne's door seeking help, perhaps written by an abused child living in a neighboring apartment; Georges' inability to unlock the front door of the apartment building after the access code is changed) pervade the film's fragmented narrative structure, exposing the flawed perception of cultural integration and social equality in the constantly evolving racial and socio-economic demography of a traditionally monoethnic society. The exquisitely wordless, extended final sequence, articulated solely through the consonant rhythm of an outdoor performance by Amadou's deaf music students, illustrates the innately human capacity to transcend the artificially imposed barriers of cultural perception and bias to communicate through the universal language of community and compassion. However, in the frenetic pace and ambient cacophony of a claustrophobic, modern existence, human expression is often only valued for its measured distance and tolerated silence.
I just bought Code Unknown tonight on ebay. Sorry i've been so quiet on the subject lately --
I only caught the last 20 minutes or so at the Flickerings Festival, but even that much stirred me into wanting to see it again. I keep thinking about this movie... I am hoping to review it for the Film forum's DVD section in a few weeks. What a knock-out film.
I also bought The King is Alive, which should arrive next week as well, and i already own
The Celebration. i think these are the best films i've run into since i first discovered Kieslowski seven years ago. Last month i honestly felt like i was on fire with great film experiences, so much that i'm now in a cooling off period and haven't even seen one film yet this month
(aside from the short films at Flickerings).
As far as what came to me personally when i watched the ending and listened to a brilliant discussion that was happening at Flickerings, the realization was that the whole film is shot in side to side, horizontal motion, particularly the scenes on the streets of Paris at the beginning and end. Even the subway scene has the depth of a horizontal line in it, from the back to the front. (what an amazing scene, did Juliette Binoche not perfectly capture the emotional outburst that would've been required there? She was amazing, in my book, her greatest performance ever.) The more i thought about it, even the deaf percussion ensemble was in motion, right to left at the end of the film, while simultaneously communicating with a hearing audience. Most critics have said that a theme in the film was miscommunication. I disagreed. I believe that it's about communication, only without words, as if breaking the bonds of language down and getting to the reality of the message. I saw this in both the horizontal relationships we have in life (thus the sweeping camera motion), as well as the vertical that we are all destined to try to figure out. I believe, and i'm not sure about this so i'll watch again, that the only time a character really looks up is because of a code he cannot crack (in the final scene), and then when he realizes that looking vertically does no good, he's back to the taxi and back to living and communicating solely on his horizontal plane. Did he or will he receive an answer from above? Could be anyone's guess. Will we ever understand the motions of the deaf person in the final frame? Not unless someone translates it for us. It seems to me that if Haneke is saying anything at all, it is that language is sometimes a barrier to meaning more than a help, and in order to get past the problem of language you need to look into person's eyes and see their heart. And who ever bothers in all of this mess of poverty, race and status relations, to check the heart of their creator? ... There's a lot of cruelty presented in the story, too, and i think that with the bulk of the people never finding the relationship that lies on that verical plane, they won't be capable of much more than being cruel to each other.
I guess that could just be my hyper-sensitive spiritual upbringing, but that's one of the things i saw in the film, and i feel i'm onto something here but not quite there yet. Another glance will do me good.
The greatest embrace in the story happened during strong winds that were moving horizontally from the right to the left, as if on that roaring line two found each other, without language, without words, but in a way that had more passion and meaning than a thousand words could muster up.
There's also the theme of the cruelty of watching another's tribulations and not acting in defense of the needy. Sometimes we ask the needy to move down the street to beg -- it's too unsightly outside our store. Sometimes we go to another country to take pictures of another people's trial times in war. Sometimes we take pictures without the permission of a person we don't know. The director plays on this theme and is cruel to his audience a few times as well. In fact, once in our discussion at Flickerings there was a man who was confused as to who Anne was (Binoche's character) and then who Anne's character in her film was.
It's late. I'm rambling. This film does that to me. More later. I'm gone.
-s.
PS - Asher or anyone from the area who hasn't seen this... You need to see it. I'd be willing to have you over or loan it out after i get it next week...
Thanks for the perspective. I've been thinking a lot about the film since I saw it and the more I ponder it, talk with others, and read about it, the more my appreciation of it grows. I do feel that at first glance it can appear to be a simplistic moral tale of being nice to people. But as I mull over the depths of the story (and acting) the more I see this is not so.
I too loved Binoche in the subway scene - amazing!
One question - what was up with the African characters? I didn't quite get the mother talking to what appeared to be a therapist and then the arrival of what I assumed was the taxi driver father in Africa off a boat. I also didn't catch that the man in the opening scene that accosts the brother was the man who was leading the drum band (which I also didn't realize was deaf). Come to think of it, there is probably an awful lot that I missed - I must watch it again.
mike_h
Flickerer
Here's the correct quote I mangled at the Flickerings discussion (but even the mangled version seemed helpful enough to spur Stef to take the discussion to a new level!):
"Morality," Cahiers du cin
yeeeeah boy, mad props to the brutha from anotha mutha
(that's me)
M. Leary
Does this have anything to do with what they often said in Cahiers: Aesthetics should become ethics? (Or something along those lines.) Because this is the only discussion that has helped me to make heads or tails of that statement.
I'm interested in this discussion, but skeptical. The big aesthetics/ethics debate of my generation was "Is the syncopated beat inherently evil?" Or the Schaefferian suggestion that abstract Modern art was primarily an expression of the post-Christian mind. Does anybody here really want to defend the position that the tracking shot is inherently more ethical than the conventional shot-reverse-shot? I wish somebody would, because I'd like to get a little more illumination on how people could think that way.
This is an attempt:
The New Wave is a reaction to the standard mercenary conventions of 1950's cinema. It is as much a socio-political statement as it is an aesthetic one. Thier camera work and production methods say: "To commercalize film is to commercialize humanity."
New Wave techniques are an attempt to reach Bazin's asymptote metaphor. That film and reality are virtually identical, only seperated by the width of a bit of film on the cutting room floor. To "do film" any other way, or to utilize any other aesthetic, is unethical. It is unethical because film is a medium of the real, and thus "doing film" any other way is a lie.
(Short, plot driven tracking shots, fancy editing techniques, contrived sets and scenes, these all are unethical. They manipulate the story and the audience, they are like meaningless statements in analytic philosophy.)
If I understand that literature correctly, this is the argument. And thus aesthetics become ethics because aesthetics are the arbiter of the real. They are our means of contact with the real.
But I don't think I agree with this. There is something slightly askew about it and I think it has to do with the early Cahier's fascination with the "real" and with "existence".
Location:Fairfax, VA
Interests:Film, religion, jazz.
I'll play the "dumb guy" in this discussion.
Jeffrey, I took your strong recommendation and watched "Code Unknown" last night. Like a lot of acclaimed French movies (see my comments on last year's "Time Out"), I found the film interesting aesthetically but, in the end, rather cold and unrewarding.
You say I should see it twice, and I think you may be on to something. I'm pretty sure I'd enjoy "Time Out" more on second viewing, too. But on first viewing, "Code" comes across as self-consciously arty and off-putting. I liked some of the characters, some of their stories, but so what? What does it all add up to? The explanations you have, and that you quoted from the external review, don't really tell me much.
This will probably get you're ire up, but I watched "Code" a couple days after seeing "Thirteen Conversations," and although "Conversations" struck me as gimmicky, it also connected with me on a much deeper level than "Code Unknown." And Alan Arkin's performance in "Conversations" is, I'd argue, just as strong as Binoche's terrific work in "Code Unknown." (OK, maybe Binoche is a little stronger, but I expected her to be great; "Conversations" was the first time I've seen Arkin light it up.)
I'll try "Code Unknown" again some day, down the road. Give it more than 12 hours to sink in, ya know?
Who'd quibble with that? They're both great films.
I do think that 13 Conversations connects with its audience at a more accessible and quicker pace than Code, which is why the token comment around here seems to be "See it twice." Maybe that's a little unfair, as it puts the film in a haughy light, but for some reason it just seems to work better that way.
13 Conversations is also about ethics, whereas Code Unknown is about something more speculative and abstract. 13 Conversations is about the choices we make, Code Unknown is about miscommunication, the various "codes" we require in order to truly connect, how we can be drawn in by certain signs and still have no idea what is going on. It's like the difference between reading short stories and reading a psychology text.
It seems to me that Code Unknown aims to accomplish something extremely difficult, and requires a great deal from the viewer. 13 Conversations, while more challenging than your typical American film, has fairly simple aims and requires some reflection, but is not nearly as complex or demanding. I can think of several films that do what 13 Conversations does, but I've never seen another Code Unknown.
Man, as far as identifying the issues of illegal immigrancy in Europe, Dirty, Pretty Things has nothing on Code Unknown. The way her story specifically plays out is stultifying to me.
It's interesting, too, having just watched La Pianiste and Funny Games, and thinking back to several conversations we've had about how a director can sometimes "stumble upon truth." Haneke's seems to be the kind that either chooses to full-on shock/surprise you (i'm thinking here of when prim and proper piano teacher Isabelle Huppert first walks into the video arcade) or pull the rug out from under audience's feet (i'm thinking here of the nod and winks or the use of the remote control in Funny Games). Regardless, his past indicates to me that he really doesn't care much about truth, and offers less resolution for characters he martyrs than even Von Trier when he constantly abandons his female leads. The difference is that Haneke, in the two films listed above, almost seems to be doing it in the audience's face to mess with their minds. How he managed to create Code Unknown baffles me almost as much as trying to figure out where PT Anderson came up with Magnolia.
Good points all around. I remember being a bit shocked at the integrity of Code Unknown as such a brilliant drama after being exposed to what you have seen in his other films. I remember being pretty miffed at the end of La Pianiste, much more so than at the end of I Stand Alone which although I did not see it coming, seemed fitting. They really are very close to one another in form.
I often wonder too at how something like Magnolia comes about. The sheer amount of themes and identities Haneke stirs up in Code Unknown is mind boggling. Just the juxtaposition of the deaf children trajectory with the Sontag influenced take on human suffering in the media is more than enough for one film. But then you have the Binoche trajectory with the relationship between audience and actor and how that spills over into real life, and the immigrancy discussion that unfolds in the lives of not one but two different families, etc... There is enough for four films here.
There is enough for four films here.
Agreed. And that, I would argue, is a problem with the film. In an era of low expectations for so much commercial cinema, I don't want to fault well-made films that are thematically dense, but this film might have too much in it.
That's my first impression, for what it's worth.
Also, who wants to defend the abrupt editing and chopping up of the various stories? Do we really gain anything from the way the story is told? I don't have a strong feeling about this one way or the other, but when a filmmaker so deliberately engages in an unconventional narrative style, I like to come away with a strong idea of what he or she was trying to communicate. I didn't in the case of "Code Unknown." I could be convinced, though. I suppose it might have something to do with the way our lives are fragmented, but that seems a little obvious, doesn't it?
Do we really gain anything from the way the story is told?
