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Physics Adjunct Instructor
Instructor must follow department guidelines, including exam and homework standards; be able to prepare and grade class assignments and exams; inform students of their academic progress of course requirements, and evaluation procedures; maintain scholastic records and submit them according to published deadlines and be able to serve a diverse student body in age, ethnicity and academic skills.
Duties and responsibilities include but are not limited to:
1.the advancement of student learning through dedicated, exemplary instruction in accordance with established course outlines;
2.abide by longstanding department standards and guidelines, including giving 4 midterms and a final;
3.maintenance of current knowledge in the subject matter area and effective teaching/learning strategies;
4.maintenance of appropriate standards of professional conduct and ethics;
5.provide classroom instruction in accordance with approved course outlines;
6.prepare and grade class assignments and examinations and inform students of their academic progress;
7.inform students of course requirements, evaluation procedures and attendance requirements;
8.maintain attendance, scholastic, and personnel records and submit them according to published deadlines
9.post and maintain adequate and regular office hours in accordance with prevailing policy;
Minimum Qualification:
Minimum Qualifications (Note: Degrees must be from an accredited college/university)
Master's in physics, astronomy, or astrophysics
Bachelor's in physics or astronomy
Master's in engineering, mathematics, meteorology, or geophysics
The equivalent
Desirable Qualifications:
Experience in teaching community college or university Physics courses.
The ability to work with a diverse student population.
Ability to connect with and support under-prepared students.
Ability to present material in a clear and engaging manner.
Ability to lead a class in an interactive way.
Extensive, effective, and efficient use of demonstrations.
Location: Contra Costa College
Salary/Hourly Range: $59.70 - $84.36/ per hour
About the District:
The mission of the Contra Costa Community College District is to transform lives by providing outstanding learning opportunities that nurture and empower all students to achieve their educational goals. The dedicated faculty, classified professionals and administrators in the District are committed to core values and action that promote excellence in learning and equitable student success. The District is committed to hiring and developing a diverse staff that understands that cultural diversity in the academic environment promotes academic excellence; fosters cultural, racial and human understanding; provides positive role models for all students; and creates an inclusive and supportive educational work environment for its students, employees, and the community it serves.
Located in Contra Costa County, in the beautiful and diverse San Francisco East Bay area, the District serves the 1 million residents of the County through education, business partnerships and service in the community. The District first opened its doors in 1949 and is the second oldest and eighth largest multi-college community college district in California. The District consists of three colleges and two centers; Contra Costa College in San Pablo; Diablo Valley College in Pleasant Hill; Los Medanos College in Pittsburg; and the centers in Brentwood and San Ramon. The District Office located in downtown Martinez, supports the mission and functions of the colleges.
As evidenced by the rich diversity in Contra Costa County, the District enrolls a highly diverse student population. Serving over 52,088 students a year, in 2017-18 fiscal year the demographic make-up of the students was 10% Black/African American; 17% Asian/Pacific Islander; 33% Hispanic/Latino; 29% White/Caucasian; and 11% Other.
The District actively encourages a diverse pool of applicants to serve the dynamic student population and work collaboratively with existing colleagues that are equally dynamic and diverse.
Contra Costa College
Contra Costa College is a dynamic, comprehensive community college with a diverse student population. The institution has served the communities of West Contra Costa County for more than 69 years. Most of the 10,500-plus students who attend the college come from local communities, but many also come from neighboring communities and from countries throughout the world. The college offers certificates and degree programs in 70 areas. It prepares students for immediate employment and for transfer to four-year colleges and universities. Faculty and staff are proud to be affiliated with an institution that has a tradition of excellence and a reputation for educating students to live and work in a diverse global environment.
Diablo Valley College
DVC is committed to increasing student success. The college has distinguished itself as one of the nation's most successful community colleges by offering incomparable transfer opportunities and exceptional career-technical programs. In both Pleasant Hill and San Ramon, a diverse student body engages with high-quality instruction and support services designed for excellence and equity in student learning. DVC's career-technical programs keep pace with emerging technologies and skill requirements, while unparalleled transfer programs prepare students to be successful in four-year colleges and universities. DVC continuously ranks among the top transfer pathways to UC Berkeley.
Los Medanos College
Los Medanos College, opened in 1974, is the newest campus of the Contra Costa Community College District. The college prepares students to excel and succeed economically, socially and intellectually in an innovative, engaging and supportive learning environment. LMC provides quality programs and state-of-the-art facilities to serve the needs of a rapidly-growing and changing East County while enhancing the quality of life of the diverse communities it serves. Los Medanos College is known for its transferable general education program and career technical programs strongly connected with local business and industry. The college serves approximately 10,000 students.
About Contra Costa Community College District
About the DistrictThe mission of the Contra Costa Community College District is to transform lives by providing outstanding learning opportunities that nurture and empower all students to achieve their educational goals. The dedicated faculty, classified professionals and administrators in the District are committed to core values and action that promote excellence in learning and equitable student success. The District is committed to hiring and developing a diverse staff that understands that cultural diversity in the academic environment promotes academic excellence; fosters cultural, racial and human understanding; provides positive role models for all students; and creates an inclusive and supportive educational work environment for its students, employees, and the community it serves. Located in Contra Costa County, in the beautiful and diverse San Francisco East Bay area, the District serves the 1 million residents of the County through education, business partnerships and service in the community. The District first opened its doors in 1949 and is the second oldest and eighth largest multi-college community college district in California. The District consists of three coll...eges and two centers; Contra Costa College in San Pablo; Diablo Valley College in Pleasant Hill; Los Medanos College in Pittsburg; and the centers in Brentwood and San Ramon. The District Office located in downtown Martinez, supports the mission and functions of the colleges. As evidenced by the rich diversity in Contra Costa County, the District enrolls a highly diverse student population. Serving over 35,000 students a term, in fall 2014 the demographic make-up of the students was 11% Black/African American; 16% Asian/Pacific Islander; 30% Hispanic/Latino; 31% White/Caucasian; and 13% Other. The District actively encourages a diverse pool of applicants to serve the dynamic student population and work collaboratively with existing colleagues that are equally dynamic and diverse. Contra Costa CollegeContra Costa College is a dynamic, comprehensive community college with a diverse student population. The institution has served the communities of West Contra Costa County for more than 59 years. Most of the 8,500-plus students who attend the college come from local communities, but many also come from neighboring communities and from countries throughout the world. The college offers certificates and degree programs in 70 areas. It prepares students for immediate employment and for transfer to four-year colleges and universities. Faculty and staff are proud to be affiliated with an institution that has a tradition of excellence and a reputation for educating students to live and work in a diverse global environment. Diablo Valley CollegeDVC is committed to increasing student success. The college has distinguished itself as one of the nation’s most successful community colleges by offering incomparable transfer opportunities and exceptional career-technical programs. In both Pleasant Hill and San Ramon, a diverse student body engages with high-quality instruction and support services designed for excellence and equity in student learning. DVC’s career-technical programs keep pace with emerging technologies and skill requirements, while unparalleled transfer programs prepare students to be successful in four-year colleges and universities. DVC continuously ranks among the top transfer pathways to UC Berkeley. Los Medanos CollegeLos Medanos College, opened in 1974, is the newest campus of the Contra Costa Community College District. The college prepares students to excel and succeed economically, socially and intellectually in an innovative, engaging and supportive learning environment. LMC provides quality programs and state-of-the-art facilities to serve the needs of a rapidly-growing and changing East County while enhancing the quality of life of the diverse communities it serves. Los Medanos College is known for its transferable general education program and career technical programs strongly connected with local business and industry. The college serves approximately 10,000 students.
Adjunct Professor of Astronomy Martinez, California
Contra Costa Community College District 2 Weeks Ago
Geology Adjunct Instructor Martinez, California
Part Time Adjunct Instructor of Chemistry Germanna Community College
Germanna Community College 3 Weeks Ago
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Over the course of 2015 a JUSTICE working party of members and invited experts chaired by Sir David Calvert-Smith was tasked with reviewing the current processes that lead to complex and lengthy criminal trials. This was in order to present a series of recommendations designed to deliver increased efficiency and effectiveness within the criminal justice processes, while maintaining the absolute right to a fair trial. The final report was published in March 2016 at an event kindly hosted by Simmons and Simmons LLP.
Complex and lengthy trials (CLTs) constitute a specific and longstanding concern of the criminal justice system. They require vast resources and have only got longer and more unmanageable as advances in technology have given rise to more and more electronic material, which must be reviewed, disclosed and then presented effectively at trial. Despite various reviews and protocols, which identify and offer solutions to the problems associated with CLTs, those problems persist, and the result is undue length, complexity and delay at all stages. Information provided by the Legal Aid Agency demonstrates that there has been an average of 26 CLT cases per year over the last nine years. Defence costs alone averaged £2m and length in 2014 averaged 1,400 days from the point of representation order (excluding the investigation stage).
The Working Party
The Working Party considered the three stages of a case – investigation, pre-trial and trial – and identified at each stage where we think there is a need for reform. Building upon existing guidance and the recent Leveson Review of Efficiency in Criminal Proceedings, the solutions lie, we consider, within three broad themes across each stage of a trial:
First, early engagement of relevant expertise at the investigation stage to ensure that the seizure and search of material is focused and proportionate to the alleged criminal activity and of trial counsel at the pre-trial stage, to ensure that disclosure takes place as early as possible, and that the issues in the trial are identified.
Second, case management, by senior and independent law enforcement and prosecution agencies at the investigation stage, to ensure that the investigation is focused and progresses as quickly as possible, and by the same trial judge from the start of the pre-trial stage through to the trial, who can assist the parties to narrow the issues and present a clear case for the jury to consider.
Third, adoption of agile and intuitive technology, built by the criminal justice system to meet its investigation and preparation needs, without compatibility boundaries across police forces, prosecution units or defence firms, which enables all trials to be presented with visual aids rather than reams of paper.
The members of the Working Party were:
Sir David Calvert-Smith (Chair)
Douglas Day QC
Anand Doobay
Stephen Gentle
Benjamin Myers QC
HHJ Rebecca Poulet QC
Ros Wright QC
Professor Michael Zander QC
Andrea Coomber
Jodie Blackstock (Rapporteur)
Their work was generously supported by Simmons and Simmons LLP.
In the Working Party’s view, the singular cause of difficulties in modern CLTs (which we have defined as cases of 60 days trial length or more) is the need to deal with electronic material: reviewing vast amounts of seized digital material in multiple formats for relevance; identifying the evidence to form the prosecution case; considering whether material is disclosable; and presenting the material at trial. These are the procedures which result in undue length and complexity, and in unacceptable delay. They can lead average cases to become lengthy and complex, and make already complex cases unmanageable.
Building upon existing guidance and the recent Leveson Review of Efficiency in Criminal Proceedings, the solutions lie, we consider, within three broad themes across each stage of a trial:
• First, early engagement of relevant expertise at the investigation stage to ensure that the seizure and search of material is focused and proportionate to the alleged criminal activity and of trial counsel at the pre-trial stage, to ensure that disclosure takes place as early as possible, and that the issues in the trial are identified.
• Second, case management, by senior and independent law enforcement and prosecution agencies at the investigation stage, to ensure that the investigation is focused and progresses
as quickly as possible, and by the same trial judge from the start of the pre-trial stage through to the trial, who can assist the parties to narrow the issues and present a clear case for the jury to consider.
• Third, adoption of agile and intuitive technology, built by the criminal justice system to meet its investigation and preparation needs, without compatibility boundaries across police forces, prosecution units or defence firms, which enables all trials to be presented with visual aids rather than reams of paper.
We make practical recommendations throughout the report to aid these three themes – for example, pre-interview electronic disclosure and interview planning to ensure that interviews produce evidence that can be used at trial while giving suspects a real opportunity to put forward a response; and the use of alternative venues for trials where there is no security risk, to reduce the long waiting time for a courtroom. Some of these ideas are ground breaking, as the SPJ identified, in relation to one digital evidence management system, and judges controlling the length of an investigation upon application, which he said “will need to be carefully considered.”
A final, but significant, feature of CLTS has received consideration by the Working Party. It has often been argued that jury trial is a hindrance to the process of CLTs. JUSTICE has long supported the constitutional role of the jury in legitimising the trial process for serious crime. Our review has borne that in mind, but carefully considered the arguments for and against retaining jury trial in CLTs. We conclude, with one dissentient, that there is no reason to assume jurors, given appropriate support, are incapable of trying CLTs. Nor do we accept that alternatives to jury trial are appropriate in these cases.
Sir David Calvert-Smith, chair of the Working Party observes: “These cases are not only a drain on police, legal and judicial resources, but cause significant anxiety and uncertainty for victims and suspects of crime who must wait years for an outcome to their case. Real effort is needed to bring CLTs under control and the JUSTICE Working Party offers a substantial contribution to this process.”
Read the full report here
Read a summary and highlights from the report in our press release
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AP - National News
The Latest: Gloria Allred pleased R. Kelly may face justice
CHICAGO (AP) — The Latest on the sex crimes case against R&B singer R. Kelly (all times local):
Celebrity attorney Gloria Allred says she is pleased that federal authorities have charged singer R. Kelly in Chicago and New York with sex crimes, and she says “justice, which is long overdue for his victims, will soon be done.”
Allred says in a statement that she represents three women for whom charges were filed and who are referenced in the New York indictment of Kelly. She says that she also represents other potential witnesses. The women are not identified.
Allred says: “This is a very positive day for those who allege that they are victims of Mr. Kelly and it is a day that I’m sure that Mr. Kelly hoped would never come.
Kelly was arrested in Chicago Thursday and appeared in court Friday to face charges that he and members of his entourage of recruited women and girls to engage in illegal sexual activity with the singer and paid them to cover up his crimes.
Allred has represented many women who have been sexually assaulted and has been a proponent of the “Me Too” movement.
Singer R. Kelly has appeared in Chicago court following two sweeping new federal indictments that include charges of sex crimes against minors and paying victims and witnesses to cover up his actions.
Kelly stood before U.S. Magistrate Sheila M. Finnegan on Friday afternoon dressed in an orange jumpsuit, with his hands clasped behind his back. The only words he spoke during the 15-minute hearing were “yes, ma’am” to the judge.
Prosecutors say Kelly was arrested in Chicago at 7:05 p.m. Thursday. He is being held at a federal detention center in Chicago, where he’ll remain at least until a Tuesday hearing.
Indictments from grand juries in Chicago and New York were unsealed Friday.
An attorney for the 52-year-old Grammy Award winner says Kelly denies wrongdoing. Kelly is scheduled for a bond hearing Tuesday in Chicago.
This item has been corrected to show Kelly will remain in custody at least until Tuesday, not Monday.
Federal prosecutors in Chicago say R&B singer R. Kelly went to great lengths to cover up sexually explicit videos of himself with minor girls when he realized some were missing from his collection.
Prosecutors say in a federal indictment filed Friday morning that the singer and others who worked for him paid money to victims and witnesses as part of the cover up. The indictment says the payments were made to conceal evidence, including the videos, and make sure victims and witnesses didn’t cooperate with law enforcement.
Prosecutors say the payments totaled hundreds of thousands of dollars and that some victims and witnesses had to take lie-detector tests to make sure they had returned all copies of the videos.
Kelly is to appear in Chicago federal court Friday afternoon.
Singer R. Kelly is charged with paying off a victim and her family to get them to deny that a video at the center of his 2008 pornography trial depicted sex acts between Kelly and the minor girl.
The indictment unsealed in Chicago federal court Friday says Kelly and his business manager, Derrel McDavid, threatened, intimidated and pressured the girl and her parents to falsify police reports and give false testimony to a grand jury. The indictment also alleges they arranged for the girl and her parents to travel overseas prior to his 2002 indictment so they’d be unavailable to law enforcement investigating the case.
Kelly was acquitted at trial on pornography charges. His attorney denied wrongdoing again Friday.
The indictment says payments to the girl and her father continued after the trial.
A publicist for singer R. Kelly has delivered a statement at a chaotic news conference in Atlanta.
The news conference Friday morning was interrupted seconds after beginning, when the family of Joycelyn Savage, a woman who lived with Kelly in Chicago, confronted Kelly publicist Darrell Johnson and pleaded to speak with their daughter.
Kelly has been arrested in Chicago on a sweeping federal indictment that accuses him and members of his entourage of recruiting women and girls to engage in illegal sexual activity.
Johnson said that Kelly was currently being held in Cook County, Illinois. Kelly is scheduled to be arraigned in Chicago federal court on Tuesday afternoon.
Johnson insisted he had “nothing to do” with Joycelyn Savage and that she wasn’t being held.
R&B singer R. Kelly faces charges in Chicago federal court accusing him of child sex crimes, child pornography and conspiracy to defraud the U.S. government.
The 13-count indictment filed Friday morning in U.S. District Court also names Kelly’s business manager and another employee. It was released the same day federal prosecutors in New York charged Kelly with racketeering other sex-related crimes.
The Illinois federal indictment details efforts to cover up sexually explicit videos of Kelly with underage girls. Prosecutors say the defendants paid hundreds of thousands of dollars to victims and witnesses to make sure they wouldn’t cooperate with law enforcement. It also accuses Kelly of using physical abuse, violence and blackmail to prevent victims from providing evidence to law enforcement.
Kelly’s attorney has said the charges aren’t a surprise and that Kelly hopes to be released at a bail hearing next week. The singer has denied wrongdoing.
R&B singer R. Kelly has been charged with racketeering and sex-related crimes against women and girls in sweeping New York federal indictment.
The 18-page indictment unsealed Friday accuses Kelly and members of his entourage of recruiting women and girls to “engage in illegal sexual activity with the singer. He is the only person named in the indictment. It describes rules that Kelly had for the women, including not allowing them to eat or use the bathroom and not permitting them to look at other men and telling them to keep their heads down.
Besides racketeering the indictment includes charges of transporting for prostitution and coercion or enticement of a female.
R. Kelly’s attorney says federal agents arrested the R&B singer on charges out of Illinois and New York.
Attorney Steve Greenberg said Friday that agents were “professional and courteous” when they arrested Kelly on Thursday evening while he was walking his dog in Chicago. Kelly is being held at a downtown Chicago federal lockup. Greenberg says Kelly hopes to be released after a bail hearing early next week.
Greenberg says Kelly was aware of the federal investigations and the charges weren’t a surprise. He says the conduct Kelly has been charged with in federal court “appears to largely be the same” as what he is charged with in state court.
Kelly has denied any wrongdoing. Federal charging documents were not yet posted online as of Friday morning.
A publicist for R. Kelly says he plans to deliver a statement at a news conference in Atlanta about the R&B singer’s arrest and federal indictment on 13 counts, including sex crimes and obstruction of justice.
Darrell Johnson declined to comment when reached by phone early Friday, saying he’d address the latest developments at the morning news conference.
Kelly, already facing sexual abuse charges brought by Illinois prosecutors, was arrested in Chicago Thursday on a federal grand jury indictment. U.S. Attorney’s Office spokesman Joseph Fitzpatrick says Kelly was taken into custody about 7 p.m. and was being held by federal authorities.
The federal indictment was handed down earlier Thursday in federal court for the Northern District of Illinois.
Singer R. Kelly was arrested in Chicago Thursday after he was indicted on 13 federal counts including sex crimes, a U.S. Attorney’s office spokesman said.
Joseph Fitzpatrick said the R&B singer was taken into custody about 7 p.m. local time and was being held by federal authorities.
He was arrested after a 13-count federal indictment was handed down earlier Thursday in federal court for the Northern District of Illinois.
“The counts include child porn, enticement of a minor and obstruction of justice,” Fitzpatrick said, adding that further details would be released Friday.
The R&B singer already faces separate state sex-related charges in Illinois involving four women, three of whom were minors when the alleged abuse occurred. He pleaded not guilty to those charges and was released on bail.
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Reviews of Yesteryear: The Law of Ueki
The Law of Ueki is the story of several young teenagers with super powers who are fighting in a competition to gain great power. The competition starts with one on one battles but shifts to group battles for the second round, but there’s a problem. There’s a competitor who wants the power to wipe out humanity. You know, this plot sounds very familiar, almost like I’ve seen something with an identical story, but where was that… I remember, it was Shaman King.
Be honest, you all saw that coming. The underlying plots really are almost identical. The only major differences are that Shaman King’s tournament had competitors of all ages and the competitors in The Law of Ueki can lose their abilities but those aren’t really significant changes. Hell, even the plot twist toward the end, which I won’t reveal in the interest of avoiding spoilers, is the same. To be fair, the Law of Ueki does have some legitimately funny moments, but that doesn’t make up for the fact that its plot borders on plagiaristic.
The characters aren’t much better. They all have personalities based around common shounen action anime tropes, which they play straight. The result is that they feel like very stock, listless characters. Another issue is that the main antagonist’s motivations, when they’re fully revealed at the end, don’t match his actions. Which results in a distinct impression that the writer changed his character at the last minute.
The art is decent. It isn’t spectacular but it’s not bad either. Although they do resort to borked proportions in a few cases.
The voice work is actually very well done. Oddly enough, the Law of Ueki has a lot of the same vocal talent as Shaman King. The music is mostly good. The only issue is that some of it doesn’t suit the anime. Causing a disconnect between the feel of the action and the feel of the music.
The yuri factor is a 2/10. Mori and Rinko have some moments that seem a little homoerotic but there really aren’t many.
My final rating for The Law of Ueki is a 5/10. It’s average. The biggest issue it has is that it’s simply too standard to stand out on its own. Everything it does with its story and characters has been done before and better. In the end it’s an average action anime that plays it safe. If you’re a fan of action genre shounen anime, Shaman King especially, you’ll probably enjoy it. Just don’t expect anything new.
This entry was posted in Uncategorized and tagged Anime, opinion, review, the law of ueki on May 3, 2014 by ktulu007.
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DURECT Corporation Announces First Quarter 2019 Financial Results and Update of Programs
Live Webcast of Alcoholic Hepatitis KOL and Earnings Call on Wednesday, May 8th at 8:30 a.m. ET
Call will feature discussions by KOLs Steven Flamm, M.D.. Tarek I. Hassanein, M.D., and Paul Kwo, M.D.
CUPERTINO, Calif., May 7, 2019 /PRNewswire/ -- DURECT Corporation (Nasdaq: DRRX) today announced financial results for the three months ended March 31, 2019 and provided a corporate update, including preliminary data from the ongoing DUR-928 Phase 2a alcoholic hepatitis (AH) trial.
Total revenues were $4.1million and net loss was $7.1million for the three months ended March 31, 2019 as compared to total revenues of $3.5 million and net loss of $8.3 million for the three months ended March 31, 2018.
At March 31, 2019, cash and investments were $28.8 million, compared to cash and investments of $34.5 million at December 31, 2018. Debt at March 31, 2019, including partial accrual for the final payment of our term loan, was $20.7 million.
"Several important development milestones were achieved during the first quarter, including achieving impressive preliminary data in the ongoing AH trial and initiating dosing in the NASH and psoriasis clinical trials. We also made progress toward filing a response to the POSIMIR CRL and strengthened our board with the addition of two new members who bring valuable experience and perspective." stated James E. Brown, D.V.M., President and CEO of DURECT. "Thanks to the progress made during the quarter, we have four potential major catalysts ahead of us this year: additional AH data, readouts from the NASH and psoriasis DUR-928 clincal trials, and a potential approval for POSIMIR if our filing strategy is successful."
Update on Selected Programs and Transactions:
Epigenetic Regulator Program. DUR-928, the lead product candidate in the Company's Epigenetic Regulator Program, is an endogenous, first-in-class small molecule, which may have broad applicability in chronic liver diseases such as NASH, in acute organ injuries such as AH and acute kidney injury (AKI), and in inflammatory skin disorders such as psoriasis and atopic dermatitis.
Alcoholic Hepatitis (AH)
Preliminary Data
Ten patients have completed dosing with DUR-928 to date in the ongoing Phase 2a open label, dose-escalation, multi-center U.S. trial. Eight patients (4 moderate and 4 severe) have been treated with DUR-98 at the 30 mg dose, and two patients (1 moderate and 1 severe) at the 90 mg dose.
Lille scores are used in clinical practice to help determine the prognosis for AH patients after 7 days of treatment. Patients with a Lille score below 0.45 have an 85% 6-month survival rate vs. those with Lille scores of above 0.45, who have a 25% 6-month survival rate (Louvet A et al. Hepatology 2007; 45: 1348-54). In another study looking at 28-day survival rates in severe AH patients, a Lille score of ≤0.16 is associated with a 91% 28-day survival rate; a Lille score of 0.16-0.56, 79% 28-day survival rate and a Lille score of ≥0.56 is associated with a 53% 28-day survival rate. (Mathurin, et. al., Gut 2011;60:255-260). The lower the Lille score, the better the prognosis is for the AH patient. Of the 10 AH patients dosed to date with DUR-928, one patient did not return for the day 7 visit, so Lille scores could only be calculated for 9 of 10 patients. In the 9 patients with Lille scores treated with DUR-928, the median Lille score is 0.04, with a range of 0.01 to 0.19.
Model of End-Stage Liver Disease (MELD) score is another common scoring system used to assess the severity and prognosis of AH patients. Patients with initial MELD scores of 11-19 are classified as having moderate AH and patients with initial MELD scores of 20-30 are classified as having severe AH. As with Lille scores, the lower the MELD score, the better the prognosis for the AH patient. Compared to baseline (prior to treatment) (n=10), the median reduction in MELD was 4% at Day 7 (n=9) and 21% at Day 28 (n=8).
Bilirubin is formed by the breakdown of red blood cells in the body. The level of total bilirubin in the blood is an indication of how well the liver is functioning. Compared to baseline (n=10), the median reduction in total bilirubin was 16% at Day 7 (n=9) and 41% at Day 28 (n=8).
A more detailed description of the preliminary data from the DUR-928 AH study is provided in a separate press release today and will be presented during the KOL and earnings call tomorrow at 8:30 a.m. ET.
About the trial
DURECT is conducting a Phase 2a clinical trial with intravenously administered DUR-928 in patients with AH. This is an open label, dose escalation (30, 90 and 150 mg), multi-center U.S. study, that includes patients with moderate and severe AH (as determined by initial MELD score). Dose escalation may occur following review of safety and pharmacokinetic (PK) results of the prior dose level by a Dose Escalation Committee (DEC). The target number of patients for the study is 4 per dose group. The objectives of this study include assessment of safety, PK and pharmacodynamic (PD) signals, including liver chemistry, and biomarkers.
After completing the low-dose 30 mg cohort (n=4) in moderate AH patients, the DEC approved commencement of the 90 mg cohort in moderate AH patients while simultaneously commencing recruitment of severe AH patients with the 30 mg dose.
Enrollment of severe AH patients has been more rapid than that of moderate patients. Upon completion the 30 mg cohort (n=4) in severe AH patients, the DEC approved advancement to the 90 mg dosing in severe AH patients. We are now enrolling both moderate and severe AH patients for the 90 mg cohorts.
Additional information on the trial design, including eligibility criteria and site locations, can be found at www.clinicaltrials.gov using the NCT Identifier NCT03432260.
In parallel with our ongoing trial, we are supporting Professor Craig McClain, MD (Chief of Research Affairs, Division of Gastroenterology, Hepatology and Nutrition, University of Louisville) in his efforts to initiate an NIH-funded study of DUR-928 in AH patients at the University of Louisville.
AH is a syndrome of progressive inflammatory liver injury associated with long-term heavy intake of alcohol, and encompasses a spectrum that ranges from mild injury to severe, life threatening liver damage. The prevalence of AH is estimated to occur in 10-35% of heavy drinkers. According to an article in the Journal of Clinical Gastroenterology (2015 July; 49(6):506-511), there were over 320,000 hospitalizations related to alcoholic hepatitis in the U.S. in 2010, resulting in hospitalization costs of nearly $50,000 per patient. The cost of a liver transplant exceeds $800,000.
Non-Alcoholic Steatohepatitis (NASH)
In March 2019 we began enrolling patients in a Phase 1b randomized and open-label clinical study being conducted in the U.S. to evaluate safety, pharmacokinetics and signals of biological activity of DUR-928 in NASH patients with stage 1-3 fibrosis. Three doses of DUR-928 (50 mg QD, 150 mg QD and 300 mg BID) will be administered orally for 28 consecutive days with approximately 20 patients per dose group for a total of approximately 60 patients in the trial.
Key endpoints include safety and pharmacokinetics (PK), clinical chemistry and biomarkers (e.g., bilirubin, lipids, liver enzymes, CK-18s, and inflammatory cytokines) as well as liver imaging (e.g., MRI-PDFF).
We expect to announce initial data from this study in the second half of 2019.
In the Company's previous Phase 1b NASH study, reported at the European Association for the Study of the Liver (EASL) in April 2017, exploratory biomarker analysis demonstrated that a single oral dose of DUR-928 in NASH patients, at both dose levels tested (50 mg and 200 mg), resulted in statistically significant reductions from baseline of both full-length and cleaved cytokeratin-18 (CK-18), bilirubin, hsCRP and IL-18.
Non-alcoholic fatty liver disease (NAFLD) is the most common form of chronic liver disease in both children and adults. It is estimated that NAFLD affects about 20% to 30% of adults and 10% of children in the United States. NASH, a more severe and progressive form of NAFLD, is one of the most common chronic liver diseases worldwide, with an estimated prevalence of more than 10% of adults in the United States, Europe, Japan and other developed countries. No drug is currently approved for NAFLD or NASH.
We are conducting a Phase 2a, randomized, double-blind, vehicle-controlled proof-of-concept clinical trial, in which DUR-928 is applied topically once-daily for four weeks in patients with mild to moderate plaque psoriasis. The trial is being conducted at multiple clinical sites in the U.S. Twenty patients are planned to be enrolled to obtain approximately 15 evaluable patients. Patients serve as their own controls, applying DUR-928 to the plaque on one arm and the vehicle to a similar plaque on the other arm. After the treatment period, patients will be followed for an additional four weeks. The primary efficacy endpoint is the change in local psoriasis scores from baseline in the DUR-928-treated plaques compared to that in the vehicle-treated plaques. Additional information on the trial design, including eligibility criteria and site locations, can be found at www.clinicaltrials.gov using the NCT Identifier 03837743.
We began enrolling patients in March of 2019 and expect to announce top line data from this study in the second half of 2019.
We previously conducted an exploratory Phase 1b trial in psoriasis patients (9 evaluable patients) in Australia. The trial was randomized, double-blinded, placebo and self-controlled, using a micro-plaque assay with intralesional injections of DUR-928. The results were encouraging and warranted advancing into the current proof-of-concept trial with topically applied DUR-928. In support of the Phase 2a study, we have completed multiple non-clinical safety studies for topically applied DUR-928.
Psoriasis is an inflammatory skin disease and an immune-mediated condition that causes the body to make new skin cells in days rather than weeks. In the United States, there are about 150,000 new cases of psoriasis every year and it affects an estimated 7.5 million Americans. According to the International Federation of Psoriasis Associations (IFPA), nearly 3% of the world's population has some form of psoriasis or about 125 million people. Psoriasis causes itchiness and irritation and may be painful. There's no cure for psoriasis yet, but currently approved treatment can ease symptoms. Approximately 80% of patients with psoriasis have localized disease, which can be treated with topical therapies. As such, topical agents remain the mainstay of psoriasis treatment.
POSIMIR® (bupivacaine extended-release solution) Post-Operative Pain Relief Depot. POSIMIR is our investigational post-operative pain relief depot that utilizes our patented SABER® technology and is designed to deliver bupivacaine to provide up to 3 days of pain relief after surgery.
After a comprehensive review of the POSIMIR program in light of the issues raised by the FDA in our communications with them, including the Complete Response Letter (CRL), we are planning to submit a full response to the CRL in the second quarter of 2019. As the submission will be a response to a CRL, we expect a 6-month FDA review period.
The effort to evaluate the program, develop a strategy for filing the response, and the actual writing of key sections of the response, has been under the direction of Dr. Lee Simon, who was formerly FDA's Division Director of Analgesic, Anti-inflammatory and Ophthalmologic Drug Products.
We believe that the completed inguinal hernia and subacromial decompression (shoulder) clinical trials support the efficacy of POSIMIR in post-operative pain and meet the requirements to be considered as adequate and well-controlled pivotal clinical trials. Both trials demonstrated a significant decrease in pain and opioid use over the 0-72 hour period following surgery as compared to placebo.
We have completed 16 clinical trials in the POSIMIR program, involving over 1,400 patients, over 850 of whom received POSIMIR with the remainder in control groups. We believe this is a sufficiently sized safety database. We believe that, with the PERSIST safety data included, we now have sufficient data to address FDA's issues raised in the CRL and that the data package meets the requirements for FDA approval.
POSIMIR has not been approved by the FDA for marketing in the U.S. for any indication and there can be no assurance that FDA will approve the planned submission described above.
Indivior Agreement and PERSERIS™. In September 2017, we entered into a patent purchase agreement with an affiliate of Indivior PLC, whereby we assigned certain of its U.S. patent rights to Indivior. This assignment may provide further intellectual property protection for PERSERIS (risperidone) extended-release injectable suspension for the treatment of schizophrenia in adults.
Under the terms of the agreement, Indivior has paid us $12.5 million upfront and a $5 million milestone based on NDA approval of PERSERIS. We also receive quarterly earn-out payments based on a single digit percentage of U.S. net sales for certain products covered by the patent rights, including PERSERIS. The patent rights include granted patents extending into at least 2026.
According to its recent press releases, Indivior has stated that:
The PERSERIS commercial launch took place in the last week of February 2019 with a field force of 50 representatives and that modest initial net revenue for Q1 2019 was consistent with their expectations.
As of February 14, 2019, payor access was at 38% and Indivior is targeting quality of access comparable with peers.
Indivior is targeting appropriate health care providers (HCPs) with high volume Long Acting Injectables (LAI) practices.
Indivior plans to focus on key differentiating product specific attributes, including the first and only once-monthly risperidone LAI, supplemental oral risperidone or loading dose not recommended, initial peak plasma concentrations achieved in 4 to 6 hours, and just one subcutaneous injection monthly.
Indivior remained confident in its peak year net revenue goal for PERSERIS of $200 to $300 million.
U.S. sales of long acting injectables to treat schizophrenia were in excess of $3 billion in 2017.
Full prescribing information for PERSERIS, including BOXED WARNING, and Medication Guide can be found at www.perseris.com.
Methydur Sustained Release Capsules (ORADUR®-methylphenidate ER Capsules). In September 2018, our licensee, Orient Pharma, informed DURECT that it had obtained marketing authorization from the Ministry of Health and Welfare in Taiwan for Methydur Sustained Release Capsules. This product is indicated for the treatment of attention deficit hyperactivity disorder (ADHD) and Orient Pharma has stated that it expects to make Methydur Sustained Release Capsules commercially available in Taiwan in 2019, while seeking a partner in China and pursuing regulatory approvals in selected other countries where it has commercialization rights and a commercial presence. DURECT retains rights to North America, Europe, Japan and all other countries not specifically licensed to Orient Pharma. DURECT is entitled to receive a royalty on sales of Methydur Sustained Release Capsules by Orient Pharma. Orient Pharma has also committed to supply a portion of the commercial requirements in territories other than the United States for Methydur Sustained Release Capsules.
A live audio webcast of a conference call to discuss first quarter 2019 results and provide a corporate update will be broadcast live over the internet at 8:30 a.m. Eastern Time on May 8, 2019 and is available by accessing DURECT's homepage at www.durect.com and clicking "Investors." A replay of the call will be archived on DURECT's website under Audio Archive in the "Investors" section.
DURECT is a biopharmaceutical company actively developing therapeutics based on its Epigenetic Regulator Program and proprietary drug delivery platforms. DUR‑928, a new chemical entity in Phase 2 development, is the lead candidate in DURECT's Epigenetic Regulator Program. An endogenous, orally bioavailable small molecule, DUR-928 has been shown in preclinical studies to play an important regulatory role in lipid homeostasis, inflammation, and cell survival. Human applications may include acute organ injury such as Alcoholic Hepatitis (AH) and acute kidney injury (AKI), hepatic diseases such as nonalcoholic steatohepatitis (NASH), and inflammatory skin conditions such as psoriasis and atopic dermatitis. DURECT's advanced oral and injectable delivery technologies are designed to enable new indications and enhanced attributes for small-molecule and biologic drugs. Late stage product candidates in this category include POSIMIR®(bupivacaine extended-release solution), an investigational locally-acting, non-opioid analgesic intended to provide up to 3 days of continuous pain relief after surgery, and ORADUR®-Methylphenidate ER Capsules, approved in Taiwan as Methydur Sustained Release Capsules, where it is indicated for the treatment of attention deficit hyperactivity disorder (ADHD). In addition, for the assignment of certain patent rights, DURECT receives single digit sales-based earn-out payments from U.S. net sales of Indivior's PERSERIS™ (risperidone) drug for schizophrenia, which was commercially launched in February 2019. For more information, please visit www.durect.com.
NOTE: ORADUR®, POSIMIR® and SABER® are trademarks of DURECT Corporation. Other referenced trademarks belong to their respective owners. DUR-928 and POSIMIR are drug candidates under development and have not been approved for commercialization by the U.S. Food and Drug Administration or other health authorities.
The statements in this press release regarding clinical development plans for DUR-928, including the ongoing Phase 2a trial in AH and its preliminary results, the Phase 2a trial in psoriasis and the Phase 1b trial in patients with NASH, and the anticipated disclosure of data from clinical trials, potential future payments from Indivior and Orient Pharma, potential regulatory approval of POSIMIR, and the potential benefits and uses of our drug candidates, including the potential use of DUR-928 to treat acute organ injury such as AH and AKI, hepatic diseases such as NASH, and inflammatory skin conditions such as psoriasis and atopic dermatitis, are forward-looking statements involving risks and uncertainties that can cause actual results to differ materially from those in such forward-looking statements. Potential risks and uncertainties include, but are not limited to, the risks that future clinical trials of DUR-928 take longer to conduct than anticipated, do not replicate the results from earlier clinical or pre-clinical trials, or do not demonstrate the safety or efficacy of DUR-928 in a statistically significant or clinically meaningful manner, the risk that the FDA will not approve POSIMIR, the risk that Indivior's PERSERIS will not obtain marketplace acceptance, the risk that Orient Pharma will not launch sales of Methydur Sustained Release Capsules as planned, the risk that additional time and resources that may be required for development, testing and regulatory approval of DUR-928 or POSIMIR, potential adverse effects arising from the testing or use of our drug candidates, our potential failure to maintain our collaborative agreements with third parties or consummate new collaborations and risks related to our ability to obtain capital to fund operations and expenses. Further information regarding these and other risks is included in DURECT's Form 10-Q filed with the Securities and Exchange Commission on May 7, 2019 under the heading "Risk Factors."
CONDENSED STATEMENTS OF COMPREHENSIVE LOSS
Loss from operations
Net other expense
Weighted-average shares used in computing net loss per share
Total comprehensive loss
Operating lease right-of-use assets
Operating lease liabilities, current portion
Term loan, noncurrent portion, net
Operating lease liabilities, noncurrent portion
View original content:http://www.prnewswire.com/news-releases/durect-corporation-announces-first-quarter-2019-financial-results-and-update-of-programs-300845760.html
Michael Arenberg, Chief Financial Officer, DURECT Corporation, 408-346-1052
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List of possessions of Norway
This is a list of territorial possessions of Norway.
Location of Norway and its overseas territories in the World
Current possessions
Norwegian kingdom and some of its current possessions
Integral overseas areas of Norway, although unincorporated:
Svalbard (including Bear Island), in the Arctic, possession since 1920.
Jan Mayen, in the Arctic, possession since 1929.
Svalbard with Bear Island are subject to the provisions of the Svalbard Treaty. Svalbard and Jan Mayen are grouped together for some categorization purposes.
Current dependencies of Norway are all in the southern polar region:
Peter I Island, in the Antarctic, possession since 1929.
Bouvet Island, in the Subantarctic and South Atlantic, possession since 1930.
Queen Maud Land, in the Antarctic, possession since 1939.
Former dependencies and homelands
Norwegian kingdom at its greatest extent about 1265
Norwegian Empire with its homeland, dependencies and possessions
Norwegian kingdom and its former homeland before 1645
See also: Kingdom of Norway (872–1397)
The so-called Greater Norway includes these entities:
Dependencies ceded to Scotland (1st phase)
Hebrides, colonized from 700s to 1100s, part of an earldom, crown dependencies from 1100s to 1266, ceded by the Treaty of Perth.
Man, colonized from 850s to 1152, part of an earldom, crown dependency from 1152 to 1266, ceded by the Treaty of Perth.
Orkney, colonized from 800s to 875, earldom from 875 to 1100s, crown dependency from 1100s to 1469, pledged by Christian I.
Shetland, colonized from 700s to 900s, earldom from 900s to 1195, crown dependency from 1195 to 1469, pledged by Christian I .
Earldom of Orkney, earldom from 875 to 1266.
Briefly-ruled Welsh homeland
Anglesey, crown dependency from 1098 to 1099, reverted to Kingdom of Gwynedd as of lack of settlements.
National homelands ceded to Sweden (2nd phase)
Bohuslän, integrated from 800s to 1523, again from 1532 to 1658, ceded by the Treaty of Roskilde.
Idre & Särna, integrated from ??? to 1645, ceded by the Second Treaty of Brömsebro, border not formally delineated until 1751.
Jämtland, integrated from 1100s to 1645, ceded the Second Treaty of Brömsebro.
Härjedalen, integrated from 1200s to 1563, again from 1570 to 1645, ceded by the Second Treaty of Brömsebro.
Early entity
Värmland, from as early as 820 (pre-unification) to about 1000, before being integrated into Sweden.
Briefly-ruled Danish homelands
Kungsbacka, Varberg & Falkenberg, historical Northern Halland, part of the kingdom from 1287 to 1305.
Briefly-ruled Swedish homelands
Västergötland, Dalsland & Värmland, part of the kingdom from 1374 to 1380.
Dependencies ceded to Denmark (3rd phase)
Faroe Islands, settled and colonized pre-1035 and crown dependencies from 1035 to 1814, ceded by the Treaty of Kiel.
Greenland, colonized pre-1261 and crown dependency from 1261 to 1814, ceded by the Treaty of Kiel.
Iceland, settled and colonized pre-1262 and crown dependencies from 1262 to 1814, ceded by the Treaty of Kiel.
Ceding era explained
The actual time for the ceding of the islands is somewhat disputed. Denmark claims it took place with the Union of Denmark and Norway in 1536, as the possessions of the Norwegian crown were claimed by the Danish king. Nevertheless, they were still referred to as "dependencies of Norway" in later official documents. Also the Treaty of Kiel states: "...and provinces, constituting the kingdom of Norway, [..], together with their dependencies (Greenland, the Faroe Isles, and Iceland, excepted); [...] shall belong in full and sovereign property to the King of Sweden,...", clearly indicating that they were until 1814 regarded as a part of Norway.
Briefly-ruled Danish kingdom
Denmark inc. Halland, Scania & Blekinge of present-day Sweden - historically Skåneland, part of the kingdom from 1042 to 1047.
Former Norse kingdoms outside Scandinavia
Kingdom entities
Norwegian legacy kingdoms subsequently integrated into Norway and Ireland:
Kingdom of Mann and the Isles, kingdom from 836 to 1266.
Kingdom of Dublin, kingdom from 839 to 1170.
Icelandic Commonwealth, state from 930 to 1262.
Joint kingdom entities with the Danes
Dano-Norwegian legacy kingdoms subsequently integrated into England and France:
County of Rouen, fief ruled by Norwegians and Danes from 911 to 996.
Duchy of Normandy, duchy ruled by Norwegians, Danes and their descendants from 911 to 1259.
Kingdom of Northumbria, kingdom ruled by Norwegians from 914 to 954.
Kingdom of York, kingdom ruled first by Danes and later by Norwegians from 876 to 954.
Former contested possessions and claims
The Kingdom of England, now part of United Kingdom, claimed by several Norwegian kings of the 11th century.
South Georgia, now part of the British Overseas Territories of United Kingdom.
The spread of Norwegian whaling industry to Antarctica in the early 20th century motivated Norway, right after its independence from Sweden in 1905, to pursue territorial expansion not only in the Arctic claiming Jan Mayen and Sverdrup Islands, but also in Antarctica. Norway claimed Bouvet Island and looked further south, formally inquiring with Foreign Office about the international status of the area between 45° and 65° south latitude and 35° and 80° west longitude. Following a second such diplomatic démarche by the Norwegian Government dated 4 March 1907, Britain replied that the areas were British based on discoveries made in the first half of the 19th century, and issued the 1908 Letters Patent incorporating the British Falkland Islands Dependencies with a permanent local administration in Grytviken established in 1909.[1][2]
Arctic and Northern America
Fridtjof Nansen Land, now part of Russia, claimed from 1926 to around 1929, rejecting a claim of the Soviet Union.
Sverdrup Islands, now part of Canada, claimed from 1928 (1902?), Canadian sovereignty recognised in 1930, as part of an agreement with the British Empire, for the British to recognise Svalbard as Norwegian territory.
Erik the Red's Land, northeast coast of Greenland, claimed from 1931 until awarded to Denmark by a court decision in 1933.
Finland and Russia
Main article: Quisling regime § Territorial claims
Inari and Petsamo, now part of Finland and Russia, claimed from Finland from about 1942 to 1945 by the Quisling regime during the Nazi occupation of Norway.
Murmansk and Arkhangelsk as Bjarmland, now part of Russia, claimed from the Soviet Union from about 1942 to 1945 by the Quisling regime, and was earlier also claimed by Norway in the High Middle Ages and Late Middle Ages.
Danish colonial empire for Dano–Norwegian colonies
Irredentism
↑ Odd Gunnar Skagestad. Norsk Polar Politikk: Hovedtrekk og Utvikslingslinier, 1905–1974. Oslo: Dreyers Forlag, 1975
↑ Thorleif Tobias Thorleifsson. Bi-polar international diplomacy: The Sverdrup Islands question, 1902–1930. Master of Arts Thesis, Simon Fraser University, 2004.
Integral overseas areas and dependencies of Norway
Integral territories
Peter I Island
Queen Maud Land
Subdivisions of Norway
Former possessions
Former territorial claims of Norway
Sverdrup Islands
Amund Ringnes
(King Christian
Gretha
Haig-Thomas
Ulvingen)
Northern Finland
Petsamo
(Utsjoki)
North-West Russia
Erik the Red's Land
Franz Josef Land
Fridtjof Nansen Land
The British Isles
South Georgia & SSI
Colonial empires
American · Austro-Hungarian · Belgian · British · Couronian · Danish · Dutch · English · French · German · Italian
Japanese · Sovereign Military Order of Malta · Ottoman · Portuguese · Russian · Spanish · Swedish
Colonies in antiquity
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TABLE OF CONTENTS RIZZOLI Badgley Mischka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 Balich Spectacular Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 The Beatles: Help! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 Becoming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Bistronomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Borbonese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Bottega Veneta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Chocolate Chip Sweets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 City Harvest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 The Curated House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Diana Vreeland: The Modern Woman . . . . . . . . . . . . . . . . . . .11 Dior: The New Look Revolution . . . . . . . . . . . . . . . . . . . . . . .41 Dior by Avedon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Eric White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Fashion Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Fashion: A Timeline of Photographs . . . . . . . . . . . . . . . . . . . .13 Francesco Vezzoli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 French Chic Living . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Giorgio Armani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Gloss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 Graff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Grizzly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 The Impossible Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 In Pursuit of Beauty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Jeffrey Bilhuber: American Master . . . . . . . . . . . . . . . . . . . . . .20 Legorreta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Libertine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Lin Dan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Listening: Bohlin, Cywinski, Jackson . . . . . . . . . . . . . . . . . . . .38 Manolo Blahnik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Maya Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Natalia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Paulo Mendes da Rocha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Philip Treacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Photographs by Kelly Klein . . . . . . . . . . . . . . . . . . . . . . . . . .26 Piero Fornasetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Pope Francis and the Virgin Mary . . . . . . . . . . . . . . . . . . . . . .52 Prêt-a-Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Retreat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43 Roberto Bolle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Ryan McGinley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Sarabeth’s Good Morning Cookbook . . . . . . . . . . . . . . . . . . . .5 Shepard Fairey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Spanish Colonial Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 Stop Think Give . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Suzanne Rheinstein: Rooms for Living . . . . . . . . . . . . . . . . . . .4 Swarovski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Terry Richardson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 This is Not a House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Tintin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Tricia Foley Life/Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 True Thai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 The United Nations at 70 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 The United States of Pizza . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Vino, I Love You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 Wayne Thiebaud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 World Monuments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
RIZZOLI CLASSICS How to Be . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Italian Splendor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Palm Beach Houses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
SKIRA RIZZOLI Albert Oehlen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Audrey Hepburn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Carlos Betancourt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Cornelia Foss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Enrico Donati . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 Feelings: Soft Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 The House of Thurn und Taxis . . . . . . . . . . . . . . . . . . . . . . .62 Jim Shaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Laura Owens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79 Lisa Yuskavage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Longue Vue House and Gardens . . . . . . . . . . . . . . . . . . . . . . .63 My Hermitage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79 Oscar de la Renta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 Out of the Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Red and White Quilts: Infinite Variety . . . . . . . . . . . . . . . . . . .58 A Red Like No Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61 Tahoe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
RIZZOLI EX LIBRIS Food & Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 I Can Give You Anything But Love . . . . . . . . . . . . . . . . . . . . .66
RIZZOLI/GAGOSIAN GALLERY Helen Frankenthaler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 The Heroine Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Jean-Michel Basquiat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 Jeff Koons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Jeff Koons: Hulk Elvis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Jonas Wood and Shio Kusaka . . . . . . . . . . . . . . . . . . . . . . . . . .70 Marcel Duchamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Picasso and the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 Piotr Uklanski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Sterling Ruby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
UNIVERSE 100 Documents that Changed the World . . . . . . . . . . . . . . . .74 1,001 TV Shows You Must Watch Before You Die . . . . . . . . .73 The Civil War Soldier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Essential Horror Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 New York Non-Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Star Trek: Ships of the Line Posters . . . . . . . . . . . . . . . . . . . . .72 Yoga at Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
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SKIRA American Chronicles: The Art of Norman Rockwell . . . . . . .81 Ansel Adams versus Vittorio Sella . . . . . . . . . . . . . . . . . . . . . .86 Aurelie Nemours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Best in Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Botero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Braccialini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87 Christopher Benninger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Come Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Daido Moriyama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Discovering Tibet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Friar Francesco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 From Art Brut to Art without Boundaries . . . . . . . . . . . . . . . .93 Glass from Finland 1932-1973 . . . . . . . . . . . . . . . . . . . . . . . .88 Hidden Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Hiroshi Sugimoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Katrin Fridriks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Lightfall: Genealogy of a Museum . . . . . . . . . . . . . . . . . . . . . .90 Louise Bourgeois . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Mimmo Rotella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Modern History of Italian Wine . . . . . . . . . . . . . . . . . . . . . . .89 Naum Medovoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Paolo Scheggi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Photography (History of Photography–Volumes I–IV) . . . . .86 Robert Motherwell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Roy Lichtenstein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 Sakti Burman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Sean Scully . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Sergei Tchoban . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Sergey Kuznetsov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Sven Marquardt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86 Teatro alla Scala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 Tirelli 50 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87 The Treasures of the Buccellati Foundation . . . . . . . . . . . . . .87
FLAMMARION Baklava to Tarte Tatin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 Blue Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Bonjour London . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Bonjour New York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Bonjour Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Chanel: The Enigma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 Country Homes in France . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Dandies at Dusk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 A Day at Château de Vaux-le-Vicomte . . . . . . . . . . . . . . . . .102 A Day with Marie Antoinette . . . . . . . . . . . . . . . . . . . . . . . . .102 Dress of the Year . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Fashion Agenda by Karl: 2016 . . . . . . . . . . . . . . . . . . . . . . .107 Olafur Eliasson: Contact . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 Paris / Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 Parisian Chic Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Pin-Ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Pinto Forever . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 Rodin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 The Secrets of Parisian Chic . . . . . . . . . . . . . . . . . . . . . . . . . .95
Vacheron Constantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
HARDIE GRANT 100 Days Happier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 Cakeology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 The Champagne Guide 2016-2017 . . . . . . . . . . . . . . . . . . .127 Coco’s World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 East . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Every Room Tells A Story . . . . . . . . . . . . . . . . . . . . . . . . . . .109 Get Happy! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Izakaya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 James Halliday’s Australian Wine Companion 2016 . . . . . .127 Lucy’s Bakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Luke Nguyen’s France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Man-Made . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Mug Cakes: Chocolate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 Nice Nosing You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Pocket Dolly Wisdom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Postcards From Marrakesh . . . . . . . . . . . . . . . . . . . . . . . . . .124 The Produce Companion . . . . . . . . . . . . . . . . . . . . . . . . . . .125 Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 Rustic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 Something For Everyone . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 Speakeasy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Style Forever . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 The Sugar Hit! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117 The Tailored Interior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 Time After Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Vinegar Socks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 Whip it Up! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 Women In This Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 You Mean The World To Me . . . . . . . . . . . . . . . . . . . . . . . .119
MARSILIO All the World’s Futures . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131 Firenze Fashion Atlas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 Giorgio Armani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 Light and Dust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 Martial Raysse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 Panerai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 Parallel Convergences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 The Poetry of Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 The Slip of the Tongue . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 WELCOME BOOKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 PROMOTIONAL TITLES . . . . . . . . . . . . . . . . . . . . . . . . . .142 BACKLIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156 Find us online at: www.Rizzoliusa.com Facebook.com/RizzoliNewYork Twitter: @Rizzoli_Books Pinterest.com/Rizzolibooks Front cover from Becoming on page 3. Photograph © Marco Glaviano. Back cover from Listening: Bohlin, Cywinski, Jackson on page 38. Photograph © Nic Lehoux.
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Dior by Avedon FOREWORD BY JACQUELINE DE RIBES TEXTS BY JUSTINE PICARDIE AND OLIVIER SAILLARD IN ASSOCIATION WITH THE AVEDON FOUNDATION
Richard Avedon’s most indelible images of Dior fashions and portraits from the 1940s through the ’70s, including many never-before-published photographs. Richard Avedon’s iconic fashion work not only changed fashion photography but also changed the way the world looks at fashion. One of his most prolific collaborations was with the house of Dior, which can be traced back to 1947, just after the haute couture house had taken the Paris fashion world by storm.
Barbra Streisand, pajamas by Dior, Paris, January 1966
Suzy Parker with Robin Tattersall, coat by Dior, Place de la Concorde, Paris, August 1956
This lavish volume includes 150 iconic and many never-before-published photographs by Avedon, featuring glamorous models and celebrities, including Marlene Dietrich, Suzy Parker, Sunny Hartnett, Dovima, Carmen Dell’Orefice, Dorian Leigh, Capucine, Lauren Hutton, Anjelica Huston, and Barbra Streisand. Avedon’s images document Dior’s fashion, as well as fashion history from the 1940s through the ’70s. With an eye for moments of grace, drama, and humor, as well as a mastery of light and contrast, Avedon captures the essence of Dior’s elegant designs, the style and personality of the iconic women who wore them, and incredible moments in photography that will intrigue photography, art, and fashion lovers alike. Jacqueline de Ribes is a French socialite and fashion designer. In addition to being a muse to many designers, including Valentino and Yves Saint Laurent, she has been a member of the International Best Dressed List since 1962. Justine Picardie is an accomplished author and editor in chief of British Harper’s Bazaar. Olivier Saillard is director of the Palais Galliera, the City of Paris’s Museum of Fashion. He is a renowned fashion historian and author.