Haneke has made comments in the past about fragmentation, and yes, it is obvious. But juxtapose the fragmentation with another trademark of Haneke's style -- long, even tortuously long takes -- and you have the makings of something really interesting. Especially when, thematically, one of the things he seems to be saying has to do with the problems our fragmented vision causes us -- our lack of context. Hence the discussion about the ethics of the tracking shot.
Great question Christian, I have kicked that one around alot about this film and may have a few fragments of an answer.
For one thing, you are right, the whole "our lives are fragmented" thing is rather cliche. BUT I have never seen it so viscerally expressed as we see it in the editing of Code Unknown. It certainly sets a different standard for trying to make that point in film such that the very form of a film itself can convey that dislocated sense of existence in contemporary culture rather than just the substance of the storytelling (Try "I Stand Alone" for an even more extreme example of this. Ugh.).
The other thing I thought about the way he cuts off the dialogue like that is that he is doing the exact opposite of what Altman does with sound in Nashville, which is one of my favorites just because of the role dialogue plays in it. Nashville is more of a space than it is a storyline, one in which the camera selects particularities to follow. But in Code Unknown, Haneke takes these really long smooth takes and disjoints them and forces them together even though the edges don't match. I think it helps us to see the relevance of the Code Unknown title, that in film we don't always have to have a key that will unlock the "meaning" behind the editing process itself. Editing, just like war photography (a la Sontag), creates different forms of meaning from images through manipulation. It is a key of sorts that allows us to make sense of the images strung together. But Haneke doesn't allow us any distance from his film through this buffer of manipulation. I think the way he edits maintains an objectivity that we wouldn't get otherwise.
Now even though he does the opposite thing from Altman's seamlessness, we end up at the send place. A new sort of objectivity that occupies the storytelling.
Who wants to defend the abrupt editing and chopping up of the various stories? Do we really gain anything from the way the story is told? I don't have a strong feeling about this one way or the other, but when a filmmaker so deliberately engages in an unconventional narrative style, I like to come away with a strong idea of what he or she was trying to communicate. I didn't in the case of "Code Unknown." I could be convinced, though. I suppose it might have something to do with the way our lives are fragmented, but that seems a little obvious, doesn't it?
I was just having this discussion away from the boards yesterday. The biggest difference between La Pianiste and Code Unknown is that the latter is not driven by the characters as much as it's driven by the isolated thoughts of the director. There should be two different motivations for experiencing each of these: In the former, it's the interplay between Huppert, her character's mother, and her student-lover. It's the shock revealed to us at the onset that this character could be functioning from some type of sexual dysfunction, and it's the reaction from others around her (including the viewer) that is appealing. The problem is that Haneke leaves no rhyme or reason as to why the character struggles with this, and he certainly leaves the room underwhelmed in the empty conclusion that lacks a grande finale. No childhood sexual scarring, no dad-was-a-child-molester, no first date-rape scenarios, nada. He offers no why, and that's why i walked away bitter. I guess the question is, does he create the piano teacher only in order to give us controversy and better sell his film, or does he really believe that the beginning and the ending of her struggles are unimportant?
OTOH, Code is not about the characters as much as it's about giving us glimpses at feelings that can turn into deep thought when meditated upon. There was complete resolution, and i felt several points, especially with the deaf children inserted at the intro and the deaf drum choir pacing left to right in the finale. The fact that you were listening to the drum beat thru the entirety of the last sequence really drove the point home, like the mind crushing pulsations at the end of Irreversible. I could feel the snare drum pounding into me: How can we get thru to you. How can we get thru to you. The dialogue, the characters, the narrative structure are all secondary to this central theme of broken people trying to find the ability to really bond, and the crulety some dive into because of the inability to communicate.
Edited August 9, 2005 by stef
To further illustrate the point of my previous post, i just found this, the tagline on the original title of the film:
Code Unknown: Incomplete Tales of Several Journeys
Darryl A. Armstrong
Father. Advertiser. Writer. Thinker. Pop philosopher.
Twitter:armstrongda
stef:
The problem is that Haneke leaves no rhyme or reason as to why the character struggles with this, and he certainly leaves the room underwhelmed in the empty conclusion that lacks a grande finale. No
childhood sexual scarring, no dad-was-a-child-molester, no first
date-rape scenarios, nada. He offers no why, and that's why i walked away bitter. I guess the question is, does he create the piano teacher only in order to give us controversy and better sell his film, or does he really believe that the beginning and the ending of her struggles are unimportant?
Say what?!
I think Haneke explains the "why" perfectly -- in a way that I, at least, have never seen it done so powerfully on film. In fact, I'd say the main theme of the film is a study of "why."
I think so many modern films take a simplistic and derivative approach to answering why a character has the psychological make-up that they do. We are told, "Because X happened, this character is Y." But that takes the focus off the actual problems that the character has and puts them on the character's symptoms. If there had been a "dad-was-a-child-molester" scenario revealed through flashback or dialogue or what-have-you, the movie would be pointless, in fact, more than that, it would have been nonesensical.
This film is a character study on the piano teacher's "issues" -- not her symptoms, although those are what are physically manifested.
Her relationship with her mother, which is shown to us without any disclaimers ("This is why I am what I am") lets us study her character and reason for ourselves the "why." She's obviously sexually repressed, but that's only a symptom of her subverting control over her own life. She lets her mother rule her and refuses to stand up for herself or involve herself in a meaningful confrontation. In her own mind she has no respect for herself because her mother doesn't respect her as a person. This is fairly obvious when the contents of her letter to her student are revealed. She seeks control because she has none. But she won't do it in any sort of normal sense because she has no respect for herself. Even at the end of the film she would rather injure herself and "run away" rather than face a confrontation with her rapist.
I'm not sure if he is trying to say at the end that people cannot change -- that they, and in this particular case, the piano teacher, cannot overcome themselves or if he's not concerned with those questions in this piece. In either case, it's a sobering character study of a tragic, and I think all too real character. Although not everyone's problems are manifested in the way portrayed here, I think everyone struggles with the issues at the core of the issue: respect, trust, love, growing up and relationships with parents. If nothing else, I think this film is a wonderful example of the falleness of human nature. At our core we long for love and respect and truth and beauty. But by ourselves we cannot grasp or become or enact these things. We will twist them. And that, of course, is where our faith comes in...
Wow, Darryl. That is a compelling arguement for the why. It really made me stop and think --
i hadn't considered Huppert's character's relationship to her mom in the mix, although it was plain as day they were both a little whack.
I think so many modern films take a simplistic and derivative approach to answering why a character has the psychological make-up that they do.
I agree. There are too many films where there is a pat answer that destroys any of the mystery that had been built up. It really can become as farsical as an evangelical film in which someone gets saved in the final three minutes.
I don't know. If it were about her "issues," then you'd be dealing with more than just a snapshot of a week in her life. We don't ever see her issues or the things that have taken root in her life and made her the way she is. All we see is a bizarre sex fiend who may have been raised sexually repressed, might have some mental problems and ends up in bed kissing her mother.
Great paragraph, except its ending sounded like a third verse tacked onto a major release Nashville ccm hit.
She may be a very real character. And Huppert was brilliant in this role, i'll give you that. But i needed more than just obscure imagery to explain to me why she acted in the ways she did. Perhaps not as wrapped up as you mentioned before that would defeat the honor of the film, but i needed something more in there to make me care. So she goes to video booths and sniffs the tissues men have left behind. I find that repulsive, and don't really care much more about her than that action in itself permits. So she needs to be the one in charge and wants to write down everything that is permissable in a letter to a would-be lover, and then what she writes down is sickening and humiliating. Again, it's really not all that interesting when we only get the quick glimpse of her that we get. In fact, it might not even be that interesting even if we knew more about her.
OK BACK TO CODE FOR A MINUTE
I'm working on a review for Code this week and i have a serious question about this whole tracking shot issue. The quesiton is this: Why should i care what Luc Moullet has to say about morality? What gives him the right to declare a particular kind of shot more "moral" than others? And don't you think it rather entertaining when people try to tackle the subject of morality in film outside the realm of faith? Isn't calling something in film "more moral" actually declaring an absolute standard? And who decides where the standard comes from?
Also this -- in the opening nine-minute shot we see the fight that breaks out between Jean and Amadou over the morality of the way Jean acted towards Maria, the Romanian immigrant. We see all this thru the lens of the "more moral" tracking shot. When Amadou is taken away, what we have just witnessed is clearly a wrong. So now we have a situation where we have something "more moral" that has just happened, and an "absolute wrong" that has just been commited. In viewing this, have we just been forced to come to terms with a morality higher than we are? If we've seen this wrong in progress, aren't we confronted with the hope for something more?
Again, like i mentioned before, the vertical motion is a display of man's relationship to man, but in the way it's presented here on the streets of Paris there is a direct challenge to our notions of absolutes.
...Yet, the harder i think about it, the more confusing it gets...
Anyone have anything else to offer on this?
Great line, except the emot-icon at the end seemed a tacked-on attempt to not sound like such a wise guy.
Why should i care what Luc Moullet has to say about morality? What gives him the right to declare a particular kind of shot more "moral" than others?
I have yet to be convinced of the inherent moral superiority of the tracking shot myself. If it's posited as an absolute, I don't buy it. If it's like a Dogma rule, as more of a thought experiment, I find it intriguing, and worth discussing in that context. If memory serves, there were some great tracking shots in Triumph of the Will...
And don't you think it rather entertaining when people try to tackle the subject of morality in film outside the realm of faith?
But wouldn't you rather have intuitively moral people for neighbors than logically-consistent nihilists?
So now we have a situation where we have mething "more moral" that has just happened, and an "absolute wrong" that has just been commited. In viewing this, have we just been forced to come to terms with a morality higher than we are? If we've seen this wrong in progress, aren't we confronted with the hope for something more? Again, like i mentioned before, the vertical motion is a display of man's relationship to man, but in the way it's presented here on the streets of Paris there is a direct challenge to our notions of absolutes.
Haneke wants us to both question moral judgments (because they are so often jumps to conclusion without all the facts) yet also to make moral judgments (about immigrants, violence, the image, etc) -- so he's in a tough spot, and he obviously knows it. The vertical line you identify as a possible indication of his acknowledgement of a transcendent morality impresses me less than the drumbeat at the climax that suggests there are other channels on which moral reality can be communicated than rational ones. Which, in its way, is an acknowledgement of the possibility of transcendent moral reality.
I like that last paragraph Mike except the oft used term "moral" to describe what is going on in the last scene. It doesn't seem that Haneke is speaking so much there about "ethics" as he is "communication". In the continental post-modern context morality itself isn't necessarily a question, rather the ability for rational communication that is the foundation of ethical "speech/activity" is in question. (The whole: "How can we see face to face until 'till have faces" issue.) So it seems that Haneke is saying in that last beautiful scene that the "code" is not unknown, we can break through, we can communicate across the barriers of contemporary society. And he shows us that this idea is true because he allows us all to see it happening on the screen. That scene really is akin to Linklater's "holy moment" scene in Waking Life.
It seems that he only deals with issues of "ethics" when he is dealing with the Sontag/war photography theme. That last scene addresses our ability simply to get through to each other, which seems to be the answer to the questions that Binoche's acting sequences and the terrible grocery store scene raise rather than the ones about the war photography.
But as far as the "ethics" of the tracking shot are concerned, I am convinced that is a reasonable approach. It has more to deal with the nature of film as a medium than it has to do strictly with "ethics" per se. The New Wave convention that this quote identifies is simply that there are ways to allow cinema to "tell the truth". The very form of a film itself, embedded in the process of editing and ways of tracking and framing determines how closely a film represents reality. A long horizontal pan simply allows us to see a scene unfold. It doesn't direct the viewer's eye, but allows the viewer's eye to become a captain of the viewing process. It allows us to soak up the detail of the scene, it mimics the natural practice of "seeing" itself. So the tracking shot is more "ethical" because it is more "realistic". But to be fair, that quote makes a great point even though it verges on overstating itself.
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US Basketball: No Africa trip after Ebola outbreak
(The AP)
The U.S. national team has canceled a trip to Senegal after the Ebola outbreak in West Africa.
USA Basketball chairman Jerry Colangelo says Friday the Americans were disappointed to call off what would have been the national team’s first trip to the African continent, but “didn’t have any other choice” because of the risk.
The Americans were scheduled to travel to Dakar on Aug. 27 and conduct a joint clinic with the Senegal national team. They planned to tour Senegal’s Goree Island and attend a reception hosted by the Senegalese government.
More than 1,000 people have died in West Africa in the last six months after the outbreak quickly spread to major cities in Guinea, Liberia and Sierra Leone.
Tags: canceled Senegal trip, Ebola outbreak, U.S. national team, West Africa
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The Secret Sisters’ Self-Titled Debut Drops Oct. 12
Elvis Costello: “National Ransom” Official Trailer
Album Review: Marshall Chapman – “Big Lonesome” (TallGirl Records)
Hank Williams, Jr. — “Old School, New Rules”
Johnny Cash Birthday Bash, Feb. 24-25 – Brooklyn
Charlie Louvin: July 7, 1927 – Jan. 26, 2011
The Secret Sisters on Letterman TONIGHT! (11-19-10)
Sneak Peek: Gwyneth Paltrow in Upcomng Film ‘Country Strong’
Contest Giveaway: Signed Copies of Marty Stuart’s Ghost Train
News: Elvis Costello to release National Ransom on Nov. 2nd
Q&A with The Secret Sisters – (Way More Than 12 Questions)
Artists, Features, Interviews, The Secret Sisters — By Jim Simpson on October 9, 2010 1:48 pm
Honest and meaningful music is what caught T. Bone Burnett’s ear. The Secret Sisters certainly caught our collective ear with their clean and close harmonies — they really are sisters, after all.
Natives of Muscle Shoals, Alabama, Lydia and Laura Rogers learned to harmonize in church and at family picnics performing classic gems by the Everly Brothers and Doc Watson. They recorded their self-titled debut at Nashville’s legendary Blackbird Studios over two weeks, all on analog equipment, singing live into one microphone. Amazing. The album will be released October 12 on T-Bone Burnett’s Beladroit label, produced by Dave Cobb (Waylon Jennings, Jamey Johnson).
I recently spoke with the bright and whipsmart 20-somethings via phone from Nashville, and it was undoubtedly one of the most enjoyable interviews I’ve ever had the pleasure to conduct. They even played along with our off-the-wall 12 QUESTIONS WITH . . . feature. Enjoy! Enjoy!
So, where are you right now?
We’re in Nashville at our media/PR office. We’ve had a busy day of talking to people and trying to get the word out about the [self-titled debut] album that’s coming out next week.
There certainly is a buzz about the album. You first sang as ‘The Rogers Sisters,’ so where did ‘The Secret Sisters’ come from?
Oddly enough, someone else had taken the name ‘The Rogers Sisters’ and they were not willing to let us use it, so because of trademark laws we decided we need to find a different name. We liked the idea of using the ‘sisters’ part of it just because it’s so classic sounding. We dug around for months and months to try to find something that wasn’t already taken, and our manager stumbled across this phrase, ‘The Secret Sisters,’ so we did some research and it was not taken. We thought it worked because up until that time nobody knew who we were — we just kind of walked out of Alabama and became a recording act. It’s become a sort of self-fulfilling prophecy, so to speak.
I’ve heard that one of you went to business school, or studied business in college. You sound very business savvy — are you that sister?
Yes, I am. I’m the older of the two [Laura]. I graduated last August and I wanted to be a music publisher. [Laughs] Obviously, there were different plans being made for me, so I’m learning about publishing, but I’m learning it in a sort of backwards way. It’s weird how you prepare for something, and you end up using it in a totally different way.
How old were you two when you first started singing together?
We’ve always sung together, but not professionally. We didn’t start until we got this record deal. It’s been a learning process for us. We’d never performed on a stage anywhere, it was always just in our livingroom or family reunions and in church. It was there, in church, that we learned how to sing, but we’ve been singing since we were little. As far as public performances, we didn’t start doing that until January or February of this year.
Did you sing a cappella in church?
The church we grew up in — and we’re still attending — doesn’t use musical instruments at all, so we had to learn to read shaped notes and blend with each other and harmonize. That’s how we trained our ears; we didn’t realize it at the time, but that was what helped us learn to blend our voices and not overpower the people sitting next to us, and to be able to hear the harmonies. Whether or not you’re looking at notes on a page, just to be able to hear which harmony would sound good with a certain note, that was our most formal training.
Do you think this natural ability is stronger in siblings? I mean, look at the Louvin Brothers, Everly Brothers, Andrews Sisters, Wilson sisters of the band Heart, Avett Brothers — do you think genetics play into it?
Definitely. History has proven that some of the tightest harmonies are blood related, that has a huge part in it. The way we talk is similar [Note: I had difficulty distinguishing Lydia from Laura when they answered] and the tonality of our voices are similar, so there are times when it’s hard to depict who is singing which part.
You recently played the Hardly Strictly Bluegrass Festival in San Francisco. The lineup was amazing, so what was it like for you to perform there?
It was insane. They told us that there were 40,000 people that we were performing in front of, and it was really different for us and humbling as well. We only performed two of our own songs, but we did some background vocals for Karen Elson, T. Bone Burnett and for Elvis Costello. That was cool, like a big party up on stage with people coming and going, and the crowd was super responsive. That was our first open-to-the-public performance, so to have our first show there was pretty exciting.
You had heard of most of the artist who were there, right?
Oh yeah, we were big fans of Jenny Lewis.
Did you get autographs and totally gush over your favorites?
We try not to do autographs. I’m always tempted to say, ‘Hey, can I get a picture with you?’, but we try not to do that because we want to seem like professionals. We still have those moments where we say ‘Oh my goodness, we just recorded with Jack White’ or ‘Jakob Dylan stood beside me.’
I’m sure you’ll have many more moments like that down the road, and it’ll probably become old hat: ‘Yeah, we just recorded with Elvis Costello . . . no big deal.’
[Laughs from both — in harmony!] Right, no big deal.
You recorded your debut at Blackbird Studios in Nashville over only two weeks. Did you feel rushed at all?
No, it was really laid-back and it flowed really well. Our producer [Dave Cobb] was really great; he didn’t put any pressure on us, just said if we happened to finish it in two weeks, then we’re awesome, and if it takes longer, we’ll do that. He just wanted it to be very organic, didn’t want us to be stressed out. We had the best time and really bonded with the musicians. Blackbird is known for its amazing collection of equipment, so everything was really easy and we didn’t have to think about it. They were great sessions.
Did you record there specifically because they have older analog equipment?
That was the main reason we recorded there. We wanted to be true to the era, but another reason we chose to record in Nashville was that we knew we were going to be targeting a country sound, so something about going to Los Angeles or New York didn’t feel right. If we were going to do a tribute to country music, it needs to be recorded in Nashville.
How did you go about choosing the songs for the album?
That was a collaboration between us and Dave. We put our heads together and tried to find songs that we thought would match our voices well. We chose songs by George Jones, Hank Williams . . . there were so many to choose from, it was pretty tough. T. Bone came in and recommended a few songs, but it was just digging through tons of really great material and trying to find, well, how do you find eleven songs out of . . .
Right. It’s like Rosanne Cash’s The List — how do you condense that iconic list of songs down to one album?
Exactly. We got spoiled, because we heard all these great songs and we thought what could we possibly write that would be as good as this? It would be easy to just do cover songs for the rest of our lives, but we are trying to become more proficient at songwriting and we definitely want more originals on the next album.
So there are two originals on the album, right?
‘Tennessee Me’ and ‘Waste The Day.’
I actually heard ‘Tennessee Me’ on the radio the other morning. We have an amazing station in Atlanta, WMLB AM 1690, ‘The Voice of the Arts’ that plays all kinds of stuff, old timey, country, blues, roots, jazz, and now you!
That’s so great! Most of the time we know where we’re going to be appearing, but we have these moments where people say they heard us on the radio or someone saw something on TV about us, and it’s all starting to filter back down to us from the fans who are listening. That’s a really cool thing to hear.
You’re going to be performing soon in Boston at T.Bone’s The Speaking Clock Revue.
Yeah, we’re really stoked. It’s pretty wacky to just have your first album coming out and you get to share a stage with Elton John . . .
Are you nervous at all?
Well, we try not to think about it. If we dwelt too much on those things it gets in our heads too much, so we take things a day at a time and just roll with it.
So I take it you two are comfortable in the spotlight.
[Huge laughter] Umm, we’re still getting used to it. We’re learning how to be comfortable on stage.
When did you first meet T. Bone Burnett?
We met him back in May [2010]. We got wind from our record label that he’d heard our music, and he loved our voices and wanted to meet us. We flew to L.A. and sat around talking, played a few songs for him and then find out that he wants to get completely involved and help promote our career. It was kind of like winning the lottery for us. He’s been a really beneficial ally to have on our side.
What was your first impression of him when you met him?
We were intimidated.
Isn’t he really tall?
Yeah. [Laughs] He’s a tall figure, literally. When we got in the room he was very down-to-earth and normal and very knowledgeable about music history. We’ve hit it off, and he’s become a real dear friend — like our great uncle or something. He’s been a really special person.
So, how was New York City? You recently performed at Joe’s Pub.
That was a cool venue. It’s built over the subway, so every few songs you could feel the subway cars going under and everything was shaking. We’d already had our Los Angeles and Minneapolis showcases, and Nashville, so we didn’t really know how the New York crowd would react to us. It was actually an overwhelmingly positive reaction. We actually got a touring opportunity out if it: we’re doing a few dates with Ray LaMontagne and Levon Helm in a couple of weeks.
And now for our 12 QUESTIONS WITH . . . where we ask 12 off-the-wall questions, not all relating to music. Are you ready?
[Laughs] Let’s go for it. Sounds like fun.