PREVIOUSLY ANNOUNCED FASHION/PHOTOGRAPHY 206 double-leaf pages, 115 x 13” 160 color and b/w photographs Flexibound w/slipcase: 978-0-8478-4727-3 $175.00 Can: $175.00 UK: £115.00 October 27, 2015 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H T H E AV E D O N F O U N D AT I O N
E A R LY O N S A L E
Manolo Blahnik FLEETING GESTURES AND OBSESSIONS MANOLO BLAHNIK PHOTOGRAPHER’S NOTE BY MICHAEL ROBERTS CONTRIBUTIONS BY PEDRO ALMODÓVAR, MARY BEARD, ERIC BOMAN, SOFIA COPPOLA, GIOACCHINO LANZA TOMASI, MANUELA MENA, RAFAEL MONEO, PHYLLIS POSNICK, PETER SCHLESINGER, AND ANDRÉ LEON TALLEY
The first comprehensive and lavishly illustrated volume to document the influences and life work of Manolo Blahnik, one of the most influential and talked-about icons in contemporary fashion. Featuring more than forty years of shoe design, this is the definitive monograph of the work of Manolo Blahnik, one of the titans of contemporary fashion. This book is a comprehensive survey of Blahnik’s work and provides access to never-before-seen photography of his designs. Drawing inspiration from the worlds of architecture, art, film, and literature, Blahnik is a master of the art of the shoe. His exciting use of color, unprecedented designs, and exquisitely sculpted heels make his shoes some of the most coveted in the world. Featuring more than 250 iconic designs from his archive, the book reveals for the very first time the inspirations behind his singular artistic vision. With insightful chapters devoted to Blahnik’s most powerful relationships and inspirations—including Marie Antoinette, Diana Vreeland, Cecil Beaton, Spanish and Italian film, the works of Goya and Velázquez and the Prado Museum—this book is a personal look into the man behind the shoes. Beautiful photography and thoughtful essays by fashion writers, curators, and colleagues give readers a unique opportunity to access Blahnik’s vivid and creative-filled world. Manolo Blahnik is a shoe designer and founder of his eponymous shoe brand. Pedro Almodóvar is a film director. Mary Beard is a Professor of Classics at the University of Cambridge. Sofia Coppola is an American screenwriter, director, producer, and actress.
Rafael Moneo is a Spanish architect. André Leon Talley is the former American editor-at-large for Vogue magazine. Michael Roberts is a British fashion journalist, illustrator, photographer, and film director. FASHION 488 pages, 96 x 13” 400 color and b/w photographs HC w/slipcase: 978-0-8478-4618-4 $150.00 Can: $150.00 UK: £90.00 September 1, 2015 Rights: World RIZZOLI
Becoming CINDY CRAWFORD, WITH KATHERINE O’LEARY
International supermodel Cindy Crawford chronicles her life and career, sharing stories and lessons learned, and featuring her most memorable images. Cindy Crawford was the cornerstone of the golden age of the supermodel in the 1990s. She blazed a trail during that decade, seamlessly moving between the runway to unconventional outlets, such as cuttingedge MTV, Super Bowl commercials, and even Playboy magazine. On the eve of her fiftieth birthday, Crawford looks back, photo shoot by photo shoot, on a remarkable career and various life lessons she absorbed. She discusses her earliest modeling years and learning how to become less self-conscious in front of a camera; trusting her own instincts about creating positive messages about a healthy and strong body image that she knew would reach women of all ages; her feelings about becoming a wife and a mother; and her thoughts about turning fifty and what she would tell her younger self if she had the chance. The photographs span her entire career, beginning from the mid 1980s, and feature unpublished images from Crawford’s personal archive in addition to images by every top name in fashion photography, including Annie Leibovitz, Arthur Elgort, Helmut Newton, Herb Ritts, Irving Penn, Patrick Demarchelier, and Richard Avedon, among others. A beautifully illustrated series of stories, Becoming is a smart and engaging book that sheds light into the life and work of an extraordinary woman. Cindy Crawford is an American supermodel and entrepreneur. Katherine O’Leary is a writer and producer.
FASHION 256 pages, 85 x 11” 150 color and b/w photographs HC w/jacket: 978-0-8478-4619-1 $50.00 Can: $50.00 UK: £35.00 September 29, 2015 Rights: World RIZZOLI
Cover: Herb Ritts Middle left: Brian Bowen Smith; Midle right: Arthur Elgort Bottom: Sante D'Orazio
Suzanne Rheinstein: Rooms for Living SUZANNE RHEINSTEIN PRINCIPAL PHOTOGRAPHY BY PIETER ESTERSOHN
Celebrated interior designer Suzanne Rheinstein focuses on the use of rooms—from entries to outdoor spaces—that reflect her relaxed, elegant style, in which beauty and comfort are paramount. Suzanne Rheinstein is a master at translating traditional style into something fresh and elegant. In Rooms for Living, she shows how to achieve a calm and livable environment in casual or more formal settings. Rheinstein presents welcoming rooms to share with others, as well as private, cozy spaces for relaxing or sleeping. Included are examples of refashioned spaces, such as a neglected living room that has been repurposed for reading and writing, and a kitchen that has been expanded to accommodate informal meals. Rheinstein also offers innovative ideas on how to make a statement with an entryway by adding vibrant color, dress a bed for ultimate comfort and romance with luxurious pillows, display books in an understated way, and create a unique party atmosphere. No small detail is overlooked. Beautifully photographed, this inspiring book is a must-have for design-savvy individuals. Suzanne Rheinstein’s projects have been published in leading lifestyle magazines as well as in her bestselling book At Home. Architectural Digest’s AD100 and Elle Decor’s A-List include her on their rosters. Her Los Angeles shop, Hollyhock, is an important resource. She designed the Suzanne Rheinstein*Hollyhock fabric collection for Lee Jofa, along with a rug collection, also for Lee Jofa. Photographer Pieter Estersohn’s work appears frequently in leading lifestyle magazines. He is the author of Kentucky and has provided the photographs for several books.
INTERIORS 240 pages, 95 x 115” 250 color photographs HC w/jacket: 978-0-8478-4639-9 $50.00 Can: $50.00 UK: £35.00 October 6, 2015 Rights: World RIZZOLI
Sarabeth’s Good Morning Cookbook BREAKFAST, BRUNCH, AND BAKING SARABETH LEVINE OF SARABETH’S BAKERY, WITH GENEVIEVE KO PHOTOGRAPHY BY QUENTIN BACON
Legendary New York City baker and restaurateur Sarabeth Levine shares her most beloved breakfast and brunch recipes. The only thing better than brunch at one of Sarabeth’s restaurants is brunch in her home. In this must-have collection of more than 130 classic morning recipes, Sarabeth delivers the comforting dishes she makes for family and friends, from fluffy scrambled eggs to warm sticky buns. Over thirty-five years ago, she launched her first restaurant’s wildly popular weekend brunch. Today, morning lines still snake around the block at her New York City locations, as well as at her Florida and Japan outposts. Her fans will be thrilled to re-create the warmth and joy of brunch at Sarabeth’s with recipes designed for home cooks. A comprehensive guide to morning meals, this beautifully photographed book covers the dishes everyone desires. Sarabeth’s signature pancakes and muffins are quick enough for weekdays, while her quiches and coffee cakes are guaranteed to impress weekend guests. In addition to her sophisticated twists on the standards, Sarabeth surprises with such innovative breakfast treats as morning cookies. The foolproof recipes come with technique tips and make-ahead instructions to make entertaining effortless. Sarabeth Levine , James Beard Award winner for Outstanding Pastry Chef, sells her jams in more than 1,500 stores worldwide. She has written with Rick Rodgers the best-selling Sarabeth’s Bakery: From My Hands to Yours, and has been featured in numerous publications, including the New York Times, and on television. Genevieve Ko is a food writer and culinary consultant. She regularly contributes to magazines and websites and coauthors cookbooks. Quentin Bacon ’s photographs have appeared in many cookbooks as well as leading culinary magazines. FOOD & WINE 288 pages, 96 x 10” 80 color photographs HC w/jacket: 978-0-8478-4638-2 $40.00 Can: $40.00 UK: £25.00 October 13, 2015 Rights: World RIZZOLI
The Curated House CREATING STYLE, BEAUTY, AND BALANCE MICHAEL S SMITH
Michael S Smith’s first collection of new interiors work in seven years. Appearing at a seminal point in Michael Smith’s life and career, The Curated House is also his most personal book, tracing the origins and influences of his design philosophy in depth and presenting a substantial offering of new projects. In the first section of the book, illustrated with images of Smith’s own dramatic Los Angeles house, his spare desert retreat, and his ornate Manhattan apartment, Smith explores his California roots and explains how they still infuse so much of his work; the importance of California’s own deep traditions; and how his recent work in Spain has influenced him through its architecture, fabrics, and history. Smith reviews the constants of his interiors, what is integral to his style and why, and how they can work for the reader: from the forms that repeat themselves to the layering of fabrics and patterns, the use of subtle colors, and the idea of comfort in every room. The second part of the book offers case studies of Smith’s most recent interiors work, including a high-style Manhattan pied-à-terre, an airy London townhouse, a Montana mountain retreat, and a sophisticated Malibu beach house. Substantive and arresting, The Curated House will be Smith’s most comprehensive book to date, and essential to those aspiring to his refined, popular style. Internationally renowned, award-winning decorator Michael S Smith has been named multiple times to Architectural Digest’s “The AD 100,” and was named Designer of the Year by Elle Decor. He is the author of four previous books: Elements of Style, Houses, Kitchens and Baths, and Building Beauty. In 2010, Smith was appointed by President Obama to the Committee for the Preservation of the White House.
Cover: François Halard Middle and right: Pieter Estersohn
INTERIORS 256 pages, 94 x 115” 250 color photographs HC w/jacket: 978-0-8478-4631-3 $65.00 Can: $65.00 UK: £45.00 October 27, 2015 Rights: World RIZZOLI
Shepard Fairey OBEY: COVERT TO OVERT THE UNDER/OVER-GROUND ART SHEPARD FAIREY
The seminal artist’s recent art and poster works, and his triumphant return to his street-art roots with murals, all in work never before published. Shepard Fairey rose out of the skateboarding scene, creating his “Andre the Giant Has a Posse” sticker campaign in the late ’80s, and has since achieved a mainstream recognition that most street artists never find. Fairey’s “Hope” poster, created during Obama’s 2008 presidential campaign, is arguably the most iconic American image since Uncle Sam. Fairey has become a pop-culture icon himself, though he has remained true to his street-art roots. OBEY: Covert to Overt showcases his most recent evolution from works on paper to grander art installations, crosscultural artworks, and music/art collaborations. The book also includes his ubiquitous streetwear and chronicles his return to public artworks. His signature blend of politics, street culture, and art makes Fairey unlike any other subculture/street artist working today. This book showcases the significant amount of art he has created the last several years: street murals, mixed-media installations, art/music events, countless silk screens, and work from his extremely successful OBEY brand. Shepard Fairey is an American contemporary street artist, graphic designer, activist, and illustrator who emerged from the skateboarding scene. He earned a bachelor of fine arts in illustration from Rhode Island School of Design in 1992. He is best known for his Barack Obama “Hope” poster, which he created in support of the 2008 presidential campaign. His work has been included in the collections of several museums, including the Smithsonian Institution in Washington, D.C.; the Los Angeles County Museum of Art; the Museum of Modern Art, New York; and the Victoria and Albert Museum, London.
ART 256 pages, 104 x 124” 250 color and b/w images HC: 978-0-8478-4621-4 $50.00 Can: $50.00 UK: £35.00 September 29, 2015 Rights: World RIZZOLI
Terry Richardson VOL. 1: PORTRAITS VOL. 2: FASHION TERRY RICHARDSON CONTRIBUTIONS BY TOM FORD, CHLOË SEVIGNY, JAMES FRANCO, JOHNNY KNOXVILLE, FREJA BEHA ERICHSEN, AND DANNY McBRIDE
This first full-career monograph, featuring two decades of iconic fashion and celebrity editorial photographs, reveals the enormous influence and impact that Richardson has made on contemporary style, culture, and photography. Since Terry Richardson first rose to prominence in the 1990s, he has shocked and intrigued the world with his singular view and signature style of bold lighting, hypersexualized styling, and striking, offkilter glamour. From glossy, high-end fashion photographs to raw in-studio portraits, Richardson’s work has had an unmistakable impact on contemporary visual culture. This much-anticipated monograph is the first to cover Richardson’s complete career to date. It chronicles more than twenty years of photographs, advertising campaigns, and editorial work, revealing the evolution of Richardson’s style, an unexpected mix of glamour and rawness. This two-volume set, which is separated into Richardson’s fashion photography and celebrity portraiture, features more than 600 photographs and includes early, rarely seen magazine work from nowdefunct publications; iconic and influential work for magazines such as Vogue, Harper’s Bazaar, The Face, i-D, Vice, and Interview; advertising work for brands such as Gucci, Yves Saint Laurent, Chloé, and A.P.C.; and very intimate studio portraits. This compilation is an intriguing look at the mark Richardson’s work has made on fashion, photography, and pop culture, and it captures his edgy, provocative style in a book that is as unusual and unforgettable as the photographer himself. Terry Richardson is an iconic American fashion, portrait, and documentary photographer.
FASHION/PHOTOGRAPHY Volume 1: 288 pages; Volume 2: 360 pages, each 95 x 125” 600 color and b/w photographs 2 volumes w/slipcase: 978-0-8478-4606-1 $135.00 Can: $135.00 UK: £90.00 October 6, 2015 Rights: World RIZZOLI
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Philip Treacy HATS OF THE TWENTY-FIRST CENTURY PHILIP TREACY WITH MARION HUME
The work of one of the most influential and innovative hat designers of this century. Philip Treacy’s career over the last two decades has been prolific and high-profile. A visual delight, this book shares Treacy’s favorite designs in 250 striking photographs, curated by Treacy himself, and showcases his collaborations and personal relationships. Treacy has said, “Every hat I have ever made has begun in my mind as a photograph. I can see it on the model, at the right angle, before I even begin.” Indeed, his hats have been photographed by the most iconic image makers of our time, including Patrick Demarchelier, Richard Avedon, Steven Meisel, Mario Testino, Bruce Weber, and Irving Penn. And his hats have been modeled on equally famous heads, ranging from Grace Jones and Lady Gaga to the Duchesses of Cornwall and Devonshire. Since his early friendships with Isabella Blow and Alexander McQueen, Treacy’s imaginative designs have been a synthesis of art and fashion, with materials ranging from silk and lace to Plexiglas and leather, trimmed with feathers or Swarovski crystals. Combining luxury and sophistication, his work has helped shape modern fashion. This first, highly personal book is a glamorous tour through Treacy’s world, and documents how a hat can evoke the magic of life and speak to the transformative power of fashion. Philip Treacy is the recipient of numerous international fashion awards (he is a five-time winner of the title British Accessory Designer of the Year at the British Fashion Awards). Marion Hume has been the international fashion editor for The Australian Financial Review since 2006. She contributes to the Financial Times, the Saturday Telegraph Magazine, W, and the New York Times.
FASHION 300 pages, 105 x 134” 250 color and b/w photographs HC w/jacket: 978-0-8478-4650-4 $115.00 Can: $115.00 UK: £75.00 October 13, 2015 Rights: World RIZZOLI
Diana Vreeland: The Modern Woman THE BAZAAR YEARS, 1936–1962 EDITED BY ALEXANDER VREELAND
The first Vreeland book to focus on her three decades at Harper’s Bazaar, where the legendary editor honed her singular take on fashion. In 1936, Harper’s Bazaar editor in chief Carmel Snow made a decision that changed fashion forever when she invited a stylish London transplant named Diana Vreeland to join her magazine. Vreeland created “Why Don’t You?”—an illustrated column of irreverent advice for chic living. Soon she was named the magazine’s fashion editor—a position that Richard Avedon later famously credited Vreeland with inventing. The troika of Snow, legendary art director Alexey Brodovitch, and Vreeland formed a creative collaboration that continued Harper’s Bazaar’s dominance as America’s leading fashion magazine. As World War II changed women’s role in society, Vreeland’s love for fashion and endless imagination provided exciting, modern imagery for this new paradigm. This book covers Vreeland’s three-decade tenure at Bazaar, revealing how Vreeland reshaped the role of the fashion editor by introducing styling, creative direction, and visual storytelling. Her innovative perspective and creative working relationships with photographers such as Richard Avedon, Cecil Beaton, Louise Dahl-Wolfe, Lillian Bassman, and Hoyningen-Huene brought the American woman into a modern world. Through more than 300 images from the magazine, this book shows how Vreeland’s work not only influenced her readership, but also forged the path for modern fashion storytelling that endures today. Alexander Vreeland is the grandson of Diana Vreeland and the president of Diana Vreeland Parfums and the Diana Vreeland Estate. He is the author of Diana Vreeland Memos: The Vogue Years.
FASHION 304 pages, 9 x 12” 300 color and b/w photographs HC: 978-0-8478-4608-5 $60.00 Can: $60.00 UK: £40.00 October 13, 2015 Rights: World RIZZOLI
Roberto Bolle VOYAGE INTO BEAUTY ROBERTO BOLLE PHOTOGRAPHY BY FABRIZIO FERRI AND LUCIANO ROMANO INTRODUCTION BY BOB WILSON FOREWORD BY GIOVANNI PUGLISI
Lush photographic portraits of Roberto Bolle, the male icon of dance, showcase the great beauty of the dancer in his beloved Italy. This lavish photographic volume presents the magnificent Roberto Bolle, principal dancer of the American Ballet Theatre and guest artist at La Scala and the Royal Ballet, in the most beautiful locations throughout Italy, from St. Mark’s Square to Agrigento, from the Colosseum to Pompeii. Through the art of dance, Bolle has become one of Italy’s cultural ambassadors to the world. This book presents the dancer in some of the country’s most iconic locations. Bolle’s magnetic charisma has helped him bring dance to a wider audience and draw large and enthusiastic crowds to the ballet. A much-courted media star, Bolle has also appeared in numerous fashion and style magazines, as well as advertising campaigns. This handsome volume is Bolle’s photographic love letter to Italy, featuring the country as a gorgeous backdrop to the dancer, in stunning poses which show his artistic beauty and athletic strength. Fabrizio Ferri began his career as a photojournalist, then shifted to the fashion world, becoming one of the world’s most sought-after photographers. His clients include Vogue, Harper’s Bazaar, Vanity Fair, Interview, and Esquire. Luciano Romano began as a theater photographer for renowned venues such as La Scala. He has collaborated with publishers such as Citadelles & Mazenod, Skira, and Taschen, and his photographs are included in leading museum collections such as MAXXI in Rome. Bob Wilson is a director and playwright, as well as a choreographer, painter, sculptor, video artist, and sound and light designer. Giovanni Puglisi is a university professor and banker, and the President of the Italian National Commission for UNESCO.
DANCE/PHOTOGRAPHY 160 pages, 10 x 13” 120 color photographs HC w/jacket: 978-0-8478-4674-0 $65.00 Can: $65.00 UK: £45.00 June 2, 2015 Rights: World English RIZZOLI E A R LY O N S A L E
Fashion A TIMELINE IN PHOTOGRAPHS: 1850 TO TODAY CAROLINE RENNOLDS MILBANK FOREWORD BY HAROLD KODA
One of America’s premier fashion historians offers an unrivaled and exceptional fashion resource. This immersive timeline is illustrated by photographs—over 700—that tell the story of fashion through its changing and multitudinous silhouettes. As the years advance, we watch crinolines inflate and deflate, the bustle shape-shift, skirts narrow, and sleeves balloon. The twentieth century opens with the S-bend corset, puffed at the waist, and as the decades progress, conformity all but disappears as clothing becomes more casual. In the twenty-first century, formalwear becomes more elaborate than ever. Along with tracking every major change in fashion, readers also see evolutions in hairstyles, jewelry, hat styles, outerwear, and footwear. Milbank keenly illustrates how a certain style of dressing was ubiquitous—the same silhouette worn not only in France and the United States but also in many countries simultaneously. Real people—not only fashion models—are captured in casual outdoor scenes, strolling in Paris, New York, and London, lunching alfresco, playing croquet, riding horses, and even mountain climbing. Street photography of the last century is emphasized particularly: the earliest examples show women who dressed to be photographed at the races in France, as they were captured by the predecessors of such modern-day photographers as Mary Hilliard and The Sartorialist, whose pictures we also see as we traverse the most recent years shown in this panoptic volume. Caroline Rennolds Milbank is a fashion historian and the author of four books and has been a costume curator for exhibitions at the Museum at the Fashion Institute of Technology, the Metropolitan Museum of Art, and the Clark Art Institute. Harold Koda is curator in charge at the Costume Institute at the Metropolitan Museum of Art, New York.
FASHION 320 pages, 95 x 12” 700 b/w and color photographs HC w/jacket: 978-0-8478-4602-3 $75.00 Can: $75.00 UK: £50.00 October 13, 2015 Rights: World RIZZOLI
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The United States of Pizza AMERICA’S FAVORITE PIZZAS, FROM THIN CRUST TO DEEP DISH, SOURDOUGH TO GLUTEN-FREE CRAIG PRIEBE, WITH DIANNE JACOB
Recipes for homegrown pies from all regions of the country. Chef Craig Priebe has scoured the countryside, stopping in promising pizzerias to discover the tastiest pies. Smoked ham and cheddar? Roasted cauliflower and salsa verde? These toppings would be blasphemous in Naples, but in America anything goes— anything that tastes delicious, that is. His findings are collected here—stellar examples representing every style of pizza. What makes this collection of prize recipes especially fun is that each one has its own personality reflecting its local influences. From Seattle’s Serious Pie comes pizza with white bean puree, asparagus, and Parmesan; from Los Angeles’s Mozza, squash blossoms with burrata. The legendary Pizzeria Bianco in Phoenix offers up a pie with red onion, rosemary, and Arizona pistachios, while Louisiana Pizza Kitchen brings us one with crawfish étouffé. Also included are blueprints for every type of dough (from Sicilian and sourdough to New York and gluten-free), a range of adaptable base sauces, an introduction covering tools and techniques, and an address book for all the pizzerias featured. The United States of Pizza shows that the country is not so much a melting pot, but instead a giant pie bubbling over with a fabulously diverse array of creative flavor combinations. Craig Priebe has been called “a pizza miracle worker” (Chicago magazine) and a “pizza expert” (The Chicago Sun-Times). His cooking has garnered acclaim from National Public Radio, Travel + Leisure, and the Atlanta Journal-Constitution. Dianne Jacob is the author of Will Write for Food. Her work has also appeared in Sunset, The San Francisco Chronicle, and Gastronomica. FOOD & WINE 192 pages, 76 x 104” 50 color photographs HC w/jacket: 978-0-7893-2944-8 $30.00 Can: $30.00 UK: £19.95 September 22, 2015 Rights: World RIZZOLI
Ryan McGinley WAY FAR TEXT BY DAVID RIMANELLI
“…the most important photographer in America…” —GQ magazine In his second book for Rizzoli, Ryan McGinley focuses on the work that he has become best known for since he first rose to prominence ten years ago: the summer road trips. Since the earliest days of his unparalleled career, every summer McGinley has gathered up a group of thirty college-age kids, rented a bus, and set out on a cross-country trip. These trips—now legendary among the artist’s large coterie of friends and collaborators and the art world at large—and the photographs created during them have established him as the most consequential photographer of his generation. In the photos, McGinley documents the summertime explorations and exploits of a group of twentysomethings but also renders something much more fleeting and ineffable: the freedom and abandon of youth. Whether hiking on peat-covered mountains, swimming in crystalline lakes, rolling around in vast fields of tall grass, or squatting in derelict countryside barns, the artist’s photographs of young, naked bodies in pastoral scenes have been his signature, and his triumph has been his ability to evoke innocence and nostalgia with flashes of sexual brio. McGinley’s work has continued to deliver on the promise it made nearly a decade ago—that he is the most influential and important chronicler of his generation. David Rimanelli began writing about art in 1988 and has chronicled developments in the New York art world for over two decades. From 1993 to 1999, he was an editor and writer for the New Yorker and, since 1997, has been a contributing editor at Artforum, writing also for Bookforum, Interview, Vogue Paris, frieze, Parkett, the New York Times, and Flash Art. He wrote some of the first articles on artists who are now influential figures, ranging from Cindy Sherman, Mike Kelley, Thomas Ruff, and Matthew Barney to Carol Bove and Nate Lowman. PHOTOGRAPHY 224 pages, 85 x 115” 150 color photographs Flexibound: 978-0-8478-4691-7 $45.00 Can: $45.00 UK: £30.00 October 20, 2015 Rights: World RIZZOLI All images © Ryan McGinley
Bottega Veneta ART OF COLLABORATION TOMAS MAIER CONTRIBUTION BY DAPHNE MERKIN FOREWORD BY TIM BLANKS
A richly illustrated book celebrating creative director Tomas Maier’s collaborations with the renowned photographers who have expressed their vision and interpretation of each Bottega Veneta collection from an artistic standpoint. Creative collaboration lies at the heart of Bottega Veneta. It is born of the give-and-take between designer and artisan that informs both design and craftsmanship, and it inspires the selection of extraordinary partners with whom Bottega Veneta works to evolve the collection. It has also become a hallmark of the brand’s advertising campaigns to collaborate with exceptional artists who are invited to bring their unique perspectives to the Bottega Veneta brand. Divided by each seasonal campaign from 2002 to 2015, this sumptuous feast for the eyes documents the collaborations between Maier and today’s most creative and seminal photographers and artists, including Robert Polidori, Sam Taylor-Johnson, Tina Barney, Annie Leibovitz, Robert Longo, Nan Goldin, Philip-Lorca diCorcia, and more. These creative individuals translate Bottega Veneta’s cool, understated, no-logo elegance into exquisite and beautifully cinematic campaigns, season after season. Maier, whose résumé includes positions at Sonia Rykiel and Hermès, joined Bottega Veneta in 2001 as creative director and was charged with resuscitating the once storied but almost bankrupt brand. His brilliant and understated design sensibility, a mix of restraint and passion that has become the hallmark of the Bottega Veneta line, would ultimately restore financial success while catapulting the brand to the very top of the fiercely competitive luxury-goods world. Tomas Maier is the creative director of Bottega Veneta and oversees his own namesake label.
Daphne Merkin is a literary critic, essayist, and novelist. Tim Blanks is a respected fashion journalist and editor at large at Style.com. FASHION 656 pages, 106 x 135” 500 color and b/w photographs HC w/jacket: 978-0-8478-4603-0 $135.00 Can: $135.00 UK: £90.00 October 13, 2015 Rights: World RIZZOLI
Cover: Robert Longo Middle: Philip-Lorca diCorcia; Bottom: Tina Barney
Wayne Thiebaud INTRODUCTION BY WAYNE THIEBAUD ESSAYS BY KENNETH BAKER, NICHOLAS FOX WEBER, KAREN WILKIN, AND JOHN YAU
The most comprehensive and deluxe monograph on Wayne Thiebaud, a celebrated and active American artist, spanning the length of his career, from the mid-1950s to the present. Wayne Thiebaud is one of the world’s most popular and respected painters. Born in 1920, he has lived for most of his life in Sacramento, with much of his youth spent in Long Beach; Southern California, in particular Laguna Beach, remains an area of great sentimentality. For this book he has selected the works himself, an act of autobiography in a sense. At age 94, he looked back over his life and his work, rich with breakthroughs in painting and masterful individuality. This deluxe volume, with more than 200 illustrations, covers Thiebaud’s career as a painter and draftsman from 1959 to 2014. It features many of the still lifes of pies, cakes, desserts, candies, and other objects—lusciously painted, brightly colored, perfectly composed, and gently comic—for which he is best known. Such works brought national recognition in 1962 with a seminal exhibition at the Allan Stone Gallery in New York, attracting rave reviews and, to the discomfort of the artist himself, leading critics to see him as part of the Pop Art movement. The other artistic genres that he cultivated most avidly since then are landscape and cityscape, with special interests in the Sacramento River valley and San Francisco. New essays by a wide range of writers give a fresh perspective on his life and work. Kenneth Baker has been the resident art critic at the San Francisco Chronicle since 1983. Nicholas Fox Weber is a cultural historian and executive director of the Josef and Anni Albers Foundation.
Karen Wilkin is an independent curator and art critic based in New York. John Yau is an American poet and critic who lives in New York.
ART 360 pages, 9Y x 116” 230 color illustrations HC w/slipcase: 978-0-8478-4616-0 $150.00 Can: $150.00 UK: £100.00 October 20, 2015 Rights: World RIZZOLI Art © Wayne Thiebaud/Licensed by VAGA, New York, NY
Jeffrey Bilhuber AMERICAN MASTER FOREWORD BY MARISKA HARGITAY PHOTOGRAPHY BY WILLIAM ABRANOWICZ
A dean of American decorating offers his most important projects to date, revealing the foundations of his distinctive style. In his latest book, Jeffrey Bilhuber distills thirty years of expertise and creative inspiration designing beautiful and brilliantly modern rooms. Presenting a diverse range of Bilhuber’s most recent and important work from around the country, this lavish volume is centered around forty signature statements—pithy and insightful bedrock principles and axioms that have fueled the designer’s process, allowing the reader to glean the essence of his masterful approach to decorating. Bilhuber, in bright and rich prose, offers ideas and inspirations such as: “What surrounds us must bring us pleasure”; “Rooms should reveal themselves gradually like a glorious book,” and “Rooms can be successful but still remain flat—that’s when you add horsepower.” Featuring projects from city townhouses to rambling country houses in New York City, Palm Beach, Aspen, San Francisco and Seattle, the decorator’s optimistic and classically informed point of view encourages readers to embrace their own unique vision to create interiors that are as confident as they are contemporary. Since the founding of his eponymous firm, Jeffrey Bilhuber ’s high-profile clients have entrusted him to bring beauty and comfort into their lives and residences. His work has been published in every major national and international shelter magazine, and he has been a featured guest on a wide variety of television shows, including Charlie Rose, The View, and Conan O’Brien. His successful first book, Jeffrey Bilhuber Design Basics, also by Rizzoli, is now in its fifth printing. Mariska Hargitay is an awardwinning actress, best known for her role on NBC's TV drama Law & Order: Special Victims Unit.
INTERIORS 256 pages, 10 x 12” 250 color and b/w photographs HC w/jacket: 978-0-8478-4596-5 $65.00 Can: $65.00 UK: £45.00 September 29, 2015 Rights: World RIZZOLI
City Harvest 100 RECIPES FROM NEW YORK’S BEST RESTAURANTS FLORENCE FABRICANT FOREWORD BY ERIC RIPERT
New York City’s hottest chefs present the ultimate gift that gives back—an exclusive collection of 100 delicious new recipes benefiting City Harvest, the renowned food-rescue organization that feeds over 1.4 million hungry New Yorkers every year. New York City is a restaurant town with a heart as big as its appetite. For its first-ever cookbook, City Harvest and a who’s who of New York’s top chefs and restaurateurs, including Dominique Ansel, Tom Colicchio, Daniel Humm, Anita Lo, François Payard, Marcus Samuelsson, Ivy Stark, and Jean-Georges Vongerichten, collect 100 recipes from their worldfamous menus, from stylish small plates to sophisticated entrées and decadent desserts to share with friends and family. City Harvest takes readers into some of New York’s most iconic dining rooms and luxe bars, sure to delight local and traveling foodies alike. Stunning photography of the finished dishes makes this a perfect gift for any food lover. Florence Fabricant of the New York Times expertly adapts each recipe for the home cook and adds insightful notes on using leftover ingredients and second helpings, making this an ideal cookbook to return to again and again. Florence Fabricant is an acclaimed food writer who contributes regularly to the New York Times. She is the author of eleven cookbooks, including Wine with Food, Park Avenue Potluck, and The New York Restaurant Cookbook. Eric Ripert is the chef of Le Bernardin, one of New York’s most famous restaurants, with three Michelin stars. He is the chair of City Harvest’s Food Council and the author of four cookbooks.
FOOD & WINE 224 pages, 76 x 104” 80 color photographs HC w/jacket: 978-0-8478-4622-1 $40.00 Can: $40.00 UK: £25.00 September 29, 2015 Rights: World RIZZOLI
Maya Lin TOPOLOGIES MAYA LIN FOREWORD BY JOHN McPHEE ESSAYS BY MICHAEL BRENSON, WILLIAM L. FOX, PAUL GOLDBERGER, PHILIP JODIDIO, LISA PHILLIPS, AND DAVA SOBEL
The first comprehensive monograph on the acclaimed American artist and architect, known for her environmental works and memorials that distill a tranquil yet texturally rich minimalism. Maya Lin is one of the most important public artists of this century. As an architecture student at Yale, Lin designed the Vietnam Veterans Memorial as a class project, entering it in the largest design competition in American history. Her winning proposal, a Vshaped wall of black stone etched with the names of 58,000 dead soldiers, has since become the most visited memorial in the nation’s capital. This visually rich volume presents 50 projects from the last three decades that demonstrate the scope of Lin’s creative process, featuring her own sketches and drawings and linked by her ideal of making a place for individuals within the landscape. With her environmental works Storm King Wavefield, Eleven-Minute Line (Sweden), and Pin River–Yangtze (Beijing), Lin maintains a balance between art and architecture, drawing inspiration from culturally diverse sources. From the moment she entered the national spotlight with her design for the Vietnam Memorial, Lin has been proposing ways of thinking and imagining that resist categories, genres, and borders. John McPhee has been a staff writer at The New Yorker since 1965. Michael Brenson is a critic, scholar, and teacher. William L. Fox is director of the Center for Art + Environment at the Nevada Museum of Art. Paul Goldberger is a contributing editor to Vanity Fair. He was previously the architecture critic for The New Yorker. Philip Jodidio has written numerous books on architecture and art. Lisa Phillips is director of the New Museum of Contemporary Art, New York. Dava Sobel is a writer of popular expositions of scientific topics. ART 400 pages, 10 x 12” 350 color illustrations HC w/jacket: 978-0-8478-4609-2 $75.00 Can: $75.00 UK: £50.00 October 13, 2015 Rights: World RIZZOLI
French Chic Living SIMPLE WAYS TO MAKE YOUR HOME BEAUTIFUL FLORENCE DE DAMPIERRE PHOTOGRAPHY BY TIM STREET-PORTER
Wonderfully accessible ideas for maintaining a stylish home, drawing on the ways French mothers and grandmothers manage their households. French houses ooze with charm—and their inhabitants, despite busy schedules, regularly entertain at home. What are the secrets for leading such a chic lifestyle? In this insightful tome, lavishly illustrated with images of a country residence in a romantic French town, de Dampierre shares her knowledge of ways to achieve a warm and inviting home. Her continental traditions make beautifying your house a joy. Household chores—from stocking the pantry to washing and storing delicate linens to cleaning wooden and stone surfaces—are discussed. Tips for adorning your home range from lining dresser drawers with pretty papers and enhancing them with homemade scents to creating delicate floral arrangements of fresh-cut blooms for pleasant accents throughout your rooms. Basic instructions are also provided for designing a simple and attractive aromatic kitchen garden full of herbs, fruit, and vegetables, whether on a plot of land or in attractive containers; its produce then becomes the basis for preparing fresh, seasonal recipes to share with family and friends. An esteemed interior designer and antiques expert, Florence de Dampierre is the author of several books including French Chic. Her work has been featured in publications such as Elle Decor. She has produced a home-furnishings line for John Richard; home and garden accessories and furniture for A&B Home; and rugs, pillows, and throws for Surya. Award-winning architectural and interiors photographer Tim Street-Porter is the author and photographer of many books, including the Rooms to Inspire series. He is a contributor to The World of Interiors, among other publications.
INTERIORS/LIFESTYLE 240 pages, 8 x 10” 250 color photographs HC: 978-0-8478-4637-5 $50.00 Can: $50.00 UK: £30.00 October 13, 2015 Rights: World RIZZOLI
The Impossible Wardrobe OLIVIER SAILLARD AND TILDA SWINTON
An exquisitely illustrated examination of the influence of fashion, as conceived by Olivier Saillard and interpreted by Tilda Swinton. The Impossible Wardrobe documents three groundbreaking exhibitions curated by Olivier Saillard and poetically brought to life by Tilda Swinton. Serving as part fashion object, part catalog, and part artist book, this work not only consists of the sole record of Swinton’s critically acclaimed sold-out performances—that were by their very nature ephemeral artworks—but also serves as a unique survey of the Palais Galliera’s extraordinary collection of iconic clothing.
ART/FASHION 312 total pages, 10 x 12” 400 color and b/w photographs 3 HC volumes w/slipcase: 978-0-8478-4176-9 $125.00 Can: $125.00 UK: £85.00 September 29, 2015 Rights: World SKIRA RIZZOLI P R E V I O U S LY A N N O U N C E D
This lavish three-book set presents the three performance pieces that spanned a period of three years. In The Impossible Wardrobe (2012), Swinton walks down a runway with a selection of historically and culturally significant garments from the past 200 years. In Eternity Dress (2013), a garment is tailormade for the actress in front of a live audience. And in the third performance in the series, Cloakroom (2014), Swinton examines the special relationship between an item of clothing and its owner. A glorious ode to fashion, The Impossible Wardrobe presents and elevates couture to a veritable art form. Olivier Saillard is director of the Palais Galliera, the City of Paris’s Museum of Fashion. He is a renowned fashion historian and author. Tilda Swinton is an actress and model. She has appeared in such critically acclaimed films as Orlando, I Am Love, and The Grand Budapest Hotel, and was awarded the Academy Award in 2007 for her performance in Michael Clayton.
Lin Dan PHOTOS BY DOMENICO DOLCE DOLCE&GABBANA
A great athlete poses before Domenico Dolce’s camera lens: Lin Dan, Chinese badminton star and winner of two gold medals at the Olympics in Athens and London. The images in Lin Dan—never before published and taken specially for this book—portray the young man in a previously unseen dimension, at times even brazen and unprincipled. In each of these photographs, Lin Dan appears in ever-different situations, each of which interpret a specific role: from the seducer to the Greco-Roman hero, from the gladiator to the great Imperial Emperor, from the aristocratic dandy to the Neapolitan street urchin. Domenico Dolce is a fashion designer who started the Dolce&Gabbana
PHOTOGRAPHY 168 pages, 84 x 11” 100 color and b/w photographs Bilingual edition, English/Chinese HC: 978-0-8478-4720-4 $75.00 Can: $75.00 UK: £50.00 June 2, 2015 Rights: World English RIZZOLI E A R LY O N S A L E
brand with Stefano Gabbana in 1985. Today, their fashion lines are available in 451 stores in forty countries. He has dedicated himself to photography with the same passion and enthusiasm that he has for fashion.
Giorgio Armani GIORGIO ARMANI
A comprehensive celebration of the fashions of one of the world’s most revered designers. This lavish book focuses upon the key creations and important milestones in the history of the celebrated Italian designer and his eponymous fashion house. With personal texts written by Giorgio Armani, the book contains biographical details interwoven with the story of the company. Giorgio Armani has been universally credited with creating a timeless version of modern dress by removing excess ornament and translating traditional sportswear looks into business and evening wear. His impact is felt not only in women’s fashion and redcarpet glamour, but it is also inseparable from the evolution of men’s style in recent decades. More than any other contemporary designer, Armani best represents the global success of Italian style. This gorgeously illustrated volume includes photography by leading fashion photographers, such as Craig McDean, Aldo Fallai, and Peter Lindbergh, and features numerous fashion icons. Award-winning fashion designer Giorgio Armani launched his menswear label in 1975, with his first womenswear collection following a year later. Armani’s popularity grew with his costuming of Richard Gere in American Gigolo in 1980. By 2001 he was acclaimed as the most successful designer to come out of Italy, with a retail network now encompassing 37 countries.
FASHION 568 pages, 10 x 12X” 410 color and b/w photographs Flexi w/jacket and slipcase: 978-0-8478-4530-9 $150.00 Can: $150.00 UK: £100.00 Deluxe limited edition w/signed and numbered print HC w/clamshell: 978-0-8478-4724-2 $350.00 Can: $350.00 UK: £235.00 September 29, 2015 Rights: World English RIZZOLI P R E V I O U S LY A N N O U N C E D
Middle left: Jacques Olivar, 1990 Middle right: Giorgio Armani. Photograph by David McKnight-Peterson. Bottom left: Nick Knight, 2011 Bottom right: Peter Lindbergh, 1993
Photographs by Kelly Klein KELLY KLEIN FOREWORD BY AERIN LAUDER AFTERWORD BY BOB COLACELLO
The first monograph to present the diverse photographic work of one of the true icons of American style, Kelly Klein. Kelly Klein’s photography represents a clear and seductive distillation of the talents and interests that have fueled her career in fashion and design. Equal parts artist and stylist, photographer and fashionista, Klein is at once a revered documentarian of the people and tastes that intrigue her and an icon of classic American style herself. After twenty-five years in the fashion industry, Klein turned her attention to photography and began a career that has blurred the lines between the worlds of art and fashion, passion and commerce. Collected here are photographs spanning her career to date, ranging from personal shots to intimate portraiture and editorial work commissioned for magazines such as Vogue and Vanity Fair. Edited by the artist, this is a stunning catalog of a rich and varied canon of work that juxtaposes the photographer’s contrasting styles to reveal a consistent sensibility—an effortlessness that reflects a natural translation of beauty in the images. From haunting still lifes and profound landscapes to glamorous candid snapshots and sophisticated fashion features, Klein’s unique eye is present throughout—an icon of style lending a touch of her own vision to everything she photographs. Kelly Klein is among America’s foremost fashion and style photographers. Her iconic images have appeared in numerous magazines, and she is also the author of Pools, Horse, and Pools: Reflections. Aerin Lauder is style and image director for Estée Lauder and owner of the fashion brand AERIN. Bob Colacello is a renowned author and journalist whose writing has appeared regularly in Interview and Vanity Fair magazines.
PHOTOGRAPHY 240 pages, including gatefolds, 11 x 14” 200 color and b/w photographs HC: 978-0-8478-4625-2 $115.00 Can: $115.00 UK: £75.00 September 22, 2015 Rights: World RIZZOLI
Swarovski FASHION, PERFORMANCE, JEWELRY, AND DESIGN FOREWORD BY NADJA SWAROVSKI INTRODUCTION BY ALICE RAWSTHORN TEXTS BY VIVIENNE BECKER, DEBORAH LANDIS, COLIN McDOWELL, SUZY MENKES, AND DEYAN SUDJIC
In celebration of Swarovski’s 120th anniversary, this is the first significant book on the premier maker of luxury crystals’ rich collaborative history with fashion designers, filmmakers, artists, and designers. Swarovski’s influence extends from haute couture collaborations to architecture, design, jewelry, and other disciplines in a rich display of cultural exchange with the most eminent designers of our time. The marriage of couture and crystals began at the House of Worth at the beginning of the twentieth century and continued for decades to follow with the leading fashion designers of our age, including Prada, Alexander McQueen, and Riccardo Tisci, who embellished their collections with Swarovski crystals season after season. Swarovski’s collaborations have expanded to partnerships with architects and designers, including Tord Boontje, Hella Jongerius, and Yves Béhar, and to compelling moments in cinematic and performance history. This stunning book features essays that position Swarovski as patron and innovator, as well as a foreword by Nadja Swarovski, largely responsible for expanding the company’s fashion profile. Nadja Swarovski , a fifth-generation member of the Swarovski dynasty, has been the face of the company since she joined the firm in 1995. Alice Rawsthorn is a design and culture columnist for the New York Times. Vivienne Becker is a contributing editor for the Financial Times’ How to Spend It. Deborah Landis is an acclaimed American film and theater costume designer. Colin McDowell is a British fashion journalist and the author of numerous books. Suzy Menkes is Vogue International Editor. Deyan Sudjic is director of the Design Museum, London.
FASHION/DESIGN 420 pages, 96 x 124” 350 color and b/w photographs HC w/jacket: 978-0-8478-4418-0 $85.00 Can: $85.00 UK: £60.00 September 29, 2015 Rights: World RIZZOLI P R E V I O U S LY A N N O U N C E D
Prêt-a-Party GREAT IDEAS FOR GOOD TIMES AND CREATIVE ENTERTAINING LELA ROSE
Fashion designer Lela Rose presents an inspiring manifesto for creative and stylish twenty-firstcentury entertaining. Known for her whimsical fashions, Lela Rose is also a popular and passionate hostess. From the spirited Couples’ Cook-off to a kid-friendly “Primp Your Ride” bike picnic, to an elegant Silver-and-White Christmas dinner, in this book she presents dozens of creative ideas to inspire readers looking for a fresh take on entertaining. Rose’s philosophy is simple: create your own occasions to create your own fun. The themes, colors, seasonality, and activities she concocts for each of her parties show you to how dazzle guests with simple yet unexpected touches. Modernize the traditional bridal shower with a refreshingly retro sewing circle. Turn a ladies’ tea on its head by having girlfriends over for an afternoon tequila tasting. Celebrate your favorite cause by hosting a festive outdoor supper, like the one featured on a Brooklyn rooftop garden. Featuring unique ideas for decoration, recipes for cocktails and key dishes, and tips for throwing everything together in an easy and enjoyable way, Prêt-aParty will be embraced by a new generation of hosts and hostesses seeking spirited and unconventional good times. Fashion designer Lela Rose ’s aesthetic of whimsical elegance has brought a fresh point of view to modern American fashion. Launched in 1998, her signature collection, Lela Rose, was quickly followed by a wedding collection, including bridal and bridesmaid gowns, and select goods for the home. In 2012, Lela Rose opened a flagship retail store in her hometown of Dallas.
ENTERTAINING 208 pages, 85 x 10” 200 color photographs HC w/jacket: 978-0-8478-4629-0 $40.00 Can: $40.00 UK: £25.00 September 29, 2015 Rights: World Cover and center left: Quentin Bacon. Center right and bottom: Melanie Acevedo
True Thai REAL FLAVORS FOR EVERY TABLE HONG THAIMEE FOREWORD BY CEDRIC AND JEAN-GEORGES VONGERICHTEN
Accessible and authentic, chef Hong Thaimee’s first book shows readers how to bring the flavors of Thai comfort food home, sharing her favorite family dishes, classic Thai recipes, and ThaiAmerican inspirations from her award-winning restaurant in New York City. Thai is one of the world’s most popular cuisines, and chef Hong Thaimee serves the best Thai food in New York City, says The Village Voice. Now, in her first cookbook, she guides readers through the techniques and traditions of Thai comfort food, with family recipes and new takes on famous Thai dishes, including perfect Pad Thai, the Ultimate Green Curry, an Issan-style shabu-shabu party, and more. Hong provides a glossary of traditional Thai ingredients and staple condiments, illuminating a world of overlapping flavors both new and familiar. Armchair travelers and globe-trotting gourmands will thrill at the stunning photographs from the fields, beaches, markets, and streets of Thailand, while easy-to-follow recipes and helpful tips make this a perfect introduction to authentic, modern Thai cooking for adventurous beginners and more experienced cooks alike. Full of street-food snacks, fresh salads, vibrant stirfries, savory curries, elegant seafood and rustic grilled recipes, old-school Thai classics, the most popular Thai-American dishes from her menu, and both traditional and new desserts, True Thai presents the best of Thai cuisine and culture from an expert guide. Hong Thaimee , originally from Chiang Mai, Thailand, is chef and owner of Ngam, voted 2014’s number-one Thai restaurant by The Village Voice. Cedric and Jean-Georges Vongerichten are father-and-son chefs most often credited for turning Asian fusion into haute cuisine with their global network of celebrated restaurants.
FOOD & WINE 256 pages, 8 x 10” 175 color photographs HC: 978-0-8478-4623-8 $35.00 Can: $35.00 UK: £25.00 September 29, 2015 Rights: World RIZZOLI
Graff FOREWORD BY SUZY MENKES INTERVIEW WITH LAURENCE GRAFF, OBE ESSAYS BY VIVIENNE BECKER, MARIA DOULTON, NINA HALD, AND JOANNA HARDY
A look into the exclusive world of Graff, the British-owned luxury purveyor of unique jewels, one-of-a-kind statement pieces, and the most famous diamonds in the world. The House of Graff is synonymous with the pinnacle of luxurious, sophisticated style, the exclusive glamour and exquisite craftsmanship of its creations a singular complement to the world-famous gemstones that have passed through its master craftsmen’s hands. Laurence Graff ’s gift of releasing the hidden beauty within gems of unprecedented size and brilliance has led to Graff being renowned as home to “the most fabulous jewels in the world.” Spotlighted are famed stones such as the 603-carat Lesotho Promise, which Graff daringly cut into a necklace of 26 perfect stones; the largest square Fancy Vivid Yellow diamond in the world, the 118.08-carat Delaire Sunrise; and the largest D Flawless round diamond in the world, the Graff Constellation, at 102.79 carats. This volume showcases the best of the House of Graff—the most dramatic, the most mesmerizing, and the most exceptional jewels in the world. Included is the story of the creation of Graff, portrayed through archival photos and the words of founder Laurence Graff. Graff Diamonds was founded in London by Laurence Graff , OBE, in 1960. After more than six decades, and with stores worldwide, the House of Graff remains at the pinnacle of luxury jewelry. Suzy Menkes is Vogue International Editor. Vivienne Becker is a highly regarded jewelry historian and contributing editor for the Financial Times’ How To Spend It. Maria Doulton is a globally renowned journalist and the founder of the Jewellery Editor, a website devoted to luxury jewelry and watches. Nina Hald, a freelance journalist, has authored six books about jewelry and has curated three royal jewelry exhibitions. Joanna Hardy is an independent fine jewelry consultant, a contributor to the Daily Telegraph Luxury Magazine, and a specialist on the BBC Antiques Roadshow.
Proceeds from all book sales benefit the FACET Foundation (For Africa’s Children Every Time), established in 2008 by Laurence Graff, OBE.
FASHION/JEWELRY 272 pages, 104 x 136” 250 color and b/w photographs HC w/slipcase: 978-0-8478-4481-4 $95.00 Can: $95.00 UK: £65.00 October 27, 2015 Rights: World RIZZOLI
In Pursuit of Beauty THE INTERIORS OF TIMOTHY WHEALON TIMOTHY WHEALON, WITH DAN SHAW
An appealing approach to creating elegant, worldly interiors that are rooted in the comforts of home. Interior designer Timothy Whealon is beloved for his accessible style, his seamless blend of classic and modern influences, and his skillful use of artwork and antiques, thanks to an extensive knowledge of fine and decorative arts. Whealon’s design philosophy finds its roots in classicism; however, he approaches each project with a fresh, twenty-first-century eye that makes it both modern and timeless. He doesn’t believe in interiors that look “decorated,” as if everything has been done at once. Rather, he layers items from different periods and cultures, artfully mixing the pristine and the patinated. This book is the first to showcase Whealon’s interiors, from an airy New York penthouse to a gracious Mediterranean-style villa to a casual beach cottage. Whether urban or rural, grand or intimate, each project exhibits classicism alongside comfort, careful attention to detail, and undeniable appeal. Many of the projects included have been newly photographed for this book, and each is a testament to Whealon’s exquisite taste and understanding of how people live today. Timothy Whealon specializes in high-end interior design with a focus on fine and decorative arts. His work has been published in Elle Decor, House Beautiful, Veranda, Architectural Digest, the New York Times, and numerous books. A founding editor of the New York Times Styles section, journalist Dan Shaw has cowritten several books, including Mary McDonald: Interiors and The Age of Elegance: Interiors by Alex Papachristidis.
INTERIORS 224 pages, 94 x 12” 200 color photographs HC w/jacket: 978-0-8478-4600-9 $50.00 Can: $50.00 UK: £35.00 September 22, 2015 Rights: World RIZZOLI
Libertine THE CREATIVE BEAUTY, HUMOR, AND INSPIRATION BEHIND THE CULT LABEL JOHNSON HARTIG FOREWORDS BY THOM BROWNE AND BETTY HALBREICH
Libertine is an invitation into Johnson Hartig’s world, as the designer shares images of his eccentric and whimsical fashion designs, inspirational references, and his captivatingly eclectic interiors. Johnson Hartig is the founder and designer for the innovative fashion brand Libertine, which is renowned for breathing electric life back into vintage couture pieces by cutting them up and adding ornate crystal embellishments, rich silk-screened graphics, and embroideries to create gorgeous one-of-a-kind garments. With an uncanny ability to combine unexpected colors, patterns, and textures, Hartig has created a style that is youthful and edgy yet undeniably glamorous and sophisticated. A hopeless traditionalist yet a rule breaker, Hartig’s personal style was initially what inspired the brand, and this eclectic philosophy permeates all parts of his life. Early champions include Anna Wintour, Karl Lagerfeld, and Damien Hirst. This captivating volume takes the reader on a muchawaited tour of Hartig’s charmingly quirky home and personal style, which often garner as much attention as his fashion brand. Hartig’s passionate and playful personality shines through in his designs for Libertine as they do in the creative and uniquely decorated interiors of his home. His energetic spirit and joie de vivre lifestyle are contagious, and this volume will be an indispensable visual arcade to be cherished by lovers of fashion, style, and interior design alike. Johnson Hartig is the cofounder of Libertine, the celebrated menswear and womenswear brand. Thom Browne is an American fashion designer and founder of his eponymous New York City–based menswear and womenswear lines. Betty Halbreich has been Bergdorf Goodman’s preeminent personal shopper for over 30 years and is the author of two books. FASHION 256 pages, 10 x 13” 250 color and b/w photographs HC w/jacket: 978-0-8478-4604-7 $65.00 Can: $65.00 UK: £50.00 September 22, 2015 Rights: World RIZZOLI
Badgley Mischka AMERICAN GLAMOUR MARK BADGLEY AND JAMES MISCHKA FOREWORD BY ANDRÉ LEON TALLEY ESSAY BY HAL RUBENSTEIN INTRODUCTION BY DENNITA SEWELL
This lavish volume is the first to celebrate the designs of duo Mark Badgley and James Mischka, the authorities on the evening dress. After meeting at Parsons School of Design in New York and embarking on separate apprenticeships at major fashion houses, Mark Badgley and James Mischka joined forces to form Badgley Mischka in 1988. By the time Winona Ryder walked the red carpet at the 1996 Academy Awards in their gown encrusted in crystal and pearl beads, the design duo had become synonymous with elegant and luxurious evening dresses. Informed by a streamlined 1940s Hollywood silhouette while employing exquisite beads crafted in India, Badgley Mischka have become the arbiters of old Hollywood glamour. Their commitment to classic American beauty continues to reign on the red carpet today. As Mark and James say, “glamour always works.” Badgley Mischka follow in the great haute-couture tradition of legendary fashion houses such as Christian Dior and Adrian, who continue to inspire them season after season. These pages showcase the longcelebrated silhouettes—skinny beaded dresses, fishtail and ball gowns, and cocktail dresses—inspired by the masters of a bygone era. Embellished modern evening gowns imbued with the allure of Hollywood’s golden age have been Badgley Mischka’s signature voice for more than twenty-five years, and this book is a celebration of the evening dress in all its shimmering glory. Mark Badgley and James Mischka have made their mark over the past two decades with glamorous eveningwear, sportswear, accessories, and bridal collections. Badgley Mischka styles can be found at prestigious stores around the world. André Leon Talley is a contributing editor at Vogue. Hal Rubenstein is a writer, a designer, and one of the founding editors of InStyle magazine. He is a frequent red-carpet commentator for The Today Show, Extra, and Access Hollywood. Dennita Sewell is curator of fashion design at the Phoenix Art Museum. FASHION 240 pages, 95 x 12” 200 color and b/w photographs HC w/jacket: 978-0-8478-4601-6 $65.00 Can: $65.00 UK: £45.00 October 13, 2015 Rights: World RIZZOLI
Cover: Courtesy Deborah Moses Center: Annie Leibovitz. Bottom: Ken Howie
Eric White ERIC WHITE INTRODUCTION BY DANIEL ROUNDS. INTERVIEW BY PETER COYOTE. TEXTS BY ANTHONY HADEN-GUEST, ROBERT FLYNN JOHNSON, IVAN QUARONI, AND OTHERS
The first comprehensive and long-overdue monograph of popular risingstar alternative visual artist Eric White, a darling of the Juxtapoz crowd, containing many previously unpublished new works. Eric White generates a world of masterfully executed, surreal figurative painting. His work is inspired by cinema—the golden age of directors David Lynch and Charlie Kaufman—and a pop culture washed through satire: a fantastical schizophrenic dream logic. White’s name is now mentioned alongside other celebrated alternative-gone-mainstream canonical artists such as Mark Ryden, Ron English, and Robert Williams. ART 208 pages, 9R x 125” 150 color and b/w images HC w/jacket: 978-0-8478-4620-7 $55.00 Can: $55.00 UK: £35.00 September 22, 2015 Rights: World RIZZOLI
This book covers the breadth of his career, from his earliest acrylics and works on paper to his subverted “album-cover art” to the work he describes as paranoid social realism: a window into an invented alternate Hollywood and world around us, one that is stretched, distorted, dark, and extremely witty. Eric White received his BFA from the Rhode Island School of Design in 1990. White has served as adjunct professor at the School of Visual Arts in New York since 2006. In 2010, White received a Painting Fellowship from the New York Foundation for the Arts. Daniel Rounds is a labor activist and a poet. Peter Coyote is an actor, author, director, and screenwriter. Anthony HadenGuest is a British-American writer, reporter, cartoonist, art critic, poet, and socialite. Robert Flynn Johnson is Curator Emeritus of the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, and an author. Ivan Quaroni is an art critic and curator.