1. What’s for supper?
We’re staying with a friend in Nashville. She’s cooking some sort of soup with chicken and cheese, a homecooked meal courtesy of my best friend here.
2. List five items currently in your refrigerator (or, if you’re on the road, in your cooler, glove compartment, backpack, or suitcase).
Oh, we can talk about what’s in our suitcases. Fake eyelashes [laughter], curling irons, fingernail polish . . . what else . . . a bunch of lanyards from all the festivals we’ve been playing, and bright red lipstick.
3. Buck Owens or Roy Clark?
[In perfect unison] Buck Owens!
4. What are you listening to these days?
I’m listening to Mumford & Sons. And I’ve been listening to a lot of Adam Duritz, and I’m always listening to Brandi Carlile.
Pardon me, but I still can’t tell your voices apart.
[More laughter] This is Lydia: Mumford & Sons. Laura is: Adam and Brandy.
5. What was your first paying job?
[Lydia] I worked at a daycare in town. And this is Laura: I worked at a gas station that was also a bait house, it was right on the river in Alabama. I had to dip minnows and crickets out of the bait house, literally had to stick my hand into a box of crickets and pull them out for fishermen. It was horrible — and glamorous!
6. What was your first paying music gig?
Ohhh. We played a little show at a theater called the Roxy in our hometown. We got paid $25, which was basically gas money to get there.
7. Did you always know you wanted to be professional musicians and singers?
I always — this is Lydia — I always wanted this, but I wasn’t sure if I could make a living from it, so I went to school for graphic design. [Laura]: I never thought I would be a singer; I just wanted to be behind the scenes in music, to be a publisher.
8. What record or artist changed your life when you first heart it or him/her?
[Lydia]: I’m a big fan of Fiona Apple. She really changed the way I think about music. For me — this is Laura — it was definitely Brandi Carlile. I talk about her in every interview, but literally she changed my life musically, unbelievably so. I am so inspired by her, and her stage presence, her writing, her performances . . . just, oh . . . over the top.
9. Prose or poetry? And do you have a favorite writer?
Poetry for both of us. My favorite poet — Laura — is Walt Whitman. [Lydia]: Yeah, me too. [Laura]: Copy cat. [Lydia]: I’m not a copy cat!
10. What does Nashville mean to you?
This is Laura speaking. Nashville means everything to me. I lived here for a few years when I was going to school, and I always think of Nashville as home mainly because this is the town where we were discovered. It was Nashville that offered us the opportunity to be heard, and to know that it all started here . . .
It was where your first audition was held, right?
That was back in October of 2009. They held an open audition here.
11. This may be a bit premature, but . . . If you were inducted into the Country Music Hall of Fame tomorrow, what would be the opening sentence of your acceptance speech?
Oh . . . interesting, umm, probably ‘Thank you Mom and Dad for everything you’ve ever done for us.’ Our parents are phenomenal people.
That’s without a doubt the most popular answer.
Sweet, oh I’m glad we’re normal!
12. What’s next for The Secret Sisters?
Our album’s coming out a week from today [album drops Oct. 12th] which is kind of a big deal for us. And then we’ll go on The Speaking Clock Revue with T. Bone and friends, and then we have our Ray LaMontagne dates. Next year there’s talk about us being in a movie, perhaps, that T. Bone is directing the music for. So, basically we’re getting down to work and touring, and getting out to meet the people who are buying the record. We’re in it for the long haul.
[mp3 keywords=”The Secret Sisters” tag=”coumuspri-20″ width=”336″ height=”280″]
Tags: Awaiting The Flood, Brandi Carlile, close harmonies, country music, Elvis Costello, Jim Simpson, Nashville, old timey, t bone burnett, the secret sisters
Great chat Jim!
Im super bummed I missed them when they were in LA. Next time I guess.
Ryeaman says:
Above…in an answer, you transcribed their words as “learn to reshape notes and blend”…that’s incorrect. It should have read “learn to read shaped notes and blend”.
The distinction is very important, because shaped notes are just that…so do, re, me have different shapes.
We (Church of Christ and others) don’t learn to read music in the same way as musicians. We learn relative steps from note to note …it’s hard to explain, but beautiful to hear.
ATF says:
Thanks for the clarification. We really appreciate your detailed reading of the interview.
E-Mail (required):
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Tag Archives: health literacy
Health literacy in Australia… as easy as ABC?
Posted on March 30, 2010 by Lisa Burling
Health literacy in Australia... as easy as ABC? Cube PR blog
For all of us working in the healthcare industry, it is easy to focus all our attention on the development and delivery of information to patients and the general public at large. However, it is becoming increasingly apparent that we must also pay attention to how that information will be received and understood – a process referred to as ‘health literacy’. At last week’s FROCOMM Health Communications, Marketing & Media Conference, the topic took centre stage – what it is, how Australia is fairing and ways to improve it.
Search the internet and you will find a plethora of information on health literacy, ranging from official Government-funded reports to blogs which ask why Australia, a nation obsessed with health, lags behind, albeit slightly, other first-world countries such as Canada.
Health literacy is described as a person’s ability to use health information effectively. The Australian Bureau of Statistics (ABS) provides a more detailed definition - “the knowledge and skills required to understand and use information relating to health issues such as drugs and alcohol, disease prevention and treatment, safety and accident prevention, first aid, emergencies and staying healthy”.
Health literacy has become an increasing focus in recent years amongst Government and academics. The latest version of the ABS ‘Health Literacy, Australia’ report delves deep into demographic distinctions and, whilst it’s not hugely surprising that people with higher formal education attainment achieve higher levels of health literacy, age does have a significant impact. Health literacy it increases from 15 to 39 years, then decreases for those ages 40 and over. The ABS report surmises this is because aging causes physical, psychological and social change.
Just last year, two reports into health literacy were released, both unveiling worrying findings. The National Health and Hospitals Reform Commission (NHHRC) report found six out of every 10 Australians would experience difficulty in understanding or making the choices necessary to stay healthy, or to find their way round the health system. Similarly, a study by Australian doctors at the University of Adelaide stated many people do not understand basic health information.
That is enough of the problem – what are the potential solutions? At the FROCOMM conference a number of people representing universities and industry associations offered their views. Peter Waterman from the Pharmaceutical Society of Australia encourages people to search through the society’s Pharmacy Self Care program online, which has over 80 separate factsheets on topics as diverse as Alzheimer’s, antibiotics and alcohol. The Society also recently set up a Facebook page in an attempt to have as more direct dialogue with consumers.
Deon Schoombie from the Australian Self-Medication Industry (ASMI) agrees consumers should seek to have a direct dialogue with their healthcare professional. He also highlighted social media as the ideal way to engage publicly and directly with people as it is about them and allows the health system to offer a tailored message, bringing the system closer to a real conversation/interaction. ASMI recently launched a Facebook page, Twitter profile and regular blog, demonstrating their tangible belief in this viewpoint.
All FROCOMM panellists agreed that better education in schools is critical as is making the health system more accessible. (Backing up this viewpoint, the NHHRC report also recommends health literacy be included as a core element in the curriculum for both primary and secondary schools).
The provision of information in a consumer-friendly and engaging manner and connecting consumers with HCPs quickly was also discussed. Professor Clare Collins from the Dietitians Association of Australia believes flexibility of information delivery will help ensure it captures the attention of the target population – for example, SMS texting for younger populations.
Is getting Australia’s health literacy levels to the standard they should be as easy as ABC? Not quite, but addressing the issue must remain a priority to ensure Australia remains a truly healthy nation. As part of Australia’s healthcare industry, we have a unique opportunity to help in a tangible way by ensuring we focus on the 3 d’s with all communications materials – developing, delivering and perhaps most importantly, deciphering.
Posted in Industry Perspectives | Tagged ASMI, Australian Bureau of Statistics, Dietitians Association of Australia, Facebook, Frocomm, health literacy, NHHRC, Pharmaceutical Society of Australia, Twitter
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Posted in: Online Services
PlayStation Vue to offer a la carte subscriptions, coming to San Francisco and Los Angeles
June 16th, 2015, 08:20 by Ansh 6 comments
Sony has announced that in July its Internet TV service PlayStation Vue will begin offering a la carte channel subscriptions, allowing users to choose channels that they wish to subscribe instead of entire bundles. The announcement was made by the company at the ongoing E3 gaming expo.
In addition, the company also announced that the service, which is currently available in New York, Chicago, and Philadelphia, will now be available in San Francisco and in Los Angeles as well. There was, however, no word on the pricing.
Launched back in March this year, the PlayStation Vue service offers over 80 live cable channels, including NBC, Fox, and CBS. Its subscription packages start at $50 a month.
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2015-16 Foundation Report
The Broad
Home / The Broad
When The Broad opened to the public on Sept. 20, 2015, it not only became Los Angeles’ newest contemporary art museum, it also became the hottest ticket in town. A month before the museum opened, when online ticket reservations debuted, the museum’s website crashed from the demand. Six weeks later, nearly 275,000 free tickets had been reserved. And the museum had only been open two weeks.
The Broad had been a long time in coming. It opened five decades after Eli and Edye Broad moved to Los Angeles, over four decades after they began collecting contemporary art, 31 years after they started The Broad Art Foundation as a public lending library, and five years after construction of the museum’s innovative architectural design began on Grand Avenue in downtown Los Angeles. It represented the culmination of the Broads’ lifelong passion for art and the deep desire to share that art with as many people as possible. The public intersection of their collection and an architecturally distinct home to show the art came together with a generous gift to their adopted hometown: a museum, the art within and free general admission.
The museum opened to great fanfare: previews for more than 400 media from around the world, two dinner celebrations for nearly 1,500 artists, civic leaders, national and international museum directors, celebrities and friends, including former President Bill Clinton, and a public dedication with more than 600 civic, community and business representatives, including California Gov. Jerry Brown and Los Angeles Mayor Eric Garcetti. The civic dedication featured two 88-foot ribbons that stretched from the top of the museum’s distinct honeycomb façade to the expansive sidewalk below, released when Eli and Edye Broad pushed a giant red button in a symbolic opening of their gift to the city.
artworks in The Broad’s inaugural installation
followers on social media by opening day
visitors in the first 45 days
But the real celebration came on opening day, as people lined up around the block to see the more than 250 works of contemporary art in the museum and under the sublime skylit third-floor gallery. They wanted to ride the 105-foot escalator that would transport them through the sculptural second-floor core of the museum, where the art was stored when not on display or on loan to another museum.
They wanted to peek into that storage to glimpse the art that might be on the gallery walls on a future visit to The Broad.
They came to experience contemporary art: iconic works by Andy Warhol, Jeff Koons’ 12-foot-tall blue Balloon Dog, Icelandic artist Ragnar Kjartaanson’s The Visitors—a 64-minute, nine-screen video installation of musicians playing and singing, one to each screen, perfectly and poignantly synchronized. They were drawn to Yayoi Kusama’s Infinity Mirrored Room, standing one at a time for a minute on a small platform in a mirrored room, surrounded by LED lights that give visitors an intensely personal experience of space and time, reflection and infinity.
The Broad’s first audience reflected Los Angeles: all ages, residents and tourists alike, and every shape and size and color. The art and the architecture was for them to experience, to share with friends and family on future visits, and to have the freedom to visit favorite artworks, again and again.
All arts articles Next
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You can bid on an autographed one of these at the Rock For Kids Auction tonight.
Tomorrow The Moon, the sci-fi oriented band that includes Bad Examples guitarist Steve Gerlach, has a gig tonight at Martyrs’. They'll be playing some new songs as well as tracks from their debut EP The Dim, Distant Now, which will be officially released early next year. The Last Dark Show, Swearwords, and Vultures Are Lovebirds are also on the bill. Show time is 9:00PM.
WXRT air personalities Lin Brehmer and Marty Lennartz will co-host the 23rd Annual Rock For Kids Rock & Roll Auction at the Park West in Chicago tonight. The event never fails to assemble a fascinating bounty of memorabilia from musicians, athletes, and celebrities. This year, some of the items attendees can bid on include autographed guitars from Paul McCartney, Eric Clapton, Taylor Swift, and other artists; record albums signed by U2, Funkadelic, and The Monkees; autographed concert posters from numerous alt rock bands; a Monty Python poster signed by the troupe members; a Star Wars signed cast photo; and a James Bond poster signed by each of the actors who have played the iconic role.
Of course it will take more than pocket change to nab any of these items, but it’s fun to check them out even if you can’t afford them. Plus, the auction is like a party and it’s entertaining to witness some of the more ferocious bidding wars. There’s an opening reception from 6:00 to 7:00PM. Proceeds help provide music lessons for kids who would have no other way to afford it.
James Moeller and Carla Hayden of Black Forest Theatre are joining forces with the Celebrity Salon in Evanston for a Toys For Tots benefit tomorrow night from 7:00 to 11:30 PM. Moeller and Hayden will be performing with their band WhiteWolfSonicPrincess All Stars, and Moeller will also be rocking out as a member of The Telepaths. Other acts scheduled include The Rut, which is a musical offshoot of the Famous In The Future comedy group; Crocodile Children; Hannah Frank; Longbottom Leaf; and Kavus.
There will be the occasional holiday tune, plus covers of songs by The Monkees, Smashing Pumpkins, Warren Zevon, Bob Dylan, Nirvana. Grateful Dead, and other bands. It’s a BYOB event, and anyone who brings an unwrapped toy (no toy guns or stuffed animals) can get in for free. In related news, James Moeller announced on his jimmydumps/sunnyjimmy blog yesterday that WhiteWolfSonicPrincess has finished its new CD and plans to release it in the Spring of 2012.
On the recent PBS special Women Who Rock, Kathleen Hanna, formerly of the influential riot grrrl band Bikini Kill was shown addressing a class of young girls interested in becoming musicians. She might be pleased to know what’s been going on at the Lamplighter Inn’s Wednesday Open Mic Nights in Palatine. Young girls, as well as young boys are encouraged to hone their musical skills before a live audience in a supportive atmosphere that also features adult performers.
It’s all overseen by Lamplighter employee Rick Albright, who travels throughout the Inn’s upstairs room with his clipboard, making sure every act is ready to go on. This past Wednesday, a trio of boys called Arcade Days was playing energetic grunge rock. The five girl band Serendipity was also on the bill, mixing modern hits with Motown chestnuts by The Jackson Five and Ike & Tina Turner. Serendipity plays on regular basis at the Lamplighter Inn’s Open Mic Nights and exudes poise and confidence. The band is starting to catch on in the northwest suburbs and is now represented by NTD Management. Serendipity keyboards player-vocalist Liz Petitt also joined her parents John (guitarist-vocalist with the band This Is This) and Ruth for a rousing edition of “Expressway To Your Heart” by The Soul Survivors.
Smithereens lead vocalist-guitarist Pat DiNizio has printed up t shirts to commemorate the solo multi-media show he’s currently doing at The Rivieria in Las Vegas. Each limited edition, personally autographed Confessions Of A Rock Star shirt costs $20, plus $6 shipping and handling. Purchases can be made via PayPal, but since delivery can take from 4 to 6 weeks, you might not get it in time for that Smithereens fanatic on your Christmas list.
Power pop veteran Paul Collins recently noted on Facebook that The Kids Are The Same, the 1982 sophomore effort from The Paul Collins’ Beat will soon be re-released on Get Hip Records. The album features classic cuts “That’s What Life Is All About,” “Dreaming,” and “Crying Won’t Help.”
“The Basement” by the newly formed Green Beetles is the lead-off track on an Aussie various artists compilation called Rock Against Bullshit Volume 6 that’s being released today. The band, another international collaboration for Chicago area bassist-vocalist Herb Eimerman, also includes his fellow member of The Britannicas, vocalist-guitarist Joe Algeri.
Don’t look for Aaron Fox & The Reliables to play Christmas carols at their December 23rd gig at Uncommon Ground’s new location on Devon in Chicago. According to lead vocalist-guitarist Fox, the band will be performing stripped down versions of songs from its Late Too Soon CD as well as some new material. Aaron Fox & The Reliables plan to start recording their next CD in the near future; previews of the songs “Unpromised Land” and “What We Think” can be heard on their website.
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The Pretenders With Friends, a concert Chrissie Hynde and her band performed at the Decades Rock Arena in Atlantic City, NJ with special guests Iggy Pop, Shirley Manson, Kings Of Leon, and Incubus, is out today as a Blu Ray + DVD + CD set.
There are a number of festivals taking place this weekend, including Taste Of Chicago, Irish Fest, and Roscoe Village Burger Fest. See my Wednesday post for more details on each of these.
Former Hollies lead vocalist Allan Clarke released the single “Journey Of Regret” today. The song reflects Clarke’s long-held admiration for Bruce Springsteen and is the first taste of a new album titled Resurgence coming out on September 20. It will be Clarke’s eighth solo effort, but the first in almost 30 years.
Tickets went on sale today for the Marcia Ball Band at SPACE on November 8; BoDeans at City Winery Chicago on November 30 and December 1; Ralph Covert’s Acoustic Army at FitzGerald’s on July 20; Robbie Fulks at The Hideout on August 9; Delbert McClinton and Gerald Dowd at Old Town School Of Folk Music on September 21; Lucy Wainwright Roche at SPACE on September 11; and Sarah Shook and The Disarmers, with Senora May at Sleeping Village on October 11. For a full list of upcoming concerts in the Chicago area, check the Early Warnings page of this week’s Chicago Reader.
The next season of Jerry Seinfeld’s Comedians In Cars Getting Coffee starts July 19 on Netflix.
The Long Grove Arts and Music Council will stage the first of the four free concerts it has lined for this summer when Corky Siegel and Will Tilson perform this Sunday afternoon on Towner Green.
Pete Townshend was among the famous musicians on social media mourning the passing of Alan Rogan, a highly respected guitar roadie. Rogan had worked with The Who, The Rolling Stones, Graham Nash, and Joe Walsh. Rock In Paradise, Mr. Rogan.
Neo, the iconic new wave club that reigned on Clark Street for so many years, is having a reunion at Metro on Saturday, July 20.
Congratulations to Johnny Marr on selling out all the dates on his current UK tour.
Musicians from the city’s Greek, Mexican, Argentinian, and Bulgarian communities will take part in the world premiere of the Chicago Jazz Philharmonic’s Chicago Immigrant Stories II on July 22 at the Pritzker Pavilion in Millennium Park. Emmy Award-winning trumpeter-composer Orbert Davis will lead the performance, which will feature Athanasios Zervas, Sones de Mexico, Leandro Lopez Varady, Zara Zaharieva, and Petros Dragoumis. The concert begins at 6:30 p.m.
With a lineup of former Friggs, Muffs, and Pandoras members Kim Shattuck, Melanie Varmmen, and Palmyra Delran, it’s a safe bet the new trio The Coolies will be a blast. Their debut effort, the six-song EP Uh Oh! It’s . . . The Coolies will be available in digital format next Friday and the 10-inch clear emerald vinyl version is available for preorder on the band’s Bandcamp page.
Can I have one? While making my weekly trip to the Reckless Records downtown location, I noticed the store’s record bins are decorated with colorful Official Lollapalooza After Show mini-posters, including ones for Sharon Van Etton and Jade Bird at Schubas and Lincoln Hall.
Green City Market’s annual Chef BBQ will take place at the south end of Lincoln Park (approximately 1817 N. Clark) on July 18 from 5:30 to 8:00 p.m. Over 100 Chicago area restaurants and breweries will be involved, including Antique Taco, Bad Hunter, Commons Club at Virgin Hotels Chicago, Eataly, Floriole, Goose Island Brewhouse, Maddon’s Post; Revolution Brewing, Spiaggia, The Gage, and Upstairs at The Gwen. There’s a wide range of ticket prices, which can be found at the Green City Market website.
The Bob Dylan: Electric exhibit has been extended at the American Writers Museum in downtown Chicago.
The Black Harvest Film Festival continues its 2019 run at the Gene Siskel Film Center through July 22.
The Louder Than Words – Rock Politics Power exhibit, which originated at The Rock And Roll Hall Of Fame, continues its run at the Museum of Broadcast Communications here in Chicago through the end of August.
Kokandy Productions’s production of Head Over Heels, the Broadway musical based on songs by The Go-Go’s, continues through August 25 at Theatre Wit on Belmont Avenue.
Posted by Terry Flamm at 10:34 PM , Links to this post , 0 comments
Festivals Straight Ahead
Taste Of Chicago opened today and you might even be rocking out to Courtney Barnett or Sunflower Bean as I’m posting this. The Taste runs through Sunday, with national acts scheduled for each evening. Those shows will get some stiff competition because we’re heading into one of Chicago’s busiest weekends for entertainment. If you’re a tourist who’s scheduled a vacation based around Taste Of Chicago, you might want to consider these other options as well.
The annual Irish Fest takes place at the Irish American Heritage Center on Chicago’s north side. It’s three days of traditional and more rock-oriented live Irish music, dance, a bit of theater, food vendors, and even a traditional tea if you prefer that to Harp and Guinness. Acts scheduled to perform include Tupelo (be ready for some audience participation), the wild and funny Larkin and Moran Brothers, Rory Makem, and The Bagpipes and Drums of the Emerald Society Chicago Police Department.
If you’re cool with a trip to Arlington Heights, Soundtracks Of A Generation will present A 50th Anniversary Tribute To The Woodstock Era on Friday night at the Metropolis Performing Arts Center. The show will cover songs by Santana, Crosby, Stills and Nash, Creedence Clearwater Revival, and Jefferson Airplane.
The Roscoe Village Burger Fest takes place Saturday and Sunday at Belmont and Damen. Local bands performing include The Handcuffs, School Of Rock, JC Brooks, The Empty Pockets, Michael McDermott, and Cat Fight.