Natalia PAOLO ROVERSI
An exquisite portrait of one of the most beautiful women of our time. Natalia Vodianova is one of the most respected and sought-after models working today. She has been the face of Calvin Klein, Chanel, Gucci, Yves Saint Laurent, Stella McCartney, and L’Oréal. This book features an exquisite series of black-and-white nude photographs of Vodianova, many published for the first time, taken by acclaimed photographer Paolo Roversi at his studio in Paris. With his trademark 8-by-10-inch large Polaroid film camera and his mastery of light and shadow, Roversi deftly conveys the beauty of the model at the pinnacle of her profession. Paolo Roversi is an award-winning photographer renowned for his fashion portraits. His work has been exhibited worldwide and has appeared in numerous publications, including Vogue Paris and Vogue Italia. FASHION/PHOTOGRAPHY 72 pages, 9 x 12” 40 b/w photographs HC w/jacket: 978-0-8478-4712-9 $75.00 Can: $75.00 UK: £45.00 October 13, 2015 Rights: World RIZZOLI
Gloss THE WORK OF CHRIS VON WANGENHEIM ROGER PADILHA AND MAURICIO PADILHA FOREWORD BY STEVEN KLEIN
The first monograph on notorious photographer Chris von Wangenheim, whose shocking work epitomized the glamour and excess of the 1970s and reflected the fashionable underworld living life on the edge. Between the years 1968 and 1981, photographer Chris von Wangenheim shocked the world with a body of work that explored sex, violence, and danger in the realm of high fashion. Von Wangenheim’s dark photographs were emblematic of the time—an era that encompassed Deep Throat, the sexual revolution, punk, and porn—and continually challenged the viewers’ taste by its stylized depictions of suggestive (and often harrowing) narratives. His images appeared in every top fashion publication—including Vogue, Harper’s Bazaar, Vogue Italia, and Interview—and he produced unforgettable campaigns for Dior and Valentino until he died in a car accident at age 39. This book, the first monograph on von Wangenheim’s career, contains over two hundred provocative and iconic images from this tumultuous era, including never-before-seen outtakes from memorable shoots with such supermodels as Christie Brinkley, Lisa Taylor, and the late Gia Carangi. Drawing on interviews with models, editors, art directors, and photographers who were influenced by him, the Padilhas revive von Wangenheim’s explosive depictions of the glamour and excess of the 1970s for a contemporary audience and reveal how his work continues to inform fashion imagery today. Roger Padilha and Mauricio Padilha are the founders of MAO Public Relations and authors of The Stephen Sprouse Book and Antonio Lopez: Fashion, Art, Sex, and Disco. Steven Klein is one of the most challenging and provocative artists in photography and film. Klein’s riveting body of work consumes viewers and entices them into his extreme vision.
FASHION/PHOTOGRAPHY 288 pages, 10 x 126” 250 color and b/w photographs HC: 978-0-8478-4500-2 $85.00 Can: $85.00 UK: £60.00 September 1, 2015 Rights: World RIZZOLI
Chocolate Chip Sweets CELEBRATED CHEFS SHARE FAVORITE RECIPES TRACEY ZABAR PHOTOGRAPHY BY ELLEN SILVERMAN
A delectable collection of innovative chocolate chip recipes by world-renowned chefs, pastry chefs, and bakers. Chocolate chip cookies, bursting with melted bits of chocolate, are the perennial favorite of many Americans. For this compilation, Zabar has reached out to the celebrated icons of the baking world to collect an amazing array of user-friendly recipes beyond the classic cookie. There are the signature creations of such top restaurants as Manhattan’s Daniel, Gramercy Tavern, and Betony, and California’s the French Laundry, while others are treasured family recipes. Chefs such as Jacques Torres, Daniel Boulud, Lidia Bastianich, Dominique Ansel, and Sherry Yard share such classics as shortbread cookies and angel food cake studded with chips. Some reinterpret the cookie and make giant variations, such as Florian Bellanger’s Jumbo Chocolate Chip Cookies, while others include add-ins like fresh fruit and nuts, or fold in pretzels and candied orange rind. Puddings, pies, ice-cream sandwiches, cakes, doughnuts, brownies, marshmallows, and waffles, oozing with chocolate, are part of the mix. In this beautifully photographed volume, Zabar discusses how to bake with the variety of flavorful chocolate bits available—ranging from traditional chips and pistoles (or coins) to pearls. Chocolate Chip Sweets will appeal to discriminating chocolate chip lovers who crave this satisfying taste sensation. Trained as a baker, Tracey Zabar is the author of five books, including One Sweet Cookie and Charmed Bracelets. She is also a jewelry designer. Ellen Silverman ’s photographs have appeared in many cookbooks, including Karen DeMasco’s The Craft of Baking, as well as in leading lifestyle magazines.
FOOD & WINE 176 pages, 74 x 94” 60 color photographs HC w/jacket: 978-0-7893-2948-6 $29.95 Can: $29.95 UK: £19.95 September 22, 2015 Rights: World RIZZOLI
Bistronomy RECIPES FROM THE BEST NEW PARIS BISTROS JANE SIGAL FOREWORD BY PATRICIA WELLS
French food reimagined by a new generation of chefs. There is a new movement afoot in Paris. Young chefs have turned their backs on stuffiness and are creating an experience that is more fun and a lot less formal. In tiny independent bistros mostly on the outskirts of the city, they are turning out fantastically inventive food that bypasses many of the old sauces and relies instead on the vibrancy of responsibly sourced ingredients. Because they are working in tiny kitchens with little or no staff, advance preparation is esteemed. (Good news for the home cook looking to crib kitchen notes.) Among their tricks (which could fit easily into anyone’s repertoire) are finding inspired uses for humble root vegetables like rutabaga and parsnips, presenting a vegetable raw and cooked in the same dish, and revitalizing the classic crumble for dessert. In Bistronomy, Jane Sigal captures these chefs’ creative approach, culling recipes that translate their genius in ways the home cook can achieve. From L’Ami Jean’s chef Stéphane Jégo comes the soulful but unexpected Winter Squash Soup, accented with a cocoa whipped cream. Haricots Verts Salad with Strawberries and Feta is a charmer from Atsumi Sota at Clown Bar. And there is the showstopping Cherry and Beet Pavlova from Sean Kelly. The more than one hundred dishes in Bistronomy prove that these Paris bistros have become the idea factories of the culinary world. Like a trip to Paris, Bistronomy will make you fall in love with French cooking all over again. Jane Sigal lived in Paris for twelve years and earned a Grand Diplôme at L’École de Cuisine La Varenne. She’s a contributing writer at Food & Wine, and her articles appear in such publications as the New York Times, Saveur, The Wall Street Journal, Every Day with Rachael Ray, and Time Out New York. Patricia Wells is the celebrated author of Bistro Cooking and The Food Lover’s Guide to Paris. FOOD & WINE 240 pages, 85 x 10” 100 color photographs HC w/jacket: 978-0-8478-4610-8 $39.95 Can: $39.95 UK: £25.00 September 22, 2015 Rights: World RIZZOLI
Listening: Bohlin, Cywinski, Jackson HOUSES 2009–2014 PETER BOHLIN INTRODUCTION BY PETER MILLER ESSAYS BY ALEXANDRA LANGE, MICHAEL CADWELL, AND RICK JOY
This exquisitely designed monograph showcases the latest residential designs by one of the world’s leading architectural firms. Bohlin Cywinski Jackson is acclaimed for their sensual, humane designs that celebrate the subtleties of place and the rich possibilities of materials. In this new monograph—published to commemorate the fiftieth anniversary of the firm’s founding—twelve of the firm’s virtuoso residential projects from the last five years are showcased in great detail and depth. Known for their exquisitely crafted houses and inventive use of natural materials, the firm excels at architecture that is refined, yet evokes the sensibility of the surrounding landscape. The striking beauty of each house’s natural setting is captured through stunning photography, and detailed renderings offer greater insight into each project. Peter Bohlin is principal in the firm of Bohlin Cywinski Jackson. Peter Miller is an author and the founder of Peter Miller Books. Alexandra Lange is a critic whose work has appeared in Domus, Metropolis, and the New York Times. Michael Cadwell is a professor at Ohio State University. Rick Joy is principal of Rick Joy Architects.
ARCHITECTURE/INTERIORS 296 pages, 95 x 136” 250 color photographs HC w/cloth: 978-0-8478-4632-0 $85.00 Can: $85.00 UK: £55.00 September 29, 2015 Rights: World English ex. China, Hong Kong, India, Indonesia, Japan, Korea, Macau, Malaysia, Singapore, Taiwan, Thailand RIZZOLI
Tricia Foley Life/Style ELEGANT SIMPLICITY AT HOME TRICIA FOLEY FOREWORD BY ISABELLA ROSSELLINI
Designer and lifestyle authority Tricia Foley illustrates her approach to creating elegantly pared-down environments for the home and work space. Designer Tricia Foley is best known for her timeless classical style, characterized by clean lines, natural materials, and vintage furnishings—from flea-market finds to antiques—and a palette of calming hues of cream, ivory, and white. In this book, Foley addresses such aspects of home design as selecting the perfect shade of white, setting up the pantry, bringing collected objects together, creating artful tabletops, organizing the home office, and much more. A collector—of china, of linens, of books—she explains that the only way to keep harmony is through editing. The designer provides a treasure trove of useful ideas, from her favorite storage products and essential items for the guest room to seasonal entertaining ideas and holiday decor. Foley’s romantic Long Island, New York, property—consisting of an eighteenth-century farmhouse and several outbuildings— serves as her personal laboratory and reflects a simple and well-designed style inherited from the basic tenets of Shaker design. Beautifully photographed, this inspiring book is a must-have for design-savvy individuals who desire a simple, but stylish, lifestyle. Tricia Foley has authored nine books. Her clients have included Ralph Lauren Home, Target, and The Colonial Williamsburg Foundation. Foley’s work has been featured nationally and internationally on television and in publications such as Elle Decor, Martha Stewart Living, and the New York Times. Isabella Rossellini —friend and neighbor of Tricia Foley—is a renowned filmmaker, actress, author, philanthropist, fashion model, and organic farmer.
INTERIORS 208 pages, 76 x 104” 200 color photographs HC w/jacket: 978-0-8478-4641-2 $45.00 Can: $45.00 UK: £30.00 September 29, 2015 Rights: World RIZZOLI
Borbonese EDITED BY GINEVRA ELKANN
A luxuriously illustrated book published to follow the historic and elegant Borbonese brand. This highly collectible volume takes a look at the lavish world of Borbonese, the historic Italian brand founded in Turin in 1910 that produces luxury handbags, jewelry, and accessories, combining the finest materials and manufacturing techniques with expert craftsmanship. With a history spanning more than a century, Borbonese designs remain classic and timeless, with the O.P. (partridge-eye) print as the brand’s symbol and trademark. It is this unique texture presented in innovative ways, along with other distinctive elements on their iconic handbags, which have helped define Borbonese as one of the most distinguished brands in Italian fashion. FASHION 260 pages, including inserts, 104 x 114” 250 color photographs HC w/jacket: 978-0-8478-4665-8 $100.00 Can: $100.00 UK: £65.00 October 27, 2015 Rights: World English RIZZOLI
Borbonese is known for their beautiful bags and scarves, still synonymous with quality and high style; however, the accessories range has evolved over time to include clothing and leather garments, as well as goods for the home, for a style that represents true “global living.” The book is divided into four chapters, each introduced by a different writer, which correspond to the animals that inspire Borbonese’s classic designs: the butterfly, partridge, owl, and horse. Ginevra Elkann is an author, curator, producer, and director based in Italy. She is on the advisory board of Christie’s and also serves as vice president of the Pinacoteca Giovanni and Marella Agnelli, Turin. Since June 2008, she has been a member of the Comité d’Acquisition and the Comité Executif of the Cartier Foundation in Paris.
Fashion Culture THE CREATIVES OF ISTITUTO MARANGONI EDITED BY CRISTINA MOROZZI PHOTOGRAPHY BY ALDO FALLAI
A tribute to the important Milanese fashion school that helped shape some of the major designers and fashion professionals of our day.
FASHION 240 pages, 95 x 124” 120 color and b/w photographs HC w/jacket: 978-0-8478-4669-6 $100.00 Can: $100.00 UK: £65.00 October 20, 2015 Rights: World English RIZZOLI
A veritable who’s who of the fashion world, this handsomely illustrated book celebrates 80 years of the prestigious fashion and design school, which was established in Milan in 1935 and has since added campuses in London, Paris, and Shanghai. It has trained three generations of students, acting as a springboard for thousands of creative professionals that went on to work at such major fashion houses as Armani, Gucci, Prada, Yves Saint Laurent, and Valentino. With previously unreleased photographs by Aldo Fallai, this inspiring volume features profiles on the school’s most creative and successful alumni, who include Franco Moschino, Domenico Dolce (Dolce & Gabbana), Alessandro Sartori (Berluti), and Francesco Russo (Dior). Cristina Morozzi is a design and fashion editor, books and exhibitions curator, art director, and art, fashion, and design expert. She is also the former editor in chief of MODO magazine. Aldo Fallai collaborated with Giorgio Armani in the late 1970s, creating some of the most important advertising campaigns of recent decades.
Dior: The New Look Revolution LAURENCE BENAÏM
A celebration of the legendary silhouette that built the House of Dior. The Dior Bar suit is one of the most influential designs in the history of fashion. On February 12, 1947, Christian Dior presented this voluminous skirt combined with a jacket featuring a tiny waist, a pronounced bust, and enhanced hips in his first collection in the salons of 30 Avenue Montaigne. After the show, the editor in chief of Harper’s Bazaar, Carmel Snow, exclaimed: “It’s quite a revolution, dear Christian! Your dresses have such a new look!” The phrase made headlines. Dior’s New Look transformed the zeitgeist of a postwar France and heralded a storied career for his label. The New Look was an immediate sensation, and everyone wanted to wear the silhouette that Dior was later to describe as “the return to an ideal of civilized happiness.” Almost seven decades after its creation, the New Look revolution and its spirit continue to inspire the House of Dior. Published to accompany the Dior: The New Look Revolution exhibition at the Musée Christian Dior in Granville, France, this stunning volume presents a rare collection of images that illustrate the Bar suit, from the initial sketches drawn by Christian Dior to the sartorial perfection of the completed outfit, as well as the many versions it has inspired. From Yves Saint Laurent to Raf Simons, season after season, the designers of Dior have interpreted the legendary curves of the Bar suit, dreaming up bustier versions, designing it in woolen denim, or adorning it with masculine prints. With exquisite photography and insightful text surveying over sixty years of Dior’s sublime reinvention, this book is a must-have for followers and students of fashion. Laurence Benaïm is a writer and historian known for her biographies of Yves Saint Laurent and Marie-Laure de Noailles, among others.
FASHION 152 pages, 8 x 105” 100 color and b/w photographs HC w/cloth: 978-0-8478-4664-1 $45.00 Can: $45.00 UK: £27.95 September 15, 2015 Rights: World RIZZOLI
Spanish Colonial Style SANTA BARBARA AND THE ARCHITECTURE OF JAMES OSBORNE CRAIG AND MARY McLAUGHLIN CRAIG PAMELA SKEWES-COX AND ROBERT SWEENEY INTRODUCTION BY C. FORD PEATROSS PHOTOGRAPHY BY MATT WALLA IN ASSOCIATION WITH THE SANTA BARBARA HISTORICAL MUSEUM
An ode to the classic Spanish-style houses of Santa Barbara. Spanish Colonial Style celebrates an extraordinary tradition in architecture whose hallmarks include whitewashed stucco and plaster walls, wood-beamed ceilings, dramatic fireplaces, and, above all, mystery and romance. Homes in this much-loved style of architecture welcome the visitor and embrace the resident, and architects James Osborne Craig and Mary McLaughlin Craig, early proponents of the style and influential disseminators of it, were masters of the form. Their work, until now, has been largely underappreciated and little seen. The Craigs played pivotal roles in the development of the Spanish Colonial Revival and of other styles of architecture in Santa Barbara, and the influence of their work spread much beyond that. In addition to shining a long overdue spotlight on the rich career of these tremendously influential architects, Spanish Colonial Style also heralds Santa Barbara as the small city of international importance that it became in the first half of the twentieth century. Pamela Skewes-Cox is an artist and writer based in Massachusetts. Robert Sweeney is the author of Casa del Herrero: The Romance of Spanish Colonial. C. Ford Peatross is founding director of the Center for Architecture, Design, and Engineering at the Library of Congress. Matt Walla is the photographer of Casa del Herrero.
ARCHITECTURE/INTERIORS 272 pages, 9 x 12” 250 color and b/w illustrations HC w/jacket: 978-0-8478-4612-2 $55.00 Can: $55.00 UK: £37.50 October 13, 2015 Rights: World RIZZOLI
Retreat THE MODERN HOUSE IN NATURE RON BROADHURST
The most forward-looking spaces designed for rustic living in the twenty-first century. Across the globe, architects are creating innovative houses for country living, reimagining the way we escape into the natural world. Some combine industrial materials like metal and concrete with traditional wood. Others create sophisticated essays in off-grid living, employing the most technologically ambitious green-living strategies. Still others place discreet structures on remote, almost-unbuildable locations. This unique volume profiles new and recent projects that illustrate the inexhaustible potential of the modern house to enter into a dialogue with nature in sustainable yet stylish ways. The collection spans the globe, from the Pacific Northwest to the forests of Japan. Today’s architectural vanguard is represented, as well as established architects working at the forefront of twenty-first-century design, including Bohlin Cywinski Jackson, Rick Joy, Olson Kundig, and Marcio Kogan. These rustic retreats—with comfortable and appealing modern interiors—will resonate with readers of shelter magazines, while the cutting-edge reputations of their architects will interest professionals and students. Ron Broadhurst has written about architecture and interior design for the Wall Street Journal and is the author of The Urban House: Townhouses, Apartments, Lofts, and Other Spaces for City Living and Houses: Modern Natural/Natural Modern.
INTERIORS 300 pages, 9 x 11” 300 color photographs HC: 978-0-8478-4599-6 $55.00 Can: $55.00 UK: £35.00 October 6, 2015 Rights: World RIZZOLI
Stop Think Give PHOTOGRAPHY BY FABRIZIO FERRI CONTRIBUTIONS BY JEAN-CHRISTOPHE BABIN, FABRIZIO FERRI, CAROLYN MILES, AND CLAUDIO TESAURO
An exquisite collection of celebrity portraits showcasing Bulgari’s commitment to Save the Children. In 2009, Bulgari entered into a partnership with Save the Children, and its contribution to the charity has now reached $35 million. United in solidarity to improve the lives of some of the world’s most vulnerable and deprived children, Bulgari and Save the Children are joined by dozens of the most celebrated figures from the worlds of entertainment, sports, and music in Stop Think Give.
FASHION 176 pages, 95 x 125” 100 color photographs HC: 978-0-8478-4697-9 $65.00 Can: $65.00 UK: £45.00 September 1, 2015 Rights: World RIZZOLI
Over the years, renowned photographer Fabrizio Ferri has shot celebrities from all over the world wearing a Save the Children ring and pendant, often with hands held aloft to symbolize putting a stop to child poverty. The celebrity protagonists, each of whom participated in the project on a pro bono basis, include Naomi Watts, Adrien Brody, Meg Ryan, Luke Evans, Oliver Stone, Pedro Almodóvar, Isabella Rossellini, Marina Abramović, Sting, and Jessica Biel. Large in format, with intimate timeless portraits, this stunning work is a fitting document of a most worthwhile cause. Fabrizio Ferri is one of the world’s most sought-after photographers; his list of clients includes Vogue, Harper’s Bazaar, Marie Claire, Elle, Vanity Fair, Interview, GQ, and Esquire. Jean-Christophe Babin is the CEO of the Bulgari Group. Carolyn Miles is the President and CEO of Save the Children USA. Claudio Tesauro is the President of Save the Children Italy.
Balich Spectacular Shows EDITED BY LIDA CASTELLI AND MORENO GENTILI
This book showcases the mix of daring acrobatics, beautiful costuming, stunning visuals, and dynamic choreography that make Marco Balich’s events nothing less than awe-inspiring. A magnificent visual journey presenting over ten years of high-profile shows and ceremonies produced by Marco Balich, this beautifully illustrated book features his dramatic and moving work on events across the world. Projects such as the recent Olympic ceremonies and the America’s Cup World Series reveal insight into the qualities of a large-scale event designer and the work of a team that has helped him astound millions of people. The book also features special contributions by Isabel Allende, Sophia Loren, Yoko Ono, Alessandro Del Piero, and Roberto Bolle. Lida Castelli has been working alongside Marco Balich as artistic director DESIGN 288 pages, 11 x 116” 200 color photographs HC: 978-0-8478-4671-9 $100.00 Can: $100.00 UK: £65.00 September 8, 2015 Rights: World English RIZZOLI
for his events. In 2014, she was the director of the closing ceremony of the Sochi Paralympic Games. Moreno Gentili is the author of several publishing and brand-design projects, collaborating with Nobel Prize recipients Al Gore and Joseph Stiglitz, and companies such as Ferrari.
The Beatles PHOTOGRAPHS FROM THE SET OF HELP! EMILIO LARI FOREWORD BY ALASTAIR GORDON INTRODUCTION BY RICHARD LESTER
An extraordinary collection of unseen photographs of the Beatles during the making of Help!. Published to coincide with the fiftieth anniversary of the release of the Beatles’ second motion picture, Help!, this almost entirely unpublished collection of photographs marks a pivotal turning point in the band’s history, as they evolved from much-loved musicians into the most important group of all time. The Beatles’ first movie filmed in color, Help! is a madcap adventure featuring cinematography and film sequences widely considered to be hugely influential to the modern performance-style music videos of today. Specialist set photographer Emilio Lari was invited by director Richard Lester to shoot stills of the production at Twickenham Studios and document behind-the-scenes larking about as the band relaxed in their hotel between takes. With an introduction by Lester and intimate, never-before-seen images, The Beatles: Help! provides new and fascinating insights into the band that changed the history of music and the world. Emilio Lari is a photographer who specializes in set photography. He has shot over 140 films, including Barbarella, the Godfather trilogy, and Raging Bull. Alastair Gordon is an award-winning author, critic, curator, and filmmaker who has published numerous books including Spaced Out and Weekend Utopia. He has been a feature writer and contributing editor for many newspapers and magazines, including the Wall Street Journal, the New York Times, and the International Herald Tribune. Richard Lester is an award-winning film director whose credits include A Hard Day’s Night, The Three Musketeers, and Superman II and III. Lester won Cannes Film Festival’s Palme d’Or for The Knack . . . and How to Get It.
MUSIC 144 pages, 9 x 9” 130 color and b/w photographs HC: 978-0-7893-2946-2 $29.95 Can: $29.95 UK: £19.95 September 8, 2015 Rights: World RIZZOLI Photographs © Emilio Lari
Grizzly THE BEARS OF GREATER YELLOWSTONE THOMAS D. MANGELSEN TEXT BY TODD WILKINSON FOREWORD BY TOM BROKAW
Renowned photographer Thomas D. Mangelsen’s latest project focuses on a celebrated Yellowstone grizzly bear family, which he has been tracking and photographing for ten years. The grizzly bears of Yellowstone and Grand Teton National Parks are the most famous wild bruins in the world. Millions of people and generations of travelers annually make special pilgrimages to the northern Rockies just to catch sight of these powerful, breathtaking animals. But like a lot of large predator populations on earth, grizzlies in the lower 48 states have struggled for survival. In Grizzly, renowned nature photographer Thomas D. Mangelsen and environmental writer Todd Wilkinson team up to tell the inspiring if sometimes harrowing story of a remarkable bear clan: Mother Grizzly 399 and her generations of offspring. While tracking this charismatic band of bears, Mangelsen has amassed an incomparable photographic portfolio that offers an intimate glimpse into the lives of this celebrated bear family. The rescue of Yellowstone grizzlies ranks as one of the greatest feats of wildlife conservation. Thomas D. Mangelsen is among the most distinguished natural history photographers in the world, and his honors include being named Conservation Photographer of the Year by Nature’s Best Photography. His work has been published widely, including in National Geographic and American Photo, as well as exhibited in museums and galleries. Todd Wilkinson is a professional journalist and the author of several books, including the critically acclaimed Science Under Siege: The Politicians’ War on Nature and Truth. Tom Brokaw , a passionate outdoorsman and conservationist, is a television journalist best known as the anchor and managing editor of NBC Nightly News.
NATURE/PHOTOGRAPHY 240 pages, 13 x 105” 180 color photographs HC w/jacket: 978-0-7893-2949-3 $60.00 Can: $60.00 UK: £40.00 October 6, 2015 Rights: World RIZZOLI
World Monuments 50 IRREPLACEABLE SITES TO CHAMPION AROUND THE WORLD IN CELEBRATION OF THE 50TH ANNIVERSARY OF WORLD MONUMENTS FUND ESSAYS BY ANDRÉ ACIMAN, ANNE APPLEBAUM, WILLIAM DALRYMPLE, JUSTIN DAVIDSON, FERNANDA EBERSTADT, JOHN JULIUS NORWICH, HERNANDO DE SOTO POLAR, ISMAIL SERAGELDIN, AND ANDREW SOLOMON FOREWORDS BY HRH THE PRINCE OF WALES AND KENNETH CHENAULT
A stunning tour of 50 of the world’s most extraordinary destinations selected from the World Monuments Fund’s most important sites of global heritage. In commemoration of its 50th anniversary, the World Monuments Fund has commissioned some of today’s most important writers to give voice to the organization’s work around the world over the past 50 years. Curated by the International Center of Photography, the book features striking images from renowned photographers, including Edward Burtynsky, Tiina Itkonen, Erich Lessing, Gideon Mendel, Sebastião Salgado, and Mario Testino. In essence, this is a bucket list for the educated traveler—armchair or otherwise. From Venice and Petra to New Orleans and Angkor, Easter Island to the Tempel Synagogue in Kraków, Poland, to the Mughal Gardens of Agra, India, to the Chancellerie d’Orléans in Paris, World Monuments presents 50 of the world’s most compelling destinations, cultural heritage sites, and significant architectural works that must be seen and preserved. World Monuments Fund is the world’s premier nongovernmental organization that protects against the loss of the world’s architectural and cultural heritage, comprising the built environment, the artworks that embellish it, and the cultural traditions that it sustains. Since 1965, it has successfully completed approximately 600 projects in almost 100 countries around the world.
TRAVEL 240 pages, 8 x 10” 200 color and b/w photographs HC w/jacket: 978-0-8478-4681-8 $50.00 Can: $50.00 UK: £35.00 September 29, 2015 Rights: World UNIVERSE
Legorreta EDITED BY LOURDES LEGORRETA PRINCIPAL TEXT BY ANA TERAN FOREWORD BY VÍCTOR LEGORRETA INTRODUCTION BY FELIPE LEAL
The definitive monograph on the legendary Mexican architecture firm known for its soulful, sensual modernism. Although architect Ricardo Legorreta has been often labeled a high modernist, his buildings and that of his firm are rooted in the traditional architecture of his native Mexico. Best known for geometric and planar buildings with stucco walls, painted in reds and coppers, yellows, purples, and blues, the classic Mexican house plan is a recurrent theme in Legorreta’s oeuvre, with courtyards, water features, and arcades playing a prominent role. A protégé of the modernist master Luis Barragán, Legorreta founded his own studio in 1964 and was joined in the early 1990s by his son Victor, when the firm became Legorreta + Legorreta. Legorreta features more than thirty projects from the past decade, ranging from an elegant residence in Beverly Hills and a seaside retreat in Greece to condominiums in Acapulco and houses in Mexico City. The book also includes major commercial, institutional, and educational projects in the United States, Mexico, Qatar, Kenya, and Guatemala. Lourdes Legorreta is an architect and architectural photographer. Ana Teran is a writer based in Mexico. Víctor Legorreta is a partner and managing and design director of Legorreta + Legorreta. Felipe Leal is an architect and educator.
ARCHITECTURE 300 pages, 12 x 12” 250 color and b/w illustrations HC w/jacket: 978-0-8478-4614-6 $85.00 Can: $85.00 UK: £60.00 September 29, 2015 Rights: World RIZZOLI
This Is Not a House DAN RUBINSTEIN AND THE EDITORS OF MARK
This Is Not a House takes a close look at spaces that reformulate the idea of what “home” means, in innovative houses in cities around the globe. This Is Not a House showcases recent projects that represent the vanguard of architects creating innovative spaces for living in the twenty-first century. Dan Rubinstein and the editors of the Amsterdambased magazine have selected projects on five continents that will shape how we think of domestic life for a long time to come. Where the great experimenters of the last century were stripping away ornamentation and creating free-flowing spaces for the first time, today’s pioneers are researching the potential of new materials and techniques to push the boundaries of environmental sustainability, as well as creating new forms and bold, sophisticated explorations in the adaptive reuse of spaces originally designed for any number of other purposes. This Is Not a House presents the latest built residential projects by such design luminaries as Sou Fujimoto, Plasma Studio, and Michael Maltzan, as well as emerging ones such as Johan Selbing, among others, in an array of locations across the globe, including New York, London, Los Angeles, and Tokyo. Dan Rubinstein is a writer and editor based in New York City. He is also the former editor in chief of Surface magazine and a former staffer at House & Garden. Since its launch in 2005, Mark magazine has explored the boundaries of architecture, shining its spotlight on eminent architects and new talent alike.
ARCHITECTURE/INTERIORS 272 pages, 9 x 11X” 200 color photographs HC: 978-0-8478-4636-8 $65.00 Can: $65.00 UK: £45.00 October 6, 2015 Rights: World RIZZOLI
Paulo Mendes da Rocha COMPLETE WORKS DANIELE PISANI ESSAY BY FRANCESCO DAL CO
An authoritative, comprehensive monograph on an underpublished architectural genius. This is the most comprehensive book published in English on the complete work of Paulo Mendes da Rocha, winner of the 2006 Pritzker Prize, which brought him to the attention of a worldwide audience. He is known for the innovative use of concrete and steel in provocative architectural designs that are both critically acclaimed and broadly popular.
ARCHITECTURE 412 pages, 9Y x 11” 500 color illustrations HC w/jacket: 978-0-8478-4633-7 $95.00 Can: $95.00 UK: £65.00 September 22, 2015 Rights: World English RIZZOLI
His striking and poetic use of simple materials is seen in both residential and commercial projects, from Casa Millan to his masterpiece Museo Brasileño de Escultura (1988). The book identifies accomplishments throughout his career, from his beginnings as part of the architectural avant-garde in São Paulo to current works that have helped define and transform urban landscapes. The latter part of the book includes an analysis of the designs, a complete summary of works, and an extensive bibliography. Daniele Pisani is an author who has written for Casabella, Italy’s leading architecture publication. Francesco dal Co is an editor at Casabella.
The United Nations at 70 RESTORATION AND RENEWAL PREFACE BY SECRETARY-GENERAL BAN KI-MOON ESSAYS BY MARTTI AHTISAARI AND CARTER WISEMAN
A celebration of the United Nations and its newly restored headquarters on the advent of its 70th anniversary. Perched along the East River in midtown Manhattan, the exceptional modern buildings of the United Nations Headquarters house an organization with an equally exceptional mission. Designed in the 1940s by the most renowned international architects of the day, including Wallace K. Harrison of the United States, Le Corbusier of France, and Oscar Niemeyer of Brazil, the UN is both an architectural and a historic landmark. The United Nations at 70 documents in gleaming new photography the restoration of the entire building complex. ARCHITECTURE 204 pages, 10 x 10” 200 color and b/w illustrations HC w/jacket: 978-0-8478-4615-3 $55.00 Can: $55.00 UK: £37.50 October 20, 2015 Rights: World RIZZOLI
Complementing the chronicle of the restoration by Carter Wiseman is a fascinating first-person essay by Martti Ahtisaari, which discusses the new and challenging issues facing the UN today. Ban Ki-moon , previously minister of foreign affairs and trade of the Republic of Korea, is the eighth Secretary-General of the United Nations.
Martti Ahtisaari , former president of Finland, has served the United Nations in many capacities and was awarded the Nobel Peace Prize in 2008.
Carter Wiseman is the author of Twentieth-Century American Architecture: The Buildings and Their Makers.
Piero Fornasetti PRACTICAL MADNESS PATRICK MAURIÈS, GINEVRA QUADRIO CURZIO, AND BARNABA FORNASETTI
An extensive illustrated survey of one of the most inventive design minds of the twentieth century. Combining whimsy and elegance, Piero Fornasetti transformed everyday objects like cups, scarves, and plates into much sought-after works of art with his idiosyncratic motifs, such as the hand, the female face, and luminescent fish. His dazzling pieces of trompe l’oeil furniture, created in collaboration with Gio Ponti, are also highly prized by collectors worldwide. Fornasetti’s boundless imagination is celebrated here in a book published to document a major retrospective exhibition at the Musée des Arts Décoratifs in Paris. The first half of the monograph is organized by type and includes Fornasetti’s paintings, drawings, and furniture. The second half focuses on favorite themes: his use of trompe l’oeil, architectural drawings, and his variations on the face of a famous operatic beauty. Featuring 400 illustrations covering almost fifty years of a protean and prolific designer and artist like no other, this is a must-have for Fornasetti connoisseurs and anyone interested in design. Patrick Mauriès is a writer, publisher, and collector. He is the author of Fornasetti: Designer of Dreams and Cabinets of Curiosities. Ginevra Quadrio Curzio is a cultural critic who has written extensively for Europe’s leading publications, including Il Foglio and Il Sole 24 Ore. Barnaba Fornasetti is a designer. He oversees his father’s archives.
DESIGN 292 pages, including booklet, 75 x 13” 400 color and b/w illustrations HC: 978-0-8478-4713-6 $65.00 Can: $65.00 September 8, 2015 Rights: US/Canada RIZZOLI
Pope Francis and the Virgin Mary A MARIAN DEVOTION EDITED BY VINCENZO SANSONETTI
A devotional keepsake that focuses on Pope Francis’s love for the Virgin Mary. This beautifully illustrated book highlights one of the main aspects of Pope Francis’s spirituality: his veneration of the Virgin Mary. A valuable source of inspiration, this book includes a collection of quotes from his speeches, prayers, and tweets that directly refer to his worship of the Holy Mary. Jorge Mario Bergoglio’s faith has always been marked by his strong devotion to the Mother of God; his first public act as Pope paid tribute to her in the Basilica di Santa Maria Maggiore. His admiration is reflected in his coat of arms that features a star (according to heraldic tradition, the star symbolizes the Virgin Mary, Mother of Christ and of the Church), and reaches a peak in the devotion to “Mary Undoer of Knots,” which is spreading worldwide. Pope Francis helps believers to see the Virgin Mary not just as a mother, but also a sister and friend who possesses countless virtues. Accompanied by photographs of the Pope in his daily life, the book offers a glimpse into many personal and public moments that reveal his Marian devotion, seen through visits to various shrines and celebrations dedicated to the Virgin Mary. Vincenzo Sansonetti has written for some of Italy’s major publications, including Avvenire, Oggi, and Il Timone, and is the author of the book Francis: The People’s Pope.
RELIGION 272 pages, 65 x 75” 120 color photographs HC w/jacket: 978-0-8478-4668-9 $24.95 Can: $24.95 UK: £16.95 September 8, 2015 Rights: World English RIZZOLI
RIZZOLI CLASSICS
How to Be HOW TO GROW UP TO BE HEALTHY, WEALTHY, AND WISE MUNRO LEAF
The first collection of abridged versions of Munro Leaf ’s most popular children’s guides to proper behavior—featuring retro, midcentury modern illustrations, this is the perfect gift for grandparents, parents, and children alike. Renowned children’s book illustrator and author Munro Leaf captured the whimsy and innocence of childhood for an entire generation of young readers. Now, more than fifty years later, those same readers are passing these stories down to their children and their children’s children, and Leaf ’s collection of children’s books has reached iconic status. Collected here for the first time in one affordable volume are selections from some of Leaf ’s most beloved childhood guides. With a charming mixture of fatherly concern and kindhearted humor, and without ever coming across as a scold, Leaf has helped generations of American children (and adults) learn how to behave like proper grown-ups (in grown-up company), how to speak politely, to enjoy reading, and even to remember to brush their teeth. With over 500,000 copies of his beloved books in print, this new edition will bring Leaf ’s unique voice to an entirely new group of young readers. Munro Leaf is best known for The Story of Ferdinand, first published in 1936 and a best seller ever since. To date, his books have sold over half a million copies. He died in 1976 at the age of 71.
CHILDREN’S 112 pages, 66 x 9” HC w/jacket: 978-0-7893-3109-0 $19.95 Can: $19.95 UK: £13.95 September 15, 2015 Rights: World UNIVERSE
Palm Beach Houses SHIRLEY JOHNSTON INTRODUCTION BY ROBERT A.M. STERN PHOTOGRAPHY BY ROBERTO SCHEZEN
This classic volume, now back in print in a new format and at a reduced price, offers a strikingly illustrated, extensively researched history of Palm Beach architecture. In 1894, Palm Beach leaped to world prominence as a winter playground with the completion of Henry Morrison Flagler’s Royal Poinciana Hotel. In the 1920s, Palm Beach’s extravagant lifestyle reached its height, and grand Mediterranean-style mansions abounded. Palm Beach Houses details the building and design of more than thirty great houses and public buildings on the “American Riviera.” Public and private structures designed by some of the stylesetting early architects are depicted, including works of Addison Mizner, Joseph Urban, and Maurice Fatio, as well as those of anonymous designers, whose feats of imagination rivaled the most celebrated professionals. The photography has been taken to respectfully document these superb homes, many of which have never before been published. Shirley Johnston is a well-known writer of beautifully illustrated books. Her previous books include Splendor of Malta and Great Villas of the Riviera. Robert A.M. Stern is principal of the firm Robert A.M. Stern Architects in New York. The Dean of the Yale School of Architecture, he has authored several books, including New York 1900, New York 1930, and Modern Classicism. The late Roberto Schezen was a photographer of worldwide acclaim. His books include Newport Houses, Palaces of Rome, Visions of Ancient America, and the Splendor series. Many of his photographs a re now included in the permanent collections of the Canadian Centre for Architecture, Montréal, and the Museum of Modern Art, New York.
INTERIORS/ARCHITECTURE 324 pages, 10 x 10” 150 color and b/w photographs HC w/jacket: 978-0-8478-4684-9 $39.95 Can: $39.95 UK: £26.95 October 6, 2015 Rights: World RIZZOLI CLASSICS
Italian Splendor CASTLES, PALACES, AND VILLAS JACK BASEHART PHOTOGRAPHY BY ROBERTO SCHEZEN TEXT BY RALPH TOLEDANO INTRODUCTION BY PAUL HOFFMANN
This sought-after volume is now back in print in a new format and at a reduced price, takes the reader on a breathtaking tour through the most magnificent homes in Italy. This well-illustrated journey through 50 magnificent villas and palaces built by the Italian aristocracy covers country retreats in Tuscany and the Veneto, impressive residences in Rome and Siena, and fortresslike castles and grand villas in Trieste and Sicily. Collected here for the first time, these worldfamous private residences are unsurpassed in their diversity and artistic grandeur. Italian Splendor offers both professional and lay readers a glimpse behind the closed doors of these family homes, which contain some of the world’s most impressive and sumptuous designs. Jack Basehart lives in Milan and spent a year and a half traveling through Italy compiling information for the book and arranging access to the many properties covered. The late Roberto Schezen was a photographer of worldwide acclaim. His books include Newport Houses, Palaces of Rome, Visions of Ancient America, and the Splendor series. Many of his photographs are now included in the permanent collections of the Canadian Centre for Architecture, Montréal, and the Museum of Modern Art, New York. Ralph Toledano is a Paris-based writer and art authority.
TRAVEL 420 pages, 9 x 9” 300 color photographs HC w/jacket: 978-0-8478-4718-1 $50.00 Can: $50.00 UK: £35.00 October 6, 2015 Rights: World RIZZOLI CLASSICS
Audrey Hepburn PORTRAITS OF AN ICON TERENCE PEPPER AND HELEN TROMPETELER
A rich collection of iconic and rare portraits of one of the world’s most photographed women, international film legend Audrey Hepburn. During her lifetime, Belgian-born British actress Audrey Hepburn (1929–1993), star of such films as Roman Holiday, Sabrina, Funny Face, Breakfast at Tiffany’s, My Fair Lady, Charade, and Two for the Road, was recognized around the world. Two decades after her death, Hepburn remains one of the most celebrated actresses of all time, inspiring new generations of admirers. Here, Hepburn’s career is charted from her early years in London as a student of ballet and a performer on the West End stage to her Hollywood heyday to her final years as a special ambassador for the United Nations Children’s Fund (UNICEF). Alongside work by the renowned photographers whose portraits defined Hepburn’s image and shaped her career are publicity photographs, images during the production of her films, as well as rare family photographs and other informal archive pictures. Possessing the features, height, and poise of a model, Hepburn collaborated with such couturiers as Hubert de Givenchy, and her image graced the pages and covers of Harper’s Bazaar and other fashion magazines. She was photographed by legends, including Richard Avedon, whose work is represented here, together with portraits by Cecil Beaton, Antony Beauchamp, Philippe Halsman, Angus McBean, Norman Parkinson, and Irving Penn. An iconic figure whose image—including her unmistakable silhouette from Breakfast at Tiffany’s—left an indelible impact on many cultural contexts, Hepburn played an essential role in the development of celebrity and visual culture in the twentieth century. Terence Pepper is Senior Special Advisor on Photographs and Helen Trompeteler is Associate Curator of Photographs at the National Portrait Gallery, London.
Exhibition Schedule: The National Portrait Gallery, London: July 2–October 18, 2015 Middle left: Audrey Hepburn, How to Steal a Million, 1966. Courtesy of Iconic Images/Terry O’Neill. Copyright © Terry O’Neill; Middle right: Audrey Hepburn, Two for the Road, 1967. Courtesy of Iconic Images/Terry O’Neill. Copyright © Terry O’Neill; Bottom: Audrey Hepburn, 1964, The Cecil Beaton Studio Archive at Sotheby’s © Courtesy of The Cecil Beaton Studio Archive at Sotheby’s
PERFORMING ARTS 192 pages, 9 x 11” 157 b/w and color photographs HC w/jacket: 978-0-8478-4700-6 $40.00 Can: $40.00 September 1, 2015 Rights: US/Canada SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E N AT I O N A L P O R T R A I T G A L L E R Y, L O N D O N
Oscar de la Renta HIS LEGENDARY WORLD OF STYLE ANDRÉ LEON TALLEY FOREWORD BY ANNA WINTOUR PREFACE BY PAULA WALLACE PRINCIPAL PHOTOGRAPHY BY ADAM KUEHL
A sumptuous monograph tracing the life and legacy of fashion luminary Oscar de la Renta. In October 2014 one of the fashion world’s champions, Oscar de la Renta, passed away, a great loss brightened by the innumerable successes of his halfcentury reign. The acclaimed fashion designer dressed first ladies from Kennedy to Obama, and celebrities from Beyoncé to Sarah Jessica Parker. Renowned for his unique charm, impeccable taste, and original lifestyle, he married the highest standards of French couture with the ultimate motivation that women must look and feel beautiful. In this intimate volume, longtime editor and friend André Leon Talley recounts de la Renta’s journey through nearly 70 iconic dresses, mainly made for private clients, accompanied by fascinating stories of the exquisite craftsmanship and the legendary friends that brought each gown to life. Born in the Dominican Republic in 1932, de la Renta left for Madrid at nineteen to study art, where he rose to prominence as a sketch artist for newspapers and fashion houses. From his apprenticeship under Cristóbal Balenciaga to his eponymous collections, the designer’s simple lines elevated with a flamenco dancer’s flourish reflect his deep connection to his roots and his commitment to transcendence through beautiful garments. André Leon Talley is a writer and contributing editor to Vogue. He has written extensively on fashion and popular culture and has authored the books A.L.T.: A Memoir, A.L.T. 365+, and Little Black Dress. Anna Wintour is the editor in chief of Vogue and artistic director of Condé Nast. Paula Wallace is the president and founder of SCAD. Adam Kuehl is a SCAD alumnus. His work has appeared in publications including Little Black Dress, National Geographic Traveler, the New York Times, and Vogue.
FASHION 176 pages, 94 x 12W” 100 color and b/w illustrations HC w/jacket: 978-0-8478-4717-4 $50.00 Can: $50.00 UK: £35.00 September 8, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E S AVA N N A H C O L L E G E O F ART AND DESIGN AND THE SCAD MUSEUM OF ART
Cover: Joshua Bright. Middle left: Getty Images. Middle right: Getty Images. Bottom: Adam Kuehl
Exhibition Schedule: SCAD Museum of Art, Savannah, GA: February 5–May 3, 2015
Red and White Quilts: Infinite Variety PRESENTED BY THE AMERICAN FOLK ART MUSEUM ELIZABETH V. WARREN, WITH MAGGI GORDON COLLECTION BY JOANNA S. ROSE FOREWORD BY MARTHA STEWART
This significant catalog is a highly detailed look at the world’s most celebrated collection of Red and White quilts. Like the Log Cabin or Baltimore-style, the Red and White quilt is a hugely popular genre of quilting. Colorfast Turkey red dye became readily available in the mid-nineteenth century, so red and white quilts became extremely popular, due not only to the newness of the color but also because of the extremely vibrant and punchy contrasting color scheme. Featuring over 650 quilts from the past three centuries, this book is filled with the gorgeous and imaginative designs of feathered stars, diamonds, animals, oak leaves, baskets, lettering, and snowflakes, as well as fascinating examples of careful embroidery and appliqué. With inspiring handiwork, designs, and visual histories, this book exemplifies the sheer magnitude and poetry of Red and White quilts and is a staple compendium of this beloved art form. Elizabeth V. Warren is a collector, independent curator, author, and trustee of the American Folk Art Museum. Maggi Gordon is an author, editor, collector, and quilt maker with a special interest in the history of quilts. Joanna S. Rose is a writer, editor, and folk art collector. Martha Stewart is America’s most trusted lifestyle expert and teacher and the author of more than eighty books.
Middle: Gavin Ashworth
Exhibition Schedule: Museum of International Folk Art, Santa Fe, NM: May 17– September 13, 2015 Bowers Museum, Santa Ana, CA: November 21, 2015– March 21, 2016
DECORATIVE ARTS 352 pages, 9 x 11” 675 color illustrations HC w/jacket: 978-0-8478-4652-8 $60.00 Can: $60.00 UK: £40.00 September 22, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H THE AMERICAN FOLK ART MUSEUM, NEW YORK
Out of the Box THE RISE OF SNEAKER CULTURE ELIZABETH SEMMELHACK, WITH BOBBITO GARCIA, ADA HOPKINS, DEE WELLS, TINKER HATFIELD, AND ERIC AVAR ADDITIONAL CONTRIBUTIONS BY CEY ADAMS, DARRYL McDANIELS, WALT FRAZIER, ADAM HOROVITZ, AND CHRISTIAN LOUBOUTIN, AMONG MANY OTHERS
Out of the Box showcases sneakers, from the mid-nineteenth century to sports performance breakthroughs, to present-day cultural icons. Drawn from the collection of the Bata Shoe Museum and the Adidas, Nike, Reebok, Puma, and Converse archives, as well as from private collectors—such as hip-hop legend Darryl McDaniels, sneaker guru Bobbito Garcia, and Dee Wells of Obsessive Sneaker Disorder—this selection is richly contextualized with interviews and essays by design innovators, sneaker collectors, and cultural historians, creating a backdrop of the technical innovation, fashion trends, social history, and marketing campaigns that shaped the form over the past two centuries. Out of the Box includes sneakers ranging from an 1860 spiked running shoe, a pair of 1936 track shoes, Air Jordans 1–23, the original Air Force 1, and early Adidas Superstars to contemporary sneakers by prominent figures including Damien Hirst, Jeremy Scott, Jeff Staple, and Kanye West. The book also highlights sneakers and prototype drawings that span the career of Nike sneaker design legend Tinker Hatfield, making this the definitive illustrated history of sneaker culture. Acclaimed shoe historian Elizabeth Semmelhack is senior curator at the Bata Shoe Museum, Toronto. Bobbito Garcia is the leading authority on sneaker culture. Ada Hopkins is a conservator at the Bata Shoe Museum. Dee Wells is the creator of Obsessive Sneaker Disorder. Tinker Hatfield is a Nike designer. Eric Avar is Nike’s creative director. Cey Adams was the founding creative director of Def Jam Records. Darryl McDaniels is a member of the hip-hop group Run-D.M.C. Walt Frazier is a former professional basketball player. Adam Horovitz is a member of the hip-hop group the Beastie Boys. Christian Louboutin is a footwear designer. FASHION 256 pages, 10 x 116” 200 color and b/w illustrations HC w/jacket: 978-0-8478-4660-3 $45.00 Can: $45.00 UK: £27.95 July 7, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E A M E R I C A N F E D E R AT I O N O F A R T S , N E W Y O R K
Exhibition Schedule: Brooklyn Museum, NY: July 10–October 4, 2015 Speed Art Museum, Louisville, KY: September 5–December 1, 2016
Jim Shaw THE END IS HERE Monster Chakra Chart, 1990. Courtesy the artist.
MASSIMILIANO GIONI, GARY CARRION-MURAYARI, DAN NADEL, MARC-OLIVIER WAHLER, JOHN WELCHMAN, AND OTHERS
A long-overdue survey of an essential West Coast artist whose humorous works delve into America’s underbelly and evolving counterculture. Over the past thirty years, Jim Shaw has become one of America’s most visionary artists, moving between painting, sculpture, and drawings, while building connections between his own psyche and the larger political, social, and spiritual history of America. Shaw’s imagery is mined from comic books, record covers, conspiracy magazines, obscure religious pamphlets, and other cultural refuse to produce a portrait of the American subconscious out of his personal obsessions. ART 288 pages, 95 x 115” 200 color illustrations HC w/jacket: 978-0-8478-4716-7 $75.00 Can: $75.00 UK: £50.00 October 6, 2015 Rights: World SKIRA RIZZOLI
I N A S S O C I AT I O N W I T H N E W M U S E U M , N E W Y O R K
Exhibition Schedule: New Museum, New York: October 7, 2015–January 10, 2016
Shaw, along with fellow Michigan native Mike Kelley, moved to California in the 1970s to attend Cal Arts and was one of a number of notable artists to emerge from the school in the early 1980s. Shaw’s work is distinguished by rigorous formal and structural analyses of neglected forms of vernacular culture. Accompanying a major exhibition, this is the first major monograph devoted to the entirety of the artist’s unique, multifaceted career. Massimiliano Gioni is Artistic Director and Gary Carrion-Murayari is Kraus Family Curator at the New Museum, New York. Dan Nadel is an independent curator, writer, and publisher. Marc-Olivier Wahler is Director of Chalet Society, Paris. John Welchman is a professor at the University of California, San Diego.
Albert Oehlen HOME AND GARDEN MASSIMILIANO GIONI, MARK GODFREY, AND ANNE PONTÉGNIE INTERVIEW WITH OEHLEN BY FREDI FISCHLI AND NIELS OLSEN EDITED BY MASSIMILIANO GIONI AND GARY CARRION-MURAYARI
A wry and resourceful painter, Albert Oehlen’s influence on a younger generation of artists represents a key trajectory of the medium today.
ART 160 pages, 86 x 116” 50 color illustrations PB: 978-0-8478-4719-8 $50.00 Can: $50.00 UK: £35.00 June 9, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H N E W M U S E U M , N E W Y O R K
Exhibition Schedule: New Museum, New York: June 10–September 6, 2015
Surveying the past thirty years of his career and demonstrating his immeasurable influence on contemporary painting, Albert Oehlen: Home and Garden comprises paintings, drawings, and prints from the artist’s most important bodies of work. From the beginning of his career, Oehlen set himself the task of exploring the language, structures, and experiences of painting. He has managed to reinvigorate the genres of portraiture, collage, and gestural abstraction in work that deploys a staggering range of imagery and techniques. Oehlen’s canvases capture haunting interiors, mutating self-portraits, archaic and digital landscapes, and cryptic fragments of language. As a younger generation of artists turns again to painting as a critical medium, Oehlen’s work has only become more influential and prescient. Massimiliano Gioni is Artistic Director at the New Museum, New York. Mark Godfrey is a curator at the Tate Modern, London. Anne Pontégnie is a freelance curator at Le Consortium Dijon. Fredi Fischli and Niels Olsen are curators and art historians: together they founded the exhibition space Studiolo in Zurich. Gary Carrion-Murayari is Kraus Family Curator at the New Museum.
A Red Like No Other HOW COCHINEAL COLORED THE WORLD CARMELLA PADILLA AND BARBARA ANDERSON, EDITORS
The captivating story of the pursuit of the most powerful color. A global symbol of power, wealth, mystery, and sexuality, red has seduced viewers and inspired artists for millennia. Painters and other artists engaged in a quest for the source of the perfect red that conveyed the luxury, spirit, and substance of living. In the 1520s, Spanish explorers found it in the grand Aztec markets—in a dye derived from the cochineal insect. The ensuing global spread of American cochineal changed art, culture, science, and trade for centuries. A Red Like No Other follows the precious bug juice from Mexico to Europe and beyond as it insinuated itself into all forms of art, politics, and commerce to color the world in vivid red hues. The images show how the colorant touched cultures and artists worldwide, including pre-Columbian weavers, painters of Spain’s Golden Age, Middle Eastern rug makers, and Navajo weavers. El Greco, Tintoretto, Velázquez, van Dyck, Rembrandt, Vermeer, and van Gogh used it, as did Spanish fashion icon Mariano Fortuny. Today contemporary artists and designers continue to embrace the colorant for its beauty and meaning. An international team of more than forty scholars and experts brings a wide spectrum of original research on the symbolic meaning of red, the material meaning of cochineal in art and trade, and the history of the artists driven to find the perfect red. Editor and author Carmella Padilla and editor and art historian Barbara Anderson are independent curators of the related exhibition. Other essay contributors include Elena Phipps , former conservator at the Metropolitan Museum of Art; Jo Kirby , Senior Conservation Scientist Emeritus at the National Gallery, London; and Mary Miller , Sterling Professor of the History of Art at Yale University.