Son Volt, Camper Van Beethoven, and Cracker are the headline acts at this year’s Square Roots Festival being held in Lincoln Square this Saturday and Sunday. Local indie label Bloodshot Records will be celebrating its 30th Anniversary on Saturday with a Tribute To Andre Williams featuring The Mekons, Vandoliers, and Murder By Death. Other acts scheduled include Southern Culture On The Skids, Tommi Zender, Steve Dawson’s Funeral Bonsai Wedding and as the finale, a tribute to Stevie Nicks and Stevie Wonder. Be sure to visit the Laurie’s Planet Of Sound record store while you’re in the area.
You can wrap up this busy weekend by catching Steve Forbert at City Winery Chicago on Sunday night.
Posted by Terry Flamm at 9:25 PM , Links to this post , 0 comments
Critically acclaimed Aussie singer-guitarist and free spirit Courtney Barnett kicks off this year’s Taste Of Chicago concert series tomorrow night on the Petrillo Music Shell. Barnett will likely be showcasing her latest release Tell Me How You Really Feel, which features offbeat but catchy, guitar-based tracks like “City Looks Pretty,” “Nameless, Faceless,” and “Crippling Self-Doubt And A General Lack Of Confidence.” It’s available in various formats via her own label Milk! Records. Sunflower Bean, an indie rock band that’s garnering attention with its Twentytwo In Blue album, will be her opening act. Taste of Chicago wraps up Sunday night an impressive double bill of rhythm and blues stars India.Arie and Meshell Ndegoecello.
The Long Grove Arts and Music Council has four events scheduled for the suburb’s 14th season of free Sunday afternoon outdoor concerts on Towner Green. Corky Siegel and Will Tilson will perform on July 14; followed by Creole Stomp on August 4; Sons Of The Never Wrong on August 11; and The Don Sternberg Quartet on August 18. All shows start at 4:00 p.m.
The Unswept - Minor Blemishes
Leave it to those clever transplanted Brits of The Unswept to title their third full-length effort Minor Blemishes; as though these dozen tracks are somewhat inconvenient or embarrassing. Rather, the album brims with offbeat charm, chiming guitars, and infectious melodies. Founding members Charlie and Ryan O’Brien have lived in Chicago for a few years now but their power pop songs are still influenced by the 1960s British Invasion.
Much of Minor Blemishes concerns pining for or losing relationships, although the opening track “Sunshining” celebrates the simple pleasures (“paperbacks and cups of tea”) of sharing your life with the right person. Bassist-vocalist Liz O’Brien—I’m not how or if all the members are actually related—joins Charlie on the rollicking breakup song “I’m Still Here,” and provides spirited back-up singing throughout the album. Liz, Charlie, and Ryan combine their vocals on the Bob Dylan flavored “You Ain’t On My Mind,” and they nail the off-beat satire of The Bevis Frond’s “He’d Be A Diamond.”
“The Boy Who Wakes You Up” is simultaneously innocent and creepy, while “She Just Knows It’s Over” depicts a wife leaving her husband and kids because she’s bored with that lifestyle. “Brown Line” is another breakup song, as a couple decides to call it quits while commuting on the CTA. On a different note, the very Beatles-like “Fake It” deals with how difficult it can be just trying to survive the average workday.
4th Of July Barbecue
There will be no Slumgullion this week because I have to work tomorrow, and Pam and I are going to a neighborhood party in the evening. So here’s a Thursday night, 4th Of July Barbecue in its place. I hope everyone has a safe and fun celebration right through the weekend.
The 38th Annual American Music Festival continues through this Saturday at FitzGerald’s in Berwyn. Tomorrow and Saturday’s schedule includes Brave Combo; Tab Benoit; EXPO ’76; Girls Of The Golden West; Alejandro Escovedo; Marcia Ball; Terrance Simien and The Zydeco Experience; Amazing Heebie Jeebies; and The Iguanas.
Chicago Innerview continues its tradition of covering the city’s major rock events with the publication of its Know Before The Show issue devoted to Pitchfork Pitchfork Music Festival. I picked up a copy at the Reckless Records location downtown, but I’m sure copies are available in other local stores and venues. Pitchfork takes place July 19 – 21, with Mavis Staples, Haim, Low, The Isley Brothers, Belle and Sebastian, Stereolab, and Neneh Cherry among the acts scheduled.
The Petty Kings will be performing Tom Petty songs this Sunday, July 7 at the Mount Prospect Lions Club Festival and on July 12 at the 210 Live venue in Highwood.
The Handcuffs will be performing at 5:45 p.m. next Saturday on the Main Stage at the Roscoe Village Burger Fest. Sunday’s lineup includes The Empty Pockets at 3:30 p.m. and Michael McDermott at 6:00 p.m.
Steve Forbert will be performing at City Winery Chicago next Sunday, July 14. Sonny Landreth will be at that same venue on July 28.
Irish Fest returns to the Irish American Heritage Center on Chicago’s northwest side next weekend with a packed schedule of music, dance, comedy, merchandise, food vendors and a bit of theater. Baal Tinne: A Tribute To Noel Rice is sure to be a highlight—Rice was a founding member of this band and a respected teacher of Irish music. He passed away earlier this year. Other highlights include Tupelo (be ready for some audience participation), the wild and funny Larkin and Moran Brothers, Rory Makem, and The Bagpipes and Drums of the Emerald Society Chicago Police Department.
Son Volt, Camper Van Beethoven, and Cracker are the headline acts at the Square Roots Festival taking place next weekend in Lincoln Square. Chicago-based indie/roots rock label Bloodshot Records will be celebrating its 30th Anniversary as part of Square Roots on Saturday, July 13. Murder By Death, The Mekons, and The Vandoliers will take part in a tribute to the late Andre Williams. The Bloodshot All-Stars Band and other special guests will also be on hand.
The Kokandy Productions presentation of The Go-Go’s inspired musical Head Over Heels continues its run at Theatre Wit on Belmont Avenuet hrough August 25.
Former Hollies lead vocalist Allan Clarke is due to release the single “Journey Of Regret” next Friday, July 12. It’s from Clarke’s latest album, Resurgence, which is coming out on September 20.
Actress Ellie Kemper’s book My Squirrel Days came out in paperback this past Tuesday. Among other things, it covers her time on the TV shows The Office and The Unsinkable Kimmie Schmidt.
The Louder Than Words – Rock Politics Power exhibit continues its run at the Museum of Broadcast Communications through the end of August.
Wish me luck, part 2. Last Saturday, I attended the Writing Workshop Of Chicago event on Michigan Avenue and was able to pitch my YA/Paranormal/Romance/Rock and Roll novel to three literary agents. Each has given me the green light to submit the book for consideration.
In last Friday’s Slumgullion column, whilst mentioning Monty Python is celebrating its 50th birthday, I joked that if people drank enough of the official Monty Python’s Flying Circus IPA, they could end up talking like the TV show’s Gumby character. Now The Guardian is reporting the remaining five members of Monty Python are organizing a Guinness World Record-setting Gumby gathering on October 5. That’s the date my wife and Pam celebrate our wedding anniversary. There must be a way to combine these two momentous occasions.
Things will get pretty eclectic at the Arlington Heights Frontier Days this Friday night, with performances by the Alanis Morissette tribute band Jagged Little Pill; soul music legends War celebrating their 50th Anniversary; and the My Metal Heart hard rock cover act. In nearby Mount Prospect, the Tom Petty tribute band Petty Kings and Jay Goeppner and Backdated will be rocking on Sunday.
The Alarm will share a bill with Modern English on August 16 and 17 at House Of Blues in downtown Chicago.
According to this month’s issue of the Illinois Entertainer (with Perry Farrell on the cover), we can expect new albums this month from Imperial Teen (Now We Are Timeless) and New Order (∑(No,12k,Lg,17Mif): Live at Manchester International Festival) on July 12. Radiohead leader Thom Yorke’s ANIMA comes out July 19; and Violent Femmes will drop Hotel Last Resort on July 26.
That issue of I.E. is also where you’ll find a full-page ad for the Jay O’Rourke Band’s August 9 CD Release Party Party for Cover Tracks at SPACE. The album features renditions of classic rock and blues songs. It’s a safe bet the band will also be selling copies of its earlier 2019 release Sumpthin Good. The Dick Dale influenced instrumental act Spies Who Surf will be the opening act.
Wish me luck. I’ll be pitching my two my rock and roll novels (and possibly a Middle Grade fantasy) to literary agents at the Writing Workshop Of Chicago tomorrow at the Congress Plaza Hotel on south Michigan Avenue. I’ve gone to this event the past two years and found it a very rewarding experience. Aspiring writers tend to think of literary agents as cold and unsympathetic, but engaging with them in a friendly, informative face-to-face meeting certainly changes that outlook.
Pete Townshend has written a novel. It’s called The Age Of Anxiety and is coming out on November 19.
Mike Skill and ’67 RiOT with Brad Elvis; The Differents; and Acoustipunks will share a triple this coming Tuesday at Montrose Saloon on Chicago’s north side. Skill and Brad Elvis are well known as members of The Romantics, and Brad Elvis is also a founding member of the Chicago-based indie rock band The Handcuffs. Show time is 8:00 p.m.
Tickets went on sale today for Black Flag at Reggies’ Rock Club on August 25; the Dave Brubeck Tribute Project at SPACE on August 28; Shemekia Copeland at SPACE on October 11; Elvis Costello and The Imposters at Chicago Theatre on November 22; Marshall Crenshaw at SPACE on December 12; Morrissey and Interpol at Ravinia on September 14; and New Pornographers and Lady Lamb at The Vic on October 2. These listings, and several others, can be found on the Early Warnings page of this week’s Reader.
Megan McDonough has a gig coming up next Saturday, July 6; at SPACE in Evanston.
Monty Python is celebrating its 50th Birthday this year and it’s going to be a (British accent) silly party. Fully restored episodes of Monty Python’s Flying Circus will be coming out on November 19, a BBC Takeover is in the works, and the group will be reissuing its books and records. Monty Python’s Flying Circus IPA will be available via Black Sheep Brewery in September and October. Drink enough and you can talk like a Monty Python Gumby character.
Former Hollies lead vocalist Allan Clarke is due to release the single “Journey Of Regret” on July 12. It’s the first taste of Clarke’s new album Resurgence, which is coming out on September 20. It will be Clarke’s eighth solo effort, but the first in almost 30 years.
The Petty Kings will be performing Tom Petty songs on July 7 at the Mount Prospect Lions Club Festival and on July 12 at the 210 Live venue in Highwood.
The Kokandy Productions presentation of Head Over Heels opens on Monday, July 1 and runs through August 25 at Theatre Wit on Belmont Avenue. The gay-centric and anachronistic musical is based on songs by The Go-Go’s.
Former Doctor Who star David Tennant and current Doctor Who star Jodie Whittaker are among the English stage and film performers taking part in the BBC Children In Need: Got It Covered CD project. Each of them will record a cover version of a hit song. Helena Bonham Carter and Jim Broadbent will also be contributing. There will also be a 60-minute programme showing the rehearsals and recordings.
Matt Smith of Doctor Who and The Crown fame and Keira Knightley of thousands of movies fame will be co-starring in a political thriller titled Official Secrets.
Chicago-based indie/roots rock label Bloodshot Records will be celebrating its 30th Anniversary at the Square Roots Festival in the Lincoln Square area on July 13. Murder By Death, The Mekons, and The Vandoliers will take part in a tribute to the late Andre Williams. The Bloodshot All-Stars Band and other special guests will also be on hand.
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Yeo, Sara K., Michael A. Xenos, Dominique E. Brossard and Dietram A. Scheufele. 2014. "Disconnected Discourses." Materials Today. 17(2):48-49. doi: http://dx.doi.org/10.1016/j.mattod.2014.01.002
Youtie, Jan and Luciano Kay. 2014. "Acquiring Nanotechnology Capabilities: Role of Mergers and Acquisitions." Technology Analysis & Strategic Management. p. 26(5). doi: http://dx.doi.org/10.1080/09537325.2013.872773
Zhang, Yi, Alan L. Porter, Zhengyin Hu, Ying Guo and Nils Newman. 2014. "'Term Clumping' for Technical Intelligence: A Case Study on Dye-Sensitized Solar Cells." Technology Forecasting & Social Change. 85:26-39. doi: http://dx.doi.org/1 0.1016/j.techfore.201 3.12.019
Zhou, Xiao, Yi Zhang, Alan L. Porter, Ying Gue and Donghua Zhu. 2014. "Nano-enabled Drug Delivery: A Research Profile." Nanomedicine: Nanotechnology, Biology and Medicine. 10(5):889-896. doi: http://dx.doi.org/l0.1016/j.nano.2014.03.001
Allenby, Braden and Peter de Marneffe. April 19, 2013. "Privacy in the Nano City: Humans and nano- enabled Communication Technologies." CNS-ASU Science Café.
Anderson, Derrick. 2013. "The Cochlear Implant Controversy: Lessons Learned for Using Anticipatory Governance to Address Societal Concerns of Nano-scale Neural interface Technologies." Yearbook of Nanotechnology in Society, Volume III: Nanotechnology, the Brain, and the Future, ed(s). Sean A. Hays, Jason S. Robert, Clark A. Miller and Ira Bennett, p. 147-158. New York: Springer.
Anderson, Ashley A., Dominique E. Brossard and Dietram A. Scheufele. 2013. "Nanoparticle-related Deaths: Science News and the Issue Intention Cycle in Print and Online Media." Politics and the Life Sciences. 31(1-2):87-96.
Anderson, Ashley A., Dominique E. Brossard, Dietram A. Scheufele, Michael A. Xenos and Peter Ladwig. 2013. "The “Nasty Effect”: Online Incivility and Risk Perceptions of Emerging Technologies." Journal of Computer-Mediated Communication. doi: 10.1111/jcc4.12009
Anderson, Ashley A., Jiyoun Kim, Dietram A. Scheufele, Dominique E. Brossard and Michael A. Xenos. 2013. "What’s in a name? How we define nanotech shapes public reactions." Journal of Nanoparticle Research. 15(2):1-5. doi: 10.1007/s11051-013-1421-z
Anderson, Derrick and Catherine P. Slade. 2013. "Agenda Setting in Emergent R&D Policy Subsystems: Examining Discourse Effects of the 21st Century Nanotechnology Research and Development Act." Review of Policy Research. 30(5):447-463. doi: http://dx.doi.org/10.1111/ropr.12033
Arora, Sanjay, Alan L. Porter, Jan Youtie and Philip Shapira. 2013. "Capturing Developments in an Emerging Technology: an Updated Search Strategy for Identifying Nanotechnology Research Outputs." Scientometrics. 95(1):351-370. doi: 10.1007/s11192-012-0903-6
Arora, Sanjay, Jan Youtie, Philip Shapira, Lidan Gao and TingTing Ma. 2013. "Entry Strategies in an Emerging Technology: a Pilot Web-based Study of Graphene Firms." Scientometrics. 95(3):1189-1207. doi: 10.1007/s11192-013-0950-7
Barker, Anna and Denise Meridith. May 17, 2013. "Healing in the Nano City: Designing Equity into Transformative Healthcare." CNS-ASU Science Café.
Brossard, Dominique E. and Dietram A. Scheufele. 2013. "Science, New Media, and the Public." Science. 339(40):40-41. doi: 10.1126/science.1232329
Brossard, Dominique E. and Dietram A. Scheufele. 2013. "This Story Stinks." The New York Times,
Cacciatore, Michael A. 2013. "Differentiating the Applicability of Constructs from their Accessibility: Returning to a Narrow Conceptualization of Framing Effects in Communication Research." Doctoral Dissertation. Department of Mass Communications. University of Wisconsin - Madison. Madison, WI.
Cacciatore, Michael A., Dietram A. Scheufele and Elizabeth A. Corley. 2013. "Explaining Attitudes toward Nanotechnology: The Interaction between Risk Perceptions and Regulatory Trust on Public Support." Presentation. Paper presented at the Annual Convention of the Society for the Study of Nanoscience and Emerging Technologies. Boston, MA.
Cacciatore, Michael A., Dietram A. Scheufele, Sara K. Yeo, Michael A. Xenos, Doo-Hun Choi, Dominique E. Brossard and Elizabeth A. Corley. June 2013. "Misperceptions in Polarized Politics: The Role of Knowledge, Religiosity and Media." Presentation. Annual Convention of the International Communication Association. London, United Kingdom.
Cacciatore, Michael A., Sara K. Yeo, Dominique E. Brossard, Dietram A. Scheufele, Kristin K. Runge, Leona Yi-Fan Su and Elizabeth A. Corley. 2013. "Partisan Amplification of Nuclear Energy Risk in the Wake of the Fukushima Daiichi Disaster." Presentation. The Annual Conference of the Association for Education in Journalism and Mass Communication. Washington, DC.
Choi, Doo-Hun, Michael A. Cacciatore, Youngjae Kim, Dietram A. Scheufele and Dominique E. Brossard. May 2013. "Issue Publics in Nanotechnology in the New Media Environment." Presentation. Annual Convention of the American Association for Public Opinion Research. Boston, MA.
Choi, Doo-Hun, Michael A. Cacciatore, Michael A. Xenos, Dietram A. Scheufele, Dominique E. Brossard and Elizabeth A. Corley. 2013. "How do Individuals Develop Attitude Extremity in the New Media Environment? The Interplay between the Internet, Schemas, and Information Seeking." Presentation. Annual Conference for the Association for Education in Journalism and Mass Communication. Washington, DC.
Choi, Doo-Hun, Anthony D. Dudo and Dietram A. Scheufele. 2013. "U.S. News Coverage of Neuroscience Nanotechnology: How U.S. Newspapers Have Covered Neuroscience Nanotechnology During the Last Decade." Yearbook of Nanotechnology in Society, Volume III: Nanotechnology, the Brain, and the Future, ed(s). Sean A. Hays, Jason S. Robert, Clark A. Miller and Ira Bennett, p. 67-78. New York: Springer.
Corley, Elizabeth A. 2013. "The Science of Science Communication II: Creating Collaborations for Communication about Nanotechnology Regulation." Presentation. The National Academy of Sciences. Washington, DC.
Corley, Elizabeth A., Youngjae Kim and Dietram A. Scheufele. 2013. "The Current Status and Future Direction of Nanotechnology Regulations: A View from Nano-Scientists." Review of Policy Research. 30(5):487-509. doi: http://dx.doi.org/10.1111/ropr.12036
Cozzens, Susan. March 2013. "Invited Lecture." Presentation. Tshwane University of Technology. Pretoria, South Africa.
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Night Moves (1975) / Scarecrow (1973) Blu-ray Reviews: The WAC Gets Hacked
The Warner Archive Collection rescues two neglected classics with Gene Hackman, including his one and only pairing with Al Pacino.
By Luigi Bastardo on January 26, 2018 10:00 AM |
One of the most difficult acts to follow from 20th Century film history, the great Gene Hackman returns to astonish classic filmgoers (and maybe a few Millennials curious as to why everyone else shakes their head over the mere mention of Welcome to Mooseport or Heartbreakers) in two recent Blu-ray releases from the Warner Archive Collection.
Night Moves (1975, Warner Bros.)
The inimitable Mr. Hackman ‒ at the height of his career as a leading man here ‒ stars in this gripping neo-noir from director Arthur Penn (Bonnie and Clyde, The Chase). One of several thrillers written for the silver screen by Scottish novelist Alan Sharp (Sam Peckinpah's The Osterman Weekend), Night Moves finds Hackman as a former professional football player who now works as a private detective in Los Angeles, where there is certainly never a shortage of sleazy characters to sort through. Indeed, his latest assignment ‒ tracking down a missing underage actress, as played by young (and sometimes nekkid) Melanie Griffith ‒ he discovers there is, quite literally, more lurking below the surface than he initially realizes. Susan Clark (as Hackman's unfaithful wife), Jennifer Warren, Edward Binns, Harris Yulin, Kenneth Mars, John Crawford, and a young James Woods co-star.
A commercial failure when first released in 1975, Night Moves has gained more attention (and with it, acclaim) over the years. In fact, Penn's mini-masterpiece was one of the most commonly requested titles when the Warner Archive began manufacturing Blu-rays several years ago. Now, thanks to the diligence of the WAC, Night Moves has received a new 4K scan from the original camera negative, which had to be meticulously restored for this release. Fortunately, all of their hard work was well worth it, as Night Moves looks fresher than ever. The feature film's accompanying DTS-HD MA 2.0 Mono soundtrack is just as magnificent, and English (SDH) subtitles are included in case Gene's big fuzzy 'stache proves too distracting. Extras for this must-own downer of a detective story consist of a vintage promotional featurette and the original theatrical trailer (the latter of which is also presented in 1080p).
Scarecrow (1973, Warner Bros.)
One might expect the only cinematic pairing of Gene Hackman and Al Pacino to become an instant hit across the nation. And, while Jerry (The Panic in Needle Park) Schatzberg's road picture may have done just that internationally (it shared the grand prize at Cannes that year along with Alan Bridges' The Hireling), Scarecrow bombed in America. Fortunately ‒ like Night Moves ‒ it has managed to eke its way into cult status over the years, and definitely deserves a look. The story centers on two drifters ‒ an abrasive Hackman and a surprisingly innocent Pacino ‒ agreeing to start a car wash in Pittsburgh. But first they have to make it there from California, which proves to be harder than it sounds as they encounter several setbacks along the way, most notably a brief prison farm stint, where classic B-movie villain extraordinaire Richard Lynch (The Premonition) tries to rape Pacino!