ART HISTORY 320 pages, 9 x 11” 350 color illustrations HC w/jacket: 978-0-8478-4643-6 $60.00 Can: $60.00 UK: £40.00 September 1, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E M U S E U M O F I N T E R N AT I O N A L F O L K A R T, S A N TA F E
Middle: Titian, The Vendramin Family, completed about 1550–1560. The National Gallery, London, NG4452. Bottom: Firefighter’s ceremonial coat (kajibanten), Japan, Edo period. John C. Weber Collection
Exhibition Schedule: Museum of International Folk Art, Santa Fe: May 17– September 13, 2015 Bowers Museum, Santa Ana: November 21, 2015– March 21, 2016
Lisa Yuskavage THE BROOD: PAINTINGS 1991–2015 ESSAYS BY CHRISTOPHER BEDFORD, SUZANNE HUDSON, CATHERINE LORD, AND SIDDHARTHA MUKHERJEE; LISA YUSKAVAGE IN CONVERSATION WITH KATY SIEGEL
Accompanying a major exhibition, this stunning survey and important monograph highlights more than two decades’ worth of Lisa Yuskavage’s brilliant and controversial paintings. Internationally acclaimed American painter Lisa Yuskavage is known for her seductive yet unsettling work, in which cartoony, vulgar, angelic young nymphs are cast within fantastical landscapes or theatrical interiors. In this dazzling monograph she presents the confrontational imagery, luscious paint, and technical virtuosity that are her signature, blurring the boundaries between high art’s classic female nudes and their naughty, soft-porn counterparts. ART 234 pages, 10 x 12” 193 color illustrations HC w/jacket: 978-0-8478-4648-1 $65.00 Can: $65.00 UK: £45.00 September 8, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E R O S E A R T M U S E U M , W A LT H A M , M A S S .
Exhibition Schedule: Rose Art Museum, Brandeis University: September 12–December 13, 2015
This comprehensive new volume offers a rich overview of the artist’s work with interpretive essays by leading art historians and an interview with the artist. This will be the definitive book on this important artist. Christopher Bedford is the Henry and Lois Foster Director of the Rose Art Museum, Brandeis University, Waltham, Mass. Suzanne Hudson is assistant professor of art history and fine arts, University of Southern California, Dornsife. Catherine Lord is professor emerita of art, University of California, Irvine. Siddhartha Mukherjee is assistant professor of medicine, Columbia University, and staff cancer physician, Columbia University Medical Center, New York. Katy Siegel is professor of art history, Hunter College, and chief curator, Hunter College Galleries, New York.
House of Thurn und Taxis INTERVIEW BY SIR JOHN RICHARDSON AND PRINCESS GLORIA VON THURN UND TAXIS TEXT BY ANDRÉ LEON TALLEY, ALEXANDER COUNT VON SCHOENBURG, AND ELISABETH VON THURN UND TAXIS PHOTOGRAPHY BY TODD EBERLE
Adventure through the princely Thurn und Taxis estate, an enchanted palace where 1,000 years of history meets a thoroughly modern family.
INTERIORS 240 pages, 10U x 13" 200 color illustrations HC: 978-0-8478-4714-3 $85.00 Can: $85.00 UK: £55.00 October 6, 2015 Rights: World SKIRA RIZZOLI
For 200 years the Thurn und Taxis family have called the palace of St. Emmeram home. Regarded as one of Germany’s finest examples of historicist architecture, the Regensburg residence’s myriad rooms trace centuries of distinctive styles: a Romanesque-Gothic cloister built between the twelfth and fourteenth centuries, a neo-Renaissance marble staircase, a number of Rococo and neoRococo staterooms, and a Baroque library frescoed in 1737. Celebrated photographer Todd Eberle captures the confluence of high art and grand architecture within the 500-room palace to reveal the curious tale of the Thurn und Taxis family. Complete with stately portraits and scenes of life at St. Emmeram, this monograph offers a glimpse into the world and glamour of one of the most important dynasties of the European aristocracy. Sir John Richardson is a British art historian and Picasso biographer. Princess Gloria von Thurn und Taxis is the matriarch of the princely house of the Thurn and Taxis. André Leon Talley is an author and contributing editor of Vogue. Alexander Count von Schoenburg is a journalist and author. Elisabeth von Thurn und Taxis is an author and writer for Vogue.
Longue Vue House and Gardens THE ARCHITECTURE, INTERIORS, AND GARDENS OF NEW ORLEANS’S MOST CELEBRATED ESTATE CAROL M C MICHAEL REESE AND THAISA WAY
The stunning interiors and glorious gardens of New Orleans’s unrivaled jewel and architectural masterpiece. Longue Vue House and Gardens, accredited by the American Alliance of Museums and listed as a national historic landmark, was designed and built between 1934 and 1942 by landscape architect Ellen Biddle Shipman and architects Charles and William Platt for Edgar Bloom and Edith Rosenwald Stern, New Orleans’s foremost mid-twentieth-century philanthropists and civil-rights activists. The mansion and its surrounding eight acres of garden spaces, with varied designs ranging from the formal to the wild, draw upon Southern architectural traditions and native Louisiana flora, even as they echo the contemporaneous garden-design movement that set the stage for the creation of some of the most breathtaking garden estates in the country. Lush photography, supporting architectural drawings, and an informative text bring the main house and gardens to life and establish the estate as an enduring symbol to its creators’ contributions to building a just society. Carol McMichael Reese is the Christovich Associate Professor in the Tulane School of Architecture, where she offers courses in architectural history and theory. Her books and articles focus on contemporary architecture and urban planning in the Americas. She has also served on the board of directors of Longue Vue since 2004. Thaisa Way is a landscape historian who teaches history, theory, and design at the University of Washington in Seattle. She has published and lectured on feminist histories of landscape architecture. She is also an editor for the Landscape History Chapters of the Society of Architectural Historians.
INTERIORS/TRAVEL 224 pages, 96 x 115” 200 color and b/w photographs HC w/jacket: 978-0-8478-4651-1 $65.00 Can: $65.00 UK: £45.00 September 29, 2015 Rights: World SKIRA RIZZOLI
Cornelia Foss A RETROSPECTIVE J. D. McCLATCHY AND KAREN WILKIN FOREWORD BY JOHN GUARE
The first comprehensive survey of Cornelia Foss’s landscapes, still lifes, and portraits, an artist in the style and tradition of Fairfield Porter. The American artist Cornelia Foss is part of a loosely knit group of artists commonly described as “painterly realists,” many of whom are associated with Long Island’s scenic Hamptons region, including Eric Fischl and Fairfield Porter. This is the first such survey of this artist’s work to be published. Long considered a quintessential Long Island artist, Foss has painted Wainscott Pond for over half a century.
ART 224 pages, 10 x 115” 197 color illustrations HC w/jacket: 978-0-8478-4646-7 $65.00 Can: $65.00 UK: £45.00 October 13, 2015 Rights: World SKIRA RIZZOLI
Exhibition Schedule: Guild Hall, East Hampton, NY: October 24, 2015–January 23, 2016
Foss’s work mirrors her protected environment—pastel drawings of her own garden and nearby ponds; oil portraits of her granddaughters and pets; landscapes featuring beach scenes and still-life paintings showing flowers on a windowsill. Thus, the art conveys a nurturing perspective that also acknowledges the outside world. Beautifully designed, this volume provides deep insight into the breadth and range of the artist’s practice over the past fifty years. J. D. McClatchy is an American poet and literary critic. He is the editor of the Yale Review and former president of the American Academy of Arts and Letters. Karen Wilkin is a curator and art critic who specializes in twentiethcentury modernism. John Guare is an American playwright.
Carlos Betancourt IMPERFECT UTOPIA ESSAYS BY PAUL LASTER AND ROBERT FARRIS THOMPSON FOREWORD BY RICHARD BLANCO
A painter, photographer, and mixed-media artist, Carlos Betancourt and his seminal studio, Imperfect Utopia, are credited with helping to launch the Miami art scene in the 1990s. Carlos Betancourt’s oeuvre is a lush explosion of radiant, eccentric colors in which he explores the kaleidoscope (multiracial, multilingual, transcultural) of Caribbean culture. His work alludes to issues of memory, beauty, and identity, and he bends the lines between art, photography, and nature in his photographs, collages, installations, and conceptual pieces.
ART 238 pages, 10 x 12” 250 color illustrations HC w/jacket: 978-0-8478-4647-4 $75.00 Can: $75.00 UK: £50.00 October 13, 2015 Rights: World SKIRA RIZZOLI
His studio, Imperfect Utopia, helped to create a contemporary arts environment in Miami, challenging the existing arts establishment. It served as the underground address of the artistic melting pot that was Miami Beach in the ’80s, visited by some of the most important artists and writers of the day. This exuberant volume explores Betancourt’s complete body of work, with 250 images and texts by art critics Paul Laster and Robert Farris Thompson. Paul Laster is a writer, editor, independent curator, artist, and lecturer. Robert Farris Thompson is one of America’s most prominent scholars of African art and the Colonel John Trumbull Professor of the History of Art at Yale University, where he is one of the longest-serving alumni. Richard Blanco is the 5th presidential inaugural poet of the United States. He has published three award-winning collections of poetry and two memoirs.
Tahoe A VISUAL HISTORY EDITED BY ANN M. WOLFE CONTRIBUTIONS BY CATHERINE FOWLER, WILLIAM L. FOX, MARVIN COHODAS, JO ANN NEVERS, ALFRED HARRISON, DARLA GAREYSAGE, COLIN ROBERTSON, KEVIN STARR, AND ANN M. WOLFE
The definitive survey of art about this national treasure, from Albert Bierstadt to Ansel Adams.
ART/TRAVEL 468 pages, 125 x 10X” 350 color illustrations HC w/slipcase: 978-0-8478-4662-7 $85.00 Can: $85.00 UK: £55.00 September 1, 2015 Rights: World SKIRA RIZZOLI I N A S S O C I AT I O N W I T H T H E N E VA D A M U S E U M O F A R T, R E N O
Exhibition Schedule: Nevada Museum of Art, Reno: August 22, 2015–January 10, 2016 Oakland Museum of California: February 27–June 26, 2016
Located between California and Nevada, the vast body of water known as Lake Tahoe has lured artists to its shores for centuries. This lavishly illustrated, large-scale book celebrates Lake Tahoe, as well as Pyramid Lake, Donner Lake, and the surrounding Sierra Nevada region’s magnificent scenic beauty, through more than 350 paintings, photographs, buildings, and objects. This deluxe volume features lush landscape paintings by Albert Bierstadt, Marianne North, and Thomas Moran; photographs by Ansel Adams, Imogen Cunningham, Dorothea Lange, and Edward Weston; Native American Washoe baskets; historical maps and sketches by the region’s early explorers; ephemera related to Tahoe tourism of the 1940s–60s; and architectural drawings, such as Frank Lloyd Wright’s proposed cabin community in Emerald Bay and the historic Glen Alpine Springs Lodge design by Bernard Maybeck. Lake Tahoe continues to attract artists, writers, designers, scientists, and other visitors who recognize the unique qualities that the destination has to offer. Ann M. Wolfe is senior curator and deputy director of the Nevada Museum of Art, Reno.
Enrico Donati EDITED BY DAWN ADES CONTRIBUTIONS BY ANN TEMKIN, MARIE MAUZÉ, AND CINDY ALBERTSON
The definitive volume on important, little-known Surrealist artist Enrico Donati—on the occasion of new research and never-before-published material.
ART 336 pages, 95 x 12” 280 color and b/w illustrations HC w/jacket: 978-0-8478-4642-9 $95.00 Can: $95.00 UK: £65.00 October 6, 2015 Rights: World SKIRA RIZZOLI
Enrico Donati first found acclaim when the master of Surrealism, André Breton, lauded him the savior of the movement in 1942. Donati went on to exhibit with major figures of the New York School, such as Rothko, de Kooning, and Pollock. Spanning well over half a century, his artistic career was extraordinarily rich, and he was associated with many of the most influential movements and groups of artists of the time, but fundamentally he remained independent and enigmatic. Dawn Ades acquaints the reader with Donati’s formative relationship to the Surrealists and then moves through his postwar painting up to his death in 2008. Dawn Ades has written extensively about twentieth-century art. Her books include Salvador Dalí, André Masson, and Marcel Duchamp. Ann Temkin is chief curator of painting and sculpture at the Museum of Modern Art, New York. Marie Mauzé is a distinguished ethnographer and specialist in the art of the Pacific Northwest and in the history of the relationship between art and ethnography in the twentieth century. Cindy Albertson is a conservator at the Museum of Modern Art, New York.
I Can Give You Anything But Love GARY INDIANA
The long-awaited memoir from one of the most acclaimed radical writers in American literature. Described by the London Review of Books as one of “the most brilliant critics writing in America today,” Gary Indiana is a true radical whose caustic voice has by turns haunted and influenced the literary and artistic establishments.
Cover photo © Don Hunstein
Praise for the author: “He is, I think, one of the most woefully underappreciated writers of the last thirty years.” —New York Observer “Indiana’s language is precise, literate, painfully honest and shockingly funny. . . Many, myself included, think he might already have written the Great American Novel(s).” —The Independent “The chief wonder is in the writing. His style is sometimes relaxed, sometimes frantic, sometimes conversational. He can be wickedly funny, and most of the fun is at his own expense. Indiana exists as a personality in his own work […] one of America’s greatest writers.” —The Guardian “His career has spanned genres and mediums, and the only common thread running through it has been his reputation for being far more concerned with the integrity of his work than making a buck or a friend.” —Vice
With I Can Give You Anything but Love, Gary Indiana has composed a literary, unabashedly wicked, and revealing montage of excursions into his life and work—from his early days growing up gay in rural New Hampshire to his escape to Haight-Ashbury in the post–summer-of-love era, the sweltering 1970s in Los Angeles, and ultimately his existence in New York in the 1980s as a bona fide downtown personality. Interspersed throughout his vivid recollections are present-day chapters set against the louche culture and raw sexuality of Cuba, where he has lived and worked occasionally for the past fifteen years. Connoisseurs will recognize in this—his most personal book yet—the same mixture of humor and realism, philosophy and immediacy, that have long confused the definitions of genre applied to his writing. Vivid, atmospheric, revealing, and entertaining, this is an engrossing read and a serious contribution to the genres of gay and literary memoir. Gary Indiana is a writer, playwright, filmmaker, and artist. He is the author of seven novels, including Do Everything in the Dark and The Shanghai Gesture, as well as several plays, collections of poetry and nonfiction, and essays in publications from Art in America to Vice. His visual art appeared in the 2014 Whitney Biennial.
MEMOIR 240 pages, 55 x 84” Text with 25 b/w illustrations HC w/jacket: 978-0-8478-4686-3 $25.95 eBook: 978-0-8478-4722-8 $25.95 Can: $25.95 UK: £16.95 September 8, 2015 Rights: World RIZZOLI EX LIBRIS
Food & Freedom AROUND THE WORLD THROUGH GASTRONOMY CARLO PETRINI TRANSLATED BY JOHN IRVING
Inspiring the global fight to revolutionize the way food is grown, distributed, and eaten. In the almost thirty years since Carlo Petrini began the Slow Food organization, he has been constantly engaged in the fight for food justice. Beginning first in his native Italy and then expanding all over the world, the movement has created a powerful force for change. The essential argument of this book is that food is an avenue towards freedom. This uplifting and humanistic message is straightforward: if people can feed themselves, they can be free. In other words, if people can regain control over access to their food—how it is produced, by whom, and how it is distributed—then that can lead to a greater empowerment in all channels of life. Whether in the Amazon jungle talking with tribal elders or on rice paddies in rural Indonesia, the author engages the reader through the excitement of his journeys and the passion of his mission. Here, Petrini reports upon some of the success stories that he has observed firsthand. From Chiapas to Puglia, Morocco to North Carolina, he has witnessed the many ways different peoples have dealt with food problems. This book allows us to learn from these case studies and lays out models for the future. Carlo Petrini is the author of Slow Food Nation and the founder of the Slow Food organization, which counts 100,000 members in 150 countries. Petrini was named a “European Hero” by Time and a “Champion of the Earth” by the United Nations.
FOOD & WINE 192 pages, 55 x 84” Full Text HC w/jacket: 978-0-8478-4685-6 $24.95 eBook: 978-0-8478-4721-1 $24.95 Can: $24.95 UK: £16.95 September 1, 2015 Rights: World English RIZZOLI EX LIBRIS
Praise for the author’s last book Slow Food Nation: “Carlo Petrini is one of the most important thinkers of our time, not only about what to eat, but also about how to live. This book is essential reading for anyone who cares about social justice, the environment, and the fundamentals of a good meal.” —Eric Schlosser “A worthy successor to Brillat-Savarin, Carlo Petrini has reinvented the idea of gastronomy for the twenty-first century. An important book.” —Michael Pollan “This is the argument I have been waiting for—an irrefutable demonstration that making the right decisions about food can change the world.” —Alice Waters
Piotr Uklański: Fatal Attraction
TEXTS BY ROSETTA BROOKS AND DOUGLAS EKLUND INTERVIEW WITH PIOTR UKLANSKI AND HERMANN NITSCH EDITED BY DONNA WINGATE AND MARC JOSEPH BERG
Published on the occasion of the spring 2015 Metropolitan Museum of Art exhibition Fatal Attraction: Piotr Uklański Photographs, and an accompanying exhibition—curated by Uklański—of works from the Met’s permanent collection, Piotr Uklański: Selects from the Met Collection, this book presents an in-depth examination of Uklański’s photographic oeuvre as well as images from the Met collection exhibition.
ART 176 pages, 9 x 11” 140 color illustrations HC: 978-0-8478-4688-7 $49.95 Can: $49.95 UK: £40.00 September 29, 2015 Rights: World GAGOSIAN/RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
A luxurious, richly illustrated monograph, Piotr Uklaski Fatal Attraction consists of images of works made by Piotr Uklański, as well as groupings of images of artworks selected by Uklański from the Met’s collections for an accompanying exhibition. Both exhibitions are based on the classical themes of love and death. Internationally recognized as one of today’s most important contemporary artists, Piotr Ukla ń ski’s works draw on themes from his Polish heritage to pop culture, in a wide variety of media. His practice has since evolved to include paintings, objects, installations, photography, fiber arts, and film. Rosetta Brooks is a renowned critic and art historian. She was the founder and editor of Zg magazine (1980–86). She is on the faculty of the Art Center in Pasadena and is the founder/publisher of Zg Press. Douglas Eklund is Curator of Photography at the Metropolitan Museum of Art. Hermann Nitsch is an Austrian artist who, together with Günter Brus, Otto Muehl, and Rudolf Schwarzkogler, reformed the face of 1960s art.
Marcel Duchamp ESSAYS BY CALVIN TOMKINS AND ADINA KAMIEN-KAZHDAN
A catalog documenting an exhibition of Marcel Duchamp’s editioned readymades at Gagosian Gallery, New York, replicating his American debut at Cordier & Ekstrom in the same building in 1965 and including new essays. Marcel Duchamp’s first readymade, a standard bicycle wheel attached to a wooden stool, came about “as a pleasure, something to have in my room the way you have a fire, or a pencil sharpener, except that there was no usefulness.” Over the ensuing decades many of his readymades were lost or destroyed, but in 1964 Duchamp, working with acclaimed gallerist Arturo Schwarz, supplanted the original readymades with fourteen precisely executed editioned multiples, a process which culminated in an exhibition in New York in 1965. ART 115 pages, 75 x 105” 55 color and b/w illustrations HC: 978-0-8478-4687-0 $80.00 Can: $80.00 UK: £60.00 September 1, 2015 Rights: World GAGOSIAN/RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
Adina Kamien-Kazhdan chronicles this process in a new essay that provides significant insight into Duchamp and Schwarz’s relationship, as well as detailing the creation of the editions. Calvin Tomkins’ new profile of Duchamp prefaces this beautiful book and is a welcome addition, serving as the perfect introduction to the black-and-white installation shots from the 1965 show and the full-page color photographs of each readymade. Calvin Tomkins is an author and art critic for The New Yorker magazine. He is the author of The Bride and the Bachelors, which traces Duchamp’s legacy through profiles of the artist and his contemporaries. Adina Kamien-Kazhdan is the David Rockefeller Curator at the Stella Fischbach Department of Modern Art, part of the Israel Museum, Jerusalem.
Jean-Michel Basquiat TEXTS BY ROBERT FARRIS THOMPSON AND RENE RICARD
This long-awaited catalog features over 50 color plates of Jean-Michel Basquiat’s paintings and works on paper, curated by Larry Gagosian, who first exhibited Basquiat’s work over thirty years ago at his eponymous L.A. gallery, and accompanies a major exhibition at Gagosian Gallery, New York.
ART 210 pages, 104 x 12” 163 color illustrations HC w/jacket: 978-0-8478-4408-1 $100.00 Can: $100.00 UK: £65.00 April 21, 2015 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
Featuring foldouts, candid photographs, and full-page color installation shots, this beautiful new book celebrates the work of Jean-Michel Basquiat over his brief but meteoric career. Dozens of historical photographs, both black-andwhite and color, connect the text with the close to sixty color plates, providing invaluable insight into the life and work of this seminal artist. Art historian Robert Farris Thompson delivers a detailed analysis of some of Basquiat’s most iconic paintings, situating them within the artist’s own oeuvre, as well as the larger landscape of twentieth-century art. Rounding out this stunning volume, the late Rene Ricard provides a rare but accurate glimpse into the private world of Basquiat, recounting their sometimes fraught friendship, from their first meeting in 1981 to Basquiat’s death in 1988. Robert Farris Thompson is the Colonel John Trumbull Professor at Yale University’s History of Art Department. He specializes in African and African-American art and has published extensively on the topic. Rene Ricard was an artist, poet, and art critic credited with launching the career of Jean-Michel Basquiat in a 1981 issue of Artforum. He was a fixture of New York’s art world from his arrival there in 1965 to his death in 2014.
Picasso and the Camera TEXTS BY JOHN RICHARDSON, MARVIN HEIFERMAN, PAUL HAYES TUCKER, MARY ANN CAWS, AND VICTORIA COMBALIA REPRINTED TEXT BY MAN RAY
Edited by Picasso biographer John Richardson, this book explores how Picasso sought to co-opt, exploit, and eclipse the conventions of photography throughout his career. With many never-before-published photographs taken by the artist, as well as paintings, drawings, sculptures, prints, and films, this volume offers an unparalleled examination of Pablo Picasso’s relationship to photography.
ART 350 pages, 85 x 11” 200 color and b/w illustrations PB: 978-0-8478-4591-0 $100.00 Can: $100.00 UK: £60.00 November 18, 2014 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
John Richardson is the author of a multivolume biography on the life of Picasso; the fourth and final volume is forthcoming. He is a regular contributor to The New York Review of Books, The New Yorker, and Vanity Fair. Marvin Heiferman is an American curator and writer who originates projects about the impact of photographic images on art and visual culture. Paul Hayes Tucker has taught art history at the University of Massachusetts, Boston, since 1978. In addition to his many publications, he has served as guest curator for more than half a dozen major exhibitions. Mary Ann Caws is an author, art historian, and literary critic. She is Distinguished Professor of English, French, and Comparative Literature at the Graduate School of the City University of New York. Victoria Combalia has been a Professor of Contemporary Art at the University of Barcelona since 1974. She is a monthly contributor to El Pais and a founding member of the Catalan Association of Art Critics.
Sterling Ruby: Vivids INTRODUCTION BY LARRY GAGOSIAN ESSAY BY EUGENE WANG
“I live in the foothills of the San Gabriel Mountains, and my studio is in downtown Los Angeles. My daily routine of driving back and forth is always a contemplative time. On this drive, I often witness extremely vivid and colorful sunrises and sunsets, yielding horizon lines that transform the urban sprawl into a meditative celestial plane.”—Sterling Ruby
ART 80 pages, 10X x 135” 39 color illustrations HC: 978-0-8478-4703-7 $80.00 Can: $80.00 UK: £55.00 September 1, 2015 Rights: World GAGOSIAN/RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
Documenting Sterling Ruby’s first exhibition with Gagosian Gallery, this catalog includes beautiful colored reproductions of the artist’s newest suite of spray paintings, VIVIDS, electric color fields representing the artist’s ruminations on the shifting, multihued Los Angeles skies that he encounters en route to his studio. Additional color photographs of Ruby’s workspace, as well as installation shots of the aforementioned exhibit, appear throughout the book documenting the creative process. Accompanying it all is new text from art historian Eugene Wang that situates Ruby’s work within the landscape of twenty-first-century art, while also acknowledging the debt it owes to such midcentury modernists as Barnett Newman and Andy Warhol. Wang deftly places Ruby’s VIVIDS in their proper context, temporally, geographically, and sociopolitically. Larry Gagosian is the founder of Gagosian Gallery, specializing in modern and contemporary art. He opened his first gallery in Los Angeles in 1980,and now has 14 distinct locations in 8 cities worldwide. Eugene Wang is the Abby Aldrich Rockefeller Professor of Asian Art at Harvard and has written extensively on Chinese art history from ancient funerary art to modern and contemporary Chinese art and cinema.
Jonas Wood and Shio Kusaka BLACKWELDER TEXT BY CHRIS WILEY
This catalog serves as a fully illustrated look into the world of artists Jonas Wood and Shio Kusaka, published in conjunction with the artists’ debut exhibition at Gagosian Gallery, Hong Kong. Both Kusaka’s porcelain vessels and Wood’s drawn and painted interiors are depicted within this new book in vibrant color plates and photographs. Wood and Kusaka draw from each other’s work as painter and potter to probe the tensions between representation and expression, precision and chance, and influences from art history and life.
ART 220 pages, 9 x 12” 152 color illustrations HC: 978-0-8478-4701-3 $50.00 Can: $50.00 UK: £55.00 September 1, 2015 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H G A G O S I A N G A L L E R Y
An insightful new text by art critic Chris Wiley accompanies color images of Wood and Kusaka at their shared studio on Blackwelder Street in Los Angeles, where they work alongside one another to create works that draw from personal memory and their shared existence as a married couple. This book was produced with Karma, NY. Chris Wiley is an artist and art critic. An adjunct professor at New York University, he is also the editor at large for Kaleidoscope magazine and has written extensively on contemporary art.
The heroine Paint ART 272 pages, 74 x 94” 170 color and b/w illustrations PB: 978-0-8478-4705-1 $40.00 Can: $40.00 UK: £35.00 September 15, 2015 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H GAGOSIAN GALLERY Image: “Women Artists in Ascendance,” LIFE magazine, May 13, 1957
ART 56 pages, 114 x 116 “ 60 color and b/w illustrations HC: 978-0-8478-4595-8 $60.00 Can: $60.00 UK: £35.00 October 21, 2014 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H GAGOSIAN GALLERY
AFTER FRANKENTHALER KATY SIEGEL, EDITOR. ESSAYS BY DANIEL BELASCO, JOHN ELDERFIELD, SUZANNE HUDSON, LANE RELYEA, AND HOWARD SINGERMAN
Following Frankenthaler’s own painting, as well as her influence on other artists, this volume traces artistic currents gathered under her name as they move outwards in different directions over time. Katy Siegel is a contributing editor to Artforum and the editor in chief of Art Journal, as well as a Professor of Art History at Hunter College and Chief Curator of the Hunter College Galleries.
Helen Frankenthaler COMPOSING WITH COLOR: PAINTINGS 1962–1963 TEXT BY ELIZABETH SMITH
This exhibition catalog offers an in-depth look at a brief but critical period in Helen Frankenthaler’s career when she “composed with color” rather than with lines, resulting in the compositions that would become the hallmark of her long and prolific career. Elizabeth Smith is an art historian and the executive director of the Helen Frankenthaler Foundation.
ART 54 pages, 106 x 136” 25 color illustrations Dual-language edition: English/Chinese Flexi: 978-0-8478-4702-0 $100.00 Can: $100.00 UK: £65.00 September 1, 2015 Rights: World GAGOSIAN/RIZZOLI I N A S S O C I AT I O N W I T H GAGOSIAN GALLERY
ART 56 pages, 126 x 10” 34 color illustrations HC: 978-0-8478-4597-2 $60.00 Can: $60.00 UK: £40.00 April 14, 2015 Rights: World RIZZOLI I N A S S O C I AT I O N W I T H GAGOSIAN GALLERY
Jeff Koons: Hulk Elvis HONG KONG EDITION TEXT BY PHILIP TINARI
“Hulk Elvis represents for me both Western and Eastern culture, a sense of a guardian, a protector, that at the same time is capable of bringing the house down.” —Jeff Koons Philip Tinari is director of the Ullens Center for Contemporary Art in Beijing and the founding editor of LEAP, launched in 2010 as “The International Art Magazine of Contemporary China.” He is a contributing editor to Artforum and has written and lectured widely on contemporary art in China.
Jeff Koons SPLIT-ROCKER TEXTS BY JERRY SPEYER AND GÜNTHER VOGT. CONVERSATIONS WITH NICHOLAS BAUME, JÉRÔME DE NOIRMONT, LAURENT LE BON, AND EMILY WEI RALES. FOREWORD BY LARRY GAGOSIAN
Split-Rocker is a spectacular planted form—over 37 feet high, featuring over 50,000 flowering plants—that evokes a piece of classical topiary work, yet its technical construction is the result of a twentieth-century invention. Jerry Speyer is the chairman and co-CEO at Tishman Speyer. Günther Vogt is the founder of VOGT Case Studio.
Essential Horror Movies MATINEE MONSTERS TO CULT CLASSICS MICHAEL MALLORY
The definitive book for fans of monster movies, slasher films, and cult classics. Would you dare to come face-to-face with the most terrifying vampires, monsters, zombies, and psychos of all time? They and their movies are all here in this lavishly (and terrifyingly) illustrated volume of the greatest, scariest, and most influential fright films. From such silent masterpieces as The Cabinet of Dr. Caligari (1920) to such Golden Era classics as Dracula (1931); from such richly colored shockers as House of Wax (1953) to such groundbreaking independent thrillers as Night of the Living Dead (1968); and including modern horrors from Michael Myers, Jason Voorhees, Freddy Krueger, and the Blair Witch series, Essential Horror Movies chronicles a century’s worth of cinematic terror. FILM 256 pages, 9 x 12” 300 color and b/w illustrations HC w/jacket: 978-0-7893-2942-4 $40.00 Can: $40.00 UK: £25.00 September 29, 2015 Rights: World UNIVERSE
Behind-the-scenes anecdotes, trivia, and photos complete the story of these essential motion pictures. Anyone who has ever loved to be scared by a truly great masterpiece of terror—or even a film that strives for nothing more than to provide an audience with spooky, corny fun—will find Essential Horror Movies a necessary addition to their personal library. Michael Mallory is an internationally recognized authority on twentieth-century pop culture. He is the author of Universal Studios Monsters and The Science Fiction Universe . . . and Beyond, among other books, and has written more than 700 newspaper, magazine, and online articles about film and animation.
Star Trek: Ships of the Line Posters CBS, MULTIPLE ARTISTS INCLUDING DOUG DREXLER, JOHN EAVES, KOJI KURAMURA, D.M. PHOENIX, AND DAREN DOCHTERMAN
Easily framed, high-quality, collectible prints by fan-favorite artists depict iconic scenes and the world-famous spacecraft, in celebration of Star Trek’s landmark 50th anniversary in 2016. Conceptual artists and graphic designers breathe incredible life into the alien worlds, serene galactic vistas, famous missions, and harrowing battles from Star Trek history in twenty-four stunning Ships of the Line posters. Formerly included in the long-running Star Trek: Ships of the Line calendar and used as novel covers, none of these images has ever been available in poster form. POPULAR CULTURE 24 color posters, 11 x 14” 24 color illustrations Portfolio of 24 detachable posters: 978-0-7893-2941-7 $24.95 Can: $24.95 October 6, 2015 Rights: US/Canada UNIVERSE TM & © 2015 CBS STUDIOS, INC. STAR TREK AND RELATED MARKS AND LOGOS ARE TRADEMARKS OF CBS STUDIOS INC. © 2015 PARAMOUNT PICTURES CORP. ALL RIGHTS RESERVED.
This boxed collection of easily framed posters gives fans an all-new, accessible way to display artwork from their favorite sci-fi franchise. Vividly reproduced on high-quality stock and including the artist’s name and the title image, each print makes an elegant addition to any fan’s space. Together, it’s a serious collection of eye-popping official Star Trek artwork. Each version of the U.S.S. Enterprise is included, from Star Trek: The Original Series, the films, and Star Trek: The Next Generation, as well as Deep Space 9, the U.S.S. Voyager, and other familiar vessels, such as Klingon birds-of-prey and a Borg Cube.
1001 TV Shows You Must Watch Before You Die PAUL CONDON, GENERAL EDITOR PREFACE BY STEVEN MOFFAT FOREWORD BY ROBB PEARLMAN
The most groundbreaking and important mustsee shows from the 1950s to today’s golden age of television. This latest addition to the best-selling and highly acclaimed 1001 series showcases the best programs produced for television from its inception to the bumper crop of great shows being produced in today’s era of original cable programming and digital streaming. Offering a critical evaluation of the most important and groundbreaking TV programs ever created, this book tracks television’s evolution through decades of social, cultural, and stylistic change. Included are shows that broke new ground, influenced the future, and left a lasting mark, ranging from the wholesomeness of Leave It to Beaver or The Andy Griffith Show through the mod cool of Laugh-In and The Avengers to the present day. Every important genre and era is represented, from award-winning sitcoms such as All in the Family and Seinfeld to the recent wave of highquality cable series, including The Sopranos, Six Feet Under, Breaking Bad, and Mad Men. This volume is the perfect guide to what next to binge watch—every program is available via DVD or streaming on Netflix, Amazon, and Hulu. Paul Condon is the author of several pop culture books, including The Matrix Unlocked and The Complete Hitchcock. Steven Moffat is a Scottish television writer and producer who has won an Emmy for his writing on Sherlock. Robb Pearlman is the author of many pop culture books, including 101 Ways to Use a Unicorn and 101 Ways to Kill a Zombie.
PERFORMING ARTS/POPULAR CULTURE 960 pages, 6W x 8W” 800 color and b/w photographs HC w/jacket: 978-0-7893-2938-7 $36.95 Can: $36.95 October 6, 2015 Rights: US/Canada UNIVERSE
100 Documents That Changed The World FROM THE MAGNA CARTA TO WIKILEAKS SCOTT CHRISTIANSON
A tour of the history of the world through the declarations, manifestos, and agreements from the Magna Carta and the Declaration of Independence to Wikileaks. This fascinating collection gathers the most significant written documents that have influenced and shaped the way we think about the world and the course of history. From the Magna Carta (1215) to the Gettysburg Address (1863) to Martin Luther King, Jr.’s “I Have a Dream” speech (1963), the documents showcased here chart dramatic high points of world history. In addition to official charters and famous treaties, there are also less well known yet nonetheless interesting items included, such as the Apollo flight plan, Apple’s 1976 incorporation documents, and the check with which the U.S. purchased Alaska from Russia. Equally interesting are Watson and Crick’s scrawled notes leading to the discovery of DNA, Darwin’s journal, and the annotated manuscripts for Freud’s Interpretation of Dreams and Orwell’s novel 1984. Beautifully illustrated in full color, this book not only informs but also entertains as it demonstrates how the power of the written word has shaped, changed, enhanced, and even revolutionized the world. Scott Christianson is an award-winning author of many distinguished nonfiction books, including 100 Diagrams That Changed the World, The Last Gasp: The Rise and Fall of the American Gas Chamber, and Freeing Charles: The Struggle to Free a Slave on the Eve of the Civil War.
HISTORY 224 pages, 74 x 9V” 200 color illustrations HC: 978-0-7893-2936-3 $29.95 Can: $29.95 October 27, 2015 Rights: US/Canada UNIVERSE
The Civil War Soldier INCLUDES OVER 700 KEY WEAPONS, UNIFORMS, AND INSIGNIA ANGUS KONSTAM
Specially commissioned photographs of more than 700 key artifacts and military equipment bring to life the experiences of Union and Confederate soldiers of all ranks, by exploring the uniforms, weapons, and objects carried by soldiers on both sides. There is an abiding fascination with the Civil War. What personal items did soldiers carry in their haversacks? How did the weaponry differ between ranks? What did the design of each unit’s flag symbolize? This is the ultimate quartermaster’s locker room—a full-scale armory of detailed information. This is an essential work for those who wish to gain an in-depth understanding of military life during one of the greatest conflicts in history—especially anyone interested in the widely popular Civil War reenactments. This book offers unique and detailed information about the personal items that a typical soldier carried along with weapons and other military necessities. Selected for their importance to the outcome, the artifacts include Union and Confederate guns, swords, artillery, uniforms, medals, equipment, and much more. Each item is described, photographed, and discussed in detail, making this a superb reference that brings the war to life. Angus Konstam is a distinguished historian and author of many Civil War books, including Duel of the Ironclads, The Pocket Book of Civil War Weapons and The Pocket Book of Civil War Battle Sites. He was also the general editor of The Civil War: A Visual Encyclopedia. He served in the Royal Navy and was the chief curator of the Mel Fisher Maritime Museum in Key West, Florida.
HISTORY 160 pages, 75 x 8Y” 250 color and b/w illustrations HC: 978-0-7893-2939-4 $19.95 Can: $19.95 October 13, 2015 Rights: US/Canada UNIVERSE
Yoga at Home INSPIRATION FOR CREATING YOUR OWN HOME PRACTICE LINDA SPARROWE IN ASSOCIATION WITH YOGA JOURNAL
The definitive guide to creating your own home yoga practice from the leading experts of Yoga Journal. Although yoga studios continue to proliferate, students are increasingly looking to enhance their studio experience with a personal home practice. Yoga at Home not only provides all the ingredients necessary, but this accessible how-to book also offers a visual feast of pose sequences and routines by top instructors and practitioners as photographed in their own homes. This accessible, photo-intensive, practice-oriented book provides everything needed to enrich a home yoga practice, including how to put together a wellrounded practice, how to expand on or vary that practice, and how-to sequences of poses and practices to follow at home. Along with exercises and advice from famous yoga teachers and practitioners such as Seane Corn, Rodney Yee, David Life and Sharon Gannon, Shiva Rea, and Elena Brower, the book features never-before-seen pose sequences showing these teachers practicing their favorite yoga poses in their homes and exploring the ways in which they use their personal spaces to complement their yoga routines. The practical tips, sequencing ideas, and inspiration found in the teachings of yoga—both ancient and contemporary—will resonate with both students and teachers at every level of practice. Linda Sparrowe is the former managing editor, acting editor in chief, and longtime contributor of Yoga Journal magazine. She has written six books on yoga, including the highly acclaimed Yoga: A Yoga Journal Book, and has contributed to several others.
SPORTS AND RECREATION 240 pages, 8 x 10” 250 color photographs Flexi: 978-0-7893-2943-1 $27.50 Can: $27.50 UK: £18.95 September 29, 2015 Rights: World English RIZZOLI
New York Non-Stop A PHOTOGRAPHIC ALBUM GABRIELA KOGAN
A perfect keepsake of the city in a fresh collection of New York photos that explore the vibrant, chaotic, joyous, gritty day-to-day life in the city. This memorable collection of photographs is a virtual love letter to the world’s favorite city. It presents diverse images taken by various contributors that capture the quirky heart and frenetic life of the city and how it is experienced. From subway scenes to park life, from culinary delights to impressive works of street art, these evocative, thought-provoking, and sometimes humorous images show that beauty and inspiration can be found around every corner. Pieced together from a variety of people’s experiences, the resulting album of snapshots is an irresistible keepsake that will appeal to natives and visitors alike. Looking through the details, angles, and Instagram-era photos collected here reveals a New York that is at once familiar yet also like a new discovery. To view these images is to see the city anew, refreshing the desire to experience it. Gabriela Kogan is a graphic designer based in Buenos Aires. She runs a boutique design studio specializing in book design and production. She is often in New York, and this is her second compilation of New York photos since her first volume, New York: A Photographic Album, in 2009.
TRAVEL 400 pages, 85 x 6Y” 400 color photographs HC: 978-0-7893-2940-0 $24.95 Can: $24.95 UK: £16.95 September 22, 2015 Rights: World English UNIVERSE
PREVIOUSLY ANNOUNCED
Francesco Vezzoli ART 394 pages, including booklet and embroidery, 95 x 115” 300 color and b/w illustrations HC w/slipcase: 978-0-8478-3982-7 $150.00 Can: $150.00 UK: £100.00 November 17, 2015 Rights: World RIZZOLI
EDITED BY CRISTIANA PERRELLA TEXTS BY KLAUS BIESENBACH, FRANCESCO BONAMI, CAROLINE BOURGEOIS, DAN CAMERON, MARIUCCIA CASADIO, GERMANO CELANT, CAROLINE CORBETTA, NICHOLAS CULLINAN, RICHARD FLOOD, JOÃO FERNANDES, JAMES FRANCO, ROSELEE GOLDBERG, CHRISSIE ILES, MARK NASH, HANS-ULRICH OBRIST, MIUCCIA PRADA, ALMA RUIZ, ALI SUBOTNICK, ÉRIC TRONCY, STEFANO TONCHI, MATT TYRNAUER, GIORGIO VERZOTTI , ANDREA VILIANI, AND LINDA YABLONSKY
The definitive monograph on the celebrated Italian artist of the meta-spectacle.
Feelings: Soft Art ART 212 pages, 9 x 12” 150 color illustrations Flexi: 978-0-8478-4579-8 $35.00 Can: $35.00 UK: £25.00 October 6, 2015 Rights: World SKIRA RIZZOLI
CONTRIBUTIONS BY TRACEY EMIN, WAYNE KOESTENBAUM, JOHN ONIANS, ASHER PENN, ANDREA K. SCOTT, AND OTHERS
A visually arresting collection of new works by emerging artists and celebrated names, united around a simple premise. Tracey Emin is a writer and artist. Wayne Koestenbaum is an American poet and cultural critic. His previous titles include Humiliation, My 1980s, Best-Selling Jewish Porn Films, and Blue Stranger with Mosaic Background. John Onians is professor emeritus of world art at the University of East Anglia, Norwich. His recent books include Neuroarthistory. Asher Penn is an artist and publisher. Andrea K. Scott writes for the New Yorker.
FOOD & WINE 240 pages, 6 x 94” 16 pages of color photographs HC: 9788891801388 $29.95 Can: $29.95 UK: £14.00 October 28, 2014 Rights: World English ex. Italy RIZZOLI I N A S S O C I AT I O N W I T H MONDADORI
Vino, I Love You OSCAR FARINETTI AND SHIGERU HAYASHI
In this book, we meet twelve wine producers on a journey from the north to the south of Italy: all extraordinary men and women who have had the courage to bet on the land to become driving forces of the future. Oscar Farinetti founded the Italian food emporium Eataly in 2004. Shigeru Hayashi has been chairman of Eataly Japan since 2009.
My Hermitage HOW THE HERMITAGE SURVIVED TSARS, WARS, AND REVOLUTIONS TO BECOME THE GREATEST MUSEUM IN THE WORLD MIKHAIL BORISOVICH PIOTROVSKY
In a memoir, the museum’s longtime director takes the reader on a private tour of this global treasure.
ART/MEMOIR 384 pages, 7 x 95” 350 color and b/w illustrations HC w/jacket: 978-0-8478-4378-7 $45.00 Can: $45.00 UK: £30.00 September 22, 2015 Rights: World SKIRA RIZZOLI
Holding one of the largest collections of Western art in the world, the Hermitage is also a product of Russia and its dramatic history. Founded by Empress Catherine the Great in 1764, the stunning Winter Palace was built to house her growing collection of Old Masters and to serve as a home for the imperial family. Tsars came and went over the years, artworks were acquired and sold, buildings were burned down in terrible fires, and still the collections grew. After the violent upheavals of the Russian Revolution in 1917, the palaces and collections were opened to the public. Now, in an unprecedented collection of illuminating essays, Piotrovsky explores the cultural history of a collection as rich in adventure as art. From fascinating intrigues to revelatory scholarship on the collection’s incredible art and artifacts, My Hermitage is a profound and captivating story of art’s timelessness and how it brings people together. Mikhail Borisovich Piotrovsky has been the director of the State Hermitage Museum since 1992 and has dedicated his career to making the treasures of the museum accessible to individuals and institutions around the world.
Laura Owens CONTRIBUTIONS BY RACHEL KUSHNER, TRINIE DALTON, WALEAD BESHTY, LINDA NORDEN, MARK GODFREY, AND SUZANNE HUDSON
A major monograph on contemporary artist Laura Owens surveys her career and explores why she has become one of the most interesting and provocative painters of today. From her meteoric rise in the late ’90s and early 2000s, Laura Owens has set herself apart as an artist working through difficult territory in painting—the very terms of painting itself. At a time when a stern conceptualism dominated the painting landscape, Owens’ canvases shimmered with unabashed joy, figures, and acid-bright colors. Informed by art history, Owens possesses the rare ability to wield a variety of familiar styles without their stultifying weight, garnering critical praise for compositions at once playful and rigorous. ART 256 pages, 94 x 12” 225 color illustrations HC: 978-0-8478-4399-2 $75.00 Can: $75.00 UK: £50.00 October 13, 2015 Rights: World SKIRA RIZZOLI
Shifting easily between materials and genres, Owens’ work refuses to commit to one identity. Some signature elements include a menagerie of abstract animals, a simple figurative style, an interest in history, and the lingering influence of Matisse, Gauguin, and Miró. This monograph will survey Owens’ influential career, but perhaps more importantly, it will be the first to critically assess the artist’s most recent work. Rachel Kushner ’s novel, Telex from Cuba, was a finalist for the 2008 National Book Award, winner of the California Book Award, and a New York Times best seller. Trinie Dalton is an author, editor, and curator. Walead Beshty is an artist based in Los Angeles. Linda Norden is a curator, writer, and art historian. Mark Godfrey is a curator at Tate Modern, London. Suzanne Hudson is assistant professor of art history at the University of Southern California.
Roy Lichtenstein DRAWING FIRST EDITED BY DANILO ECCHER
“Drawing is the basis of my art. It is where my thinking takes place. It is a big part of my painting. The paintings are always the same, only larger. But they may not get at all better. I am not thinking it up while I am actually doing the painting. A certain spontaneity is lost. Drawing has more interesting traces . . .” —Roy Lichtenstein Written in close collaboration with the Roy Lichtenstein Estate and Foundation, this monograph presents an extraordinary selection of over 200 works on paper by the American artist, from the National Gallery of Washington, DC; the MoMA and the Whitney Museum, New York; the Art Institute of Chicago, as well as public and private European and American collections. Devoted to his works on paper that represent the most private and poetic aspect of Roy Lichtenstein’s production, this volume provides the reader with a unique perspective for getting to know and appreciate the artist’s oeuvre through the “first works,” namely the original ideas that were to be the source of inspiration for his great, world-famous masterpieces. The works on paper are also paired with some important paintings and sculptures, as well as a rich selection of photographs documenting the artist at work. The volume includes texts by Danilo Eccher, Dorothy Lichtenstein, Bernice Rose, Jack Cowart, Thomas Zacharias (“Lichtenstein Draws”), and Andrea C. Theil, a chronology (by Clare Bell), and a list of exhibitions in Italy. Danilo Eccher has been Director of GAM Galleria civica d’arte moderna e contemporanea of Turin since 2009. .
ART 272 pages, 95 x 11’’ 300 color illustrations HC: 978-88-572-2694-1 $70.00 Can: $70.00 November 3, 2015 Rights: US/Canada, Latin America SKIRA
American Chronicles: The Art of Norman Rockwell EDITED BY DANILO ECCHER AND STEPHANIE HABOUSH PLUNKETT
Twentieth-century American society wittily and ironically portrayed by a great artist. Norman Rockwell (1894–1978), one of the most popular American artists of the past century, has often been regarded as a simple illustrator and had his work identified with the covers of the Saturday Evening Post. He is, instead, a total artist. An acute observer of human nature and talented storyteller, Rockwell captured America’s evolving society in small details and nuances, portraying scenes of the everyday life of ordinary people and presenting a personal and often idealized interpretation of the American identity. His images offered a reassuring visual haven in a period of epoch-making transformation that led to the birth of the modern American society. The art of Norman Rockwell entered the homes of millions of Americans for over fifty years, illustrating the Roaring Twenties, the Depression, World War II, and the 1950s and 1960s. His works mirror aspects of the life of average Americans with precise realism and often in a humorous light. The exhibition catalog organized in collaboration with the Norman Rockwell Museum of Stockbridge, Massachusetts, presents well-known and beloved masterpieces like the Triple Self-Portrait (1960), Girl at the Mirror (1954), and The Art Critic (1955) alongside carefully observed images of youthful innocence (No Swimming, 1921) and paintings with a powerful social message like The Problem We All Live With (1964). Danilo Eccher has been Director of GAM Galleria civica d’arte moderna e contemporanea of Turin since 2009. Stephanie Haboush Plunkett is Chief Curator of the Norman Rockwell Museum.
ART 208 pages, 95 x 11’’ 200 166--- color illustrations HC: 978-88-572-2576-0 $50.00 Can: $50.00 September 29, 2015 Rights: US/Canada, Latin America SKIRA
Exhibition Schedule: Tampa Museum of Art, Tampa, FL: March 6–May 31, 2015 Brigham Young University Museum of Art, Provo, UT: November 19, 2015–February 13, 2016 Taubman Museum of Art, Roanoke, VA: March 18–June 12, 2016
Come Together CONTEMPORARY ART 296 pages, 86 x 12’’ 175 color illustrations HC: 978-88-572-2502-9 $80.00 Can: $80.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
SURVIVING SANDY, YEAR 1 EDITED BY JACK FLAM
This book documents an extraordinary exhibition in 2013 commemorating the first anniversary of a disaster of epic proportions—the Atlantic storm named Sandy. This catalog reproduces installation photographs of works of art that were in the exhibition in Brooklyn, New York, along with photographs of the various events that took place while it was on view. Jack Flam is President and CEO of Dedalus Foundation. He is distinguished Professor Emeritus of art and art history at Brooklyn College and the Graduate Center of the City University of New York.
Botero CONTEMPORARY ART 256 pages, 11 x 116’’ 210 color and b/w illustrations HC: 978-88-572-2759-7 $85.00 Can: $85.00 November 10, 2015 Rights: US/Canada, Latin America SKIRA
RUDY CHIAPPINI
A new monograph dedicated to the great Latin American artist, gathering all his paintings made in the last thirty years. This monograph presents Botero’s paintings realized in the last thirty years and created using his own unique language, which is a distinguishing feature of his work and an extraordinary blend of Latin American tradition and European painting. Rudy Chiappini , art critic and historian, has been director of the Modern Art Museum of Lugano (Switzerland) for over twenty years.
Louise Bourgeois ART 88 pages, 11 x 116’’ 38 color illustrations PB: 978-88-572-2588-3 $39.95 Can: $39.95 September 1, 2015 Rights: US/Canada, Latin America SKIRA
SUSPENSION ESSAY BY ROBERT PINCUS-WITTEN
Spanning more than forty-five years, the works presented in this volume trace the theme of suspension throughout Bourgeois’s long career. Along with a group of drawings from the 1940s, the selection of works presented in this volume demonstrate the myriad ways in which Louise Bourgeois approached material, form, and scale. Robert Pincus-Witten is an art critic, curator, and art historian. He is currently Director of Exhibitions at C&M Arts, New York.
Sean Scully DANILO ECCHER
Published for the 56th Venice Biennale, a complete monograph devoted to the Irish-born American-based painter and printmaker who has twice been named a Turner Prize nominee. Born in Dublin, Ireland, in 1945, Sean Scully has gained international prominence as one of the most admired contemporary abstract painters today. Fusing the traditions of European painting with the distinct character of American abstraction, Scully’s great achievement is the reinvigoration of abstract painting with the metaphorical, the philosophical, and the sublime combined with the earthy tangibility of paint.
CONTEMPORARY ART 168 pages, 95 x 11’’ 200 color illustrations PB: 978-88-572-2758-0 $45.00 Can: $45.00 October 6, 2015 Rights: US/Canada, Latin America SKIRA
From his precisely gridded works of the 1970s to the three-dimensional panels of the 1980s and his now celebrated Wall of Light paintings from the 1990s, this volume gathers the entire oeuvre of the artist, whose work is held in numerous public collections including the Metropolitan Museum of Art, MoMA, and Solomon R. Guggenheim Museum, New York; the National Gallery of Art, Corcoran Gallery of Art, and Hirshhorn Museum and Sculpture Garden, Washington, DC; Modern Art Museum of Fort Worth, Texas, and the Tate, London. Elected a Royal Academician in 2013, Sean Scully has been shortlisted for the Turner Prize twice, in 1989 and in 1993. He lives and works in New York, Barcelona, and Munich. Danilo Eccher has been Director of GAM Galleria civica d’arte moderna e contemporanea of Turin since 2009.
Robert Motherwell 1915–2015 EDITED BY KATY ROGERS AND JACK FLAM
Published on the 100th anniversary of Robert Motherwell’s birth, this book presents a comprehensive view of his artistic achievement and historical importance. Each chapter focuses on an important aspect or phase of the artist’s life in relation to his art and explores the many ways in which his activities as an artist, writer, and theorist helped to shape American culture during the second half of the twentieth century. The book contains many unpublished documentary photographs and writings, as well as vivid color illustrations of many of Motherwell’s most significant works. Katy Rogers is the Director of the Robert Motherwell Catalogs Raisonné ART 336 pages, 95 x 11’’ 300 color and 50 b/w illustrations HC: 978-88-572-2673-6 $70.00 Can: $70.00 September 29, 2015 Rights: US/Canada, Latin America SKIRA
project, the Programs Director at the Dedalus Foundation, and the Manager of the Donald Judd Catalogue Raisonné Project. Jack Flam is President of the Dedalus Foundation and Distinguished Professor Emeritus of art and art history at Brooklyn College and the Graduate School of the City University of New York, and the author of numerous books, catalogs, and articles on various aspects of nineteenth- and twentieth-century European and American art.
Daido Moriyama IN COLOURS FILIPPO MAGGIA
The most recent projects by Daido Moriyama, one of the leading figures in contemporary Japanese photography along with Nobuyoshi Araki, Yasumasa Morimura, and Shomei Tomatsu. Considered one of the great masters of contemporary Japanese photography, Daido Moriyama is always on the road, a lone traveler whose black-and-white images recount visions and worlds hidden just beneath the surface of reality. This book contains 250 photographs taken over the last five years. A constant flow of images that is often frenetic or suddenly suspended, following the rhythm of an unfettered, restless life spent traveling the roads of the world. Daido Moriyama (born 1938) is one of the most important living photographers and photo-book makers. Filippo Maggia is currently researcher in the Photography Department of the Royal College of Art. Since 2010, he has taught photographic documentation at the Accademia di Belle Arti in Catania (Sicily).
PHOTOGRAPHY 240 pages, 95 x 11’’ 200 duotone illustrations HC: 978-88-572-2226-4 $65.00 Can: $65.00 October 13, 2015 Rights: US/Canada, Latin America SKIRA
Hiroshi Sugimoto STOP TIME FILIPPO MAGGIA
A complete overview of the practice of Hiroshi Sugimoto, considered by many to be one of the most authoritative figures of international contemporary photography. This volume traces the artist’s entire career and masterpieces that have marked his research: from dioramas in natural history museums to seascapes and famous theaters photographed with long exposure times. An entire section is also dedicated to architecture, featuring some recent “no-focus” photographs related to the most important cultural buildings in the world, such as MoMA in New York and the Serpentine Gallery in London. The volume also includes some pictures from the series Lightning Fields. A special section is devoted to the Sugimoto monographs published from 1977 to the recent ones, Dioramas and On the Beach, printed in 2014. Hiroshi Sugimoto lives and works in New York and Tokyo. His works are part of the most important international museum collections. Filippo Maggia is currently a researcher in the Photography Department of the Royal College of Art, London.