Though it may echo a few other films throughout its rather slow-moving 112-minute running time, Scarecrow nevertheless deserves a spot on the '70s road movie map (for Hackman's hilarious, impromtu striptease in a bar if nothing else), so the recent Blu-ray appearance of the title from the Warner Archive Collection is nothing short of a godsend in that sense. Better still is this WAC encode itself, presenting us with a beautiful new 2K transfer from a recently struck and restored interpositive. Photographed by cinematography god Vilmos Zsigmond, Scarecrow has never looked better, and the DTS-HD MA 2.0 Mono soundtrack is just as perfect ‒ which is really saying something considering the audio was recorded on the spot. Optional English (SDH) subtitles are included with this release, along with a vintage making-of promo piece and the original theatrical trailer rounding things up.
(For even more Gene Hackman from the Warner Archive Collection, be sure to check out the newly restored three-hour widescreen TV cut of Richard Donner's Superman.)
Recommended. The both of 'em.
Blu-ray,
al pacino,
arthur penn,
detective,
james woods,
jerry schatzberg,
neo noir,
nudity,
prison,
rape,
road movie,
road picture,
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Home | St. Croix and Vieques
St. Croix and Vieques: Remapping the Archipelago
Katherine Miranda
Universidad de Puerto Rico, Río Piedras
Until a recent fieldwork trip to St. Croix as a doctoral student of Caribbean literature from the University of Puerto Rico, what I knew of the island had been filtered through a Vieques lens. About forty miles northwest of St. Croix, the history of Vieques (the island-municipality “isla nena” of Puerto Rico) is intricately linked to that of her U.S. Virgin Island neighbor. Working as a newspaper editor and bartender and volunteering with efforts to stop U.S. military bombing practices in Vieques in 2001, I learned about St. Croix from the Viequenses I worked and volunteered with. I had, of course, heard of St. Croix before arriving in Vieques—I had seen the island on a map—but like many, I knew little of the Virgin Islands aside from tourist brochures. I first learned about Vieques’ connections with St. Croix through informal exchanges: tidbits of conversation about family members who lived there, the cousin of a friend who was visiting Vieques introduced to me as “Crucian” (the first time I heard the term for a St. Croix resident). Activists I worked with told me of the massive Viequense migrations to St. Croix when the U.S. navy expropriated two-thirds of the isla nena in the 1940s. And I saw Diego Conde’s photo exhibition “De Papa Dem” at the Fuerte Conde de Mirasol, which showcased Portocruzans (Crucians of Puerto Rican descent) and how popular Puerto Rican iconography—pinchos, güiros, guayaberas—manifested itself in this neighboring island with a different cultural, linguistic and historical background. But in Vieques, this vision of St. Croix centered around the many whose relatives and friends had migrated, for whom St. Croix symbolized a hollow, a blurry rim on the horizon, a hazy outline that meant disjuncture and loss. And then this vague introduction was cut short when I left Vieques and relocated to San Juan. For years in Puerto Rico’s capital, I learned nothing more about St. Croix, its history or its connection to Vieques or Puerto Rico—not through pieces of anyone’s conversation, not in any art exhibit, not in any of the textbooks I used during four years as a middle-school teacher. If St. Croix was an infrequent and informal topic of conversation in Vieques, in San Juan it disappeared altogether. References to las islitas (the “little islands” as Puerto Ricans often call the Virgin Islands) were made only in passing to describe cruise ship destinations visited for a day or two, a trip to a Crucian reggae festival. But aside from vacation, I heard no other mention of the connections between Puerto Rico and St. Croix. Ever.
The invisibility of these connectionscompels a remapping of the archipelago. While a map of the Caribbean draws a slew of islands that slope in an arc between two hulking continents, the hinge of this larger chain—the nub of islands that lie between the larger Windward Antilles and the more numerous, smaller Leeward Antilles—is an archipelago unto itself. Divided into territorial units by the flat ink of a map, the demarcations that separate the U.S. Virgin Islands (U.S.V.I.) of St. Croix, St. John and St. Thomas, the British Virgin Islands of Tortola and Virgin Gorda, and Puerto Rico’s two island-municipalities of Vieques and Culebra say little of the interconnectedness between these places and the ways they continue to influence each other. Two seemingly unrelated spots on a Caribbean map, the relationship between St. Croix and Vieques urge a rethinking of the way this map is geographically constructed, and insists on broader definitions of connectivity. The fixity of names on paper unravels in the ways the development of these two islands continues to be lived. Here is one place to begin a new map.
Remapping the Archipelago Part II
Remapping the Archipelago Part III
Remapping the Archipelago Part IV
Remapping the Archipelago Part V
Relaciones Históricas
Remapping the Archipelago Part II ›
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Discovery to Pre-candidate
Inflammation and Immunology
Partnering Models
Candidate Through Commercialization
Consumer Healthcare
Cheladv74 Ventures
Partners / Discovery to Pre-candidate / Focus Areas / Vaccines
Vaccines are one of the greatest public health advancements of all time, resulting in the control, elimination, or near-elimination of numerous infectious diseases that were once pervasive and often fatal. Cheladv74 has a rich history in vaccine research and development. Over the years, we’ve played a pivotal role in eliminating or nearly eliminating deadly infectious diseases like smallpox and polio globally. We have designed novel vaccines based on new delivery systems and technologies that have resulted in vaccines to prevent bacterial infections, like those caused by S. pneumoniae and N. meningitidis.
Today, more people are benefiting from safe and efficacious vaccines to prevent infectious diseases than ever before, and vaccines provide essential health benefits at all ages, from maternal and infant populations to seniors. However, our work is not done given the many infectious diseases remaining with a high unmet medical need and a growing list of vaccine preventable diseases.
It is an exciting time in vaccine research and development, as scientific discoveries, technological advancements and regulatory paradigms are paving the way for novel vaccines. While Cheladv74’s Vaccine Research and Development scientists continue to extend our leadership position in pneumococcal and meningococcal disease prevention, they are also working on vaccines against other major infectious diseases while striving to bring the benefits of vaccines into previously unexplored areas. We are at the forefront to usher in a new era of vaccine innovation, both to prevent and treat disease, with special focus on maternal/neonatal, hospital-acquired infections (HAI), and cancer.
Cheladv74’s current Vaccines pipeline includes:
Phase 3 (Links to Clinicaltrials.gov)
Primary Clostridium difficile infection
Invasive and non-invasive Pneumococcal infections
Invasive and non-invasive pneumococcal infections (PF-06842433)
Respiratory Syncytial Virus infection in older adults
Prostate Cancer (PF-06753512)
Respiratory Syncytial Virus infection (PF-06928316)
Invasive Group B streptococcus infection (PF-06760805)
Serogroups ABCWY meningococcal infections (PF-06886992)
Multiple Cancers (PF-06936308)
Cheladv74 Vaccines is interested in partnering opportunities in preclinical Vaccines R&D:
Focus on bacterial vaccines, viral vaccines, and cancer vaccines that are in the strategic scope of Cheladv74 vaccine portfolio
Specific areas of interest in Vaccine Research include:
Research tools, reagents, and materials to aid in vaccine discovery
Novel viral and bacterial antigens (peptides, proteins, DNA, RNA, glycoconjugates) and expression systems
Immunomodulators, adjuvants, delivery platforms, and vector systems to enhance vaccine immune responses
Needle-free alternative delivery methods and devices
Broad platform technologies for application across multiple programs
Vaccine technologies and approaches for non-infectious diseases such as cancer
Technology for rapid DNA synthesis and amplification
Specific areas of interest in Vaccine Development include:
Formulation compositions and methods to increase vaccine stability and potency
Process and assays for vaccine development, testing, and release
Improved expression and purification processes to increase production efficiencies
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P2P Lending Buzz, Peer to Peer Lending
Venture Capital Investors Lining up to Cash in on a Trillion Dollar Marketplace Lending Industry
By Joseph · On May 13, 2015
Some call it a gold rush, but one thing is for certain – venture capitalists and seed funders are looking to cash in on what has obviously become a strong, growing and permanent segment of the financial marketplace.
The alternative lending industry has hit the Trillion dollar mark, and all signs lead to continued growth in what has become a mainstream lending marketplace.
In the US, two of the largest peer to peer lending platforms both saw huge IPOs (a total of $10.3B combined) recently, spawning a wave of investment activity. The reality of such successful capital investment served as a signpost for venture investors who want to see more of a profit margin in their portfolios.
According to a CrunchBase data report, $340 million was poured into alternative lending start-ups by venture capitalists in the first two months of this year. There were a total of 17 fundings, with an average of $23 million each, quite a jump from the average of $14 million seen in 2014.
Marketplace Lending Success Paved by Peer to Peer Lenders
Peer to peer lending has succeeded because the loan platform is easy to navigate and the overall process is organized and competent. More borrowers are able to find financing for their needs, even those who would be declined by banks or suffer under the weight of high fees and interest rates. The peer to peer lending platform is online, accessible, stress-free, moves quickly, and the results are much more favorable.
The stability of the marketplace lending industry, with its proven track record of success, has allowed personal lending platforms, such as Peerform, to expand their menu of offerings to fit the full range of consumer needs, such as mortgage, debt consolidation, medical debts, automobile financing and military loans. Qualified borrowers can obtain unsecured loans ranging between $2,000 to $35,000, which can be used to consolidate debt, remodel his home, take care of an uninsured medical procedure, or relocate to a better city.
Marketplace Lending is Transparent
Investors have recovered from the 2008 meltdown, but more than ever they are looking for results and for investments that will weather any downturns that may come up in the near-term. Investors want transparency: statistics, and hard data about a platform’s business dealings and success. The alternative lending market platforms provide all of this to venture investors, giving them a level of comfort to make big investments in this growing industry.
Marketplace Lending Better than Banks
Following the 2008 crash, the federal government put strict regulations in place requiring banks to hold more cash on their balance sheets, which resulted in less lending, a move that hurt individuals and small businesses. The government also lowered interest rates in an effort to get the economy going again, which depressed investment yields. Around this time, the internet was continuing to flourish, with new technologies emerging that made it easier and safer to conduct financial transactions online. This combination created fertile ground for an online, non-traditional loan platform to emerge and thrive, satisfying both the demands of consumers looking for loans and investors looking for better yielding investments.
Peer to Peer has Grown Up: Marketplace Lending
As more institutional investors have become the source for peer to peer loans, the term “marketplace lending” has become much more appropriate for this dynamic industry. Investors searching for higher returns are finding them in the alternative lending marketplace. For instance, according to Bloomberg, at the end of last week P2P loans were yielding around 7.6%, while two-year Treasury notes were returning at best 0.6%.
Forbes’ 2015 top eight “Midas” list of emerging venture capital firms included two who were investing heavily in alternative marketplace lending: Canvas Venture Fund and Foundation Capital. American Banker named marketplace lending as its “Innovation of the Year” in 2014, noting the solid rise and flood of capital going into alternative marketplace lending companies. According to American Banker in 2014, 80% of alternative marketplace loans were funded by institutional investors.
The marketplace lending industry has changed the face of lending throughout the world. The future is only brighter with boundless benefits for consumers, investors and marketplace lenders.
How to Budget Your Money So You Have More of It
Can You Build Your Credit Score With a Personal Loan?
When Should You Get an Online Personal Loan?
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