PHOTOGRAPHY 96 pages, 116 x 95’’ 40 duotone illustrations HC: 978-88-572-2232-5 $50.00 Can: $50.00 October 13, 2015 Rights: US/Canada, Latin America SKIRA
Photography PHOTOGRAPHY/ART HISTORY 1,376 pages, 85 x 11’’ 1,165 color illustrations HC with slipcase: 978-88-572-2682-8 $240.00 Can: $240.00 November 3, 2015 Rights: US/Canada, Latin America SKIRA
HISTORY OF PHOTOGRAPHY VOLUMES I–IV EDITED BY WALTER GUADAGNINI
This history of photography, marking an ideal continuity with the Art of the Twentieth Century series, offers a specialized investigation of the medium and an international overview. The series offers a complete, up-to-date survey of photography through an original and transversal analysis. Former director of the Galleria Civica in Modena, Walter Guadagnini is a curator and professor of history of contemporary art at the Accademia delle Belle Arti in Bologna.
Sven Marquardt PHOTOGRAPHY 110 pages, 95 x 11’’ 120 b/w illustrations PB: 978-88-572-2665-1 $40.00 Can: $40.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
GÖTTERDÄMMERUNG. THE TWIGHTLIGHT OF THE GODS EDITED BY ENRICO DEBANDI, EUGENIO VIOLA
This volume presents for the first time in such a thorough way the works of Sven Marquardt, born in East Berlin in 1962. Former “clandestine” photographer Sven Marquardt is now undisputed protagonist of the reunited German capital’s underground art scene. Enrico Debandi is Artistic Director of Palazzo Saluzzo Paesana in Turin. Eugenio Viola is an art critic and independent curator.
Tirelli 50 FASHION/PERFORMING ARTS 272 pages, 95 x 12’’ 350 color illustrations HC: 978-88-572-2688-0 $75.00 Can: $75.00 June 2, 2015 Rights: US/Canada, Latin America SKIRA E A R LY O N S A L E
Exhibition Schedule: Museum of the Moving Image, New York: June 2015
EDITED BY MASOLINO D’AMICO, SILVIA D’AMICO, CATERINA D’AMICO, AND DINO TRAPPETTI
The activity of the most glorious Italian costume tailoring company of our time, founded by Umberto Tirelli in 1964. The book presents a portrait of Tirelli with the history of his apprenticeship and his passion not only for the painstaking reproduction of ancient garments and accessories but also for building up a priceless collection of tens of thousands of original items of clothing. Masolino d’Amico , journalist, writer, scriptwriter and translator, has taught English literature at the University of Rome.
Braccialini FASHION 184 pages, 86 x 11’’ 191 color illustrations HC: 978-88-572-2451-0 $50.00 Can: $50.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
BAGS IN WONDERLAND EDITED BY FABIANA GIACOMOTTI
Published for the sixtieth anniversary of the Italian bag company, this publication tells the story of the Florentine maison’s innovation. In this book, Carla Braccialini and her three sons— Riccardo, Massimo, and Lorenzo—celebrate their first sixty years in business by revealing the hidden places and secrets of the “Braccialini world.” Fabiana Giacomotti , journalist and writer, teaches fashion and costume design at the University of Rome La Sapienza.
ANTIQUES & COLLECTIBLES 368 pages, 95 x 11’’ 290 color illustrations HC: 978-88-572-2757-3 $55.00 Can: $55.00 October 27, 2015 Rights: US/Canada, Latin America SKIRA
The Treasures of the Buccellati Foundation FROM MARIO TO GIANMARIA, 100 YEARS OF GOLDSMITH ART HISTORY EDITED BY RICCARDO GENNAIOLI
A selection of over one hundred works of gold and silver designed by Mario and Gianmaria Buccellati, two of the most significant names in jewelry. This volume, published on the occasion of their 100th anniversary, showcases some of the most valuable pieces they designed. Riccardo Gennaioli , art historian, is specialized in the history of jewelry.
Best in Show TRANSPORTATION 204 pages, 11 x 116’’ 175 b/w illustrations HC: 978-88-572-2689-7 $90.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
ITALIAN CAR MASTERPIECES FROM THE LOPRESTO COLLECTION EDITED BY ANDREA CITTADINI TEXTS BY MICHELE P. CASIRAGHI
The Lopresto Collection represents a cross section of the history of automobiles, design, Italy, and its creativity. The most important collection in Italy and one of the most prestigious in the world. Andrea Cittadini was Head of the Press Office for Yamaha, Ferrari, and Maserati. A journalist, Cittadini writes for a number of Italian and foreign publications and TV stations.
DESIGN 416 pages, 95 x 11’’ 260 color illustrations PB: 978-88-572-2761-0 $75.00 Can: $75.00 September 15, 2015 Rights: US/Canada, Latin America SKIRA
Glass from Finland, in the Bischofberger Collection EDITED BY KAISA KOIVISTO AND PEKKA KORVENMAA
A new volume from the project “Le Stanze del Vetro” dedicated to Finnish glass design. This richly illustrated volume features artworks from 1932 to 1973 in the Bruno Bischofberger Collection, bringing together 330 masterpieces in a celebration of the fascinating and timeless art of Finnish glass design. Kaisa Koivisto is curator at the Finnish Glass Museum of Riihimäki, Finland. Pekka Korvenmaa teaches design and culture at the Aalto University School of Arts, Design and Architecture di Helsinki.
Hidden Forms DESIGN 240 pages, 86 x 95’’ 216 color illustrations HC: 978-88-572-2462-6 $50.00 Can: $50.00 October 6, 2015 Rights: US/Canada, Latin America SKIRA
SEEING AND UNDERSTANDING THINGS FRANCO CLIVIO PHOTOGRAPHS BY HANS HANSEN
A hymn to the inconspicuous things that surround us in our day-to-day lives, rarely attracting a second glance. For several decades, the designer Franco Clivio has collected everyday objects that are usually considered mundane and unspectacular. Franco Clivio is a designer and lecturer at the Schule für Gestaltung, the school of design in Zurich.
Teatro alla Scala THE ILLUSTRATED HISTORY CARLO LANFOSSI
The theater’s history from its origins to the present day, richly illustrated in color. La Scala is “the world’s number one theater, because it is the one that gives the greatest musical enjoyment,” wrote Stendhal on November 10, 1816. La Scala opened in 1778 with the opera Europa riconosciuta by Antonio Salieri, but it had already won itself the prestige it would forever keep. Most of Italy’s greatest opera artists, and many of the finest singers from other nations, too, have appeared at La Scala over the past 200 years. Today, the theater is still recognized as one of the leading opera and ballet venues in the world.
PERFORMING ARTS 240 pages, 11 x 125’’ 196 b/w and color illustrations HC: 978-88-572-2695-8 $100.00 Can: $100.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
This lavish book—with impressive pairings of text and illustrations—presents a chronology of the major operas, ballets, composers, and performers from 1778 to today and represents an invaluable guide for both amateur opera fans and aficionados. Through six sections—the beginnings; the first half of the nineteenth century; the second half of the nineteenth century; the first half of the twentieth century; the second half of the twentieth century; La Scala in the new millennium—this volume tells the fascinating story of the building. Carlo Lanfossi is the author of several essays on the history of music and is contributing editor to Il Giornale della musica.
Modern History of Italian Wine EDITED BY WALTER FILIPUTTI
The modern history of Italian wine, which began between the 1960s and early 1970s, narrated by its main protagonists. Divided into three sections, the volume takes the reader on a journey into the multifaceted world of Italian wine. Starting from its origins in the 1960s and following its evolution, the journey takes in the viticulture landscape, the many international markets, the winemaking revolution, the different societies and movements, the wineries (inner sanctums where the wine ritual is celebrated), and even Italian cuisine and its global success. The book also introduces the vintners, who decade after decade have written this history from the 1970s until the present, and to each of whom is devoted a comprehensive entry. Walter Filiputti is a journalist and writer specialized in food and wine. FOOD & DRINK 500 pages, 84 x 11’’ 450 color illustrations HC: 978-88-572-2623-1 $90.00 Can: $90.00 November 17, 2015 Rights: US/Canada, Latin America SKIRA
ARCHITECTURE 216 pages, 11 x 11’’ 120 color illustrations HC: 978-88-572-2543-2 $70.00 Can: $70.00 September 29, 2015 Rights: US/Canada, Latin America SKIRA
Sergey Kuznetsov ARCHITECTURE DRAWINGS EDITED BY LUCA MOLINARI INTRODUCTIONS BY SANTIAGO CALATRAVA AND MASSIMILIANO FUKSAS
The volume reveals the great importance of drawings in Sergey Kuznetsov’s architectural practice. Architect and critic Luca Molinari is associate professor of history of contemporary architecture at the Luigi Vanvitelli School of Architecture, University of Naples, and guest professor at the Guangzhou Academy of Fine Arts, China.
Sergey Tchoban ARCHITECTURE DRAWINGS EDITED BY LUCA MOLINARI INTRODUCTIONS BY SANTIAGO CALATRAVA AND MASSIMILIANO FUKSAS
The first book devoted to the architecture drawings by Sergei Tchoban, an influential figure in the new generation of architects in contemporary Russia. Architect and critic Luca Molinari is associate professor of history of contemporary architecture at the Luigi Vanvitelli School of Architecture, University of Naples, and guest professor at the Guangzhou Academy of Fine Arts, China.
Christopher Benninger ARCHITECTURE FOR MODERN INDIA EDITED BY RAMPRASAD AKKISETTI AND ROSA MARIA FALVO
This volume explores acclaimed Indian architect Christopher Benninger and his unique approach to urban architecture. Ramprasad Akkisetti is the managing director of Christopher Charles Benninger Architects Private Limited (CCBA), one of India’s premier architectural firms, and founder of India House Art Gallery in Pune, dedicated to master artists. Rosa Maria Falvo is a writer and curator.
Lightfall: Genealogy of a Museum PAUL AND HERTA AMIR BUILDING, TEL AVIV MUSEUM OF ART EDITED BY PRESTON SCOTT COHEN AND ERAN NEUMAN
The Tel Aviv Museum of Art’s Paul and Herta Amir Building provides a new approach for resolving tensions between divergent cultural agendas. Preston Scott Cohen is the Gerald M. McCue Professor of Architecture at Harvard University Graduate School of Design. Dr. Eran Neuman earned a Ph.D. and an M.A. in architecture at the University of California, Los Angeles, and a B.A. in architecture at the Bezalel Art and Design Academy in Jerusalem.
Friar Francis TRACES, WORDS, IMAGES EDITED BY FRIAR CARLO BOTTERO, STEFANO BRUFANI, AND FLAVIA DE SANCTIS IN COLLABORATION WITH CRISTINA ROCCAFORTE
The figure of Saint Francis of Assisi and his perennial message of peace seen through exceptional historical manuscripts. For eight centuries the presence and the influence of Francis’s life and deeds have made themselves felt in the history of Christianity and in that of the rest of humanity, too.
WORLD HISTORY/RELIGION 152 pages, 95 x 11’’ 90 color illustrations HC: 978-88-572-2666-8 $40.00 Can: $40.00 March 3, 2015 Rights: US/Canada, Latin America SKIRA E A R LY O N S A L E
Published for the 2014 exhibition Friar Francis: Traces, Words, Images, held at the headquarters of the United Nations in New York, a place that hosts a variety of cultural events every day and is itself a symbol of peace, the volume is a tribute to the figure of Francis, extraordinary man and saint, and it is a rare occasion of great scientific and cultural value to approach and get to know Francis through ancient and unique manuscripts from the Library of the Sacro Convento di San Francesco in Assisi. They are the oldest papal records and manuscripts that directly concern the saint from Assisi: his writings, his life, the development of the religious order he founded. Friar Carlo Bottero , O.F.M. Conv., Director, Biblioteca del Sacro Convento di San Francesco in Assisi. Stefano Brufani , Professor of Franciscan Studies at the University of Perugia and Secretary of the International Society of Franciscan Studies. Flavia de Sanctis , President, Antiqua Cultural Association. Cristina Roccaforte , Archivist, Archivio del Sacro Convento di San Francesco in Assisi.
Discovering Tibet THE TUCCI EXPEDITIONS AND TIBETAN PAINTINGS DEBORAH KLIMBURG-SALTER
The explorations of Giuseppe Tucci, the founder of modern Tibetanology, as reflected in period photographs and masterpieces of Tibetan painting from the eleventh to the eighteenth centuries. Tibetan culture and artistic tradition were virtually unknown in the West until the eight major expeditions led by Giuseppe Tucci between 1926 and 1948. This catalog retraces his travels through period photographs and his contributions to the study of Tibetan art. In addition to Tucci’s photographs, it presents a collection of paintings from the eleventh to the eighteenth centuries, enabling readers to discover Tibetan art with particular reference to compositional style, iconography, and the reading of a tangka. ART HISTORY 292 pages, 95 x 11’’ 280 color illustrations PB: 978-88-572-2251-6 $55.00 Can: $55.00 September 15, 2015 Rights: US/Canada, Latin America SKIRA
Deborah Klimburg-Salter is an art historian and professor of non-European art history at the Department of Art History at the University of Vienna.
Mimmo Rotella:1944-1961 ART 448 pages, 95 x 11’’ 1,330 color and 400 b/w illustrations HC with slipcase: 978-88-572-2241-7 $350.00 Can: $350.00 October 27, 2015 Rights: US/Canada, Latin America SKIRA
CATALOGUE RAISONNÉ (VOL. 1) EDITED BY GERMANO CELANT
Divided into three volumes, the catalogue raisonné dedicated to Mimmo Rotella’s oeuvre looks at the career, spanning almost sixty years, of one of the great interpreters of Italian and international contemporary art. This first volume of the catalogue raisonné focuses on the period from 1944 to 1961. Germano Celant , a celebrated art historian, critic, and theorist, has curated hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
Paolo Scheggi ART 224 pages, 95 x 95” 190 color illustrations HC: 978-88-572-2606-4 $65.00 Can: $65.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
THE HUMANISTIC MEASUREMENT OF SPACE EDITED BY FRANCESCA POLA
This volume celebrates the work of the Italian artist Paolo Scheggi during the 1960s: the seminal and crucial creative decade prior to his untimely death in 1971 at the age of thirty-one. A selection of his paintings, including some unpublished canvases from private collections, reaffirms the role played by Scheggi in the development of modern art in Italy. Francesca Pola is a historian and critic of contemporary art as well as an independent curator and art journalist.
Aurélie Nemours ART 512 pages, 95 x 11’’ 300 color illustrations HC: 978-88-572-2672-9 $320.00 Can: $320.00 November 3, 2015 Rights: US/Canada, Latin America SKIRA
CATALOGS RAISONNÉ EDITED BY SERGE LEMOINE TEXTS BY EVELYNE DE MONTAUDOÜIN
A catalogue raisonné dedicated to Aurélie Nemours (1910–2005), one of the greatest French abstract painters of the second half of the twentieth century. This volume is a study of the life and work of Aurélie Nemours, including the paintings, pastels, and collages that she produced over half a century. Art historian, professor emeritus at the Paris IV– Sorbonne University, Serge Lemoine was the director of the Musée de Grenoble from 1986 to 2001, then president of the Musée d’Orsay in Paris from 2001 to 2008.
ART HISTORY 192 pages, 9 x 11’’ 80 color illustrations PB: 978-88-572-2748-1 $50.00 Can: $50.00 October 27, 2015 Rights: US/Canada, Latin America SKIRA
From Art Brut to Art Without Boundaries A CENTURY OF FASCINATION THROUGH THE EYES OF HANS PRINZHORN, JEAN DUBUFFET, AND HARALD SZEEMANN EDITED BY CARINE FOL
This volume explores, from a historical perspective, the development and increasing interest towards an art created outside the boundaries of official culture. Carine Fol , art historian, has been artistic director of the CENTRALE for Contemporary Art in Brussels since 2012.
CONTEMPORARY ART 80 pages, 95 x 11’’ 35 color illustrations HC: 978-88-572-2631-6 $35.00 Can: $35.00 October 27, 2015 Rights: US/Canada, Latin America SKIRA
Naum Medovoy LAST MARCH TEXTS BY NAUM MEDOVOY, TREVOR TWEETEN, VITALY KOMAR, ANDREA TRAUBNER, OKSANA SALAMATINA, AND JOHN CAUMAN
A cinematographer and painter, this artist combines paradoxical trends of contemporary art. Naum Medovoy was born in Odessa in 1937. His works can be found in a number of private and public collections such as MoMA, New York, and the Multimedia Art Museum, Moscow.
CONTEMPORARY ART 248 pages, 116 x 116’’ 350 color illustrations HC: 978-88-572-2693-4 $55.00 Can: $55.00 November 3, 2015 Rights: US/Canada, Latin America SKIRA
Katrin Fridriks EDITED BY FIAMMA ARDITI AND FRIEDERIKE SCHÄFER
The first significant monograph dedicated to Katrin Fridriks, a captivating journey into the Icelandic artist’s universe. Fiamma Arditi is an Italian writer and journalist based in New York.
CONTEMPORARY ART 208 pages, 95 x 11’’ 170 color illustrations HC: 978-88-572-2619-4 $95.00 Can: $95.00 September 1, 2015 Rights: US/Canada, Latin America SKIRA
Sakti Burman A PRIVATE UNIVERSE EDITED BY ROSA MARIA FALVO TEXTS BY PROFESSOR BRIJINDER NATH GOSWAMY AND ROSA MARIA FALVO
This beautiful and definitive monograph showcases the enchanting work of Indian master painter Sakti Burman. Prof. Brijinder Nath Goswamy is an eminent Indian art historian and critic. He is the recipient of the Padma Bhushan Award (2008), India’s third highest civilian honor, for his contributions to literature and education.
Parisian Chic City Guide SHOPPING, DINING, AND MORE INES DE LA FRESSANGE WITH SOPHIE GACHET
This pocket-sized book—with foldout map and ribbon page marker—includes Ines de la Fressange’s favorite addresses for fashion and home goods with Parisian flair. Ines de la Fressange embodies the iconic Parisienne, combining elegance and chic effortlessly. With her fashion savvy and her inspired home interiors, Ines demonstrates an eye for the details that characterize the best in Gallic style, from wardrobe accessories to home furnishings. In this new pocket volume—the perfect accompaniment to her best-selling book Parisian Chic and its new sequel The Secrets of Parisian Chic—Ines divulges her favorite addresses culled from years of exploring boutiques big and small. For personal style, she shops for classic staples in army-navy surplus stores or unearths handcrafted statement accessories from artisanal jewelers. She knows when to splurge on her beauty regimen for a transformative spa treatment and how to score a bargain in the drugstore makeup aisle. A designer handbag is an investment with staying power, but for trendy items she opts for chain stores. For the home, Ines prefers an eclectic mix of vintage, curiosities, and daybeds stacked high with decorative mattress cushions. This book is the global resource for all things Parisienne. Ines de la Fressange , best-selling author of Parisian Chic, was a runway model in the 1980s, became the face of Chanel, created her own clothing and accessories line, and published her illustrations in Elle. She is creative consultant for Roger Vivier, designs a line for Uniqlo, and relaunched her own brand Ines de la Fressange Paris. Sophie Gachet is a fashion journalist for Elle and coauthor of Parisian Chic.
FASHION 176 pages, 45 x 75” 200 color illustrations Imitation leather flexibound, with rounded corners, ribbon page marker, foldout map: 978-2-08-020236-9 $17.95 Can: $17.95 November 3, 2015 Rights: US/Canada, Latin America FLAMMARION
The Parisian Chic Bible INES DE LA FRESSANGE WITH SOPHIE GACHET
In this sequel to her New York Times best seller Parisian Chic, Ines de la Fressange offers a complete guide to mastering the secrets of Parisian style. Ines de la Fressange’s personal style is chic yet relaxed in every situation. While a navy-and-white striped nautical top with slim, cropped jeans and flats is a classic French look, it’s harder to pinpoint how Parisians unfailingly blend elegance and allure with such ease. In this sequel to her best seller Parisian Chic, the world’s favorite style icon demonstrates how to achieve her quintessentially Parisian look throughout the year. Her style secrets start with the building blocks of wardrobe staples—an LBD that can be dressed up or down, timeless riding boots you’ll wear for a lifetime, or the perfect pair of jeans—and combine with seasonal items like costume bangles, a top in this season’s on-trend color, or the right shade of lip color. In this new volume, Ines expands on what you need for every season and how—by incorporating a multitude of unforgettable French style details—you can transform yourself into a true Parisienne. Ines de la Fressange , best-selling author of Parisian Chic (Flammarion, 2011), was a runway model in the 1980s, became the face of Chanel, created her own clothing and accessories line, and published her illustrations in Elle. She returned to the runway for the Chanel Spring 2011 show at the age of fifty-three and became a L’Oréal model. She is creative consultant for Roger Vivier, designs a line for Uniqlo, and relaunched her own brand Ines de la Fressange Paris. Sophie Gachet is a fashion journalist for Elle and coauthor of Parisian Chic.
FASHION 176 pages, 6 x 94” 200 color illustrations Imitation leather flexibound, with rounded corners and ribbon page marker: 978-2-08-020227-7 $29.95 Can: $29.95 November 3, 2015 Rights: US/Canada, Latin America FLAMMARION
Bonjour New York Bonjour Paris Bonjour London THE BONJOUR CITY MAP GUIDES MARIN MONTAGUT
As portable as a map but as informative as a guide, these hybrid Bonjour city map-guides by globe-trotting filmmaker Marin Montagut offer his curated recommendations for shopping, dining, and attractions. The Bonjour pocket-sized map-guides—made of waterresistant, tear-proof paper—feature rare and soulful places that exude an enviable je ne sais quoi. From bakeries to taco trucks, bicycle rentals to antiques shops, or boutiques to toy stores, each recommendation includes a succinct anecdote, tip, or description—illustrated by Marin Montagut’s watercolor travel sketches—to tempt bon vivants everywhere. In Bonjour New York, roam the Big Apple in shoes tailor-made by one of the city’s oldest cobblers, handpick the fabric and cut for customized jeans, find respite in the urban oasis of a secret East Village garden, or sip cocktails in the city’s best speakeasy. Featured neighborhoods include SoHo, NoLIta, and TriBeCa; the West Village and Chelsea; the Lower East Side and the East Village; Boerum Hill and Cobble Hill; Greenpoint and Williamsburg. In Bonjour Paris, say “bon appétit!” in an authentic bistro, stock your kitchen with artisanal knives, or track down a vintage Chanel bag. Featured districts include the heart of Paris (1st/2nd); Pigalle and Montmartre (9th/18th); the Marais (3rd/4th); SaintGermain-des-Prés (5th/6th); Canal Saint-Martin (10th); and Bastille and Oberkampf (11th/12th/20th).
TRAVEL/MAPS 2 accordion pages, 4 x 55” (when open 2’ 6”x 1’ 36”) 100 color illustrations Bonjour New York: 978-2-08-020233-8 Bonjour Paris: 978-2-08-020232-1 Bonjour London: 978-2-08-020234-5 Paperback: $9.95 Can: $9.95 October 20, 2015 Rights: US/Canada, Latin America FLAMMARION
In Bonjour London, taste the city’s best fish and chips in a go-go atmosphere, sample the Queen’s perfume at the Royal Court’s official supplier (since 1790), have a clandestine high tea in a Roaring Twenties ambience, or sample cocktails in a Hoxton jazz club. Featured districts include Shoreditch, Hackney, Notting Hill, Soho, Brixton. Marin Montagut studied art in Paris and at Saint Martin’s in London. A set designer, decorator, and mixed-media artist, he writes and directs documentary films.
Paris/Paris A CONTEMPORARY PORTRAIT PHOTOGRAPHY BY NICOLAS GUILBERT FOREWORD BY ANTOINE DE CAUNES AFTERWORD BY CÉCILE GUILBERT
Nicolas Guilbert’s whimsical photographs form a modern portrait of Paris today. This book captures every aspect of Paris and its inhabitants: urban acrobats take to the streets, a sandaled nun crosses the capital on a city bike, extravagant partygoers strike memorable silhouettes during gay pride, children frolic in city fountains on a steamy summer day, and aging friends enjoy an aperitif at Les Deux Magots. The Parisian landscape is illuminated through photographs of the snow-covered Canal Saint-Martin at night, the Ferris wheel at the Place de la Concorde, a balloon launch at the July Column, and a Bastille Day aerial parade of military planes leaving ribbons of blue, white, and red smoke in their wake. Rare glimpses behind the scenes include a table set for intimate dining in the Salon des Ambassadeurs at the presidential Élysée Palace, the empty stage at the Opéra Comique, and a taxidermist at work at the natural history museum. From amateur fashionistas strutting their stuff to tourists posing with masterpieces in the Louvre to miniature dogs in miniature coats, this is an authentic portrait of Paris today. Nicolas Guilbert is a French painter, photographer, and graphic designer. His work has been published in Le Monde, Le Nouvel Observateur, Senso, Citizen K, and books devoted to his photography. Antoine de Caunes is a French television and cinema personality. He appeared in the BBC2 television series Rapido, and created Eurotrash with Jean Paul Gaultier for Channel 4. He presented the 38th César Awards. Cécile Guilbert is an author and literary critic who has published several books. She received the Prix Médicis for Warhol Spirit.
PHOTOGRAPHY 352 pages, 95 x 86” 320 b/w and color illustrations HC: 978-2-08-020237-6 $45.00 Can: $45.00 October 20, 2015 Rights: US/Canada, Latin America FLAMMARION
Country Homes in France SÉBASTIEN SIRAUDEAU
Combining bucolic charm and modern elegance, this new collection of French country interiors provides boundless inspiration for interior design enthusiasts and home decoration aficionados. This charming volume features a dozen interiors which bring together vintage and modern styles, for the ultimate in French country interiors. The homes represent a diverse range of possibilities for interior style, from the clean white lines and open floor plan of a barn converted into a modern loft to a traditional family home filled with antique pieces and Provençal prints. Each photograph features details that will inspire the home enthusiast. Make a bold design statement through curated collections of objects: pastel-hued bar spritzers, naïve paintings, or jewel-toned vases look best when grouped together. Display seashells in a bellshaped glass cloche. Create a unique wall display of antique gardening tools. Use vintage striped kitchen towels to add nautical flair, especially when offset by weathered oars propped against the wall. Taking their cue from the surrounding nature, these country homes feature earthy tones and give pride of place to natural materials, from smooth stone or terracotta tile floors to striking wooden beams or windbeaten shutters. Sébastien Siraudeau takes the reader on a voyage around France replete with bucolic charm, providing an indispensable source of inspiration for modern living and country style à la française. Sébastien Siraudeau has published numerous works on travel and lifestyle in France, including Vintage French Interiors (2008), French Style at Home (2009), French Country Style at Home (2010), French Seaside Style (2011), and French Flair (2012), all with Flammarion. He contributes regularly to home decoration magazines.
INTERIORS 208 pages, 75 x 95” 232 color illustrations HC w/jacket: 978-2-08-020226-0 $34.95 Can: $34.95 September 8, 2015 Rights: US/Canada, Latin America FLAMMARION
Chanel THE ENIGMA ISABELLE FIEMEYER
This new biography offers unprecedented insight into Coco Chanel’s complex and enigmatic life, and features previously unpublished information and images. Coco Chanel continues to beguile more than two decades after her death; her life and work are a source of enduring fascination. Chanel expert Isabelle Fiemeyer unveils the mysteries that have surrounded the private and public figure, by piecing together new research with accounts from Chanel’s intimate friends and relatives, artists, writers, photographers, directors, actors, and those who worked with her inside the House of Chanel. She describes Chanel’s carefully crafted persona and then gradually unveils each layer of mystery that surrounded the great fashion designer, to reveal the woman behind the intrigue. While Chanel was sometimes reviled and vilified, this account offers fresh revelations about her life. The handsome volume includes photographs and previously unpublished material, including new documents from the wartime period. Isabelle Fiemeyer is a respected literary and fashion historian who has written many works on the subject of Coco Chanel, including Intimate Chanel (Flammarion, 2011).
FASHION/BIOGRAPHY 176 pages, 6 x 94" 100 color and b/w illustration HC w/jacket: 978-2-08-020223-9 $40.00 Can: $40.00 February 2, 2016 Rights: US/Canada, Latin America FLAMMARION
Dress of the Year 101 ICONIC FASHIONS FROM THE MUSÉE DES ARTS DÉCORATIFS ARTHUR DREYFUS FOREWORD BY OLIVIER GABET
The creative evolution and versatility of the dress over the past century is showcased in 101 groundbreaking pieces by iconic fashion designers. Featuring one dress from each year since 1914, this timeline of extraordinary dresses charts the creative evolution of fashion over the past century. These experimental designs reveal the potential of the dress both as a wardrobe item and as a work of art. A multitude of top international designers are featured including Yves Saint Laurent, Chanel, Dior, Vivienne Westwood, Martin Margiela, Kenzo, Helmut Lang, Comme des Garçons, Paco Rabanne, Dolce & Gabbana, Lanvin, Thierry Mugler, Elsa Schiaparelli, Yohji Yamamoto, Alaïa, and many more. Curators at the Musée des Arts Décoratifs in Paris delved deep into their archives to select the most iconic and revolutionary dress of each year. Specially commissioned photographs are accompanied by detailed captions indicating the dress’s name, brand, designer, season, and fabric or material, along with a quotation contextualizing the dress in its time. Bursting with color and full of extravagant textures, shaping, and detailing, these dresses mark the metamorphosis of culture and serve as a regenerative form of inspiration. From sequins to silk, corsets to kimonos, designers continually seek fresh and daring ways to create memorable garments and mark fashion history. Arthur Dreyfus —an award-winning author and director of television series and short films—presents a daily culture show on France Inter. He has contributed to publications including Vogue, Technikart, and Madame Figaro. Olivier Gabet , director of the Musée des Arts Décoratifs in Paris and former curator at the Musée d’Orsay, is a specialist in nineteenth-century decorative arts.
FASHION 224 pages, 6 x 85” 110 color illustrations HC: 978-2-08-020225-3 $34.95 Can: $34.95 October 6, 2015 Rights: US/Canada, Latin America FLAMMARION
Alberto Pinto SIGNATURE INTERIORS ANNE BONY WITH A FOREWORD BY LINDA PINTO
A lavish tome featuring the finished interiors of the master designer’s final creations. Revered interior designer Alberto Pinto drew inspiration from the diverse cultural influences he encountered from his earliest childhood, blending aspects ranging from minimalism to baroque in his signature style. His designs, which have been commissioned all over the world, range from private residences to palaces, hotels to corporate headquarters, and yachts to private jets. This exquisite homage to Pinto presents the finished results of his last interior designs and includes a Bordeaux château; a stately residence on Paris’s exclusive rue Saint Dominique; Linda Pinto’s own recently redecorated apartment on the Quai d’Orsay; a house in Gstaad; a classic European-style palace in Doha, Qatar; and homes in Marrakesh and London. A tribute to one of the greatest interior architects and designers of the twentieth century, this volume is lavishly illustrated in a style in keeping with that of the master designer himself. Alberto Pinto (1945–2012) was one of the world’s most highly acclaimed interior designers. Pinto published numerous volumes including Alberto Pinto: Table Settings, Alberto Pinto: Moderns, Alberto Pinto: Orientalism, Alberto Pinto: Bedrooms, Alberto Pinto: Classics, Alberto Pinto: Contemporary Offices, Alberto Pinto: Today, and Alberto Pinto: World Interiors. Anne Bony has written numerous books on interior design and furniture including Furniture and Interiors of the 1940s, Furniture and Interiors of the 1960s, Furniture and Interiors of the 1970s, French Design: Creativity as Tradition, and a series of seminal tomes on design and culture by decade. Linda Pinto worked closely with her brother Alberto Pinto on interior design projects for many years; she now oversees the activities of the Cabinet Alberto Pinto.
INTERIORS 256 pages, 86 x 116” 360 color illustrations HC: 978-2-08-020230-7 $80.00 Can: $80.00 November 24, 2015 Rights: US/Canada, Latin America FLAMMARION
A Day at Château de Vaux-le-Vicomte ALEXANDRE DE VOGÜÉ AND JEAN-CHARLES DE VOGÜÉ PHOTOGRAPHY BY BRUNO EHRS
An insider’s tour of the magnificent seventeenth-century castle and gardens, conceived by Le Vau, Le Brun, and Le Nôtre, that inspired the great châteaux of Europe. Vaux-le-Vicomte’s rich history began in 1641, when infamous finance minister Nicolas Fouquet bought the estate and enlisted architect Louis Le Vau, decorator Charles Le Brun, and garden designer André Le Nôtre to transform it into a lavish residence. His extravagance piqued Louis XIV’s jealousy, and he was thrown into prison for mishandling funds. The château inspired the design of Versailles and was later home to the great chef Vatel, who famously died for his art. ILLUSTRATED TRAVEL/INTERIORS 192 pages, 55 x 9” 170 color illustrations HC w/slipcase: 978-2-08-020199-7 $34.95 Can: $34.95 September 1, 2015 Rights: US/Canada, Latin America FLAMMARION
This volume traces the château’s history from the seventeenth century through the Belle Époque, World War I, and its public opening in 1968. Exclusive photography and archival documents offer unprecedented access to the château, furnishings, and gardens, and illuminate the extraordinary secrets of court life and centuries of celebrations that include the enchanting candlelit tours held today. Alexandre and Jean-Charles de Vogüé , twin brothers, manage their ancestral estate. Bruno Ehrs is a lifestyle and architectural photographer; his photographs appear in One Savile Row (Flammarion, 2014).
A Day with Marie Antoinette HÉLÈNE DELALEX PHOTOGRAPHY BY FRANCIS HAMMOND
Featuring personal correspondence, lavish illustrations, and a wealth of unpublished material, this handsome slipcased volume reveals an intimate portrait of Marie Antoinette, her personal collections, and Versailles. Marie Antoinette was a mirror of her time. Never has a queen been so passionately admired and adulated, then hunted, vilified, and defamed. Spanning her tragically brief yet passionate life—from the young queen playing a shepherdess on stage, unaware of the turmoil in the capital, to France’s guillotined “martyr queen—the author demystifies the legend, unveiling the woman behind the queen, and the wife and mother behind the sovereign.
ILLUSTRATED TRAVEL/BIOGRAPHY 224 pages, 55 x 9” 170 color illustrations HC w/slipcase: 978-2-08-020210-9 $34.95 Can: $34.95 October 20, 2015 Rights: US/Canada, Latin America FLAMMARION
Readers will experience the palatial luxury of the queen’s Versailles by tracing Marie Antoinette’s footsteps through the royal residence, as well as discovering her voice through rare letters and encountering little-known works in her private art collection. Hélène Delalex is Heritage Conservation Manager at the Château de Versailles. She has curated exhibitions, contributed to numerous books, and appears regularly on television history programs in France. Francis Hammond ’s photographs have been published in Martha Stewart Living, Elle Décoration, and Historic Houses of Paris (2010), Versailles: A Private Invitation (2011), Entertaining in Grand Style (2013), and A Day at Versailles (2013).
Rodin RAPHAËL MASSON AND VÉRONIQUE MATTIUSSI FOREWORD BY JACQUES VILAIN
This definitive monograph from the Musée Rodin in Paris on the pioneering artist who paved the way for modern sculpture is now available in an affordable compact format. Revered today as the greatest sculptor of all time, whose expressive style prefigured that of the modernist movement and abstract sculpture, Auguste Rodin (1840–1917) stirred up much controversy during his lifetime, and his sculptures often met with hostility and incomprehension from his peers. This monograph traces the life and work of the artist, from his youth and early poverty-stricken years of apprenticeship to his most celebrated works—The Kiss, The Thinker, The Gates of Hell—which have become veritable icons; and from his passionate and tumultuous relationship with Camille Claudel to his extraordinary studio, working methods, and sources of inspiration, and his final years marked by war and illness. Written by experts from the Musée Rodin in Paris, this richly illustrated volume includes drawings, watercolors, engravings, and archival documents, as well as specially commissioned photographs of Rodin’s sculptures, completed by a chronology, bibliography, and history of the Musée Rodin—housed in the artist’s former studio in the Hôtel Biron. Providing insight into the many facets of his creative genius, this new compact edition of the Musée Rodin’s definitive reference on the artist and his oeuvre coincides with museum’s reopening in September 2015. Raphaël Masson , former curator at the Musée Rodin and head of archives and the library, is chief heritage curator at the Château de Versailles. Véronique Mattiussi is an archivist at the museum, responsible for manuscripts. Jacques Vilain was the director of the Musée Rodin and the author of numerous works on the museum’s collections.
ARTISTS 248 pages, 76 x 10” 300 color and b/w illustrations HC: 978-2-08-020239-0 $29.95 Can: $29.95 November 10, 2015 Rights: US/Canada, Latin America FLAMMARION
Pin-Ups NIGHT AND DAY ILLUSTRATIONS BY GIL ELVGREN, EARL MORAN, AL BUELL, EDWARD D’ANCONA, AND EARL CHRISTIE
Featuring a peephole cover, this collection of removable rare vintage pin-up postcards showcases a range of flirty and provocative poses that evoke nostalgia for the 1940s and ’50s. This gift edition will beguile a new generation with flirtatious representations of femininity from the 1940s and ’50s. Postcards of irresistible pin-up models bring teasing frivolity to a range of everyday situations, organized thematically. From sun-kissed beauties at the beach to ski bunnies hitting the slopes, bedside nurses ready to take your temperature to scantily clad runaways, rakish shipmates to not-so-conscientious secretaries, these smiling cuties are ready for fun. POP CULTURE 160 pages, 45 x 75” 80 color illustrations HC w/die cut, 150 detachable postcards: 978-2-08-020221-5 $19.95 Can: $19.95 September 22, 2015 Rights: US/Canada, Latin America FLAMMARION
Representations of women who embrace their sexuality—flirtatious but never vulgar—have been around since the late nineteenth century, but the pin-up genre skyrocketed into popularity during World War II. The penny-arcade trading cards—originally viewed on a peep show–style reel and reproduced here as detachable postcards—feature both established pin-up artists and those waiting to be rediscovered. Gil Elvgren, Earl Moran, Al Buell, Edward d’Ancona, and Earl Christie were master illustrators of the pin-up genre. Exhibit Supply Company produced these collectible lithographs in lots of ten cards from 1940 to 1954.
Blue Note PHOTOGRAPHS BY FRANCIS WOLFF TEXT BY MICHAEL CUSCUNA
Black-and-white photographs oozing with cool immortalize the performances and offstage lives of more than 100 famed jazz musicians who forged Blue Note Records’ legendary reputation.
PHOTOGRAPHY/MUSIC 288 pages, 95 x 126” 157 b/w illustrations HC: 978-2-08-020220-8 $49.95 Can: $49.95 September 1, 2015 Rights: US/Canada, Latin America FLAMMARION
Blue Note Records—cofounded in 1939 by Alfred Lion and Francis Wolff—is dedicated to recording the greatest musicians in jazz history. Wolff ’s photographs taken from 1948–69 catch the stars in action: performing onstage, in recording sessions, or cutting stylish silhouettes around town. This curated selection includes jazz greats Louis Armstrong, Art Blakey, Ornette Coleman, Chick Corea, John Coltrane, Wayne Shorter, Miles Davis, Thelonious Monk, Dexter Gordon, Herbie Hancock, Joe Henderson, and many more. Each photograph is identified by subject, session or album being cut, and date; and the featured artists are indexed for easy reference. The intimate and candid photographs—often used to illustrate the label’s iconic album covers—recount the label’s dazzling seventy-five-year saga. Michael Cuscuna is a jazz musician and producer and a music journalist. Francis Wolff ’s heir, he has managed Blue Note Records since 1984.
Francis Wolff , photographer and producer, cofounded Blue Note Records; many of the label’s albums feature his portraits.
Baklava to Tarte Tatin A WORLD TOUR IN 110 DESSERT RECIPES BERNARD LAURANCE PHOTOGRAPHY BY AMÉLIE ROCHE
Bernard Laurance’s passion for food has sent him around the globe in pursuit of authentic dessert recipes from the world’s great culinary traditions. Sample a Portuguese pastéis de nata, indulge in a creamy slice of New York cheesecake, taste a Japanese mochi, or try an Italian hazelnut-almond-chocolate baci di dama. French food blogging sensation Bernard Laurance takes the reader on an international culinary tour via 110 expertly tested recipes for authentic world desserts. A self-described recipe decoder, Bernard is passionate about unlocking and sharing the secrets behind the world’s favorite desserts. The dishes are organized by geographic region, and Bernard introduces each dessert, offering context about its origins or a personal anecdote relaying his quest for the quintessential recipe. His easy-to-follow, step-by-step instructions—that he has tested and retested until he achieved perfection—are accompanied by lavish photographs; together they offer achievable inspiration for successful dessertmaking at home. Bernard Laurance is a self-taught cook who has been experimenting with recipes since the age of seven. He has traveled extensively, seeking out authentic recipes in all corners of the world. In early 2010, he began documenting his recipes in French on his popular blog, lacuisinedebernard.com, which includes more than 600 recipes and won the 2010 culinary Golden Blog Award. He has an everexpanding fan base, with more than two million hits per month and 45,000 Facebook likes. Bernard, who is trilingual (English-French-Portuguese), hosts a cooking program on Cuisine+. Amélie Roche is a culinary photographer whose work has been published in several books and magazines.
FOOD & DRINK 288 pages, 75 x 95” 225 color illustrations HC: 978-2-08-020215-4 $34.95 Can: $34.95 October 6, 2015 Rights: US/Canada, Latin America FLAMMARION
Olafur Eliasson CONTACT OLAFUR ELIASSON, HANS ULRICH OBRIST, LAURENCE BOSSÉ DESIGNED BY IRMA BOOM, WITH FOREWORDS BY BERNARD ARNAULT AND SUZANNE PAGÉ TEXT BY BRUNO LATOUR, CAROLINE A. JONES, PETER COLES, RICHARD SENNETT, AND CIA RINNE
This striking catalog, designed by Irma Boom, showcases the spectacular work of world-renowned contemporary artist Olafur Eliasson.
CONTEMPORARY ART 200 pages, 106 x 144” 101 color illustrations PB w/flaps and phosphorescent ink: 978-2-08-135806-5 $80.00 Can: $80.00 September 1, 2015 Rights: US/Canada, Latin America FLAMMARION
Contact, Olafur Eliasson’s inaugural exhibition at the Fondation Louis Vuitton in Paris, addresses the themes of light—or rather, darkness and shadows— space, and time in installations that create a visceral experience for the spectator. The book features critical essays, an interview between the artist and curators, and sketches and preparatory drawings. It showcases the artist’s works in full color on black paper, emphasizing the luminosity of the show, accentuating the interplay of shadow and light, and rendering this volume a collectible artist’s book. Olafur Eliasson ’s work has been exhibited at the Tate Modern and the Venice Biennale, and appears in collections at the MoMA, the Centre Pompidou, and the Tate Modern. Bernard Arnault is President and Suzanne Pagé is Artistic Director at the Fondation Louis Vuitton. Hans Ulrich Obrist and Laurence Bossé curated the exhibition. Bruno Latour, Caroline A. Jones, Peter Coles, and Richard Sennett are university professors. Cia Rinne is a poet. Irma Boom is an award-winning graphic designer.
Vacheron Constantin THE ARTISTS OF TIME FRANCO COLOGNI
This volume commemorates Vacheron Constantin’s uninterrupted 260year history devoted to watchmaking excellence. Geneva-based Vacheron Constantin has maintained its reputation for producing exceptional timepieces, from its first watch circa 1760 to its extraordinary mechanical watches of today. Highly collectible, these prestigious timepieces are conceived as much to seduce by their elegance as to provide precision timekeeping. With specially commissioned photographs, the book traces the rich history of the manufacture and includes an informative catalog of timepieces and a guide to the watchmaker’s art.
FASHION/ANTIQUES & COLLECTIBLES 356 pages, 96 x 114” 300 color illustrations HC w/jacket: 978-2-08-020224-6 $125.00 Can: $125.00 November 17, 2015 Rights: US/Canada, Latin America FLAMMARION
An unwavering commitment to excellence is the firm’s hallmark; the heritage of 260 years of unique artistic and technical expertise. Franco Cologni is chairman of the Cultural Council of the Fondation de la Haute Horlogerie. He has contributed to numerous works on jewelry and the history of the clock industry with Flammarion including The Mastery of Time (2012), The Cartier Collection volumes Precious Objects (2012) and Timepieces (2006), Cartier: The Tank Watch (2012/1998), Writing Time: Montblanc (2011), Jaeger LeCoultre (2006), and The Secrets of Vacheron Constantin (2005).
Fashion Agenda by Karl: 2016 EDITED BY PATRICK MAURIÈS AND JEAN-CHRISTOPHE NAPIAS QUOTATIONS BY KARL LAGERFELD
Organize your year in style accompanied by Karl Lagerfeld’s humorous, insightful, and sometimes jaw-dropping opinions with this chic fashion agenda. A cult gift for fashionistas, Karl Lagerfeld’s must-have agenda adds glamour to the daily grind, featuring international fashion weeks alongside public holidays. The Kaiser offers unique perspectives on everything from why luxury matters to the five fashion essentials everyone needs. His witty and astute musings include: “If I could be reincarnated as a fashion accessory, I’d be a shopping bag,” and “It’s better to have a split personality than no personality at all.” Illustrations range from Karl’s signature sunglasses and driving gloves to quilted Chanel bags. CALENDARS 144 pages, 4 x 65” 63 2-color illustrations HC, imitation cloth binding w/ribbon marker: 978-2-08-020222-2 $16.99 Can: $16.99 July 14, 2015 Rights: US/Canada, Latin America FLAMMARION
Functional and fabulous, with space for daily entries, a yearly overview, and notes, it’s the coolest way to get organized. Karl Lagerfeld has been leading fashion trends on the runway and in the street for over a half century. He runs Chanel, Fendi, and his own eponymous fashion house, is an esteemed photographer, and has published numerous books. Patrick Mauriès and Jean-Christophe Napias coedited The World According to Karl and Choupette: The Private Life of a High-Flying Fashion Cat (Flammarion, 2013 and 2014).
Nice Nosing You FOR THE LOVE OF LIFE, DOGS AND PHOTOGRAPGHY ELKE VOGELSANG
From acclaimed animal photographer Elke Vogelsang comes a charming, personal collection of portraits of her three dogs—Noodles, Scout, and Loli. Nice Nosing You presents Elke’s expressive portraits of her much-loved dogs; a collection compiled over two years in what became a personal and touching project for Elke and her husband, Carsen. One year on Christmas Day, Elke’s three dogs suddenly started barking outside the bathroom door. Investigating the commotion, Elke discovered Carsen collapsed in the bathroom. He had suffered a major brain hemorrhage, and the dogs had in fact saved his life, discovering him at a crucial time. The months immediately following were filled with much uncertainty, and in an attempt to establish some sort of routine and find something to lift her husband’s mood, Elke started taking photos of their dogs to show Carsen in the hospital. Over the next two years, as Carsen slowly recovered, Elke’s project became an obsession. Gathered here in a stunning collection, Elke’s photographs are captioned with inspiring quotes, illustrating the personal encouragement she and her husband found in these intimate and playful images. Praised by Good Morning America—“people are going nuts over these photos”—and The Huffington Post—“Elke Vogelsang has taken dog portraits to a new level”—this is truly a collection to treasure. Elke Vogelsang is a photographer specializing in animal portraits. She has a passion for creating unique, individual, and impressive pictures that always capture the essence of the moment and her subject. Her images have been featured in publications across the globe, including The Huffington Post and the Daily Mail. She lives with her husband and their three dogs.
PHOTOGRAPHY/PETS 160 pages, 10R x 7” 120 color photographs HC: 978-1-78488-005-7 $24.95 Can: $24.95 September 29, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Every Room Tells a Story KIT KEMP
Showcasing the inspiring approach to interiors of highly acclaimed designer Kit Kemp, this book shares the stories behind each room Kit lends her hand to. Following on from the hugely successful A Living Space, Kit Kemp is back with another stunning interiors book that presents her signature style and everchanging approach to design. As always, Kit brings life and interest to the rooms she styles and avoids taking design too seriously, playing with scale, color, and pattern to create personal, handcrafted spaces. Featuring the inspiration behind her effortlessly stylish rooms and buildings, this book provides real insight into the way Kit approaches a room and the success she achieves with each space. Also exploring her collaborations with artists, this is an intriguing look at Kit’s way of styling—an intoxicating mix of contemporary and antique elements, a playful approach to fabrics and color, and an individual eye for art. Every room that Kit breathes life into has a story to tell. Award-winning interior designer Kit Kemp is known for her stylish and witty interiors. With her husband, Tim, she owns Firmdale, a group of luxury hotels in London and New York, including the Crosby Street Hotel, and with a second hotel opening in New York in 2016. She has collaborated with brands such as Anthropologie, Wedgwood, Chelsea Textiles and Christopher Farr to produce a range of product lines.
INTERIORS 256 pages, 10 x 12” 360 color photographs HC: 978-1-78488-012-5 $49.95 Can: $49.95 November 10, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Style Forever THE GROWN-UP GUIDE TO LOOKING FABULOUS ALYSON WALSH
A grown-up fashion bible—the definitive guide to dressing up, dressing down, and always looking fabulous. There’s a revolution sweeping through the fashion and beauty industries right now: you don’t have to be young to have style. A new generation of women are in the spotlight, and they are inspirational, confident, and in their prime. In Style Forever, fashion journalist and blogger Alyson Walsh celebrates the world’s most stylish women and finds out how they look so amazing. She shares the tricks picked up during her years working with glossy magazines and offers expert advice on looking fabulous, no matter your age or budget—things like investing in a kick-ass jacket, a good haircut, and a pair of shoes you can damn well walk in. Featuring a list of the best-ever products from six beauty editors as well as the grown-up wardrobe essentials and the best fashion hot spots in New York and London, this is the only fashion bible you will ever need. Beautifully illustrated throughout by fashion illustrator Leo Greenfield, Style Forever is for any woman who refuses to be invisible. Alyson Walsh has excellent fashion credentials. Former fashion editor for Good Housekeeping magazine and regular feature writer and columnist for the Financial Times’s “How to Spend It” website, Alyson is also the fashion guru behind the successful style blog That’s Not My Age.
FASHION 160 pages, 54 x 74” 90 color illustrations HC: 978-1-78488-000-2 $19.95 Can: $19.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT
The Tailored Interior GREG NATALE FOREWORD BY JONATHAN ADLER
Be inspired by Greg Natale’s modern and unique approach to interior spaces with this stunning collection of photographs and generous design advice. Multi-award-winning architect and interior designer Greg Natale does things differently. His bold signature style juxtaposes clean lines with repeating geometric patterns, unadorned walls with highly embellished feature pieces, and empty space with vivid splashes of color. At once contemporary and vintage, restrained and flamboyant, sophisticated and playful, Greg’s spectacular interiors integrate architecture, design, and decoration to create visually breathtaking masterpieces. In this stunning photographic collection, Greg guides you through building a concept, layering different elements for cohesion, embracing empty space, and using color and pattern to add the finishing touches. Filled with practical advice and paired with beautiful photography from Anson Smart and a foreword from Jonathan Adler, The Tailored Interior will provide all the inspiration you need to transform your living spaces into works of art. With his bold signature style, Greg Natale has been feted as one of Australia’s top designers, winning numerous awards including Interior Designer of the Year (2011) and Best Residential Interior (2013) at the Belle/Coco Republic Interior Design Awards. Greg Natale’s work has been featured in magazines including Wallpaper, Vogue Living, Time, Harper’s Bazaar, and Elle along with being published in a host of design books. He has also been published in Architectural Digest in Russia, Elle Decor in Germany, and Home Journal Magazine in Hong Kong.
INTERIORS 256 pages, 94 x 11R” 212 color photographs HC: 978-1-74379-029-8 $55.00 Can: $55.00 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Luke Nguyen’s France A GASTRONOMIC ADVENTURE LUKE NGUYEN
Join Luke Nguyen as he embarks on a culinary adventure through France to discover the flavors and dishes that have so heavily influenced the cooking in his homeland, Vietnam. Luke Nguyen’s France follows acclaimed chef Luke Nguyen as he discovers the flavors, ingredients, and dishes of France that have influenced Vietnamese cooking. From classics to traditional recipes with a modern twist, Luke meets chefs and locals along his journey, learning the secrets behind these one hundred much-loved French dishes and their regional specialties. Alongside French classics such as Niçoise salad and gâteau Basque, Luke shares his own interpretations of French-Vietnamese fusion food: from Vietnamese steak tartare and salt-and-pepper squid to crispy-skin chicken with master stock and pan-fried baby sole. Filled with beautiful location and food photography throughout, and complemented by a stunning design that is signature to Luke’s books, Luke Nguyen’s France celebrates the flavors of these two cuisines with exciting, inspired recipes. Luke
Nguyen is a renowned VietnameseAustralian chef, best known for his television series Luke Nguyen’s Vietnam, Luke Nguyen’s Greater Mekong, and more recently, Luke Nguyen’s France. Luke has trained with a number of respected chefs before opening one of Sydney’s most acclaimed restaurants, The Red Lantern. Luke has written five cookbooks with tie-ins to his shows, including Luke Nguyen’s Greater Mekong and The Food of Vietnam.
FOOD & DRINK 320 pages, 85 x 114” 150 color photographs HC: 978-1-74270-718-1 $49.95 Can: $49.95 October 6, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Vinegar Socks TRADITIONALHOME REMEDIES FOR MODERN LIVING KARIN BERNDL AND NICI HOFER
A stylish collection of 40 easy recipes for natural home remedies to help cure common ailments. Karin Berndl and Nici Hofer are firm believers in the power of natural remedies. In Vinegar Socks, they share forty tried and tested home remedies for curing common ailments and illnesses, all of which can be made easily using store-cupboard ingredients. Discover the amazing healing properties of nature’s abundance and find drug-free relief with these invaluable at-home solutions. Concoctions include vinegar socks for a fever (wearing soaked vinegar socks stimulates the blood flow and lowers the temperature as well as mobilizing the immune system), tummy tea to cure flatulence, horseradish necklace to treat a fever, and sap ointment for wounds. With cute styling and a strong design element, Vinegar Socks is the only book you’ll need this fall to ensure you stay in perfect health. Photographer Karin Berndl and art director Nici Hofer have worked together on many high-profile advertising campaigns, for brands such as Selfridges, Galeries Lafayette, Fortnum & Mason, and Georg Jensen Jewellery. Their editorial work has been featured in Tatler and Harper’s Bazaar, alongside many more global publications.
HEALTH & WELL-BEING 112 pages, 8 x 8” 112 color photographs HC: 978-1-78488-014-9 $19.95 Can: $19.95 October 13, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Women in This Town LONDON, TOKYO, PARIS, MADRID, MELBOURNE, NEW YORK GIUSEPPE SANTAMARIA
Women in This Town is a photographic street-style book capturing women with a distinct look in their natural urban habitat. In his follow-up to Men in This Town, photographer, art director, and blogger Giuseppe Santamaria brings together a unique photographic collection showcasing the styles of the modern woman on the streets of London, Tokyo, Paris, Madrid, LA, Melbourne, and New York. Alongside striking images snapped on the streets, Giuseppe has profiled a handful of women with sartorial flair, who reveal the inspirations for their distinct fashion choices and their thoughts on the modern-day fashion landscape. FASHION 256 pages, 54 x 75” 250 color photographs HC: 978-1-74379-020-5 $19.95 Can: $19.95 November 3, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Toronto-born Giuseppe Santamaria has been photographing stylish men and women for many years, but most recently in his blogs Men in This Town and Women in This Town, quickly garnering a dedicated following for his particular understanding of street style. Giuseppe also has a regular streetstyle column in Sunday Life Magazine, is a regular contributor to Details.com and is the deputy art director for Good Weekend. His first book was reviewed in the Wall Street Journal, GQ, Esquire UK, and Mr Porter.
Man-Made THE ART OF MALE GROOMING DAN JONES
A witty, engaging, and stylishly illustrated guide to men’s personal grooming. With the rise of perfectly preened sports stars, online dating, and the dreaded selfie stick, every man worth his salt wants to look his best. Male grooming is no longer about being vain: it’s essential. A real man has a stylish haircut, conditions his beard, manscapes, moisturizes, wears decent shoes, takes the right vitamins, and is probably hitting the gym right now to hone his physique.
FASHION & BEAUTY 160 pages, 54 x 74” 60 color illustrations HC: 978-1-78488-013-2 $17.95 Can: $17.95 October 13, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Feeling confused? Fear not, because Dan Jones is here to guide you through everything you ever needed to know about personal grooming. From manbuns and mustaches to eye cream, facials, and buying a decent suit, this is a dapper DIY guide for all men, from teens to dads, who want to look their best year-round. Dan Jones is a journalist, fashion editor, and style consultant working with the likes of ASOS, Topman, Time Out, and Condé Nast. This is Dan’s second book.
Time After Time FLASHBACK FASHION FOR MODERN-DAY PLAY MINNA GILLIGAN
A delightful whirlwind of color, style, and eras; this is a must-have fashion book for young women, full of advice and inspiration for collecting and creating outfits that are indie-cool, glamorous, fun, and arty. In Time After Time, fashion icon Minna Gilligan imparts her wisdom and penchant for mixing and matching fashion, and details contemporary ways to wear vintage things in combination with current “new” items of clothing. Minna’s philosophy is that dressing has no rules or regulations other than what you impose on yourself, and that an outfit’s greatest goal is to bring you joy and make you feel good. She fills the pages with snapshots of her own inspiration and art and details how to combine items plucked from different time periods with accessories, buttons, collar details, shoes, hats, and glasses. Minna offers the tools for how to shop from thrift shops to the internet to the occasional high-end store, with examples of looks she puts together from her own finds for a range of occasions. Time After Time is a color riot that is as beautiful as it is useful. Minna Gilligan is a 24-year-old artist and illustrator who works primarily in painting, drawing, and collage, with exhibitions in galleries around the world. Minna displays her passion for fashion collecting through her blog and Instagram (40,000+ followers), and illustrates and writes for Tavi Gevinson’s New York–based online magazine, ROOKIE, while also collaborating with Londonbased photographer Elle Hardwick and Torontobased photographer Petra Collins.
FASHION 208 pages, 84 x 96” 120 color photographs PB: 978-1-74379-005-2 $29.95 Can: $29.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Rome CENTURIES IN AN ITALIAN KITCHEN KATIE AND GIANCARLO CALDESI
Italian experts Katie and Giancarlo Caldesi head to Italy's capital city to discover its regional delicacies. All roads lead to Rome, and all roads in the Eternal City itself lead to a delicious meal. Here, Katie and Giancarlo unearth the city’s hidden gems—recipes that have been handed down through the generations, as well as new, exciting dishes inspired by Romans from all walks of life.
FOOD & DRINK 272 pages, 7S x 9M” 165 color photographs HC: 978-1-78488-004-0 $39.95 Can: $39.95 September 15, 2015 Rights: US/Canada, Latin America HARDIE GRANT
The duo present their interpretations of classic dishes, like Katie’s spicy cheese and pepper pasta, alongside family favorites like sea bass with parma ham and sage. Collaborating with Rome’s best chefs, they also share modern recipes— like fiery hot chili sorbet—that reflect the heat and color of this bustling city. This is an impressive, fresh look at Rome’s cuisine that will be sure to inspire. A beautiful keepsake, Rome offers a sumptuous visual journey to the heart of Italy, from the Pantheon and Colosseum to Renaissance palazzos, Baroque fountains, and neighborhood trattorias. Katie and Giancarlo Caldesi have a long-standing passion for Italian food. They own several restaurants and a cooking school, and this is their eighth cookbook.
Rustic SIMPLY DELICIOUS FOOD FOR EVERYDAY FEASTS JORGE FERNANDEZ AND RICK WELLS
Eighty wholesome, simple recipes for a busy life, set against the vibrant backdrop of London's Soho. Honest and wholesome, these recipes are the perfect antidote to our fast-paced urban lives. With stunning photographs of London’s Soho throughout, Rustic exudes the essence of an exciting and vibrant food scene.
FOOD & DRINK 256 pages, 8 x 10” 160 color photographs HC: 978-1-7848-8011-8 $39.95 Can: $39.95 October 27, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Delicious food doesn’t have to take hours to be a success—try Moroccan cooked tomato salad that will warm the coldest of the winter days, or the caramelized-onion tortilla to pack into a picnic hamper for that sunny day in the park. The humble sandwich is transformed into a hearty meal with chorizo, peppers, and rocket on a sourdough bun, and the baking recipes, such as roast apple olive oil cake with butter and brown sugar glaze, are set to become favorites. Jorge Fernandez and Rick Wells founded their popular café Fernandez & Wells in 2006, with a vision to provide a simple menu of quality food and drink. The cafés have a cult following, with five locations.
The Sugar Hit! SWEET THAT PACK A PUNCH! SARAH COATES
The Sugar Hit! celebrates sixty kick-ass, totally delicious, sometimes unexpected, and always amazing sweet creations to make at home. The Sugar Hit! is all about recipes that are the perks, the pick-me-ups, the cherries on top of your day. It approaches baking with unabashed joy and totally undisguised greed. Of course balance is important, but there has to be something on the other end of the scale. Why not make it a “Like a fat kid loves” milkshake, or a salted caramel chocolate crackle, or a Filthy Cheat’s jam donut? The Sugar Hit! offers something sweet for every occasion in life. First thing in the morning, whether you need a kick start for work or are nursing a hangover, you’ll find solace in sweet potato waffles, an epic cinnamon roll cake, or some blueberry pancake granola. From your coffee break to the holidays to when you need something sweet without blowing your diet—there is even a full chapter of midnight snacks, those ridiculously decadent, insane frankentreats that can only be created in the dead of night. The Sugar Hit! offers simple techniques, talks about exciting flavors, and educates readers on how to achieve maximum results for minimum effort along with offering hot tips of shortcuts, kitchen hacks, and ideas for variations on recipes. Take your baking to the next level using big flavors, simple tricks and tips, and a healthy dash of confidence and attitude! Sarah Coates is the writer, photographer, stylist and recipe developer behind the award-winning blog The Sugar Hit! Sarah’s work has been featured in Food & Wine, The Kitchn, Food52, and Design Sponge.
FOOD & DRINK 168 pages, 75 x 85” 60 color photographs HC: 978-1-74379-040-3 $24.95 Can: $24.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Mug Cakes: Chocolate READY IN 2 MINUTES IN THE MICROWAVE! SANDRA MAHUT
The mug cakes obsession continues with over 30 recipes for indulgent, gooey chocolate cakes that can be made in two minutes in the microwave! Satisfy that chocolate craving as soon as it strikes with Mug Cakes: Chocolate— recipes for quick and delicious chocolate cakes that require minimal effort and time. Mix a simple batter in a mug with a fork using whatever ingredients you have in your cupboard, microwave for a few minutes, and zap! You have a heavenly, gooey cake to indulge in all by yourself.
FOOD & DRINK 72 pages, 75 x 75” 48 color photographs and illustrations HC: 978-1-78488-009-5 $11.95 Can: $11.95 September 1, 2015 Rights: US/Canada, Latin America
Mug Cakes: Chocolate shares recipes for all varieties of chocolate cakes, from the basic to those which push your mug-cake-making skills to the max, like the swirl marshmallow or marble cake. Use your chocolate favorites like Nutella or Oreos to make irresistible cakes in a matter of minutes—these cakes are perfect for when you’re low on ingredients or looking for a quick treat! Sandra Mahut is a food stylist and writer. She has authored several baking cookbooks and writes regularly for international food publications.
Cakeology OVER 20 SENSATIONAL STEP-BY-STEP CAKE DECORATING PROJECTS JULIET SEAR
Leading cake designer Juliet Sear shows you how to make and decorate showstopping cakes that look and taste amazing. Whether it’s a birthday, wedding, or dinner party, there’s no better way to celebrate than with a slice of glorious cake. In Cakeology, Juliet shows home bakers how to take your cakes to the next level with her favorite and most impressive projects.
FOOD & DRINK 240 pages, 7S x 9M” 420 color photographs HC: 978-1-78488-006-4 $29.95 Can: $29.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT
With a foreword by Buddy Valastro, of Cake Boss, this book is crammed with tips and tricks and features step-by-step photography to guide you at every stage, ensuring these projects can be mastered by everyone. Learn all elements of cake decoration, from fondant flowers to hand-painted designs. From the elegant wedding cake to the fun burger cake, cookie explosion cake, or Piñata cake (with a surprise center), Juliet's creations ensure you celebrate in style! Juliet Sear owns a successful contemporary cake boutique, Fancy Nancy, and has made cakes for celebrities like Dizzee Rascal, McFly, Bryan Adams, and more. Juliet is an ambassador for Cake Boss.
Get Happy! LESSONS IN LASTING HAPPINESS ANTHONY GUNN
A collection of reflections and quotes to inspire you to curate happiness in your life. When did you last give someone a heartfelt compliment? Do you take time to count your blessings? By showing how to reflect on yourself and your surroundings in new ways, Get Happy! will help you to reveal the bigger picture. These practical, simple tips will motivate you to find your way to a happiness that lingers. The author, psychologist Anthony Gunn, draws on his experience to bring together quotes from international thinkers and inspirational tips to illuminate the path to happiness. This is a beautifully packaged, well-priced gift book filled with inspirational yet simple suggestions to help you think in new ways and to take steps towards a happier life. INSPIRATION/SELF-HELP 128 pages, 45 x 65” Text only HC: 978-1-74379-006-9 $19.95 Can: $19.95 October 6, 2015 Rights: US/Canada, Latin America
Anthony Gunn is a psychologist who specializes in treating fears and phobias. He regularly speaks to sporting and social clubs, schools, and professional institutions about fear and how to deal with it. He has previously published four titles including Walk Tall and Swing High.
HARDIE GRANT BOOKS
You Mean the World to Me JESSE HUNTER
A delightful collection of photographs from around the world interwoven with poignant messages and collages of artwork—guaranteed to brighten anyone’s day. You Mean the World to Me is a charming compendium of photographs and messages that celebrate love and the commitments people make to one another. No matter your race, sex, age, religion, or social status, you mean the world to someone and someone means the world to you. Messages like “I’d walk a thousand miles for you” or “Be your own kind of beautiful” are woven into images or collages organically, pairing them together in a special way. Gathered from Jesse Hunter’s travels around the globe, there is a taste of over 44 countries within the pages; from Morocco to Norway, Africa to Asia, You Mean the World to Me will melt hearts everywhere. INSPIRATION/PHOTOGRAPHY 160 pages, 6 x 6” 87 color photographs HC: 978-1-74270-995-6 $14.95 Can: $14.95 November 3, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Jesse Hunter is a talented designer and photographer who studied fashion, graphic design, and multimedia design. He is the author of All the Love in the World, All the Happiness in the World, and All the Cats in the World. In 2012, Jesse’s All the Love in the World imagery was awarded Best in Show in the annual Peace Project exhibition in the USA.
Something for Everyone FAMILY MEALS FOR BABY, TODDLER AND BEYOND LOUISE FULTON KEATS
Create stress-free mealtimes with over eighty nutritious, time-efficient, and delicious recipes to suit the entire family. Something for Everyone is filled with fast, fresh, and nutritional dishes that can be enjoyed by the whole family. Recipes contain variations for babies and toddlers which require minimal adaptation but have maximum flavor, while also allowing for dietary needs and allergies. Matched with stunning photography and an approachable style, Something for Everyone packs a nutritional punch for those who are short on time that ensures no family member is left feeling hungry. Keeping the entire family happy and well-fed has never been this easy! FOOD & DRINK 232 pages, 84 x 104” 155 color photographs PB: 978-1-74270-719-8 $34.95 Can: $34.95 January 26, 2016 Rights: US/Canada, Latin America
Louise Fulton Keats is a food and nutrition writer and cookbook author. She is a graduate of the prestigious cooking school Le Cordon Bleu, and has previously published three cookbooks centered around cooking for and with young children, including Cooking for Your Baby and Toddler which in a sister edition wi th Thermomix has become Thermomix’s biggest global seller.
100 Days Happier DAILY INSPIRATION FOR LIFE-LONG HAPPINESS DOMONIQUE BERTOLUCCI
Following the best-selling book The Happiness Code, 100 Days Happier is a collection of inspirational messages to motivate and encourage readers daily to be the best they can be.
INSPIRATION/SELF-HELP 208 pages, 45 x 65” Text only HB: 978-1-74270-621-4 $16.95 Can: $16.95 January 5, 2016 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
So many people are waiting to feel happy. They think they will be happy when they have this or they’ve done that, that perhaps money, a partner, or that new position is the key. But the truth is, lasting happiness is something that you create, each and every day, through the simple choices that you make. Based on the best-selling book The Happiness Code and its ten keys, 100 Days Happier invites the reader to make small daily changes in the way they think and act, changes that will ultimately create a fundamental shift in the way they feel about who they are and the life they are living to achieve a happier, healthier self. Domonique Bertolucci is the founding director of the Domonique Bertolucci Company, which delivers a range of coaching development programs to both the general public and companies interested in building performance and well-being. She is an active professional speaker and has previously published five successful inspirational gift books.
Coco Chanel THE ILLUSTRATED WORLD OF A FASHION ICON MEGAN HESS
A beautifully illustrated collection of 100 of the iconic items and moments in the life of Chanel. “In order to be irreplaceable, one must always be different.” —Coco Chanel Fashion is ever-changing, influenced by the key designers that capture a moment in history; and Coco Chanel is arguably the most significant influence on women’s fashion in the twentieth century. Coco’s World is a compilation of Megan Hess’s stunning illustrations of the 100 most quintessential moments through Chanel’s history, from Coco’s incredible life to the impact of Karl Lagerfeld on the company and the incredible items that have become iconic of the brand—the little black dress, the luxurious bags and accessories, glamorous jewelery, and of course the renowned Chanel No. 5 perfume. Interspersed with historical anecdotes and famous quotes from Coco herself, Karl Lagerfeld, and other key fashion icons of the era, this book is an elegant and immersive introduction to the moments that shaped Coco and the iconic Chanel brand—and how fashion, in turn, shaped their lives. Megan Hess is an international fashion illustrator who works with some of the most prestigious fashion designers and luxury brands around the world, such as Chanel, Dior, Cartier, Montblanc, and Tiffany & Co. She is the official illustrator for Bloomingdale’s and completed the cover artwork for all of Sex and the City author Candace Bushnell’s books and recently a private commission for Michelle Obama, along with a collaboration with Gwyneth Paltrow for the Blo Blow Dry Bar campaign. This is Megan’s third book following Fashion House and her latest stunning collection The Dress.
FASHION 208 pages, 5Y x 8½” 100 color illustrations HC: 978-1-7437-9066-3 $24.95 Can: $24.95 October 6, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Speakeasy 200 UNDERGROUND COCKTAILS BENNY ROFF
Speakeasy is a strikingly cool, Prohibition-style cocktail book with a drink for every taste. Speakeasy is a cocktail book that celebrates the exciting gin-soaked, gangsterfrolicking Prohibition era, with 200 cocktails for every taste. With cool 1920sstyle illustrations throughout and a perfect gift format, this is the one cocktail book to relive the heady golden days. The iconic Sidecar, White Lady, Clover Club, and French 75 cocktails, among many others, were born in the dark, smoky drinking dens of the era—Speakeasy will inspire you to re-create chic classic cocktails at home in style.
FOOD & DRINK 208 pages, 55 x 7” 100 color photographs HC: 978-1-74379-010-6 $19.95 Can: $19.95 October 6, 2015 Rights: US/Canada, Latin America
Benny Roff is a professional chef who graduated from the California Culinary Academy. He has cooked at Le Bernardin in New York City, Jardinière in San Francisco, and Kensington Place in London. He moved to cocktails in 2006 and managed Melbourne’s iconic Borsch, Vodka and Tears for three years, where he conducted extensive empirical research into vodka. He has since authored the eponymous food and cocktail book Borsch, Vodka and Tears.
Lucy’s Bakes OVER 200 OF THE EASIEST BAKING RECIPES YOU WILL EVER MAKE LUCY CUFFLIN
A comprehensive, mouthwatering collection of easy-to-follow baking recipes that taste amazing. Lucy’s Bakes is Lucy Cufflin's baking bible, full of secrets on how to make divine cakes and baked goods with minimum fuss or baking knowledge. Uncomplicated and delicious, these recipes are perfect for novice bakers, busy parents, and cake lovers who want impressive treats, and fast!
FOOD & DRINK 208 pages, 7R x 9M” 190 color photographs and illustrations HC: 978-1-74270-937-6 $29.95 Can: $29.95 September 8, 2015 Rights: US/Canada, Latin America HARDIE GRANT
With over 200 recipes, you’ll be spoiled for choice—from cakes to cookies, tray bakes to breads, and an array of toppings and fillings. Lucy suggests ample ways to adapt recipes (such as ten variations on classic crunchy cookies), along with testers’ notes from real-life bakers of all levels, giving home cooks the confidence to experiment. Covering savory and sweet, Lucy’s Bakes is a jampacked collection of best baking recipes. Lucy Cufflin has been a professional Cordon Bleu–trained chef for over twenty years. She now runs Lucy’s Food, a café and delicatessen serving pre-prepared gourmet meals. Lucy is also executive chef to Skiworld, one of the largest chalet operators in the US and Europe.
Whip It Up GOOD FOOD FOR FUN PEOPLE BILLY GREEN
A vibrant, fresh cookbook from blogger of Wit & Vinegar, photographer, and graphic designer Billy Green, whose mantra in the kitchen is simple— have fun!! In his first book, Billy Green gets readers really, really excited about cooking: Whip It Up features easy, awesome food that’s perfect for all skill levels. Packed with over sixty straightforward recipes that don’t compromise on flavor or break the bank with fancy ingredients, this is a perfect first-time cookbook and will also suit more confident cooks who want big results in a hurry. Try Billy’s tasty butternut squash and chorizo shells for a quick dinner; French baguette pizza for an easy film night with friends; or his confetti salad—a colorful meal of choice when the swimsuit season is on the horizon and carbs are the enemy! Whip It Up also features a delightful batch of sweet and alcoholic recipes: celebrate summer and your waistline with skinny mint and grapefruit sorbet; drown your sorrows with a strawberry and rhubarb vodka; or eat your emotions with baked peanut butter cup doughnuts and sea salt. In addition to the food goodness, Whip It Up is filled with Billy’s bright, distinct photos and styling, an edgy graphic design, and sharp writing style. Billy Green is the face behind the blog Wit & Vinegar, which he started in 2010. Billy is a graphic designer and photographer with a passion for cooking fun, delicious food. He lives in Southern California with his partner and two dogs, Mose and Nomi.
FOOD & DRINK 224 pages, 7S x 96” 224 color photographs HC: 978-1-78488-002-6 $29.95 Can: $29.95 September 29, 2015 Rights: US/Canada, Latin America HARDIE GRANT
East CULINARY ADVENTURES IN SOUTHEAST ASIA LEANNE KITCHEN & ANTONY SUVALKO
Through one hundred delicious recipes and vibrant location photography, East brings to life the flavors, colors, aromas, and textures of Southeast Asia and its mouthwatering cuisines. East celebrates the ingredients and flavors of Southeast Asia, taking you on a unique journey from the comfort of your own kitchen. Inspired by the authors’ personal travels and the culinary highlights they discovered in Cambodia, Vietnam, Thailand, Malaysia, Laos, Indonesia, and Burma, East is a colorful exploration of the food and culture of these diverse areas. Filled with stunning photography from locations throughout Southeast Asia as well as beautiful food photography to accompany the recipes, East reveals a glimpse of the bold tastes, big colors, and full flavors of this exotic region. FOOD & DRINK 272 pages, 8 x 10” 135 color photographs HC: 978-1-74270-916-1 $34.95 Can: $34.95 November 3, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Leanne Kitchen has worked as a chef, food stylist, recipe and travel writer, photographer, and editor, with a long career in food media and five cookbooks to her credit. Antony Suvalko has owned and operated a successful catering company and has had several successful digital media ventures with food websites and apps. Both have a deep love and fascination for the culture and food of Southeast Asia. This is their second book, following The Real Food of China.
Postcards From Marrakesh RECIPES FROM THE HEART OF MOROCCO ANDY HARRIS PHOTOGRAPHY BY DAVID LOFTUS
Be transported to the bustling and evocative heart of Morocco with these delicious, authentic recipes. Postcards From Marrakesh is a celebration of the subtle aromas and colorful allure of Morocco. Andy Harris gathers over 140 authentic recipes from the spice stores of the medina to the hustle and bustle of the Djemaa El-Fna food stalls, covering all aspects of Moroccan cuisine, from breakfasts and snacks to tagines, roasts, and desserts.
FOOD & DRINK 306 pages, 65 x 84” 422 color photographs HC: 978-1-78488-003-3 $22.95 Can: $22.95 September 22, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Be inspired by the array of flavors, from luscious slow-cooked mechoui lamb to delicate pomegranate sorbet and mint tea jelly. Complemented by stunning photographs, the book also includes useful hints on discovering this city and its food. As editor of Jamie Oliver’s Jamie magazine, Andy Harris is constantly traveling the globe in search of inspirational food and cooking techniques. David Loftus is an award-winning and internationally acclaimed food and lifestyle photographer who has photographed for chefs including Jamie Oliver and April Bloomfield.
The Produce Companion FROM BALCONIES TO BACKYARDS – THE COMPLETE GUIDE TO GROWING, PICKLING AND PRESERVING MEREDITH KIRTON AND MANDY SINCLAIR
An invaluable guide for anyone wanting to grow, harvest, cook, and preserve their own food. Great produce need never go to waste with this beautifully crafted gardening and recipe book that looks back to the classic skills of pickling and preserving. The Produce Companion showcases two sections— part one covers producing, growing, and storing fruit, vegetables, and herbs; the second part showcases what to do with an abundance of produce in the kitchen. The gardening component, written by influential and well-respected horticulturist Meredith Kirton, includes comprehensive notes on cultivation, choice of varieties to extend seasons, the best time to pick, methods of harvesting, and how to best keep produce. The cooking section by food writer Mandy Sinclair contains more than 100 recipes, covering drinks and syrups, sauces and salsas, pickles and chutneys, pastes and pestos, vinegars and salt, jams and jellies, and confit and preserves. Wake up to rhubarb and lemon compote in the mornings, spice up your sandwich with Moroccan lime pickle or roasted apricot and cinnamon butter or enjoy peaches all year long with preserved peaches with passion fruit. Meredith Kirton professes a lifelong commitment to gardening and horticulture. She has had a varied career including writing, garden-tour guiding, and design. Mandy Sinclair is a Sydney-based food writer and home economist with more than twenty years experience in the food industry. Meredith and Mandy have previously coauthored Grow Harvest Cook.
FOOD & DRINK 352 pages, 74 x 9W” 110 color photographs HC: 978-1-74270-919-2 $39.95 Can: $39.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Pocket Dolly Wisdom WITTY QUOTES AND WISE WORDS FROM DOLLY PARTON EDITED BY HARDIE GRANT QUOTATIONS BY DOLLY PARTON
Inspirational, fun, and hilarious quotes from Dolly Parton. “I’m not offended by all the dumb blonde jokes because I know I’m not dumb—and I’m not blonde either.” “Don’t get so busy making a living that you forget to make a life.” “People are always asking me in interviews, ‘What do you think of foreign affairs?’ I just say, ‘I’ve had a few.’”
HUMOR & GIFT 96 pages, 4 x 4M” Text throughout HC: 978-1-7848-8001-9 $8.95 Can: $8.95 March 3, 2015 Rights: US/Canada, Latin America HARDIE GRANT
Dolly Parton—or the Dolly Lama, as she has been called—is renowned for her hilarious quotes, witty one-liners, and self-deprecating humor. In Pocket Dolly Wisdom, the Queen of Country’s best quotes have been compiled into a handy pocket-sized edition, perfect for reading on the go. So if you’re feeling blue, need a laugh, a hug, or some solid Southern advice, this is the book for you. From love to diets, life advice, and more, there’s something for every Dolly fan.
Izakaya JAPANESE BAR FOOD Create your own delicious, relaxed, and simple Japanese treats to share at home. Walk beneath the paper lantern, pull back the half curtain, and enter a world that suddenly feels like the real Japan. The traditional izakaya—a Japanese tavern where simple and delicious food is every bit as important as the drinks —comes to life in this beautiful cookbook. It’s relaxed, welcoming, and not bound by dizzying rules of etiquette; the food comes in small portions designed to be shared between friends while chatting about work, family, and life.
FOOD & DRINK 176 pages, 8 x 85” 100 color photographs PB: 978-1-74270-042-7 $14.95 Can: $14.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Like Japanese food in general, this collection of classic izakaya recipes is guided by the principles of direct flavors, quality ingredients, and pleasing presentation. You won’t need oodles of ingredients to cook these dishes, or a whole kitchen worth of equipment and utensils. Just get out your wok, dust off your grill plate, arm yourself with some miso and sake, and discover the exciting world of izakaya-style cooking.
The Champagne Guide 2016-2017 THE DEFINITIVE GUIDE TO THE CHAMPAGNE REGION TYSON STELZER
A beautiful and definitive guide to the world’s best champagne from the world’s best champagne writer. The Champagne Guide celebrates the craft of champagne creation and the people behind making the wine in your glass smell, taste, and bubble like no other. More than 400 champagnes of the latest, freshest vintages have been tasted, reviewed, and rated, and are assessed independently with honest, eloquent descriptions.
FOOD & DRINK 360 pages, 66 x 95” Full color photograpghy HC: 978-1-74379-008-3 $34.95 Can: $34.95 November 3, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
The 2016–2017 edition profiles 100 champagne producers, from the smallest growers to the largest houses, and includes chapters on the current issues facing champagne, from global warming to excessive yields and the antiqued cru system. The Champagne Guide tells you everything you need to know about how champagne is grown and made and how to buy, open, serve, and store champagne, all for less than the price of a bottle! Tyson Stelzer is a multi-award-winning wine writer with an annual readership of four million. He was named International Champagne Writer of the Year in The Louis Roederer International Wine Writers’ Awards 2011 and regularly contributes to more than twelve wine magazines around the world.
James Halliday Wine Companion 2016 THE BEST-SELLING AND DEFINITIVE GUIDE TO AUSTRALIAN WINE JAMES HALLIDAY
Released annually, James Halliday’s Australian Wine Companion is the most authoritative and entertaining guide to Australian wine.
FOOD & WINE 766 pages, 6 x 94” Text only PB: 978-1-74379-004-5 $34.95 Can: $34.95 September 1, 2015 Rights: US/Canada, Latin America HARDIE GRANT BOOKS
Keenly anticipated each year by winemakers, collectors, and wine lovers, the Australian Wine Companion is recognized nationally as the industry benchmark. The 2016 edition has been completely revised to bring you up-to-theminute information. In his inimitable style, Halliday shares his extensive knowledge of wine through detailed tasting notes, each with vintage-specific ratings, alcohol content and price, advice on optimal drinking as well as individual information on the wineries and winemakers. The Australian Wine Companion is an indispensable reference from the country’s leading wine authority. A respected wine critic and vigneron, James Halliday is an unmatched authority on every aspect of the Australian wine industry and can be compared to the likes of Hugh Johnson, Robert Parker, and Jancis Robinson. His winemaking has led him to sojourns in Bordeaux and Burgundy, and he has had a long career as an international wine judge. In 1995 he received the Australian wine industry’sultimate accolade, the Maurice O’Shea Award, and in 2010 he was made a Member of the Order of Australia.
Light and Dust IMAGES AND STORIES FROM THE WILD OF EAST AFRICA FEDERICO VERONESI
An emotional encounter between man and nature. This book is a reflection on the subjects and places that made the deepest impression on the author during his years spent in Eastern Africa. His interest and skill in capturing the emotions of wild animals, their resilience and beauty, make it unique. The author has sought out the most dramatic weather conditions for his photographs—morning mists, dust storms, and heavy rains, or rays of light shining through the clouds—and followed the animals on endless journeys along ancient trails, across dry lakes or raging rivers, documenting their never-ending fight for survival. He had his camera with him all the time, always hoping for the perfect blend of elements to come together in one image. Federico Veronesi grew up loving wildlife and photography. After graduating in Economics he moved permanently to Kenya where, in 2007, he set up a semipermanent tent in the Maasai Mara National Reserve. His photographs have received international awards and have been published in several books and magazines.
PHOTOGRAPHY 240 pages, 11 x 13” 120 color & b/w illustrations HC: 978-88-317-2071-7 $60.00 Can: $60.00 UK: £40.00 September 15, 2015 Rights: World English MARSILIO
Panerai A natural blend of Italian design, Swiss technology, and passion for the sea. The recent history of Officine Panerai is exceptional: from small-craft workshop to manufacturer of fine sports watches, it has become now a leading player on the world’s markets, given the remarkable speed with which the brand has won the hearts of watch enthusiasts worldwide. Their success stems from the capacity to keep the authenticity of Panerai watches at the center of everything, maintaining unaltered their unique and unmistakable design and equipping them with the most sophisticated technical features. Officine Panerai is one of the most important watch manufacturers. The distinctive feature of its models is that they reproduce the watches used by the Italian Navy (and not only the Italian one) in the 1930s, 1940s, and beyond.
DESIGN 232 pages, 125 x 125” 120 color illustrations HC: 978-88-317-2074-8 $80.00 Can: $80.00 UK: £5David McKnight-Peterson5.00 September 15, 2015 Rights: World English MARSILIO
Martial Raysse CAROLINE BOURGEOIS
An exhaustive portrait of the major living French artist, from the sixties to the present day. “Art is a universal language.” This could be the motto of Martial Raysse, the French master of Pop Art and Nouveau Realism for whom the term pop is as apt as it is for Andy Warhol and Roy Lichtenstein in the US, Sigmar Polke in Germany, and David Hockney in Britain. Over 350 works, covering all the fields explored by this visionary artist (painting, sculpture, video, photography, and drawing), allow us to follow and appreciate the singular and independent course taken by Raysse, always on the margins of the main artistic trends of the last fifty years. Caroline Bourgeois , for a long time an independent curator, has been ART 308 pages, 95 x 115” 400 color illustrations PB: 978-88-317-2072-4 $80.00 Can: $80.00 UK: £50.00 September 15, 2015 Rights: World English
artistic director of the Plateau, an important platform for contemporary creation in Paris. She is currently art advisor to François Pinault and has put together his video collection.
The Slip of the Tongue DANH VO AND CAROLINE BOURGEOIS
A pictorial book presenting an operation set out to create an artistic short-circuit. Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social, or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present. ART 208 pages, 7M x 10” 100 color illustrations PB: 978-88-317-2073-1 $45.00 Can: $45.00 UK: £30.00 September 15, 2015 Rights: World English MARSILIO
Danh Vo is an artist who was born in Vietnam but is now a naturalized Danish citizen. He currently lives and works in Berlin. Caroline Bourgeois , for a long time an independent curator, has been artistic director of the Plateau, an important platform for contemporary creation in Paris.
All the World’s Futures 56TH INTERNATIONAL ART EXHIBITION LA BIENNALE DI VENEZIA OKWUI ENWEZOR
The official catalog of the 56th Venice Biennale Art Exhibition. Rather than just one overarching theme, the 56th International Art Exhibition of the Biennale touches upon multiple ideas that explore a diversity of artistic practices. All the World’s Futures examines the historical trajectory of the Biennale over the course of its 120 years of existence. At the book’s core is the notion of the exhibition as a stage, where historical and counterhistorical projects are explored, while presenting works conceived specifically for the Biennale by invited artists, filmmakers, choreographers, performers, composers, and writers. Okwui Enwezor is a curator, art critic, editor, and writer. Since 2011 he has been the Director of the Haus der Kunst in Munich. He has been Artistic Director of the 2nd Johannesburg Biennale (1996–98), of documenta 11 in Kassel (1998–2002), of the Bienal Internacional de Arte Contemporáneo de Sevilla (2005–07), of the 7th Gwangju Biennale in South Korea (2008), and of the Triennal d’Art Contemporain of Paris (2012). He’s held academic positions as Dean of Academic Affairs of the San Francisco Art Institute (2005–09), as Visiting Professor at the Universities of Pittsburgh Illinois, and Columbia University, New York. In spring 2012 he was appointed as Visiting Professor in Art History at the Institute of Fine Arts, New York University.
ART 960 pages, 84 x 10M” 800 color illustrations PB: 978-88-317-2128-8 $130.00 Can: $130.00 UK: £80.00 August 4, 2015 Rights: World English MARSILIO
The Poetry of Light VENETIAN DRAWINGS FROM THE NATIONAL GALLERY OF ART, WASHINGTON TIEPOLO, CANALETTO, SARGENT, WHISTLER ANDREW ROBISON
The magic of the lagoon through a spectacular collection of drawings from the past. The extraordinary collection of Venetian drawings in the National Gallery of Art of Washington, DC, is presented for the first time in this book: a hundred and forty-four works by the greatest Venetian masters (from Mantegna to Bellini, from Titian to Veronese, from Tiepolo to Canaletto) and by renowned American and British artists who drew inspiration from the city in the 19th century (Sargent and Whistler, among others). ART 384 pages, 95 x 115” 185 color illustrations PB: 978-88-317-2050-2 $60.00 Can: $60.00 UK: £40.00 September 15, 2015 Rights: World English
Full-page reproductions of the drawings—to ensure maximum legibility— accompanied by concise and informative descriptions form the core of this publication. An introductory essay by the curator and an up-to-date bibliography complete its contents.
National Gallery of Art, Washington, DC since 1974. He has curated a large number of exhibitions, focusing in particular on art from the 15th to 19th centuries. He’s the author of the monograph Piranesi: Early Architectural Fantasies (1986).
D U A L E N G L I S H - I TA L I A N T E X T
Andrew Robison has been senior curator of prints and drawings at the
Parallel Convergences PAWEL ALTHAMER ANATOLY OSMOLOVSKY NICHOLAS CULLINAN
For the first time together two leading figures of the Eastern European art scene. Parallel Convergences brings together for the first time the work of two artists— one Polish and the other Russian—who both belong to the generation that received its training during the decisive transition from the communist to the postcommunist period in Russia and Eastern Europe in the early nineties, and whose work has developed along many interesting parallel lines.
ART 192 pages, 6M x 95” 57 color & b/w illustrations 2 PB Volumes: 978-88-317-1970-4 $45.00 Can: $45.00 UK: £30.00 September 15, 2015 Rights: World English MARSILIO
Notwithstanding the different forms and media adopted—ranging from sculpture, installation, and video to more politically engaged actions—the work of both artists often turns around the idea of the body and its modes of perception. Nicholas Cullinan is curator of modern and contemporary art at The Metropolitan Museum of Art in New York. Before joining the Met he was curator at the Tate Modern in London. He is the author of various essays on modern and contemporary art for Artforum, The Burlington Magazine, Frieze, Kaleidoscope, Mousse, October and Tate, Etc.
Giorgio Armani GIUSI FERRÉ
The Italian designer that changed fashion history. It is the exchange between different identities and cultures that characterizes Armani’s style and makes it so contemporary, as can be seen from the mannish look that influences many of his collections. But what has distinguished Armani’s research and continues to differentiate it from others is the ethical standpoint from which he derives his aesthetics. From his earliest interviews he has always explained his choices in terms of concepts like dignity, rigor, freedom, and authority.
FASHION 160 pages, 76 x 96” 200 color illustrations HC: 978-88-317-2075-5 $39.95 Can: $39.95 UK: £25.00 September 15, 2015 Rights: World English
Clothes are a way of accentuating qualities of strength in women, just as he has emphasized a feminine sensuality and tenderness in men’s clothes. The result is a vivid and exciting portrait of our social life and of the man who, thanks to his design, has been able to interpret and even anticipate it. Giusi Ferré is a fashion journalist. She writes for the Corriere della Sera women’s weekly supplement Io donna. She is the host of Buccia di banana (Banana Peel), a TV fashion show now in its fourth series in Italy.
Firenze Fashion Atlas MARIA LUISA FRISA
Florence, the hometown of fashion. A book that focuses on Florence’s long and fruitful relationship with fashion; not only the fashion that lives and works in the city, but also the one that arrives from all over the world on the occasion of the events staged here, reinterpreting places and tracing new routes. Florence is the only city in Italy that is able to bring its geography and its history back to life each year thanks to fashion. Its places, stories, and protagonists are bound together in a brilliant and pulsating galaxy of contemporary life. An unprecedented and refined effort of research in the archives has made it possible to tell the story through a sequence of images from the last 60 years with Florence as the background. FASHION 192 pages, 84 x 11” 240 color & b/w illustrations PB: 978-88-317-1982-7 $39.95 Can: $39.95 UK: £25.00 September 15, 2015 Rights: World English MARSILIO
Maria Luisa Frisa , critic and fashion curator, is director of the graduate course of fashion design and multimedia arts at the IUAV University in Venice. She is president of MISA, the Italian association of fashion studios.
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BEST OF THE BACKLIST
Rizzoli International Publications is pleased to announce that it has acquired Welcome Books. For 20 years, Welcome Books published books in the fields of art, photography, food & wine, parenting, history, travel, pets and social & popular culture. Welcome Books began publishing in New York in 1995, and became a world-renowned publisher of high-quality and awardwinning illustrated books and cookbooks. Rizzoli is proud to now be the publishing home of Welcome Books.
The Little Big Book for Grandmothers
The Little Big Book for Dads
The Little Big Book for Moms
Alice Wong and Lena Tabori. A charming book filled with fairy tales, poetry, nursery rhymes, song, stories, words of wisdom, and recipes that are sure to enchant and delight. 2009 352 pp, 260 illus, 65 x 65” HC: 978-1-59962-068-8 $24.95 Can: $24.95 UK: £14.95 Rights: W
Lena Tabori and H. Clark Wakabayashi. A treasure trove piled high with stories, fairy tales, poetry, activities, recipes, and songsÑall selected with the dad in mind. 2009 352 pp, 250 illus, 65 x 65” HC: 978-1-59962-067-1 $24.95 Can: $24.95 UK: £14.95 Rights: W
Edited by Alice Wong and Lena Tabori. The perfect gift for moms includes fairy tales, nursery rhymes, recipes, songs, games and activities to do and read with her children. 2010 352 pp, 250 illus, 65 x 65” HC: 978-1-59962-075-6 $24.95 Can: $24.95 UK: £14.95 Rights: W
The Big Book of Me
Alice Wong, Editor. An album that has a place for everything baby does and highlights it all with the colorful charm each baby memory deserves. 2009 80 pp, 80 illus, 94 x 12” HC: 978-1-59962-070-1 $19.95 Can: $19.95 UK: £11.95 Rights: W
The Christmas Almanac
Natasha Tabori Fried, and Lena Tabori, Editors. The ultimate Christmas book. 2009 240 pp, 300 illus, 74 x 94” HC: 978-1-59962-069-5 $27.50 Can: $32.00 UK: £16.95 Rights: W
Memories for My Grandchild
A GRANDMOTHER'S KEEPSAKE JOURNAL
by Lena Tabori. A guided memory-keeper for grandmothers to pass on to their grandchildren. 2011 80 pp, 40 illus, 94 x 12” HC: 978-1-59962-096-1 $22.50 Can: $22.50 UK: £13.95 Rights: W
Cooking with Italian Grandmothers
Jesse Griffiths & Jody Horton. At once a manifesto for the local food movement and a manual packed with everything the new hunter needs to know. 2012 272 pp, 335 photos, 8 x 10” HC: 978-1-59962-114-2 $40.00 Can: $40.00 UK: £25.00 Rights: W
Jessica Theroux. A charming and authentic collection that celebrates the rustic and sustainable culinary traditions of ItalyÕs most experienced home cooks. 2010 250 pp, 150 photos, 9 x 9” HC: 978-1-59962-089-3 $40.00 Can: $40.00 UK: £25.00 Rights: W
A CHEF'S GUIDE TO PREPARING AND COOKING WILD GAME AND FISH
STAFF MEALS FROM AMERICA'S TOP RESTAURANTS
Marissa Guggiana. A no-holds-barred trip behind the kitchen door brings you this homage to cooking with love and leftovers. 2011 288 pp, 100 photos, 9 x 9” HC: 978-1-59962-102-9 $40.00 Can: $45.00 UK: £25.00 Rights: W
An American Family Cooks
FROM A CHOCOLATE CAKE YOU WILL NEVER FORGET TO A THANKSGIVING EVERYONE CAN MASTER
Judith Choate with Michael and Christopher Choate. Award-winning cookbook author Judith Choate and her family of foodies celebrate the new American home cooking. 2013 272 pp, 324 photos, 8 x 10” HC: 978-1-59962-124-1 $45.00 Can: $45.00 UK: £26.95 Rights: W
RECIPES AND STORIES FROM TUSCANY TO SICILY
The Vineyard Cookbook
SEASONAL RECIPES & WINE PAIRINGS INSPIRED BY AMERICA'S VINEYARDS Barbara Scott-Goodman. The best of American wine and wineries in a simple and elegant guide filled with wine pairings and recipes for all seasons and occasions. 2009 160 pp, 50 photos, 85 x 8” HC: 978-1-59962-064-0 $24.95 Can: $28.95 UK: £14.95 Rights: W
Slow: Life in a Tuscan Town
Text and Photography by Douglas Gayeton. Aan unprecedented photographic journey into the heart of hidden Tuscany that celebrates the principles that define the Slow Food movement. 2009 176 pp, 75 illus, 13 x 11” HC: 978-1-59962-072-5 $50.00 Can: $62.00 UK: £29.95 Rights: W
Funny Food
365 FUN, HEALTHY, SILLY, CREATIVE BREAKFASTS
Bill Wurtzel. One breakfast at a time, Bill and Claire Wurtzel are determined to make you laugh and eat and play and laugh some more. 2012 192 pp, illus throughout, 75 x 75” HC: 978-1-59962-111-1 $19.95 Can: $19.95 UK: £11.95 Rights: W
Recipe Keeper
Edited by Natasha Tabori Fried. The perfect place to collect and hold all your favorite recipes. 2005 80 pp, illus throughout, 105 x 115” Spiral-bound HC binder: 978-1-932183-79-5 $29.95 Can: $29.95 UK: £17.95 Rights: W
Primal Cuts
COOKING WITH AMERICA'S BEST BUTCHERS, REVISED & UPDATED EDITION
Marissa Guggiana. 50 of the most gifted butchers in the US share their favorite dishes, personal stories, and cooking techniques. 2012 288 pp, 150 photos, 8 x 10” HC: 978-1-59962-115-9 $40.00 Can: $40.00 UK: £25.00 Rights: W
Life Organizer
THE ESSENTIAL RECORD KEEPER AND ESTATE PLANNER
Nancy Randolph Greenway. The perfect place for storing all essential information, with lots of personal planning advice. 2011 160 pp, illus throughout, 105 x 115” 3-ring HC binder: 978-1-59962-092-3 $29.95 Can: $34.00 UK: £17.95 Rights: W
Dance Me to the End of Love
Leonard Cohen, illustrated by Henri Matisse. A deliriously romantic song by Leonard Cohen that was brilliantly visualized through the sensual paintings of Henri Matisse. 2006 32 pp, 30 illus, 95 x 115” HC: 978-1-932183-93-1 $19.95 Can: $19.95 UK: £11.95 Rights: W
THE HEART OF OUR COUNTRY
Photographs by Paul Mobley, text by Katrina Fried. Over one hundred farming families, who graciously shared their personal histories along with the fruits of their labor. 2013 276 pp, 150illus, 9Y x 13” HC: 978-1-59962-129-6 $50.00 Can: $50.00 UK: £29.95 Rights: W
A Bride's Book
AN ORGANIZER, JOURNAL, AND KEEPSAKE FOR THE YEAR OF THE WEDDING Marsha Heckman. Expert guidance on everything from the engagement to the post-honeymoon thank-you notes. 2007 160 pp, illus throughout, 7W x 9” Spiral-bound HC binder: 978-1-59962-042-8 $22.50 Can: $22.50 UK: £13.95 Rights: W
The Art of Video Games
FROM PAC-MAN TO MASS EFFECT
Chris Melissinos. Video games are not just mere play, but richly textured emotional and social experiences that have crossed the boundary into culture and art. 2012 216 pp, illus throughout, 10 x 10” HC: 978-1-59962-110-4 $40.00 Can: $45.00 UK: £25.00 Rights: W
The American Nurse
Photographs & interviews by Carolyn Jones. Images and stories of nurses from all across America celebrate the role of the nurse in this country’s health care system. 2012 180 pp, 100 photos, 116 x 116” HC: 978-1-59962-121-0 $60.00 Can: $60.00 UK: £35.00 Rights: W
A Bride's Book of Lists
EVERYTHING YOU NEED TO PLAN THE PERFECT WEDDING
By Marsha Heckman. A perfect resource for the bride planning her wedding from a professional wedding planner. 2012 160 pp, illus throughout, 5 x 8” HC: 978-1-59962-120-3 $17.95 Can: $19.95 UK: £10.95 Rights: W
Artists in Love
FROM PICASSO & GILOT TO CHRISTO & JEANNE-CLAUDE, A CENTURY OF CREATIVE AND ROMANTIC PARTNERSHIPS
Veronica Kavass. The passionate and creative underpinnings of the art world's most provocative romances. 2012 256 pp, 125 illus, 10 x 13” HC: 978-1-59962-113-5 $65.00 Can: $65.00 UK: £40.00 Rights: W
The Last Good War
THE FACES AND VOICES OF WORLD WAR II
Thomas Sanders. A chronicle of courage and hardship, sacrifice and determination. 2010 224 pp, 200 illus, 84 x 115” HC: 978-1-59962-085-5 $45.00 Can: $53.00 UK: £26.95 Rights: W
Elvis 1956
Photographs by Alfred Wertheimer. Photographs taken the year Elvis released his first record, made his first television appearance, and started his movie career. 2009 128 pp, 56 photos, 84 x 105” HC: 978-1-59962-073-2 $29.95 Can: $29.95 UK: £17.95 Rights: W ex UK
New York Deco
Richard Berenholtz, Introduction by Carol Willis. New York Deco profiles the architecture of the city during its most stylish and dazzling decades: the 1920s and early 1930s. 2009 160 pp, 100 photos, 75 x 75” HC: 978-1-59962-078-7 $19.95 Can: $24.95 UK: £11.95 Rights: W
India: In Word and Image
Canyon Wilderness of the Southwest
By Eric Meola. A journey through gorgeous, jaw-dropping photographs of India. 2013 288 pp, 280 illus, 10 x 13” HC: 978-1-59962-128-9 $60.00 Can: $60.00 UK: £35.00 Rights: W
By Jon Ortner, Introduction by Greer K. Chesher. Over 200 photographs accompanied by quotes from authors, travelers, and nature enthusiasts who love this incredible region. 2010 520 pp, 200 photos, 7 x 54” HC: 978-1-59962-079-4 $18.95 Can: $22.50 UK: £11.95 Rights: W
California the Beautiful
The Constitution of the United States of America
REVISED, EXPANDED AND UPDATED
Photographs by Galen Rowell. Both a portrait of the state's diverse natural beauty and a testament to the ever-renewing spirit that it has come to embody. 2009 160 pp, 100 photos, 74 x 74” HC: 978-1-59962-074-9 $19.95 Can: $24.95 UK: £11.95 Rights: W
MINI EDITION
Sam Fink. The Constitution of the United States of America, inscribed and illustrated by master calligrapher Sam Fink. 2010 136 pp, 100 illus, 84 x 12” HC: 978-1-59962-082-4 $29.95 Can: $34.00 UK: £17.95 Rights: W
Photographs by Jon Ortner, introduction by Jack Kornfield. Powerful verses from the sacred teachings of the Buddha accompany photographs of over 150 extraordinary Buddah artworks. 2010 240 pp, 150 illus, 7W x 85” HC: 978-1-59962-061-9 $29.95 Can: $34.00 UK: £17.95 Rights: W
Ireland: In Word and Image
By Jay Ben Adlersberg. A portrait of a land where Paleolithic monuments, medieval castles, quiet fishing villages, and bustling cities all exist alongside each other. 2013 272 pp, 200 illus, 10 x 13” HC: 978-1-59962-125-8 $60.00 Can: $60.00 UK: £35.00 Rights: W
Hidden Napa Valley
REVISED AND EXPANDED EDITION
Photographs by Wes Walker. A unique portrait of California's beloved wine country. 2010 172 pp, 100 photos, 74 x 74” HC: 978-1-59962-080-0 $19.95 Can: $23.95 UK: £11.95 Rights: W
New York Deco LIMITED EDITION
Richard Berenholtz. Architecture of New York City during the 1920s and early 1930s. Includes print signed by the photographer. 2008 184 pp, 120 photos, 10 x 10” HC w/slipcase: 978-1-59962-053-4 $125.00 Can: $144.00 UK: £75.00 Rights: W WELCOME BOOKS
3000 YEARS OF ART AND LITERATURE
Alice Wong. A window into a world of extraordinary beauty and mystery. 2008. 240 pp, 100 illus, 104 x 13Y” HC: 978-1-59962-030-5 $60.00 Can: $69.00 UK: £35.00 Rights: W WELCOME BOOKS
May I Feel Said He
E.E. Cummings. A sensually ecstatic tribute to love and a humorous salute to the mating rituals between men and women. 1995 32 pp, 21 illus, 95 x 115” HC: 978-0-941807-00-5 $18.95 Can: $24.95 UK: £11.95 Rights: W WELCOME BOOKS
Chills and Thrills
THE ULTIMATE ANTHOLOGY OF THE MYSTICAL, MAGICAL, EERIE AND UNCANNY
Edited by Natasha Tabori Fried and Lena Tabori. Filled with scary stories, spells, superstitions, and even recipes, this book will provide many nights of creeps and shivers. 2010 224 pp, 120 illus, 65 x 65” PB: 978-1-59962-086-2 $16.95 Can: $18.95 UK: £10.95 Rights: W WELCOME BOOKS
Off To Sea A ROMANCE
Richard Stine. A romantic and ultimately hopeful tribute to contemporary romance,. 1995 64 pp, 55 illus, 104 x 74” HC: 978-0-941807-01-2 $15.95 Can: $24.95 UK: £7.95 Rights: W WELCOME BOOKS
E.Y. Harburg. The marriage of The Wizard of Oz's most beloved song and the iridescent paintings of one of America's most beloved artists. 2000. 32 pp, 20 illus, 95 x 115” HC: 978-0-941807-38-8 $18.95 Can: $24.95 UK: £11.95 Rights: W WELCOME BOOKS
Sting. The marriage of The Wizard of Oz's most beloved song and the iridescent paintings of one of America's most beloved artists. 1998 32 pp, 26 illus, 95 x 115” HC: 978-0-941807-20-3 $18.95 Can: $21.50 UK: £11.95 Rights: W WELCOME BOOKS
The Big Book for Toddlers
Alice Wong and Lena Tabori, Editors. A special book celebrating the wonder of youth, filled with classic material guaranteed to occupy, fascinate, and delight. 2009 224 pp, 100 illus, 9 x 9” HC: 978-1-59962-071-8 $24.95 Can: $29.95 UK: £14.95 Rights: W WELCOME BOOKS
Alastair Macdonald; Illustrated by Adel Nassief. The story of the birth of Jesus Christ is told by Zeke, Joseph's faithful and hardworking donkey. 2008 56 pp, 21 illus, 7V x 106” HC: 978-1-59962-055-8 $22.50 Can: $25.50 UK: £13.95 Rights: W WELCOME BOOKS
THE HORSE WHO STOOD STILL
Christopher Cerf & Paige Peterson. Meet Blackie, the stubbornly motionless equine hero of this delightful and touching biography-inverse. 2014 64 pp, 45 illus, 65 x 8” HC: 978-1-59962-130-2 $16.95 Can: $16.95 UK: £11.95 Rights: W WELCOME BOOKS
The Goodnight Book for Moms and Little Ones
Edited by Alice Wong and Lena Tabori. Perfect snuggling material for moms and little ones, this magical book is sure to guarantee a love of bedtime and sweet, sweet dreams. 2010. 224 pp, 120 illus, 65 x 65” HC: 978-1-59962-084-8 $17.95 Can: $21.50 UK: £10.95 Rights: W WELCOME BOOKS
The Little Big Book for Boys
Alice Wong. This chunky, pint-sized volume is loaded with material guaranteed to occupy, fascinate, and entertain boys and girls of all backgrounds and with all interests. 2003. 352 pp, 100 illus, 65 x 65” HC: 978-0-941807-70-8 $24.95 Can: $38.95 UK: £14.95 Rights: W WELCOME BOOKS
Written and Photographed by Jeannette Montgomery Barron. A photographer's love letter to her late mother, whose five year struggle with Alzheimer's and passion for couture clothing inspired this poignant photo essay. 2010 112 pp, 100 photos, 65 x 8” HC: 978-1-59962-077-0 $24.95 Can: $29.95 UK: £14.95 Rights: W WELCOME BOOKS
Amy Arbus. Over 500 edgy portraits of New Yorkers that first appeared in the Village Voice's monthly fashion feature, "On the Street." 2006 104 pp, illus throughout, 105 x 14” HC: 978-1-59962-015-2 $39.95 Can: $52.95 UK: £25.00 Rights: W WELCOME BOOKS
Shoe Fleur
A FOOTWEAR FANTASY
Michel Tcherevkoff. An outrageous imaginary collection of botanical shoes and accessories created by photographer and artist Michel Tcherevkoff. 2007 96 pp, 75 illus, 10 x 10” HC: 978-1-59962-036-7 $34.95 Can: $44.00 UK: £19.95 Rights: W WELCOME BOOKS
The Little Big Book of Comfort Food
Natasha Tabori Fried. Over 200 family recipes. Collecting the best, basic, foolproof, simple-to-make recipes from real kitchens, from real friends and real families. 2006 352 pp, illus throughout, 65 x 65” HC: 978-1-59962-014-5 $24.95 Can: $27.95 UK: £14.95 Rights: W WELCOME BOOKS
Gardens & Landscape
A Baker's Recipe Keeper
Celebrity Vineyards
Edited by Natasha Tabori Fried. The perfect place to collect and hold the recipes for all your favorite sweets or most successful breads. 2010 80 pp, illus throughout, 105 x 115” Spiral-bound HC binder: 978-1-59962-095-4 $27.50 Can: $29.95 UK: £16.95 Rights: W WELCOME BOOKS
Nick Wise. Profiles and photographs of world-famous vineyards, their famous owners, and their famous wines. 2013 160 pp, 100 photos, 7 x 9” HC: 978-1-59962-116-6 $35.00 Can: $35.00 UK: £19.95 Rights: W WELCOME BOOKS
The Little Big Cookbook for Moms
Edited by Alice Wong & Natasha Tabori Fried. 150 of the best recipes for families with children of all ages. 2012. 352 pp, 200 illus, 65 x 65” HC: 978-1-59962-109-8 $24.95 Can: $27.95 UK: £14.95 Rights: W WELCOME BOOKS
Lucy Lean. Updated classic recipes from the most innovative and accomplished chefs working today. 2011. 320 pp, 150 photos, 8 x 10” HC: 978-1-59962-101-2 $45.00 Can: $50.00 UK: £26.95 Rights: W WELCOME BOOKS
AN ORGANIZER FOR YOUR FAVORITE DESSERTS AND BREADS
150 OF THE BEST FAMILY RECIPES
Searchings
SECRET LANDSCAPES OF FLOWERS, VOLUME II
Barbara Bordnick. Photographer Barbara Bordnick continues a journey she began when she idly turned her new camera on a few flowers she had in her studio. 2004 128 pp, 80 photos, 14 x 94” HC: 978-1-932183-04-7 $40.00 Can: $60.00 UK: £25.00 Rights: W WELCOME BOOKS
FROM NAPA TO TUSCANY IN SEARCH OF GREAT WINE
OUR BEST CHEFS REINVENT COMFORT FOOD
The Little Big Book of Pregnancy
Katrina Fried. The best fiction, poetry, and essays on the subject of birth and pregnancy, destined to become a classic literary companion for any expectant mom. 2002 352 pp, 100 illus, 65 x 65” HC: 978-0-941807-72-2 $24.95 Can: $38.95 UK: £14.95 Rights: W WELCOME BOOKS
Humor & Gift
Gay in America
Scott Pasfield. In this fphotographic survey of gay men in America, an intimate, honest picture of contemporary gay life is revealed through stunning personal portraits and narratives. 2011 224 pp, 100 photos, 94 x 115” HC: 978-1-59962-104-3 $45.00 Can: $51.00 UK: £26.95 Rights: W WELCOME BOOKS
Give It All, Give It Now
The Little Big Book of Life
Annie Dillard, Illustrated by Sam Fink. Inspiration for anyone who has ever feared the best isn't yet to come. 2009 50 pp, 20 illus, 65 x 9” HC: 978-1-59962-060-2 $19.95 Can: $22.95 UK: £11.95 Rights: W WELCOME BOOKS
Edited by Natasha Tabori Fried. Wisdom, humor, advice, poetry, songs, commencement speeches, letters, and thoughts on how to value yourself and the things that matter to you most. 2011 352 pp, 100 illus, 65 x 65” HC: 978-1-59962-099-2 $24.95 Can: $27.95 UK: £14.95 Rights: W WELCOME BOOKS
ONE OF THE FEW THINGS I KNOW ABOUT WRITING
Mom's Book of Lists 100 PRACTICAL LISTS FOR RAISING YOUR KIDS
Edited by Alice Wong. This valuable resource will be the go-to book for every organized and efficient mom. 2011. 160 pp, 100 illus, 5 x 8” HC: 978-1-59962-097-8 $17.95 Can: $20.50 UK: £10.95 Rights: W WELCOME BOOKS
The Little Big Book for Grandfathers
Edited by Alice Wong and Clark H. Wakabayashi. Celebrate the magic of youth and the wisdom of age with The Little Big Book for Grandfathers. 2005. 352 pp, 130 illus, 65 x 65” HC: 978-1-932183-71-9 $24.95 Can: $24.95 UK: £14.95 Rights: W WELCOME BOOKS
Literary Fiction & Non-Fiction
The Ultimate Organizer for Moms
Edited by Natasha Tabori Fried and Lena Tabori. Perfect for every new mom, this charming journal has room for her to record everything she won't want to forget. 2010 160 pp, illus throughout, 76 x 94” 3-ring HC binder: 978-1-59962-076-3 $24.95 Can: $29.95 UK: £14.95 Rights: W WELCOME BOOKS
The Little Big Book of Love
Natasha Tabori Fried. The most adorable, chunky, romance-packed valentine there is. 2008 352 pp, 150 illus, 65 x 65” HC: 978-1-59962-052-7 $24.95 Can: $27.95 UK: £14.95 Rights: W Welcome Books
Love's Exquisite Freedom
Maya Angelou. Pairs the lyrical grace of Maya Angelou with the exquisite art of Edward Burne-Jones. 2011 32 pp, 27 illus, 95 x 115” HC: 978-1-59962-103-6 $19.95 Can: $22.95 UK: £11.95 Rights: W WELCOME BOOKS
The Little Big Book of Cats
Edited by Alice Wong and Lena Tabori. A delightful treasury of stories, poems, fun activities, recipes, advice, tips, fun, and humor to indulge all cat-lovers. 2005 352 pp, 150 illus, 65 x 65” HC: 978-1-932183-80-1 $24.95 Can: $34.95 UK: £14.95 Rights: W WELCOME BOOKS
The Little Big Book of Dogs
Alice Wong. A delightful treasury of stories, poems, fun activities, recipes, advice, tips, fun, and humor to indulge all dog-lovers. 2011 352 pp, 250 illus, 65 x 65” HC: 978-1-59962-105-0 $24.95 Can: $38.95 UK: £14.95 Rights: W WELCOME BOOKS
You're My Dawg, Dog
A LEXICON OF DOG TERMS FOR PEOPLE
Donald Friedman. 146 dog terms, idioms, proverbs and metaphors explained for people. 2013 96 pp, illus throughout, 45 x 7” HC: 978-1-59962-123-4 $12.95 Can: $12.95 UK: £7.95 Rights: W WELCOME BOOKS
Travel & Pictorial
World History, Culture, & Religion
Catherine Ledner. Catherine Ledner has brought animals indoors to create a collection of magical and clever portraits unlike any youÕve ever seen before. 2007 96 pp, 70 photos, 84 x 105” HC: 978-1-59962-039-8 $24.95 Can: $32.00 Rights: US/Can WELCOME BOOKS
Amy Arbus. Fully costumed but stripped of their context, Arbus's actors remain in character as they step outside the fiction of theater into the real world. 2008 160 pp, 80 photos, 11 x 11” HC: 978-1-59962-044-2 $50.00 Can: $57.50 UK: £29.95 Rights: W WELCOME BOOKS
The Little Big Book of California
The Little Big Book of Ireland
Edited by Natasha Tabori Fried. Vintage art, literary excerpts, poems, facts, songs, quotes, legends, and recipes celebrating the Golden State. 2005. 352 pp, 150 illus, 65 x 65” HC: 978-1-932183-70-2 $24.95 Can: $35.95 UK: £14.95 Rights: W WELCOME BOOKS
Christopher Measom. A delightful treasury of text and art to indulge all lovers of Ireland. 2007 352 pp, illus throughout, 65 x 65” HC: 978-1-59962-021-3 $24.95 Can: $29.95 UK: £14.95 Rights: W WELCOME BOOKS
Sam Fink. 45 original watercolor paintings bring one of history's most meaningful documents to life. 2007 88 pp, 45 illus, 17 x 13” HC: 978-1-59962-035-0 $40.00 Can: $50.00 UK: £25.00 Rights: W WELCOME BOOKS
50 AMERICANS CHANGING THE WORLD ONE NONPROFIT AT A TIME
Katrina Fried and Paul Mobley. Fifty Americans who had made it their business to improve the lives of others. 2012 224 pp, 72 photos, 10 x 11” HC: 978-1-59962-112-8 $45.00 Can: $45.00 UK: £26.95 Rights: W WELCOME BOOKS
Sam Fink. Illustrated by the master calligrapher Sam Fink, the limited edition features 1,500 copies, printed on Synergy paper in a clamshell box with a signed print. 2006. 65 pp, illus throughout, 104 x 15” HC: 978-1-59962-016-9 $500.00 Can: $675.00 UK: £300.00 Rights: W WELCOME BOOKS
Paris: Wish You Were Here
Christopher Measom. The ultimate postcard from the most romantic and glamorous city in the world. 2008 272 pp, 100 illus, 65 x 7” HC: 978-1-59962-043-5 $24.95 Can: $27.95 UK: £14.95 Rights: W WELCOME BOOKS
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PROMOTIONAL BOOKS FRONTLIST
Tricia Guild DECORATING WITH COLOR TRICIA GUILD
Published on the eve of the forty-fifth anniversary of Designers Guild, this lavishly illustrated portfolio showcases the latest interior designs by one of the world’s most acclaimed designers. One of the world’s foremost interior designers focuses on color and its use in creating truly evocative personal interiors. For forty years, Tricia Guild has set the pace with her acclaimed interiors and up-tothe-minute collections of fabrics, wallpapers, and furnishings. She is celebrated for her extraordinary gift for combining bold patterns, chinoiserie, and Indian influences with contemporary lines and an impeccable sense of color that has made her one of the most sought-after interior designers today. Here, she shares her systematic approach to understanding and working with color, pattern, and texture, exploring themes that shape and inspire her stylish and sensuous yet playful sensibility. She begins by defining her notion of five basic color families and then demonstrates how to use color and pattern with impact and confidence to create glamorous, dramatic environments. With a knack for beautiful and dramatic spaces that do not sacrifice comfort, Tricia Guild shares her years of experience in creating memorable living spaces. Examples from her own acclaimed designs coupled with stunning original photography of real-world examples from all over the globe—from contemporary London lofts to coastal New England cottages and California Wine Country estates—complements a text rich in insight from the designer’s perspective. Tricia Guild founded her London firm, Designers Guild, in 1970 and has achieved international acclaim for innovative fabrics, wallpapers, and home furnishings. She is the author of many best-selling books, including Tricia Guild Pattern and Tricia Guild: Colors, Patterns, and Space .
INTERIORS 208 pages, 116 x 84” 325 color illustrations HC w/jacket: 978-0-7893-3103-8 Previously: $50.00 NOW: $19.98 September 15, 2015 Rights: US territories, Philippines UNIVERSE PROMOTIONAL
FRONTLIST PROMOTIONAL BOOKS
The Racing Bicycle DESIGN, FUNCTION, SPEED GENERAL EDITORS: RICHARD MOORE AND DANIEL BENSON FOREWORD BY ROBERT PENN
The most informative book on the precision and craftsmanship of the racing bicycle—essential reading for gearheads. This beautifully illustrated volume is a celebration of the design history and craftsmanship of the racing bicycle. Easily the most well-researched book available on the subject, it covers every aspect of the art and design of the beloved cult object, whose rich history intertwines with that of design, engineering, and sports. With special feature sections dedicated to the fifty most legendary brands, this is the story of the visionaries who created two-wheeled legends. From the cradle of road biking on the plains of northern Italy to the rugged trails of Marin County, where mountain biking was born, the book explores the most hallowed names in bicycle design, from Cannondale and Campagnolo to Shimano and Specialized. It is a fascinating look at how the racing bicycle’s design and parts have evolved over time. Complete with sublime photography of the design features that make each bike unique, including gears, shifters, cranks, handlebars, and wheels, this book represents a heartfelt tribute to the precision, craftsmanship, and speed of the racing bicycle. Edited by a seasoned cycling veteran and longtime cycling journalist, this is the perfect book for cycling fanatics and design aficionados alike. Richard Moore, a former racing cyclist, is a regular contributor to the Guardian, Sky Sports, and Procycling. Daniel Benson is the managing editor of Cyclingnews.com, the largest online cycling magazine. Robert Penn is the author of It’s All About the Bike and writes for the Financial Times and Condé Nast Traveler.
DESIGN/SPORTS 352 pages, 7Y x 95” 600 color illustrations HC w/jacket: 978-0-7893-3101-4 Previously: $40.00 NOW: $17.98 Can: $17.98 September 29, 2015 Rights: US/Canada, Latin America UNIVERSE PROMOTIONAL
At Home with May and Axel Vervoordt RECIPES FOR EVERY SEASON MAY VERVOORDT, PATRICK VERMEULEN, AND MICHAEL GARDNER FOREWORD BY AXEL VERVOORDT PHOTOGRAPHED BY JEAN-PIERRE GABRIEL
In the same understated, covetable style as her husband’s interiors, May Vervoordt’s recipes bring out the essence of fresh ingredients in simple yet exceptional dishes. Over the past twenty-five years, Axel and May Vervoordt have cultivated a reputation for excellence in the fields of art, interior design, and entertaining. In this contemporary cookbook, May shares 107 seasonal recipes for entertaining in style. With an emphasis on the essence of individual ingredients and cooking in harmony with the seasons, May—in typical Vervoordt fashion—demonstrates that simplicity is the ultimate sophistication. Her dishes are easy to prepare, original, and healthful, and still allow the home chef time to enjoy the meal with guests. Grouped by season, the recipes offer a broad selection for all occasions, from Mango and Sweet Potato Salad or Sesame-Tarragon Chicken to Chocolate Fondant Cake with Pear Sorbet. Close-ups of the recipes are complemented by lifestyle photographs offering a glimpse inside the elegant Vervoordt residence. May Vervoordt oversees various interior design endeavors at the family firm. A renowned hostess, she applies the same eye for detail in her selection of table decorations as she does to her light, clean menus. Axel Vervoordt is an internationally renowned interior designer and antiques and art dealer. Chef Patrick Vermeulen has collaborated with the Vervoordts since 2001, and previously worked in several Michelin-starred restaurants. Writer Michael Gardner’s work has appeared in various American literary journals; he was nominated for a Pushcart Prize. Journalist and photographer Jean-Pierre Gabriel has written many books and articles.
FOOD & DRINK/ENTERTAINING 176 pages, 9 x 106” 175 color illustrations HC w/jacket: 978-2-08-020249-9 Previously: $45.00 NOW: $19.98 Can: $19.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
The Elegant Garden ARCHITECTURE AND LANDSCAPE OF THE WORLD’S FINEST GARDENS JOHANN KRÄFTNER
The first major illustrated monograph in many years on the history of gardens, landscape design, and architecture, focusing on both the Western and Eastern traditions and their influences.
GARDENING/LANDSCAPE ARCHITECTURE 432 pages, 116 x 95” 650 color and b/w illustrations HC w/jacket: 978-0-7893-3102-1 Previously: $60.00 NOW: $19.98 Can: $19.98 UK: £12.48 September 15, 2015 Rights: World English Ex. Germany, Austria, Switzerland UNIVERSE PROMOTIONAL
Ambitious in scope and lavishly illustrated, this book surveys every period in garden design and landscape architecture, from classical antiquity and the medieval cloisters to the latest trends in modern design. Captured here are two millennia of garden history—the most comprehensive garden photo documentary ever undertaken by a single author. From the Roman gardens at Hadrian’s villa to the modern work of landscape architects, historical and contemporary gardens are showcased with special attention to the relationship between gardens and houses. The informative text reveals the evolutions, transformations, influences, and trends that characterize these beautiful landscapes, putting into context their aesthetic appeal. This gorgeously photographed book will captivate travelers and garden admirers alike and inspire gardeners with ideas for design, horticulture, and use. Johann Kräftner studied architecture, specializing in the history of art and conservation. Since 2004, he has served as director of the Liechtenstein Museum in Vienna and curator of the Princely Collections at Vaduz, Liechtenstein.
The Book of Fine Linen FRANÇOISE DE BONNEVILLE FOREWORD BY MARC PORTHAULT
A visual tribute to the elegant world of heirloom household fabrics, from the white linen cloth of ancient Egypt to the rainbow-hued coverlets of today.
INTERIORS/COLLECTIBLES 208 pages, 95 x 124” 200 color illustrations HC w/jacket: 978-2-08-020247-5 Previously: $50.00 NOW: $24.98 Can: $24.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
This lively text introduces heirloom household fabrics, their use, manufacture, embellishments, and care, as well as the infinite variety of fibers and materials used. The author explains how they serve as both unusually revealing testaments of the history of daily life and quintessential examples of the weaver’s craft, often so magnificently decorated that they rival works of art. The text is supplemented by a rich array of paintings, archival photographs, vintage advertisements, and original commissioned photography from collections, private homes, and workshops of the leading contemporary manufacturers. A comprehensive glossary of technical terms, bibliography, and index complete the book. Françoise de Bonneville is a journalist specializing in the decorative arts and the author of a monograph on the celebrated goldsmith Jean Puiforcat. Marc Porthault continues the tradition of a family business founded in 1925 whose name is synonymous with the finest of linens.
Snoop Dogg: Reincarnated SNOOP DOGG PHOTOGRAPHY BY WILLIE T. FOREWORDS BY SUROOSH ALVI AND TED CHUNG IN ASSOCIATION WITH THE VICE AND SNOOPADELIC FILMS
The story of Snoop’s musical and spiritual journey to Jamaica, reaching its culmination during the recording of his most recent album and captured in the VICE and Snoopadelic Films documentary Reincarnated. Immediately following the death of longtime friend and collaborator Nate Dogg, Snoop headed to Jamaica to regroup and record his twelfth album. There, he experienced a radical transformation from legendary leader of the West Coast gang rivalry to Rastafarian Snoop Lion, embracing non-violence and reggae. This book is an extension of this powerful moment in the life of a pop culture icon captured on film by VICE Global Editor Andy Capper. MUSIC/POP CULTURE 144 pages, including vinyl record, 9 x 12” 250 color and b/w illustrations HC: 978-0-7893-3106-9 Previously: $39.95 NOW: $17.98 Can: $17.98 UK: £11.98 September 29, 2015 Rights: World UNIVERSE PROMOTIONAL
Including never-before-seen photographs and untold stories from his personal archives, from his early days singing in church to his discovery at sixteen by Dr. Dre and his phenomenal life onstage and on tour to his gang involvement, behind-the-scenes stills from insider LA photographer Willie T., the best of Snoop from the inimitable VICE archives, and Snoop’s handwritten notes and nicknames for the characters along the way. It also includes the limited-edition vinyl only given to a select few musical insiders before the album’s release. Snoop Dogg is a rapper, songwriter, producer, and actor who has sold over 30 million albums worldwide. Ted Chung is Snoop’s manager. Willie T. is an LAbased photographer. Suroosh Alvi is one of the cofounders of VICE, which is a global media conglomerate that remains on the cutting edge of youth culture.
Stuck on Star Trek ILLUSTRATED BY JOE CORRONEY
An interactive and imaginative way to experience the Star Trek universe using the magic of “Kling-on” pieces. Few television series have had as big an impact on popular culture as Gene Roddenberry’s Star Trek. Now Trekkies and fans of all ages can set their phasers to fun as they reenact their favorite scenes from the original Star Trek universe— or create new, uncharted scenarios! POP CULTURE 10 pages, plus 2 bound-in sticker sheets, 104 x 84” 10 full-color scenes and 30+ stick-on play pieces Wire-bound HC w/easel: 978-0-7893-3104-5 Previously: $19.95 NOW: $9.98 Can: $9.98 UK: £9.98 September 15, 2015 Rights: World English UNIVERSE PROMOTIONAL
Stuck on Star Trek features ten original and instantly recognizable scenes including the Enterprise’s bridge, sick bay, the cantina, the transporter and engine rooms, private quarters, as well as alien environments, which set the stage for more than thirty reusable “Kling-on” stickers featuring everyone’s favorite Starfleet crew: Captain Kirk, Mr. Spock, Bones, Uhura, Sulu, Scotty, Chekov, Nurse Chapel, their Klingon and Romulan adversaries, the always-doomed Generic Red Shirt Guy, as well as phasers, communicators, universal translators, ships, speech and thought bubbles, costumes, and Tribbles. With wire-o pages and a foldout stand for easy display and play, in a cubicle or on any surface, fans can reenact Kirk and Uhura’s groundbreaking kiss, Spock’s use of the Vulcan Death Grip, or beam the crew (except for Generic Red Shirt Guy) up from a hostile and unfriendly planet. Fun, interactive, and portable, Stuck on Star Trek allows every fan to boldly go where no man has gone before. Joe Corroney currently illustrates the Star Trek and True Blood comic books.
Behind the Wheel THE GREAT AUTOMOBILE AFICIONADOS ROBERT PUYAL
Introducing legendary stars of the thrilling world of the automobile.
AUTOMOBILES 240 pages, 95 x 124” 200 color and b/w illustrations HC w/jacket: 978-2-08-020244-4 Previously: $49.95 NOW: $19.98 Can: $19.98 Available Now Rights: US/Canada, Latin America
In Behind the Wheel, Robert Puyal presents eighty idols of the automobile world, including pioneers of the automotive industry, champion racing drivers, superstar car aficionados, and celebrated fictional characters. The inspirational figures featured include Henry Ford, who, overcoming his illiteracy, broke the landspeed record with a machine of his own design. Also featured is Juan Manuel Fangio, who started out as a mechanic in a small village in Argentina, competing in perilous amateur road races before his talent was finally discovered. Steve McQueen and Paul Newman are among the many Hollywood stars to have been bitten by the racing bug, while cars themselves have also played starring roles onscreen, like 007’s trademark Aston Martins. High-speed thrills have always attracted a cast of characters as diverse as it is devoted, and this book is a classic tribute. Robert Puyal has been an automobile journalist for thirty years and specializes in motorsport and the history of car makes and models.
FLAMMARION PROMOTIONAL
Japanese Animation FROM PAINTED SCROLLS TO POKÉMON BRIGITTE KOYAMA-RICHARD
A sweeping journey through the history of Japanese animation, tracing this cultural phenomenon from its origins in traditional art to today. A dominant force in its home country since the 1970s, Japanese animation has become a global phenomenon in recent years. But far from being a contemporary invention, anime draws on the same centuries-old artistic traditions that form the basis of manga. Widely disparaged when it first appeared in the West, today the real value of Japanese animation is recognized, and it has inspired international film directors. Fairy tale, romance, adventure, fantasy, science fiction: anime encompasses many genres and its creativity knows no bounds. ART HISTORY 248 pages, 9V x 106” 550 color illustrations HC: 978-2-08-020242-0 Previously: $49.95 NOW: $19.98 Can: $19.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
Brigitte Koyama-Richard studies the evolution of Japanese animation through the centuries, retracing its history from painted scrolls to woodblock prints to animated films, first in black and white, and then in color. A number of prominent artists are showcased, including Tezuka Osamu, the “godfather of anime,” and Hayao Miyazaki, founder of the world-renowned Studio Ghibli and creator of films such as Spirited Away—the first anime film to win an Academy Award. Illustrated with over 500 images, many rarely seen in the West, this book bridges the gap between art history and pop culture. Brigitte Koyama-Richard is a professor at the University of Tokyo, where she teaches comparative literature and art history. She has published several works on Japanese art, including One Thousand Years of Manga (Flammarion, 2008 ).
The Book of Chocolate REVISED AND UPDATED EDITION JEANNE BOURIN, JOHN FELTWELL, NATHALIE BAILLEUX, PIERRE LABANNE AND ODILE PERRAUD
Based on the original Flammarion title The Book of Chocolate, this lavishly illustrated book, now edited and brought up to date, takes readers on a journey through the history and production of the world’s most seductive confection: chocolate.
COOKING 200 pages, 96 x 124” 200 color illustrations HC: 978-2-08-020246-8 Previously: $40.00 NOW: $17.98 Can: $17.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
Learn how the cocoa bean, first enjoyed by the Aztecs, has traveled around the globe to produce endless variations of chocolate. Through the eyes of food critics, chefs, journalists, and historians, this book explores the rich history of chocolate, along with a modern-day investigation of its many flavors and forms. A list of tantalizing recipes and a guide to the finest purveyors of chocolate worldwide make this volume indispensable to chocolate lovers everywhere. If the list of recipes is not enough to bring out the chocoholic in you, just look at the delicious illustrations, specially commissioned photographs, rare vintage posters, and fine paintings all in honor of this favorite confection. Jeanne Bourin is an award-winning French novelist. John Feltwell, a British naturalist, has written several books including Butterflies and Moths and Geraniums and Pelargoniums. Nathalie Bailleux, a French historian, has published a book on fashion and clothing. Odile Perrard, a novelist, lives in France and has written several novels.
Mariage Frères French Tea THREE CENTURIES OF SAVOIR-FAIRE ALAIN STELLA PHOTOGRAPHED BY FRANCIS HAMMOND
Mariage Frères, the premier tea importers of France since 1854, offer their definitive version of the “art of tea” for those who are unable to resist the temptation of a fragrant cup of tea accompanied by flaky pastry. When Richard Bueno and Kitti Cha Sangmanee bought the well-respected Parisian firm in the early eighties, they expanded the business and gave it a radically new dimension by inventing the French “art of tea.” Mariage Frères sought out the best tea buds from all four corners of the globe: green teas from Japan, white teas from China, and First Flush Darjeelings.
COOKING 240 pages, 9 x 10” 220 color illustrations HC w/jacket: 9782-08-020245-1 Previously: $50.00 NOW: $24.98 Can: $24.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
This book shares new ways of enjoying camellia sinensis and uncovers the secrets of the Mariage Frères tea ritual: mouthwatering recipes, tranquil settings, and beautiful accessories. This refined book—packaged as exquisitely as the company’s tea and tea-related products—is a chic and totally irresistible invitation to tea. Alain Stella is a writer and historian. His previous publications with Flammarion include The Book of Spices and The Book of Tea. Francis Hammond is a photographer who works for fashion and advertising clients as well as international magazines.
The New-Fashioned Wedding DESIGNING YOUR ARTFUL, MODERN, CRAFTY, TEXTURED, SOPHISTICATED CELEBRATION PAIGE APPEL AND KELLY HARRIS
A fresh, modern take on wedding design perfect for today’s bride. Paige Appel and Kelly Harris started designing weddings in 2009, and their work immediately resonated with young brides and grooms: weddings in fields, art galleries, refurbished warehouses, vineyards, hip hotels, or farmhouses. Weddings that featured Mimolette and Mexican beer; fireside chats; succulents and wildflowers; funny jokes; farm-totable dinners; recycling; offbeat photography; desert heat or mountain snow; salty cookies; pots of paint and confetti cannons. People, Real Simple, Daily Candy, and Design Sponge are just a few of the publications that responded to their addictive mix of old and new, vintage and modern. In this, their first book, Appel and Harris share ideas from the weddings they have designed, such as celebrations at a Palos Verdes farm (Red Hot Juleps, wildflowers galore, a mouthwatering “Sweets Stable”) and the Ace Hotel in Palm Springs (a bourbon-soaked retro cocktail hour, colossal balloons, and a marching band), all photographed here in detail. With their trademark wit, they walk the reader through planning their event, from vision statement and storyboard to color palette, stationery, signs and logos, centerpieces and bouquets, furnishings, linens, china and silver, aisle décor, menus, and more, providing hundreds of inspirational ideas in the process. Paige Appel and Kelly Harris of Bash, Please began designing personality-driven weddings in 2009 for an artistic and celebrity clientele (Anna Getty, Josie Maran, Emily Deschanel) and immediately became media darlings. They live in Los Angeles and travel worldwide to produce events for their clients. They are also the cocreators of The Cream, a modern, hip, experiential take on the bridal fair. WEDDING PLANNING 224 pages, 9 x 10” 200 color illustrations HC: 978-0-7893-3105-2 Previously: $45.00 NOW: $19.98 Can: $19.98 UK: £12.48 September 29, 2015 Rights: World UNIVERSE PROMOTIONAL
Bauhaus Women ART, HANDICRAFT, DESIGN ULRIKE MÜLLER
This monograph celebrates the work of twenty women artists who created feverishly in all the teaching, workshop, and production branches of the Bauhaus—names, masterpieces, and extraordinary lives that have only gradually become known to us. Founded in 1919, the Bauhaus and most of its students were poor and lacking in just about everything. What it did have, however, was an abundance of enthusiasm, talent, and innovative creativity. Furthermore, over half of those seeking to enroll at the school were women. This tornado of the “fairer sex” was initially seen as a threat, and the weaving mill was quickly turned into a separate “women’s facility.” ART HISTORY 152 pages, 84 x 106” 120 color and b/w illustrations HC: 978-2-08-020248-2 Previously: $39.95 NOW: $17.98 Can: $17.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
Recognized figures such as Anni Albers—the first textile artist to be exhibited at the MoMA—and Marianne Brandt—whose elegant geometric tableware has become classic Alessi designs—are showcased alongside previously unknown artists such as Gertrud Grunow, who taught “Harmonizing Science”; Helene Börner, who led the textile workshop; and Ilse Fehling, a sculptor and the most sought-after set and costume designer of her generation. Ulrike Müller studied ecclesiastical music, philosophy, theology, and literary sciences in Hamburg. She lives in Weimar where she works as a museum curator and city guide.
Muses WOMEN WHO INSPIRE FARID ABDELOUAHAB
The stories of thirty-three women who enthralled society’s artistic geniuses and thus inspired the creation of some of the greatest works of the past two centuries.
WORLD HISTORY AND CULTURE 240 pages, 95 x 124” 180 color illustrations HC w/jacket: 978-2-08-020243-7 Previously: $49.95 NOW: $19.98 Can: $19.98 Available Now Rights: US/Canada, Latin America FLAMMARION PROMOTIONAL
American Lee Miller was a successful model before traveling to Paris to become the apprentice, lover, and muse of Man Ray; Nancy Cunard, British writer, heiress, and political activist, was a lover to numerous members of the twentieth century’s art and literary circles, including Ezra Pound and T.S. Eliot; Parisianborn artist and poet Dora Maar had a profound influence on her infamous lover, Pablo Picasso. While the lives of these women were very different in most aspects, they shared the ability to awaken fervor in and to influence the work of their Pygmalion painters, writers, or photographers. The vision of the artist and his muse remains an integral part of our notion of artistic creation, and the collaboration of these interwoven destinies continues to fascinate historians, art appreciators, feminists, and general readers alike. Farid Hamed Abdelouahab, an art and photography historian, has published over twenty illustrated books.
Rizzoli International Publications
Fall 2015 Rizzoli International Publications Catalog
Including Rizzoli New York, Universe Publishing, Rizzoli Ex Libris, Skira Rizzoli, Welcome Books, Skira Editore, Flammarion, Marsilio and Ha...
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Farza, Kabul, the CIA and Why these are important to Americans
Farza District is a new, small, 18 villages area in Kabul Province, Afghanistan with a populaiton of 18,000 (2002 official UNHCR est.), Pashtuns and Tajiks, where U.S. foreign policy has destroyed much of what people once had before the impact of U.S. foreign policy.
In January 1991, Farza separated as an independent district from Mir Bacha Kot District but never recognised by the Taliban government.
Farza district, headquartered in Dehnawe Farza (Deh Now-ye Farzah), is in the northern part of Kabul, up in the hills of the northwestern part of Shomali Plain. Its main source of income is the agriculture industry.
Afghanistan, for many, is a ‘tribal’ country, ‘out of control,’ distributing large quantities of opium, and diverting human and financial resources needed here at home.
So why should Americans care about Farza, Kabul?
The United States, in significant measure, is responsible for present conditions in Afghanistan. Trust In Education reports, “The U.S.s made its first significant commitment in Afghanistan when the Soviets invaded Afghanistan in 1979. The Central Intelligence Agency began its largest, most expensive and successful clandestine operation in history.“
According to TIE, the operation’s objectives were simple: Supply weapons to the mujahideen (“freedom fighters”) in support of their “jihad” (holy war) against the Soviet “infidels” and thereby “turn Afghanistan into the Soviet Union’s Vietnam.” [1]
The United States, along with other nations, supplied billions of dollars of weapons to the warlords and mujahideen through Pakistan. It was a multinational effort that turned an “army of primitive tribesmen into techno-holy warriors.” [2]
By the time the Soviets were driven out of Afghanistan in January 1989, the mujahideen were well-trained, seasoned fighters, armed to the hilt with modern weaponry, and beholden to no external control. And as many as 30,000 “holy warriors” traveled from other countries to join in the war.
Nine months after the Soviet Union was driven out of Afghanistan, the Berlin Wall came down, and by 1991 the Soviet Union ceased to exist. The war in Afghanistan had hastened the Soviet Union’s demise, but the toll included 1.5 million Afghan deaths and the creation of 5 million Afghan refugees, not to mention the flood of American arms into Afghanistan.
Mujahideen took control of destroyed country
Islamic “holy warriors” globally had found a “holy cause” and a country in which they could organize. “By 1993, they were well trained, armed, and ready to respond to a further calling,” reports TIE.
“As George Crile observed, “the more dangerous legacy of the Afghan war is found in the minds and convictions of Muslims around the world. To them the miracle victory over the Soviets was the work of Allah. We set in motion the spirit of jihad and the belief in our surrogate soldiers that, having brought down one superpower they could just as easily take on another.” [3]
“Unfortunately, by 1993 the U.S. had turned its attention from Afghanistan and ‘washed its hands of any responsibility.’ There were few roads, few schools, and a country that had been destroyed. Warlords, Islamic extremists, drug lords, and defenseless Afghans fought over what little remained.
Afghanistan had become a breeding ground for militant Islamists.
“The Taliban rose to power in 1995, rescuing Afghans from the violent chaos caused by conflicts among warlords and mujahideen. The euphoria first enjoyed by the takeover soon faded as the oppression of the new regime became evident. The Talibans’ interpretation of the Koran led them to conclude women should not be allowed to work, or read, that there should be no music, art, dancing, or kite flying. Soccer fields were used for public executions, books were banned, and women were flogged publicly by “morality police” for walking in a suggestive manner. In some areas laughing in public was forbidden. These “militant young Muslims,” most of who were not Afghans by birth, assumed total authority over daily lives of all Afghans.
The U.S. maintained a relationship with this repressive regime and by spring 2001, was providing the Taliban with $43 million in financial aid, despite the oppressive theology of the Taliban was well known at the time.
Why would we give the Taliban $43 million?
Were they being rewarded for reducing the production of opium, as claimed?
Or, as some skeptics assert, was it because they controlled the awarding of the contract to build a gas pipeline through Afghanistan, and Unocal, an American company, was vying for the contract?
Regardless of the truth about Osama Bin Laden and his close ties to the U.S., according to TIE, thousands of small struggles being won daily go unreported.
“These victories, while individually small, are collectively building a nation eager to rid itself of oppressors and totalitarian rule. Whether it is building community learning centers, starting a girls’ soccer program, or educating street children, together we are making a difference.”
“History has favored Americans with an opportunity to join with Afghans in remedying the consequences of thirty years of war. We must recognize that we either financed or directly waged war in Afghanistan for more than half those years.”
Trust In Education
NDAA's CIA, military targeted killings of innocent Americans
Why this Kolaveri Di? Why these songs work?
Learn Why Alcohol and Drug Education Classes are Important in America
Nonfiction reading and why it's important for children
Why it's especially important that your pumpkin (and squash/melon) be organic
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Sealab 2020 (lost unaired episodes of NBC animated series; 1972)
Title screen of Sealab 2020
Status: Lost
Sealab 2020 was a animated series that aired on NBC at 11 o'clock on Saturday mornings. The series ran from September 9, 1972 to December 2, 1972. There is 15 total episodes with the last two being unaired. The two unaired episodes were "S.O.S.: Sealab Ocean Signal" and "Utopia of Cassidy". The episode "S.O.S.: Sealab Ocean Signal" is about the crew being in danger from a possible from chemicals[1] and the episode "Utopia of Cassidy" is about the crew finding a supposed island of paradise.[2] There is not much more known about these episodes, including why they were not aired even though they were already made.
There was a reboot of the show on Adult Swim called Sealab 2021[3] that used stock footage from Sealab 2020 and could possibly have animation from these episodes.
↑ description of episode . Retrieved 7 Jun '17
↑ description of episode Retrieved 7 Jun '17
↑ Sealab 2021. Retrieved 7 June '17
Retrieved from "https://lostmediawiki.com/index.php?title=Sealab_2020_(lost_unaired_episodes_of_NBC_animated_series;_1972)&oldid=63758"
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The Drunkard
I found this program from "The Drunkard" in a scrapbook that I bought years ago and rediscovered while unpacking a box of books today. "The Drunkard" was one of the most popular and long-running plays ever staged in Los Angeles. This particular program dates from the middle of 1934.
Here's a post I originally wrote for the 1947project that will give a bit of background:
n the summer of 1933, expecting nothing but a brief run and modest ticket sales, two theater people from Carmel, Preston Shobe and Galt Bell, hatched the idea of staging P.T. Barnum’s 1843 artifact of the temperance movement, “The Drunkard” by W.H. Smith. In keeping with the “meller drammer” atmosphere, the producers removed the theater seats and installed tables so the audience could drink beer and eat a buffet meal while hissing the villain, cheering the hero and singing "There Is a Tavern in the Town."
The men had more ambitious plans for the theater, including historic Italian plays and a Russian version of “Uncle Tom’s Cabin” recast as anti-capitalist propaganda. But for reasons none of them understood, “The Drunkard,” which opened July 6, 1933, kept drawing huge audiences and was selling out weeks in advance.
Strangest of all, people kept coming back to see the play, so that the producers abandoned the rest of the season. And not just regular theatergoers but movie stars, like Boris Karloff (who suggested old-time songs to be performed during the olios), Mary Pickford and John Barrymore.
W.C. Fields adored the play so much that he not only saw more than 30 performances, but he also built the 1934 film “The Old-Fashioned Way” around a production of “The Drunkard,” taking the role of Squire Cribbs and using many members of the Los Angeles cast. (That’s Jan Duggan “The Bowery Nightingale” with a ping-pong ball in her mouth getting whacked by Fields with a ping-pong paddle in “You Can’t Cheat an Honest Man.”)
To everyone’s amazement, the play kept running week after week. The production marked its first year. And then another. Some cast members left for road shows of “The Drunkard.” Understudies took on leading roles and became stars of the show. As the years passed, actors who began as children outgrew their roles and had to retire. By 1940, there had been 16 weddings among the cast members.
On an unpainted cupboard in the women’s dressing room, someone tracked the number of performances and various historic events. On the night of the 2,245th performance, Hitler invaded Poland. On the 3,088th performance, the Japanese attacked Pearl Harbor. Through the war years, the Theatre Mart staged special shows for men and women in uniform. By its 7,085th performance on July 6, 1952, “The Drunkard” had been seen by more than 2 million people.
Finally, the Fire Department cut back on the size of the audience allowed per show from 340 to 260 and the play was no longer financially viable. On Oct. 17, 1959, “The Drunkard” closed with 9,477 performances.
Neely Edwards, 76, who had been in the show since Christmas Eve 1933, said: “I was getting kinda tired anyhow. I can stay home now and relax for a while. Something usually comes along.”
In 1960, the theater where millions had booed and cheered the story of temptation and triumph over the evils of Demon Rum became the headquarters of Los Angeles Press Club.
The neighborhood of 605 N. Juanita Ave., one block east of Vermont, one block south of Melrose, from Google maps' street view.
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Tag Archives: Sheila Dalton
Guest post: White Women in the North African Harem
by Sheila Dalton
Le Harem by Fernan Cormon
While researching my 17th century historical novel, Stolen, in which a young woman’s parents are kidnapped by Barbary corsairs and taken to the slave markets in Morocco, I came across several blogs where people questioned whether such raids had ever really occurred. They were especially doubtful that white women ended up in Northern African harems.
Certainly, in popular culture, the possibility was too tantalizing to pass up. Many of us have heard of the somewhat notorious Angélique and the Sultan by Sergeanne Golon, in which a 17th-century French noblewoman is captured by pirates and sold into the harem of the King of Morocco. She stabs him when he tries to have sex with her, and stages a daring escape.
Then there’s The Lustful Turk, or Lascivious Scenes from a Harem, a British novel published in 1828, in which the harem is a sort of erotic finishing-school for a number of Western women forced into sexual slavery in the service of the Dey of Algiers.
No wonder people started to wonder if there was nothing more to these ‘white women in the harem’ stories than the fevered imaginations of Western men!
But the scenario also shows up in more serious Western art. For instance, in Mozart’s opera The Abduction from the Seraglio a Spanish man tries to rescue his beloved from the harem of the Sultan Selim, where he believes she has been sold by pirates; in Voltaire’s Candide, an old woman tells of being sold into harems across the Ottoman Empire.
As I delved further, I found what seemed to be legitimate historical records of such abductions. One that stood out was the story of Helen Gloag, a young Scottish woman with red hair and green eyes, who, at nineteen was kidnapped at sea by Barbary pirates, and sold in the slave markets to a wealthy Moroccan who ‘gifted’ her to the sultan. She lived in his harem, and ultimately became his fourth wife, mother of two of his sons, and Empress of Morocco.
Even though Gloag was able to write home, and was visited in Morocco by her brother, thus seeming indisputably ‘legit’, I still came across a piece in Scotland Magazine that mentioned doubts over the story’s veracity. However, as one of Helen’s direct descendants stated in the same article, “Why would anyone make all that up? The voyage is accurate. It is well known that piracy off the Moroccan coast was prevalent at that time.”
Why, indeed?
In Christian Slaves, Muslim Masters, Prof. Robert Davis writes, “The pasha … bought most female captives, some of whom were taken into his harem, where they lived out their days in captivity. The majority, however, were purchased for their ransom value; while awaiting their release, they worked in the palace as harem attendants.”
In White Gold, the Extraordinary Story of Thomas Pellow and North Africa’s One Million European Slaves Giles Milton writes, “Capturing large numbers of white slaves was part of a strategy to gain leverage over ‘the great powers of Christendom’. English females, it seems, were sometimes ransomed for more than £1,000.” And others, he maintains, were taken into harems.
The more I read, the more it seemed incontrovertible that white women did end up in harems. I wanted to include this in Stolen, but in the least sensational manner possible, one which would not make the world of Morocco and the harem seem ‘things apart’ from the Western experience, impossibly ‘exotic’, incomprehensible — and titillating. It was a challenge with such dramatic material. In an early part of the book, I show a European man keeping an Englishwoman in seclusion, and using seductive techniques in an attempt to control her. True, he has had experiences in North Africa that influenced him, but I hoped to reduce the ‘distancing’ factor by setting this part of Stolen in England. It is an approach I used throughout the book, so that slavery in all its forms, including in the harem, could be seen to be endemic to the human race as a whole, not one specific nation or people.
I also tried to tell a roaring good story, and I hope readers find that I succeeded.
A little about Sheila:
Author Sheila Dalton
Sheila Dalton has published novels and poetry for adults, and picture books for children. Her YA mystery, Trial by Fire, from Napoleon Press, was shortlisted for the Crime Writers of Canada Arthur Ellis Award. Her literary mystery, The Girl in the Box, published by Dundurn Press, reached the semi-finals in the Amazon Breakthrough Novel Award Contest, and was voted a Giller People’s Choice Top Ten. Stolen is her first book of historical fiction.
Visit Sheila’s website at http://www.sheiladalton.weebly.com
Read about STOLEN…
Devon, England, 1633: Lizbet Warren’s parents are captured by Barbary Corsairs and carried off to the slave markets in Morocco. Desperate to help them, Lizbet sets out for London with Elinor from the Workhouse for Abandoned and Unwanted Children, the only other survivor of the raid. The unlikely pair are soon separated, and Lizbet is arrested for vagrancy. Rescued from a public whipping by a mysterious French privateer, she is taken to his Manor House in Dorchester, where he keeps her under lock and key. Later, Lizbet is captured at sea by the pirate Gentleman Jake, and forced to join his crew. Her quest leads her to the fabled courts and harems of Morocco and the tropical paradise of Barbados.
Based on true events, Stolen is the story of a brave but very human young woman who perseveres in the face of incredible odds to establish her place in a new world.
Find STOLEN at Amazon: http://www.amazon.com/Stolen-Sheila-Dalton-ebook/dp/B00SXBLCTQ/ref=sr_1_1?s=books&ie=UTF8&qid=1430259938&sr=1-1&keywords=sheila+dalton
Filed under 17th century England, corsairs, historical novels, pirates, slavery
Tagged as English history, georgian, historical novel, Sheila Dalton
Another guest is arriving…
A Family of Three At Tea by Richard Collins 1727
Now that spring is here, it’s time to entertain! This week, author Sheila Dalton will be presenting a fascinating article on this blog site. She is the author of a historical novel STOLEN and non-fiction works as well. Please watch for her post! Her book is available on Amazon.com if you’d like to take a peek.
Filed under 17th century England, historical novels, pirates
Tagged as corsairs, pirates, Sheila Dalton, slavery
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To be successful the business has to spend time learning business environment
Mykola Siutkin, CEO and founder of S&P Investment Risk Management Agency, about why such a potential country as Ukraine does not have a flow of foreign investment and what needs to be done to change the situation.
CEO S&P Agency, a Ukrainian company specializing in integrated business solutions, shares experiences, assuring that there are no miracles. There is no such effective tool that can solve a problem in a company with one touch. In protecting the interests of the business, only the application of a set of tools — GR, PR, crisis communications, legal and managerial tools can be effective. Exactly S&P Agency can provide such multi-level protection to investors in Ukraine, and teach how to avoid mistakes and minimize risks.
All this Mykola told in an interview with LDaily, based on his own experience and successfully implemented case of his company. It was an engaging conversation that was as frank as possible.
LDaily: In 2017, Ukraine has risen to 4 positions in the international Doing business rating and now takes 76th place out of 190 countries. In your opinion, does this mean a change in the balance of Ukrainian and foreign investment and the potential for FDI inflows into the Ukrainian economy in 2018?
M. Siutkin: In my opinion, changing of Ukraine’s position as a country in any ratings, even very influential, will only mean the fact that Ukraine can fall into the eyes of a potential investor, as long as it is a possible investment object. The final decision is taken by investors not on the basis of ratings, forums, promises of the Government of the country, it is accepted only after a detailed analysis of the business environment and potential risks. Very often the signal to make a decision to enter the new investor market is the success story of other big players. And, by contrast, no place in the rating will force the investor to come to a country where business is suffering from raiding, illegal actions of law enforcement or other controlling bodies.
If the above-mentioned risks are minimal, then large foreign players will stand in line, regardless of the country’s rating, subject to favorable financial performance. Therefore, in order to obtain a flow of foreign investment, it is necessary to form the image of the country and show concrete examples of successful investments. This is a minimum and, as a maximum, to create comfortable and understandable conditions for doing business for a foreign investor, starting with the protection of property rights, taxation, and simplifying bureaucratic procedures.
LDaily: What risks do foreign investors face with when they start working in Ukraine and how can they avoid these risks?
M. Siutkin: Ukraine is a priori a high-risk country. But at the same time, one can not but take into account the fact that the size of the profits that can be obtained in our country far exceeds the standard interest that foreign companies can receive in other European countries. I consciously focus on European countries, because Ukraine is unique in its location, first and foremost, for European investors, but not only. In determining the investment attractiveness of our country one can not ignore the huge area of Ukraine (the largest in Europe): the population of today according to various data is 39-43 million people, the population is educated, and the cost of labor is minimal compared to the countries of Europe. There are plenty of advantages in Ukraine, but they are really offset by those risks, which really suffer not only foreign but also Ukrainian business.
• To the main risks we include loss of investments and/or assets in the territory of Ukraine.
• The second on the list, but equally important, is conflicts with Ukrainian partners, which, as a result, can also lead to loss of assets and/or business.
• The third significant risk to date is the conflict with the state, the authorities, especially with the participation of law enforcement agencies.
The risk issues are quite tight and deep, we have even developed a special training for the CEO of foreign companies, in which we show the types of risks, their levels, mistakes. And, most importantly, we teach foreign investors how to avoid them and minimize already existing risks.
In any case, regardless of the difficulties that are currently present in our country, one can not but take into account the fact that large and medium foreign business has been successfully operating in Ukraine for quite some time. And in absolutely different fields. But it should be noted that the business that has spent time studying the new business environment, conducted a risk analysis, as well as minimized it, will be successful. It is clear that business can not carry out such a volume of work alone. Therefore, for business success, a team game with the involvement of experts at all stages of the investment project implementation is required, as well as close cooperation with local and international business associations.
LDaily: Investor protection is now a very important topic for our country. What, in your opinion, investor protection tools are really effective?
M. Siutkin: Unfortunately, there is no magic pill, or any one tool that effectively and effectively removes the problem in the company in one touch. In the process of building and implementing business protection, we apply a variety of tools, such as GR, PR, crisis communication, crisis management, coaching, mentoring, management and legal tools, which are tailored according to the complexity of the task. Building a full-fledged defense is a multilevel process that is individually developed for each individual case. And believe me, very often those tools that worked in one business can become completely ineffective in another. It reminds me of the IronMan competition, which is not there and can not be two identical starts. There has to change tactics, strategy, and creativity ever in the race, depending on the source data for a particular day and even the start time. In any case, we are for a systemic fundamental approach that allows businesses to feel safe in such a difficult business environment in Ukraine.
I would also like to add that the current legislation of Ukraine gives the business enough tools to protect its rights, the question is only about the ability to properly use such instruments. And now, in the latter, the problem often lies. I fundamentally disagree with the opinion that the current legislation of Ukraine is weak in the issue of protecting a foreign investor. Legislation is rather progressive, but its implementation is very weak. But you can work with it.
LDaily: Fighting corruption, including in the real estate sector, is still one of the most important tasks for the state. What advice would you recommend to an investor starting a business in Ukraine?
M. Siutkin: The only advice will be — to act only in the legal field, not to accept incorrect “rules of the game”, as if you were not trying to impose them or submit them “under the sauce”, which is the only way to do business in Ukraine. It is not true, believe me, there are many successful examples of doing business in Ukraine, absolutely honest, transparent and legal. Once started “to play according to the rules of others” it is very difficult to change them. But even in this case, the output is always, the main thing is to take for once and for all the decision to act only within the framework of the law. And you know, from a financial point of view, such a strategy turns out to be much more profitable than a false position imposed from the outside.
LDaily: Business is not only asset and investment protection, business is first of all people. What can you say about partnership and how will you advise investors to build partnerships?
M. Siutkin: Any business is looking for a partnership, especially when entering new markets. And this is normal. Partnership with local business facilitates the entry of a foreign investor into new markets, helps to establish new relationships, successfully implement projects, etc. Partnership in some projects is simply necessary, but, at the same time, it is necessary to include rationalism and pragmatism both in the process of choosing a partner and in the process of establishing a partnership.
My advice will be the following: a successful partnership in Ukraine (but probably not only) will be only if the correct system of checks and balances is created, which simply will not allow a violation of rights by one partner or it will simply not be profitable.
An intelligent approach to designing partnerships is the key to minimizing corporate and / or raider conflicts. According to our analyst, the very mistakes in the registration of partnerships in 95 % led to the loss of assets. Therefore — minimization of possible investment risks takes place at the “zero” stage, that is, before the entry into the investment project. A false entry into an investment project is a guarantee of its successful implementation.
Ukraine has great potential and ingenious people. We need to invest all our strength here, love and develop what we have
Tamas Hak-Kovacs: «All commitments should be met»
Changes in the economy are impossible without direct foreign investments. To attract them Ukraine needs strong propaganda abroad
Ukraine has great undiscovered potential for investment, but be sure to do a thorough homework before investing
Profession of a plumber is in demand and very well paid in Switzerland
Juliia Nosulko: “The current model of the energy market does not attract investors”
Our main value is safety
Restoring profitability of the banking system of Ukraine
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Home / Blog / Sex Offences
Is it illegal to videotape your partner?
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Prostitution in Australia- Where is it Legal?
Prostitution in Australia- Where is it Legal? Prostitution and the sex work industry has been one of the most hotly debated topics since the world’s oldest profession has been around. Australia has one of the…
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Juan Netts
Juan Netts is an American actor, composer, comedian, producer, rapper, and songwriter; known for Doing Everything You Can (2018) and Blancos (2018). Juan grew up in one of the most crime infested cities in Northeast Ohio; East Cleveland, a small adjacent suburb of Cleveland, OH; consistently plagued with fights, gangs, and violence. Not many people are able to make a complete 180 mph turn around such as Juan Netts also known as Overdrive Juan. (2013) Beginning his career at the height of the music industry; he has speedily taken the Movie and Entertainment Arts industry by surprise; many say that "he has completely performed a complete opposite turnaround of the person they once used to be." Trust and believe it was for the better. Over the past decade the entertainment industry has been rapidly changing; Few artist have been able to master not only change along with it, but also stay ahead of the curve. Amongst those few Juan Netts is a true stand out; He goes by the moniker, Overdrive Juan. Achieving success throughout his musically based career; Juan decided to advance his skills to the next level in the entertainment industry, by pursuing his goal of a successful acting career. Juan has recorded hundreds of songs and performed in countless shows; therefore is no stranger to the spot light. He has garnered a huge internet and offline following; His drive and passion for growth in the entertainment industry has recently taken him to new levels. (2016) Relocating from Cleveland, OH to Atlanta, GA followed by Orlando, FL. Juan learned the art of filming Mastering The "Sanford Meisner" techniques not only in front, but as well as behind the camera. Wearing the title "The Greatest Flowman" well; Juan electrifies audiences with his acting versatility and powerful presence. Growing up among-st his uncles, he was always quoted as the young "Playboi Juan," because of his looks and style, but life to Juan was never too sweet due to seeing what his mother went through to raise two children, his sister and himself. If papa was a "rolling stone," well then I guess he lived up to it; when Juan was 4 he didn't know why he had to pack his bags and move from Houston, TX. to Cleveland, OH.; his mother had to move and do what was best. A vicious and turbulent break-up later led to a violent streak with young Juan seeing his father attempt to kill his mother. With the Universes blessings; his mother survived the venomous vengeance brought on by a man that couldn't take not being wanted by a woman that just wanted better for her children. That day changed Juan in a manner to appreciate and full-fill greatness in a woman; and adores her for her inner beauty as much as her outer beauty. Juan is more known among-st his peers for his debonair wit, lavish personality and divine drive of ambition. The talented Actor is notching his mark with buoyancy; not only in the music arts and entertainment business, but as a music entrepreneur investing in intellectual products. Juan is also known for his skillful Directing, Producing and screenwriting; marketing himself along with his Overdrive Movement Brand that believes there is No Speed Limit in Life... 0 - 320 in 1 second.
"I've always been a salesman; always been a hustler; always been my own investment; large risk equals a huge reward!" - Juan Netts
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Bill Text: IN SB0255 | 2011 | Regular Session | Enrolled
Indiana Senate Bill 255 (Prior Session Legislation)
IN State Legislature page for SB0255
Bill Title: Carryout of alcoholic beverages.
Spectrum: Moderate Partisan Bill (Republican 4-1)
Status: (Passed) 2011-05-18 - Effective 07/01/2011 [SB0255 Detail]
Download: Indiana-2011-SB0255-Enrolled.html
First Regular Session 117th General Assembly (2011)
PRINTING CODE. Amendments: Whenever an existing statute (or a section of the Indiana Constitution) is being amended, the text of the existing provision will appear in this style type, additions will appear in this style type, and deletions will appear in this style type.
Additions: Whenever a new statutory provision is being enacted (or a new constitutional provision adopted), the text of the new provision will appear in this style type. Also, the word NEW will appear in that style type in the introductory clause of each SECTION that adds a new provision to the Indiana Code or the Indiana Constitution.
Conflict reconciliation: Text in a statute in this style type or this style type reconciles conflicts between statutes enacted by the 2010 Regular Session of the General Assembly.
SENATE ENROLLED ACT No. 255
AN ACT to amend the Indiana Code concerning alcohol and tobacco.
Be it enacted by the General Assembly of the State of Indiana:
SOURCE: IC 7.1-3-20-25; (11)SE0255.1.1. -->
SECTION 1. IC 7.1-3-20-25 IS AMENDED TO READ AS FOLLOWS [EFFECTIVE JULY 1, 2011]: Sec. 25. (a) This section applies only to a city market.
(b) As used in this section, "city market" means a marketplace where spaces are leased for a valuable consideration for the purpose of selling and displaying for sale to the general public items or products approved by the City Market Corporation and that has the following characteristics:
(1) The market consists of an area that:
(A) has been redeveloped or renovated in part with grants from the federal, state, or local government; and
(B) is entirely located within a one-half (1/2) mile radius of the center of a consolidated city.
(2) The market consists of a building or group of buildings that:
(A) contains more than ten (10) retailers; and
(B) is constructed in a manner so that the buildings or retail locations can be accessed without going outside the market.
(c) The commission may issue a three-way permit to sell alcoholic beverages for on-premises consumption only consumption on the licensed premises to an applicant who is the proprietor, as owner or lessee, or both, of retail space within a city market. The holder of a permit issued under this section may sell beer and wine for
carryout. The permit may be a single permit even though more than one (1) area constitutes the licensed premises under the permit.
(d) A permit authorized by this section may be issued without regard to the proximity provisions of IC 7.1-3-21-11 or the quota provisions of IC 7.1-3-22.
(e) Permits issued under this section may not be transferred to a location outside the city market.
SOURCE: IC 7.1-5-3-1; (11)SE0255.1.2. --> SECTION 2. IC 7.1-5-3-1 IS AMENDED TO READ AS FOLLOWS [EFFECTIVE JULY 1, 2011]: Sec. 1. Beer Must Be Bottled At Brewery. (a) This section does not apply to the following:
(1) An establishment where alcoholic beverages are sold that is owned, in whole or part, by an entity that holds a brewer's permit for a brewery described under IC 7.1-3-2-7(5).
(2) An establishment where alcoholic beverages are sold that is owned, in whole or part, by a statewide trade organization consisting of members, each of whom hold a brewer's permit for a brewery described under IC 7.1-3-2-7(5).
(b) It is unlawful to sell beer in this state at retail in a bottle, can, or other container, unless the bottle, can, or other container was packaged and sealed by the brewer at his the brewer's bottling house contiguous or adjacent to the brewery in which the beer was produced.
SOURCE: IC 7.1-5-3-4; (11)SE0255.1.3. --> SECTION 3. IC 7.1-5-3-4 IS AMENDED TO READ AS FOLLOWS [EFFECTIVE JULY 1, 2011]: Sec. 4. (a) This section does not apply to the following:
(1) The necessary refilling of a container by a person holding a permit that authorizes the person to manufacture, rectify, or bottle liquor.
(a) (b) It is unlawful for a person to:
(1) refill a bottle or container, in whole or in part, with an alcoholic beverage; or
(2) knowingly possess a bottle or container that has been refilled, in whole or in part, with an alcoholic beverage;
after the container of liquor has been emptied in whole or in part.
(b) The provisions of this section do not apply to the necessary refilling of a container by a person holding a permit that authorizes him
to manufacture, rectify, or bottle liquor.
SEA 255
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Tag Archives: Privilege
Privilege and Outrage: Why I Care About Ferguson
This is 2014. Photo: Associated Press
On the one hand, this should be the shortest post ever: “Because I am human and American, I care about human rights, our constitution, racism, and poverty.” Done. Hit publish and walk away.
On the other hand, a lot of people who look like me, live near me, and have similar backgrounds to me, don’t see it that way.
The last time I found myself completely unable to stop reading a news story, was when it felt really really personal. When I finally gave myself a news break, I felt relief and calm. This time, I turned off my computer on Friday evening and didn’t turn it back on until Sunday night. When I did, I felt guilty, because Ferguson is not just about Michael Brown, it’s not just about protesters or journalists who are being stopped from doing their job. It’s not just about Ferguson. It’s about the black kid who gets pulled over by the cops ten times a month. It’s about schools with just over 50 percent graduation rates. It’s about segregation in the year 2014. It’s about the criminal justice system in this country. It’s about black boys who are taught to never call the cops. It’s about systemic racism. (Don’t believe me? Take a look at the Twitter hashtag #IfTheyGunnedMeDown. Read this. And this. And this. And this).
And, because I’m white, I can turn off the news and I have the option to tune all of that out. I don’t live with that systemic racism, so when I turn off the news, I have the privilege of tuning it out. My friends, co-workers, fellow citizens, are not so lucky.
When I think about why this is the news story that I can’t stop reading about, I think about the West Wing‘s Toby Ziegler reaction to the shooting in Rosslyn:
Toby: Why does it feel like this? I’ve seen shootings before.
President Bartlet: It wasn’t a shooting, Toby, it was a lynching. They tried to lynch Charlie right in front of our eyes.
To head it off at the pass: yes. I know that the West Wing is not real. I know that in that fictional world, Charlie was shot at by white supremacists and that in the real world, it’s likely that Darren Wilson’s motives were not overtly racist.
Wilson may have shot in fear, but that fear probably has roots in the way our society portrays black men: as dangerous and disposable. Michael Brown’s death may not have been a lynching, but it drove to the surface a lot of anger about a lot of racial injustices. It exposes my country’s darker side, the demons that we have not conquered, the demons we haven’t even really tried to fight because it’s more comfortable to ignore them.
Yes: “We.” This should be a problem for everyone.
Last week, a commenter on Jezebel said something along the lines of, “I wish we didn’t make this about race, so that everyone could be outraged.” But, you don’t have to be the victim to be outraged. Exercise empathy muscles. Be outraged because it’s unacceptable not because it could happen to you. Educate yourself. Learn that most protesters are not looters. Check your language. Are you making gross generalizations? Are you saying, “not to be racist” or “no offense, but…”? Ask yourself, how can I change myself and how can I change the system, no matter how small an impact. (Does anyone have an answer to the latter question? Let me know!)
In response to a piece from The Forward “Why Jews Should Care About Ferguson”, someone on Facebook wrote.
“Would you be scared to open your shop there past 9pm? Now? Exactly, so cut it. You have no stake in the game. But those with shops over there do. So how can you belittle their concern for safety?”
Nobody in the thread or in the article had justified the looting. The idea that we somehow shouldn’t or are not allowed to care about the broad underlying injustice because we don’t know what it’s like to be store owners in Ferguson is even more mind-boggling than the idea that you should only be outraged if you are black. I have a stake in this game. We all should.
I am outraged because as a Jew I believe that I cannot ignore the oppression of others just because things have gotten easier for my people and my family over the decades. We are asked to always remember that we were once slaves and to treat others accordingly.
I am outraged because I remember how uncomfortable it was to be told before a school field trip that any misbehavior in the museum would reflect badly on all Jews everywhere, and the way that information about Michael Brown has been handled by the police, by some parts of the media, and by the Internet reminds me that black boys and men carry a burden that is similar but many times heavier. (I don’t want to link to it, but google Michael Brown Marijuana and then think back to high school).
I am outraged because as a (former) journalist, I believe that the rights of freedom of press, freedom of speech, freedom of assembly, and redress of grievances should not be corralled and must be protected even, and especially, when protecting them calls into question structures of power, and the status quo. Even when its scary or difficult. I agree with the police who believe it is part of their job to protect these rights not with the police who believe it is their job defend against them. I am outraged because I love this country and part of that love comes from being able to criticize its failings
I am outraged because I agree with former Madison, Wisconsin Police Chief David Couper, who wrote, “In a democracy, police have a very complex role compared to what is expected of the police in other systems. The power of the state must be balanced with the rights of an individual; other systems have no balance requirement—only to use the power given them by the state. Uniquely, police in a democracy don’t exist solely to maintain order on behalf of the state, but also to assure that the fundamental rights guaranteed to every citizen are protected in the process.”
I am outraged because as a white person, I automatically benefit from systems, perceptions, and stereotypes that hurt others and I’m not OK with that.
I am outraged because as an American I want to live in a country that lives up to the values enshrined in the constitution.
I am outraged because I believe that everyone’s life is enriched when everyone has opportunities that allow them to reach their full potential. I believe that the American Dream should not be reserved for those who do not have to overcome poverty, sub-par public services, or bigotry.
I am outraged because as a human I believe that skin color should not serve as a barrier for entry, that the poor should not be treated as less-than, that failing students should not be dismissed as net-losses.
I am outraged because as a human I understand that teenage deaths are tragedies, whatever the cause.
I am outraged because as a person, I believe that we could be doing better, and not trying makes me furious.
I am outraged because racism even in its most subtle forms should be considered outrageous. Full stop.
Posted in Advocacy, Journalism, Politics, Race | Tagged #IfTheyGunnedMeDown, Ferguson, Hands Up Don't Shoot, journalism, Privilege, Race, Racism | 18 Replies
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Embassy of the Russian Federation
Visas, consular services
Русский (РФ)
Embassy Press Officer’s reply to a media question concerning accusations of “spying” made against Channel One Russia journalists
Question: How would you comment on the publications in British media claiming that “Channel One Russia” journalists were involved in some sort of “spying activity”?
Answer: We have taken note of the numerous publications with accusations against “Channel One Russia” journalists of “spying”, as well as of the instruction by the British Ministry of Defence that soldiers should not talk to Russian journalists and report them to the police if they ever see them near military installations.
Such ungrounded accusations raise much concern. “Channel One Russia” works in the UK officially and openly, with all the necessary paperwork, in accordance with British law. In fact, this cannot always be said about certain UK journalists working in Russia.
What is disturbing is the fact of publishing personal data of the Russian journalists, including their IDs and car registration number plates. This, among other concerns, threatens the security of Russian citizens, not to mention that it is a serious violation of generally accepted standards.
This episode is another part of the wider campaign by UK authorities aimed at creating constant obstructions to the work of Russian media in the country. Many of our journalists have problems with visas, bank accounts, or come across numerous and unjustified acts of pressure from the UK regulatory authorities.
Thus, “RT” London office is under constant political pressure, with several attempts to close it by the UK authorities and now also multiple complaints reviewed by “Ofcom” under the pretext of “unbalanced” news coverage. We are witnessing severe attempts to put pressure on the editorial policy of the channel, precisely now that the channel has become more popular among Britons as offering an alternative point of view.
Such cases of blatant pressure on Russian media should be thoroughly considered by the OSCE.
© Embassy of the Russian Federation 2019
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Journal of Structural Chemistry
January 2006 , Volume 47, Issue 1, pp 91–96 | Cite as
Synthesis and structure of trans-diaquabis(dimethylsulfoxide)bis(3,5-dinitrobenzoato)copper(II)
É. B. Miminoshvili
K. É. Miminoshvili
G. P. Adeishvili
Single crystal of [Cu(DMSO)2(3,5-DNB)2(OH2)2], where DMSO-dimethylsulfoxide, 3,5-DNB-3,5-dinitrobenzoate, has been synthesized and its crystal structure is determined. Crystals belong to monoclinic symmetry, space group is P21/n, Z = 2, a = 10.911(4) Å, b = 5.362(2) Å, c = 22.673(7) Å, β = 92.06(2)°, V = 1325.8(1) Å3, T = 293 K. Final value of R = 0.040 was obtained for 1804 independent reflections with I > 3σ(I). The structure is built from complex molecules.
complex compounds synthesis structural analysis transition metals dimethylsulfoxide dinitrobenzoate
Translated from Zhurnal Strukturnoi Khimii, Vol. 47, No. 1, pp. 95–99, January–February, 2006.
Original Russian Text Copyright © 2006 by É. B. Miminoshvili, K. É. Miminoshvili, and G. P. Adeishvili
M. L. Rozenfeld, Corrosion and Protection from Corrosion [in Russion], V. 1, Itogi Nauki, Moscow (1971) p. 156.Google Scholar
M. L. Rozenfeld and V. P. Persiantseva, Dokl. Akad. Nauk SSSR, 156, No. 1, 162 (1964).Google Scholar
V. P. Persiantseva, M. L. Rozenfeld, and N. M. Gavrish, Metal Protection [in Russia], 1, No. 4, 392 (1971).Google Scholar
A. E. Shvelashvili, É. B. Miminoshvili, and V. K. Bel’skii, GEN, 1, 105–109 (2001).Google Scholar
É. B. Miminoshvili, A. N. Sobolev, K. É. Miminoshvili, and T. N. Sakvarelidze, Acta Crystallogr., E60, 319–321 (2004).Google Scholar
É. B. Miminoshvili, A. N. Sobolev, T. N. Sakvarelidze, et al., ibid., C59, 118–120 (2003).Google Scholar
É. B. Miminoshvili, K. É. Miminoshvili, and A. N. Sobolev, ibid., E61, 775–777 (2005).Google Scholar
É. B. Miminoshvili, “X-ray Investigation of Structure and Packing Pecularities of Structural Units in Coordinate Compounds of 3d-Metals,” Physico-Mathematical Sciences Candidate’s Dissertattion, Tbilisi, Georgia (2005).Google Scholar
G. M. Sheldrick, User Manual, Revision 4, Nicolet XRD Corporation, USA (1983).Google Scholar
T. Hökelek, Y. Mert, and C. Ünalerouglu, Acta Crystallogr., 54, 310–313 (1998).Google Scholar
I. Leban, N. Grgurevic, J. Sieler, and P. Segedin, ibid., 53, 854–856 (1997).Google Scholar
A. F. Wells, Structural Inorganic Chemistry (Unknown Binding), Clarendon Press, 4th edition (1975), 1095 p.Google Scholar
1.Georgian Technical UniversityTbilisi
2.Institute of Physical and Organic ChemistryGeorgian Academy of SciencesTbilisi
Miminoshvili, É.B., Miminoshvili, K.É. & Adeishvili, G.P. J Struct Chem (2006) 47: 91. https://doi.org/10.1007/s10947-006-0271-2
Received 18 April 2005
Publisher Name Kluwer Academic Publishers-Consultants Bureau
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10 Awesome Peaceful Uses For Weapons
Marc V. November 14, 2013 0
We usually associate the word “weapon” with anything that can harm someone. So it comes as a pleasant surprise when these devices—meant to cause great destruction—are used for peace instead, as the entries in this list show.
10A Symphony Of Weapons
Mexican artist Pedro Reyes has found a unique way to propagate peace in a country wracked with violence. Back in 2012, he fashioned 50 working musical instruments from various confiscated firearms. This year, he created a mechanized orchestra out of eight firearms. The orchestra not only works, but sounds amazing as well.
Across the Atlantic, UK artist Hilary Champion also dreamed of making music out of weapons. In 2009, she established the Post War Orchestra—an all-volunteer group of musicians who play instruments made from all sorts of weapons. So far the group has played flutes made from rifles, a “bazookaphone,” and a rocket-launcher-theremin. Champion hopes to raise funds to convert more weapons into instruments and increase her orchestra’s musical capabilities.
9Peaceful Nuclear Explosions
During the Cold War, both the United States and the Soviet Union conducted a series of nuclear explosions with peaceful intentions. As ironic as that sounds, it’s all true. The United States started Operation Plowshare with the aim of utilizing nuclear explosions for civilian applications. In what Dr. Edward Teller—creator of the hydrogen bomb—envisioned as “geographical engineering,” the earth-moving properties of nuclear explosions could be used to create canals and harbors, and to make underground mines more accessible.
The program started in 1961 and ended in 1971, with the US detonating 29 nuclear bombs. Sadly, the tests had to be stopped due to the unexpected amount of fallout (scientists thought that the underground explosions would yield less of it), and the subsequent contamination of underground water supplies.
The Soviet Union had its own project, called simply the “Program for the Utilization of Nuclear Explosions in the National Economy.” The program was much larger than the US version and involved a whopping 122 nuclear explosions. Like the Americans, the Soviets appeared to have had little success with their project, as revealed in a declassified CIA report.
8Napalm Recycled Into Fuel
Napalm—an incendiary gel used extensively during the Vietnam War—became an infamous symbol of the horrors of that conflict.
However, it underwent a more peaceful makeover in 1998, when America’s remaining supply of napalm from that era was recycled in a Texas plant. The stockpile—which contained over three million gallons—sat in a weapons depot in Fallbrook for 25 years. At that point, officials decided to recycle it, because the aluminum canisters that contained the napalm started to corrode and leak. The recycled napalm was turned into industrial fuel for cement production, while the canisters were recycled into alloys.
A far cry, indeed, from when it was used to burn down villages and incinerate civilians.
7Tanks Turned Into Tractors
Farmers of a Ukrainian village had a bright idea when they turned a machine built for war into one built for farming. In 2002, a farmer’s cooperative in Ternopillya bought a Soviet-era tank, got rid of the weapons, and replaced the turret with a plow. Aside from being a farming tool, the tank also doubled as a snowplow during the winter.
The farmers’ success story inspired the Ministry of Defense to try their own program, which had mixed success. Officials pointed out the tanks’ low mileage and the lack of funds for the program. They are also yet to fully pay the local tank plant, which they contracted to make 50 similar vehicles.
6Avalanche-Destroying Artillery
We usually see artillery bombardment as a good method of killing people and destroying cities. Yet officials of the US Forest Service have, ironically, used artillery’s destructive properties to save lives. This takes the form of avalanche control—prevention of large, uncontrolled avalanches by setting off smaller, controlled ones.
At first, the officials used howitzers from the World War I era to set off these controlled avalanches. After World War II, the US Army provided the Forest Service with the recoilless rifle, which was lighter and easier to set up and transport around.
Currently, the recoilless rifle is the weapon of choice for avalanche control. There’s also a civilian version in use, called the “Avalauncher.” It fires compressed air instead of artillery rounds. Other countries also have their own artillery systems to fight avalanches. Russian soldiers in the above video actually trigger an avalanche so large it envelops them in a cloud of snow.
5Flamethrowers Saved JFK’s Inauguration
Aside from burning enemy combatants to a crisp, flamethrowers also have many practical, non-killing uses. For one, flamethrowers are sometimes used in agricultural settings to clear out land, and to kill weeds and pests. They are also used by foresters to create “prescribed fires” for ecological reasons.
However, the strangest use for the flamethrower came on January 19, 1961, which was the eve of President John F. Kennedy’s inauguration. On that day, an unexpected, heavy snowstorm bogged down Washington, D.C., and virtually brought all traffic to a standstill. To save the day, Army engineers teamed up with D.C. employees, and used “hundreds of dump trucks, front-end loaders, sanders, plows, rotaries, and flamethrowers to clear the way.”
4Old Warplanes Converted Into Test Dummies
What do you do when you have 10 retired B-52 bombers just hanging around the warehouse? Why, you blow them up, of course—in the name of public safety, that is.
In 1992, officials of the Federal Aviation Administration placed bombs inside the dilapidated bombers, with the aim of understanding how the explosions would affect the integral structures and equipment inside the aircraft. The tests were done four years after terrorists blew up a Pan Am jet that was flying over Lockerbie, Scotland, and killed all the passengers and crew. By understanding the effects of the explosions, manufacturers could make aircraft better-equipped to deal with future terrorist attacks.
3Missile Silos Make Good Homes
With the decline of the Soviet Union and the end of the Cold War, United States had to decrease the nuclear arsenal to save taxpayer money. This downsizing led to the abandonment of several underground silos that once housed US nuclear missiles. A few enterprising individuals have since converted these military facilities into very livable civilian homes.
One such couple—Mr. and Mrs. Peden—gave details of their time living for 15 years in a missile silo in Kansas. Aside from the living space, the Pedens added that they felt totally safe living under several hundred tons of concrete. They’d have to be, considering the silos were built to withstand a nuclear attack.
2UAV Saved A Life
Unmanned aerial vehicles, or “drones”—as they are more colloquially known—usually get a bad rap as privacy-invading, death-dealing machines. However, they can also be put to good use, as was the case in May 2013, when one was largely credited for a successful search-and-rescue mission.
On their website, the Royal Canadian Mounted Police detailed how they found an injured driver, who got lost in a forest after midnight in freezing weather. Using GPS, the Mounties tracked down the area where they believed the man to be, and attempted to contact him via a loudspeaker. When the man failed to respond, they deployed a drone that was able to pinpoint the man’s location. They rescued the man—lying unresponsive by a snowbank—just in time. They added that if it were not for the drone, the man would have been dead by dawn.
The video of this successful rescue is above.
1Russia’s Nukes Power American Homes
This is probably the epitome of the Biblical passage about turning swords into plowshares. Russian nuclear missiles—which could have sent the world back to the Dark Ages—have instead brought light to American homes for almost 20 years, under the US-Russian “Megatons to Megawatts Program.”
The US company tasked with this peaceful endeavor is the United States Enrichment Corporation (USEC). On its website the company states that—since the program’s inception in the 1990s—the nukes have provided up to 10 percent of America’s electricity. So far, USEC has disposed of more than 19,000 warheads. It hopes to add 1,000 more to that number when the program ends this year.
Marc V. is always open for a conversation, so do drop him a line sometime.
10 Incredible Stories Involving Helicopters
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10 Common Words With Bizarre Origins
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Connecticut Lawyers
New Haven County Tort Lawyers
Find the right Litigation attorney in New Haven County, CT
Litigation Lawyers in New Haven County
In New Haven County, Connecticut, a "tort" is specified as any civil wrong, besides breach of contract, for which the law provides a remedy.
In New Haven County, Connecticut, a tort is essentially any bad thing that one person can do to another, which the law says the victim can sue over. This is called a "cause of action."
Statutes and appellate court rulings in New Haven County, Connecticut recognize a very considerable number of different torts. However, most of these torts are largely relics of history, and are no longer litigated very frequently, if at all. There are only a few that the average person has a decent chance of dealing with at least once in their lives. They include, but aren't limited to, negligence, fraud, intentional infliction of emotional distress, and battery.
Types of Torts in New Haven County, Connecticut
Negligence: In New Haven County, Connecticut, negligence is the most frequently-litigated tort. It is defined as a failure to act (in any situation) with a reasonable level of care, and causing harm as a result of that carelessness. For instance, if a store that's open to the public fails to remove ice from its front entrance, or put up any kind of warning, even though it knows that the ice is there, it is not exercising reasonable care. If anyone is injured as a result, the store owner will likely be required to compensate them for their injuries. This is, obviously, just an example.
Fraud: Unlike negligence, fraud is an intentional tort. Like negligence, courts in New Haven County, Connecticut deal with it quite often. Put simply, fraud is a lie told for personal gain. It requires an affirmative misrepresentation, which the speaker knows to be false, intended to induce the victim to render some benefit to the speaker, which causes actual harm (such as financial loss) to the victim. It occurs most frequently when somebody is trying to sell something for more than it's worth, and lies about the nature or value of the product to the buyer. If the buyer relies on the seller's false statements of fact in making the decision to buy the product, the seller has committed fraud. In such a situation, the buyer is legally entitled to compensation for the harm suffered as a result of the fraud.
Battery: Battery is defined by the law of New Haven County, Connecticut as any contact by one person, with the body of another, which is offensive or harmful. Any conduct that causes physical injury, pain, or emotional distress is battery. Also, you do not need to directly touch a person with your own body to commit battery - simply directing harmful contact (say, by throwing a rock) toward another person is sufficient to create liability for battery. Battery can also arise from "offensive" contact, which is typically any physical contact that violates one's sense of personal dignity constitutes battery, and the victim could technically sue over it. Nonetheless, in most cases like that, the plaintiff hasn't sustained any real harm, and will only be able to recover nominal damages, which would be far, far less than the cost of filing a lawsuit.
Intentional Infliction of Emotional Distress: Intentional infliction of emotional distress is also called IIED in New Haven County, Connecticut, and it was not identified as a valid cause of action until fairly recently (for the longest time, physical harm was a requirement before someone could sue for tort damages). To hold a defendant liable for IIED, it must be shown that the defendant engaged in some type of outrageous conduct, targeted at the plaintiff. Moreover, it must be shown that this conduct directly caused severe emotional distress in the plaintiff, and that that was the defendant's intent. Establishing that actual emotional distress occurred is the most difficult element of this tort, and the plaintiff's word is far from sufficient. It often requires intensive examination by a psychiatrist, who will then testify as to the plaintiff's mental state.
How Can A New Haven County, Connecticut Tort Lawyer Help?
If someone has committed a tort against in you New Haven County, Connecticut, you have a legal option to seek compensation. Moreover, if someone has sued you, alleging that you committed a tort, you have a right to mount a legal defense.
In either case, a New Haven County, Connecticut attorney who is efficient in handling tort cases will be able to help. Your lawyer can advise you on the best trial strategy, should the case go to trial, and negotiate with the other side, to try and reach a resolution that both parties can live with.
New Haven County Civil Depositions Attorneys
New Haven County Commercial Litigation Lawyers
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Michigan Lawyers
Fremont Tort Lawyers
Find the right Litigation attorney in Fremont, MI
Litigation Lawyers in Fremont
A "tort" is specified in Fremont, Michigan as a legal wrong, not criminal in nature, for which the law provides compensation to the victim.
In Fremont, Michigan, when a tort is committed, and the victim of the tort is vested with a right to sue the individual who committed the tort, they are said to have a "cause of action."
Statutes and appellate court rulings in Fremont, Michigan recognize a very considerable number of different torts. However, most of these torts are largely relics of history, and are no longer litigated very frequently, if at all. There are only a few that the average person has a decent chance of dealing with at least once in their lives. They include, but aren't limited to, negligence, fraud, intentional infliction of emotional distress, and battery.
Types of Torts in Fremont, Michigan
Negligence: In Fremont, Michigan, negligence is, far and away, the most prevalent tort that the civil litigation system has to deal with. Negligence is a failure to exercise the level of caution that's necessary in a particular situation, and causing harm (physical injury or property damage) as a direct result of this failure. An obvious example is drunk driving. If a person is drunk behind the wheel, and causes an accident, they are clearly going to be required to compensate the victim for whatever harm they cause, since driving while intoxicated is very careless, and everybody should know this. Of course, there are many other cases, most of them far less apparent, where negligence can occur.
Fraud: Fraud is an intentional tort, unlike negligence. It is also dealt with fairly frequently by courts in Fremont, Michigan. Fraud is a lie that one person tells to another, with the intent to harm the other person, typically by inducing them to give money or property to the person committing the fraud. Fraud can occur in a wide number of different contexts. For instance, suppose a jeweler tries to sell a fake diamond to a customer, by passing it off as the real thing. If the customer believes the jeweler's lie, and bases his buying decision on it, the jeweler has committed fraud. If the customer discovers this fraud, he will be able to sue the jeweler, and recover, at the very least, the difference between the value of the fake diamond, and what he paid for it.
Battery: Battery is defined by the law of Fremont, Michigan as any contact by one person, with the body of another, which is offensive or harmful. Any conduct that causes physical injury, pain, or emotional distress is battery. Also, you do not need to directly touch a person with your own body to commit battery - simply directing harmful contact (say, by throwing a rock) toward another person is sufficient to create liability for battery. Battery can also arise from "offensive" contact, which is typically any physical contact that violates one's sense of personal dignity constitutes battery, and the victim could technically sue over it. Nonetheless, in most cases like that, the plaintiff hasn't sustained any real harm, and will only be able to recover nominal damages, which would be far, far less than the cost of filing a lawsuit.
Intentional Infliction of Emotional Distress: Intentional infliction of emotional distress, or IIED, is a relatively new tort in Fremont, Michigan. It is committed when someone deliberately causes emotional distress or trauma to another person by engaging in outrageous conduct, with the intent of causing such distress. Note that the defendant does not need to cause physical injuries to the plaintiff to be liable for IIED, but the plaintiff does have to produce evidence that they sustained emotional distress. This evidence typically comes in the form of a report from a psychiatrist who evaluated the plaintiff's mental condition.
How Can A Fremont, Michigan Tort Lawyer Help?
If you have been the victim of a tort in , Michigan, you have the option to seek legal redress. And if you have been sued for a tort, you have a right to defend yourself.
In both instances, a reliable Fremont, Michigan tort lawyer will probably prove indispensable. The best thing you can do early in the process is make a good-faith effort to negotiate a settlement with the other side, to prevent the matter from going to trial in the first place, which will often prove more costly than settling. Most tort lawyers are also skilled negotiators, and will be able to help you on this front, too.
Fremont Civil Depositions Attorneys
Fremont Commercial Litigation Lawyers
Fremont Filing a Lawsuit Attorneys
Fremont Civil Procedure Lawyer
Fremont Courts Attorney
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in other Michigan cities and towns
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MATT MORTON
Select Poems Online
Matt Morton is the author of Improvisation without Accompaniment, winner of the 2018 A. Poulin, Jr. Poetry Prize, selected by Patricia Smith, forthcoming from BOA Editions. His poems have appeared in AGNI, Gettysburg Review, Harvard Review, the Los Angeles Review of Books, Tin House Online, and elsewhere. He has received fellowships from the National Endowment for the Arts, the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, and the Johns Hopkins University Writing Seminars, where he earned his MFA. He serves as associate editor for 32 Poems and is a Robert B. Toulouse Doctoral Fellow in English at the University of North Texas.
Photo Credit: Lesya Bazylewicz
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Our Valued Staff
When you need to turn to someone…it is comforting to know something about that person. Our professional staff represents many years of experience and care giving.
James A. Gustafson, Manager - N.J. Lic. No. 4205
James began his career in funeral service at the age of 12 after the sudden death of his father in 1986. At that time, James was an ambitious young man helping elderly neighbors with small yard work tasks. Rich McCriskin, who was of great support to his family, had heard of James' endeavors and asked if he would like to help in the same capacity around the funeral home. From there, his tasked and responsibilities grew to where he is today.
A 1991 graduate of South Plainfield High School, he continued his education at Kean University were he earned a Bachelors of Science Degree in Management Science and furthered his education at Mercer County Community College, where he earned an Associates of Science Degree and a Certificate of Proficiency in Funeral Services. After successful completion of his National Boards Exam, State of NJ Law Exam and a Practical Examination, Jimmy was awarded his Practitioner of Mortuary Science License from the State of New Jersey in July of 1996.
Born and raised in South Plainfield, Jimmy continues to reside in the borough with his wife Jessica and their two sons, Jack and Cole. He is currently a member of the South Plainfield Italian American Club, The South Plainfield B.P.O.E. Elks #2298, the Sons of American Legion Chaumont Post # 243, South Plainfield Knights of Columbus Council # 6203, South Plainfield Education foundation and is a current member of the South Plainfield Zoning Board of Adjustments, . He is a long time communicate of Sacred Heart Church and is an active member of the New Jersey State Funeral Directors Association and the Middlesex and Somerset Counties Funeral Directors Association. He has served on various boards, committees and board positions over the past 13 years and is slated to serve as the President of the New Jersey State Funeral Directors Association in September of 2012.
In his youth, James was active with local sports, continued playing in high school and later played softball in several recreational leagues.
On January 1, 2007, a monumental accomplishment was granted when he and Richard McCriskin’s son, Rick, where given the opportunity to begin the succession of the McCriskin Home For Funerals to the next generation.
Today, he enjoys being a proud husband and father as well as devoted to both his family and professional career,carrying on the values and traditions instilled by many over the years.
Richard W. McCriskin II, Vice President- N.J. Lic. No. 4564
A Life long resident of South Plainfield, Rick grew up in the family business. Throughout high school and college he was often around offering assistance while at the same time learning the family trade.
A 1996 graduate from S.P.H.S., Rick graduated from St. Peter’s College in Jersey City in the spring 2001 with a Bachelor of Science Degree in Economics. The following fall he enrolled in the Funeral Service Education program at Mercer County Community College and in the Spring of 2003 he graduated earning both his A.A.S. degree and his Certificate of Proficiency in Funeral Service.
After successfully completing his National Board Exam in Funeral Service and the NJ State Board of Mortuary Science Examination, he became a Licensed Practitioner of Mortuary Science in the fall of 2003.
Back during his senior year in college, Ricky suffered a tragedy with the loss of his mother Kathy, who passed away at the age of 48 after a lifelong battle with aneurysms. Although her passing was difficult to deal with, it was also a learning as well as an understanding experience for him. Her passing provided Ricky with the knowledge and understanding of what it means to lose someone such as a parent but at the same time, also provided him with the profound truth of what it means to assist families in their time of need because he has been there himself.
Active locally, he is a member of the South Plainfield Business Association, an Auxiliary member of the South Plainfield VFW Post # 6763, B.P.O. Elks Lodge #2298, the South Plainfield Lions Club and sits on the committee of Our Lady of Czestochowa RC Church annual Feast of St. Anthony.
In addition Rick is a member of the National Funeral Directors Association; the N.J. State Funeral Director’s Association and the Middlesex & Somerset County Funeral Director’s Association.
Outside of work he enjoys skiing during the winter, fishing, playing softball and golf, spending time with family and friends, following the local youth sporting programs and is an avid fan of the NY Giants and NY Yankees.
As of January 1, 2007 Rick, along with James Gustafson - aka "Jimmy from McCriskin’s" reached a prestigious achievement when they were presented with the opportunity to begin the succession of the McCriskin Home For Funerals to the next generation.
Kerri-Anne Krapf, License: N.J. Lic. No. 5045
Kerri started her career with McCriskin - Gustafson Home For Funerals in February 2012 as an apprentice.
Under the guidance of Jimmy and Ricky, Kerri was enrolled in the Funeral Service Education Program at Mercer County Community College. In the Summer of 2013, she graduated from the program earning her A.A.S. degree and Certificate of Proficiency in Funeral Service. After successfully completing her National Board Exam in Funeral Service, Mortuary Jurisprudence Examination and Practical Examination, she became a Licensed Practitioner of Mortuary Science in the Winter of 2014.
Kerri was offered a full time position with the funeral home which she was happy to accept.
Born in Brooklyn, Kerri and her family relocated to East Brunswick when she was in Middle School. A 2004 graduate of East Brunswick High School, Kerri currently resides in South Plainfield with her growing family. She is eager to be involved in the community in which she has grown to care for.
Her personal goal, as she continues her career with the funeral home is to fulfill the expectations the community has in the McCriskin-Gustafson Home for Funerals and foster relationships with families to instill confidence that their loved ones are memorialized with all the care and precision they deserve.
Lauren J. Lapola, Director: N.J. Lic. No. 4816
Lauren joined our staff in 2016 and has been making a positive impact with our families. Dedicated to her calling, Lauren volunteers herself to her community and has been asked to speak to local and statewide high schoolers on numerous topics relating to funeral service. But more impressive than her educational and philanthropic endeavors are the hundreds of families that she has so tenderly cared for since her licensure.
Daniel M. Erickson, Director - N.J. Lic No. 4798
Known to many as “Danny”, he was born and raised in Manville. Danny is a graduate of Manville High School, and at the age of 16, Danny began working in the funeral industry in a part time capacity.
Danny attended Raritan Valley Community College majoring in criminal justice. Then, Danny switched his college major to funeral service and transferred to Mercer County Community College, the only college in New Jersey to offer the Funeral Service program. Danny served a two-year internship and after receiving an Associate Degree in Business Management and Funeral Service, he fulfilled his requirements to take the New Jersey State Jurisprudence Exam, National Board Exam and practical examinations.
A few years ago, Danny lost his mother Kathy to cancer. He feels experiencing the death of his mother had made him a better person and a more compassionate funeral director as he has experienced firsthand what it is like to grieve and undergo the funeral process.
Danny married his best friend Rebecca (Borawski) and they now have a beautiful daughter together, McKenna Kathleen. They recently fulfilled their dream of buying a home to raise their family in.
Danny is a member of the South Plainfield B.P.O. Elks #2298, Middlesex & Somerset County Funeral Directors Association and the New Jersey State Funeral Directors Association.
In his spare time, he is an avid collector of anything automobile related. He loves spending time outdoors, playing cards and can often be found playing with his dog Bentley.
Pam Mocharski, Office Administrator
Has lived in South Plainfield her entire life and graduated from S.P.H.S. in 1977. She is married with two sons. She, along with her husband John and their children are extremely active with the South Plainfield Volunteer Fire Department and various other organizations including the Boy Scouts.
Although she is not a licensed funeral director and unable to make funeral arrangements and run funerals, Pam is vital to the office. She manages the office by overseeing the directors' appointments, schedules, and services. In addition she prepares much of the paper work which is vital to assisting families. She is often found on the phone trying to answer questions that one may have.
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RL Grime’s Void and the Diversification of Trap Music
December 3, 2014 · by Ross Bretherton · in feature, featured, News, Opinion, Reviews. ·
Two years ago, I stood in line for my first electronic music concert at Chop Suey, a cramped sweathouse of a nightclub in Seattle. I didn’t know much of RL Grime, the headliner of the sold out show, beyond his remix of Kanye West’s “Mercy” that stormed clubs in 2012. With his unpredictable mashups and unreleased originals, RL Grime managed to work the crowd like no other DJ I have ever seen. I left the venue drenched, deafened, and yearning to come back.
At that point, trap music was not much more than 808-heavy rap with the sole purpose of rattling subwoofers and appealing to a new fan base with equal interests in hip-hop and electronic music. This formula has proven successful in the world of mainstream music as well, as tracks like “Turn Down for What” saw heavy radio play, and still remain a frat playlist staple. Although widespread recognition of trap music drove interest in the genre, droves of mediocre producers began to hop on the trap bandwagon. The genre’s pioneers, RL Grime included, were forced to find new ways to maintain originality. As a result, trap music has adapted to survive. Producers like Djemba Djemba and Mr. Carmack stand out with cutting-edge percussion and sample driven leads, while Branchez and Stwo specialize in mellow, melodically intricate music that lends itself to casual listening. RL Grime is one of the few producers who is able to craft tracks that excel on both ends of the spectrum.
In a music scene where albums are generally considered unnecessary for an artist’s career, RL Grime’s debut album Void still represents a large step in his development as an artist, giving him the opportunity to prove his versatility. The second single from the album, “Reminder” is a departure from the high energy beats RL is known for, yet what it lacks in energy is easily replaced with melodic craft and emotion. The track polarizes fans used to RL’s traditional output of club-ready bangers, but it gives the album some much-needed variety. On the other end of the spectrum, RL Grime’s collaboration with Djemba Djemba, titled “Valhalla,” provides enough bass for his diehard trap fans while still pushing the experimental envelope with pitch manipulated vocal cuts and unexpected samples. Even “Core,” the album’s lead single and most recognizable track features a wailing lead that shows sophistication in RL’s sound design skills.
RL Grime’s pieces together his experimental tracks so well, in fact, that a few of the high-energy tracks comprising the other half of the album fall short in comparison. One such track, “Kingpin,” featuring Big Sean, appears to exist only to draw mainstream attention to the album. Such tracks found a welcoming audience live for their sing-along appeal, but are less suitable for casual listening, and don’t represent RL Grime’s potential.
Much has changed in such a short time, but the RL Grime concert experience is just as captivating as it was two years ago. There are no pyrotechnic spectacles, 4K holograms, lasers, or gargantuan screens; the emphasis remains on the music and the crowd. Although he is a mainstay on the summer EDM festival circuit, I continue to prefer RL Grime in a club, where his show stays true to dance music’s underground origins. It’s sweaty, intimate, and a well-needed break from the over-the-top productions that often accompany dance music concerts. Although disjointed in places, Void represents needed artistic development for RL Grime; the wide diversity of styles on the album represents a bright future for his career, and for trap music as a whole.
Tags: Album Review, RL Grime, Trap
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JumBonnaroo: Party for Life Revisited →
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Previous article : « Palestine wrecked »
Next article : « The unquiet Americans »
Behind the Fatah-Hamas confrontation
Gaza: chaos foretold
The fragmentation of the Palestinian national identity is rooted in the failure of Oslo and in Israel’s divide and rule tactics in the West Bank and Gaza.
All my forewarnings have suddenly come true, all at once: Gaza has descended into total chaos; Abbas has capitulated to Israel and to the United States without a shred of reservation; and the Palestinian democratic experiment, until recently an astounding success, has been smashed to bits.
For years I have been warning of a civil war starting in Gaza. I wrote about it in my last book, The Second Palestinian Intifada. I warned in every media platform available that there were too many hands working to ensure the demise of the Palestinian national project, from within and without. I urged Palestinians not to fall into rhetoric and to refrain from sinking further into slogans. I saw very clearly that the fragmentation of the Palestinian national identity had been almost perfected. This was the outcome of two combined realities: one rooted in the post-Oslo political culture; the other in the predictable damage caused by Israel’s endless physical boundaries between Palestinians – the Bantustanisation of the West Bank and the total isolation of Gaza.
I’ve toured many cities in many countries talking on Palestinian factionalism – because I am worried that Palestinians will reach a point where they no longer identify themselves as such, but as ideological and tribal extensions of factions and sub-factions.
In recent months I have come under fire for my frankness. At every public speech I’ve made, a few Palestinians have walked out. Either Fatah loyalists, furious at my criticism of President Mahmoud Abbas, Muhammad Dahlan and the rest of the clique for their corruption and deviation from the aspirations of their own people. Or Islamists, angry at my suggestion that Hamas shouldn’t act as sole proprietor of the Palestinian narrative or political discourse, despite their parliamentary majority, but merely as a conduit for Palestinian constants and the will of the Palestinian people. My comments were not always popular: they ruffled many feathers and, more recently, cost me my job.
The devastating embargo imposed on the Palestinians after the Hamas landslide electoral win in January 2006 did not produce the intended results. On the contrary, it greatly hampered the American “democratic” experiment in the Middle East. Everywhere I have travelled since, I witnessed a sense of giddiness, and a lot of hope being pinned on Hamas’s political rise.
It was resolved that Hamas had to be removed, and Abbas’ Preventative Security Forces, riddled with corruption, were entrusted with the task. Dahlan, their head and the man of the hour, was given the Israeli and American nod. His Palestinian “contras” wreaked havoc: kidnapping, assassinating and provoking endless fights.
Impact of the meddling
Since Gaza is essentially a huge open-air prison, it was not hard to imagine the impact of such meddling. I was a prisoner there until the age of 21. I remember how people picked fights for no convincing reason; isolation, hunger and hopelessness lead to much more.
The US and European Union took part in the Palestinian siege and embargo. Israel’s bombardment never ceased, not for a day. Hundreds of ordinary Palestinians were blown to shreds by Israeli bombs and their only means of defence were Qassam missiles that killed a dozen Israelis over six years. Gaza bore all the signs of impending disaster. Civil war was one assassin’s bullet away, one provocative statement, one kidnapping.
The pressure Hamas faced as a result was insurmountable. But their dialectics were simple: the movement had reached the limits of political concessions – any more would be considered a retreat from their political platform and could lead to fragmentation within their own ranks (that fragmentation was already being discussed in the Israeli media).
Yet the state of isolation from within (Fatah’s total control over the 10 branches of the security apparatus) and from without (the US-led international embargo) were sure to weaken Hamas and eventually deprive it of its popular support. So Hamas decided it would have to take its chances and push for what it called “the second liberation of Gaza”.
The situation now is bleak, with Hamas in control of Gaza, and Abbas and Fatah in control of as much as Israel allows in the West Bank. It puts Palestine’s destiny back into the US neo-conservative laboratory. This turn of events could free Abbas to focus on the much more manageable West Bank, where he can depend on the Israel Defence Forces to suppress challenges from Hamas, and on Jordan and the US to help rebuild his security forces, according to Martin Indyk, the US pro-Israel lobbyist, writing in The Washington Post on 15 June. Most American mainstream editorials and commentators are sounding the same message, refusing to see Palestinians as human beings deserving of dignity, peace or security.
Meanwhile various Arab governments, the EU, the US and Israel are flocking to back Abbas: money, weapons and political legitimacy are coming to him from all directions. The once irrelevant leader is now the darling of the international community; the sanctions are set to be lifted on the emergency government which he appointed after sacking the unity government, an unconstitutional act by all standards.
Israel is now pressure-free. Israeli officials cannot imagine a more satisfactory scenario. The new experiment suggests that the West Bank will be lavished with aid and Gaza will be starved further. This is the height of injustice, and as always the US and Israel take centre stage in directing the show. Abbas and his men are the true heroes here, and are now making their debut as the legitimate face of Palestinian democracy, one that is determined by Condoleezza Rice and Ehud Olmert, not the Palestinians themselves. They are mere subjects of an experiment, and a brutal one at that.
Original text in English
Ramzy Baroud is a Palestinian American writer, editor of PalestineChronicle.com and author, most recently, of The Second Palestinian Intifada: A Chronicle of a People’s Struggle (Pluto Press, London, 2006)
Palestine wrecked
The United States and Europe have unblocked aid to the Palestinian Authority after the eviction of Hamas. But since the Oslo peace process ground to a halt, the key question remains. Is Israel prepared to (...) →
« Palestine wrecked »
« The unquiet Americans »
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Henman relishes Davis Cup return
metrowebukmetroWednesday 4 Apr 2007 6:00 pm
Tim Henman is back in the fray for the Davis Cup
Tim Henman has said he can’t wait to get back on court for Britain in the Euro-African Zone Davis Cup tie against Holland tomorrow in Birmingham.
John Lloyd’s team are look to seal their place in September’s round of World Group play-offs and the returning Henman is set to play a big part.
Henman said: “I feel in better shape than I have for a while. I have had more time to work on my fitness and now I feel in very good shape and if required I am ready to play all three days.”
Henman’s return after a three-year hiatus from the competition comes as a big boost to the team, which also features Greg Rusedski and Murray’s older brother Jamie, who is a doubles specialist.
Jamie is primed to make his debut in Saturday’s doubles having risen to a world ranking of 43 on the back of two tournament wins already this year.
Rusedski has only played one match on the Challenger circuit this year. Jamie Baker and Richard Bloomfield are also in the squad which will be whittled down to five on Thursday.
Henman said: “I’m very excited about getting back out there. At the end of 2004 I didn’t enjoy Davis Cup so that is why I felt I needed to have a break from it. I definitely feel refreshed because of that.”
Greg RusedskiJamie BakerJohn LloydRichard BloomfieldTim Henman
Tim Henman names retirement date for Roger Federer ahead of Wimbledon final
Tim Henman reveals how Rafael Nadal will be feeling about Nick Kyrgios clash at Wimbledon
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Messianic Jewish Rabbinate
1860 Stonebrook Dr. NE, Grand Rapids, MI 49505 ~ https://mjrabbinate.org
About MJR
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Nefeshology vs. Psychology/Psychiatry
Is it possible to do “Biblical psychology” or “Biblical psychiatry”? In order to answer that, we must first look at what psychology and psychiatry, as practiced today, actually are.
It is relatively well-established that the field encompassing psychology, psychiatry, and psychoanalysis is best and most often classified by the experts on such matters as pseudo-science (false science, or non-science). Tom Widiger, who served as head of research for DSM-IV, admits:
“There are lots of studies which show that clinicians diagnose most of their patients with one particular disorder and really don’t systematically assess for other disorders. They have a bias in reference to the disorder that they are especially interested in treating and believe that most of their patients have.”1
Alex Berezow attests that psychology “does not meet the five basic requirements for a field to be considered scientifically rigorous: clearly defined terminology, quantifiability, highly controlled experimental conditions, reproducibility and, finally, predictability and testability.”2
Psychology, as a term, originally meant (and still parses out grammatically to mean) “the study of the soul.” Psychiatry, the term, grammatically means “healing of the soul,” though its founder Sigmund Freud (1856-1939) always denied the very existence of a soul, thus the term was a misnomer from the very start. Freud himself even acknowledged that his “science” was completely inapplicable to anyone conversant in the Holy Torah:
“No reader of (the Hebrew Bible) this book will find it easy to put himself in the emotional position of an author (Freud) who is ignorant of the language of holy writ, who is completely estranged from the religion of his fathers (Judaism) as well as from every other religion . . . .”3
Further, Freud is completely disqualified and invalidated as an authority on mental health by the undisputed fact that the way his life ended was by suicide. He followed the lead and example of his colleague Max Kahane (1866-1923), who had committed suicide sixteen years prior. Freud’s modalities and philosophies had failed even in his own life. It is rather ridiculous to regard the teachings of a suicidal atheist as the definition of “good mental health,” especially for any person of faith.
One of the main voices in psychology, and in its development into its modern form, was neo-pagan Carl Gustav Jung (1875-1961). He is treated in psychological circles as a demi-god. Let us examine what he believed and taught. Jungian psychology shares in common with neo-paganism the belief: “the gods are really the components of our psyche; we are the gods.”4 Jung was a student of Sigmund Freud (father of psychiatry, elctro-shock therapy, and a bevy of other nonsensical pseudo-sciences).5
Carl Rogers (1902-1987), another highly-touted name in the field, was a gnostic idolater who arrogantly proclaimed, “I, rather than God, am the one who determines the value of me.”
Burrhus Frederic Skinner (1904-1990) built upon the work of Alfred Adler, resulting in operant conditioning theory. He asserted, “psychological, control of human behavior is the only hope for the immense problems facing mankind.” This statement pits Psycho-Babylon (the psychology-psychiatry cult) against the moral matrix of Torah as the control on a person’s behavior. Chomsky observed way back in 1971, “Skinner imposes certain arbitrary limitations on scientific research which virtually guarantee continued failure” and rightly relegates Skinner’s theories to the irrelevant genre of “pseudo-science of the nineteenth century.”6 To their credit, Skinner’s approaches have been dismissed as pure nonsense by most Psycho-Babylon practitioners and he has even been monikered by Dvorsky as possibly “the most dangerous psychologist ever.”7
All of Psycho-Babylon’s pagan modalities and philosophies should be so dejected. The pagan cult’s “Hierarchy of Needs,” devised by Abraham Maslow (1908-1970), is aptly refuted by Yeshua in Luke 12:29-31 and by Sha’ul in 1 Corinthians 4:11; 2 Corinthians 11:27; and Philippians 4:11-12.
What is the alternative, then, to Psycho-Babylon?
HaShem‘s answer to all of these purveyors of self-idolatry (godless solipsism) and witchcraft (by its Biblical definition) is that seeking counsel from any source other than the inerrant, infallible torah (instruction) of HaShem “leads to destruction” (Isaiah 8:19-20). It is primarily obedience to Torah which corrects a person’s praxis. The more we yield to the yetzer haTov which guides and directs us to Torah-compliance, the less hold the yetzer haRa has over us, and the less it influences our behavioral decisions. No person of any Bible-based faith should seek the counsel of atheists and neo-pagans.
Thus, rather than seeking a counselor from the secular realm, a person of faith should, rather, seek out a Torah teacher and plumb the depths of HaShem’s Word. The solution to what the world classes as “psychological or psychiatric disorder” is not medications or solipsistic voodoo such as that offered by Dr. Phil or Dr. Drew. It is Torah-based hashqafah, which leads to Torah-based halakha. MJR recommends accessing that process through studying the Torah, guided by the quintessential works of Pirqei Avot, Shulchan Arukh, and A Code of Jewish Ethics (Telushkin).
1 Tom Widiger, DSM-IV.
2 Alex B. Berezow, “Why Psychology isn’t Science,” Los Angeles Times (13 Jul 2012); online: http://articles.latimes.com/2012/jul/13/news/la-ol-blowback-pscyhology-science-20120713
3 Sigmund Freud, Totem and Taboo (London: Routledge & Kegan, 1933), 134.
4 Gwydion Pendderwen; in Margot Adler, Drawing Down the Moon: Witches, Druids, Goddess-Worshippers, and Other Pagans in America Today (New York, N.Y.: Viking Press, 1979).
5 Richard Noll, The Aryan Christ: The Secret Life of Carl Gustav Jung (Boston: Macmillan, 1998).
6 Noam Chomsky, “The Case Against B. F. Skinner,” The New York Review of Books (30 Dec 1971).
7 George Dvorsky, “Why B. F. Skinner may have been the Most Dangerous Psychologist Ever,” Daily Explainer (21 Mar 2014).
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I, even I, am the Lord, and besides Me there is no savior.
I, even I, am Jehovah; and besides me there is no saviour.
“I, [only] I, am the Lord, And there is no Savior besides Me.
I, even I, am the Lord; and beside me there is no saviour.
I—I am the Lord. Besides me, there is no Savior.
I, I am the Lord, and there is no savior besides me.
I, yes I, am Adonai; besides me there is no deliverer.
I alone am the Lord; only I can rescue you.
I, I [am] Jehovah; and besides me there is no saviour.
I am, I am the Lord: and there is no saviour besides me.
I myself am the Lord, and there is no other Savior.
I, I am the Lord, and besides me there is no savior.
I, I am the Lord, and besides me there is no saviour.
I myself am the Lord; I am the only Savior.
I, even I am the Lord, and beside me there is no Savior.
I alone am the Lord, and there is no savior except me.
“I alone am the Lord, the only one who can save you.
I, I am Yahweh, and there is no other Savior but Me.
I myself am the Lord. I am the only Savior.
I, yes I, am the Lord, and apart from me there is no savior.
I myself am Yahweh, and there is no savior besides me!
I am the Lord, and there is no other Savior.
Get the blind and deaf out here and ready— the blind (though there’s nothing wrong with their eyes) and the deaf (though there’s nothing wrong with their ears). Then get the other nations out here and ready. Let’s see what they have to say about this, how they account for what’s happened. Let them present their expert witnesses and make their case; let them try to convince us what they say is true. “But you are my witnesses.” God’s Decree. “You’re my handpicked servant So that you’ll come to know and trust me, understand both that I am and who I am. Previous to me there was no such thing as a god, nor will there be after me. I, yes I, am God. I’m the only Savior there is. I spoke, I saved, I told you what existed long before these upstart gods appeared on the scene. And you know it, you’re my witnesses, you’re the evidence.” God’s Decree. “Yes, I am God. I’ve always been God and I always will be God. No one can take anything from me. I make; who can unmake it?”
I alone am Yahweh, and there is no savior except me.
I, I am the Lord; there is no savior but me.
“I, even I, am the Lord, And there is no savior besides Me.
I, I am the Lord, and there is no deliverer besides me.
I am the one and only Lord. I am the only one who can save you.
I, even I, am the Lord, and apart from me there is no savior.
I, even I, am the Lord, and apart from me there is no saviour.
I, even I, am the Lord. There is no one who saves except Me.
I, yes I, am the Lord, and there is no other Savior.
I, even I, am Hashem; and apart from Me there is no Moshi’a.
“I, I am Adonai— and there is no savior beside Me.
I, I am the Eternal; there is no Savior except for Me,
I myself am Yahweh; and besides me there is no savior.
I am, I am the Lord, and without me is no saviour. (I am, yea, I am the Lord, and there is no other saviour besides me.)
I -- I [am] Jehovah, And besides Me there is no saviour.
Isaiah 43:10Isaiah 43:12
21st Century King James Version (KJ21) Copyright © 1994 by Deuel Enterprises, Inc.; American Standard Version (ASV) Public Domain (Why are modern Bible translations copyrighted?); Amplified Bible (AMP) Copyright © 2015 by The Lockman Foundation, La Habra, CA 90631. All rights reserved.; Amplified Bible, Classic Edition (AMPC) Copyright © 1954, 1958, 1962, 1964, 1965, 1987 by The Lockman Foundation; BRG Bible (BRG) Blue Red and Gold Letter Edition™ Copyright © 2012 BRG Bible Ministries. Used by Permission. All rights reserved. BRG Bible is a Registered Trademark in U.S. Patent and Trademark Office #4145648; Christian Standard Bible (CSB) The Christian Standard Bible. Copyright © 2017 by Holman Bible Publishers. Used by permission. Christian Standard Bible®, and CSB® are federally registered trademarks of Holman Bible Publishers, all rights reserved. ; Common English Bible (CEB) Copyright © 2011 by Common English Bible; Complete Jewish Bible (CJB) Copyright © 1998 by David H. Stern. All rights reserved. ; Contemporary English Version (CEV) Copyright © 1995 by American Bible Society; Darby Translation (DARBY) Public Domain (Why are modern Bible translations copyrighted?); Douay-Rheims 1899 American Edition (DRA) Public Domain (Why are modern Bible translations copyrighted?); Easy-to-Read Version (ERV) Copyright © 2006 by Bible League International; English Standard Version (ESV) The Holy Bible, English Standard Version. ESV® Text Edition: 2016. Copyright © 2001 by Crossway Bibles, a publishing ministry of Good News Publishers.; English Standard Version Anglicised (ESVUK) The Holy Bible, English Standard Version Copyright © 2001 by Crossway Bibles, a division of Good News Publishers.; Expanded Bible (EXB) The Expanded Bible, Copyright © 2011 Thomas Nelson Inc. All rights reserved. ; 1599 Geneva Bible (GNV) Geneva Bible, 1599 Edition. Published by Tolle Lege Press. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the publisher, except in the case of brief quotations in articles, reviews, and broadcasts. ; GOD’S WORD Translation (GW) Copyright © 1995 by God's Word to the Nations. Used by permission of God's Word Mission Society.; Good News Translation (GNT) Copyright © 1992 by American Bible Society; Holman Christian Standard Bible (HCSB) Copyright © 1999, 2000, 2002, 2003, 2009 by Holman Bible Publishers, Nashville Tennessee. All rights reserved.; International Children’s Bible (ICB) The Holy Bible, International Children’s Bible® Copyright© 1986, 1988, 1999, 2015 by Tommy Nelson™, a division of Thomas Nelson. Used by permission.; International Standard Version (ISV) Copyright © 1995-2014 by ISV Foundation. ALL RIGHTS RESERVED INTERNATIONALLY. Used by permission of Davidson Press, LLC.; Jubilee Bible 2000 (JUB) Copyright © 2000, 2001, 2010 by Life Sentence Publishing, Inc.; King James Version (KJV) Public Domain; Authorized (King James) Version (AKJV) KJV reproduced by permission of Cambridge University Press, the Crown’s patentee in the UK.; Lexham English Bible (LEB) 2012 by Logos Bible Software. Lexham is a registered trademark of Logos Bible Software; Living Bible (TLB) The Living Bible copyright © 1971 by Tyndale House Foundation. Used by permission of Tyndale House Publishers Inc., Carol Stream, Illinois 60188. All rights reserved.; The Message (MSG) Copyright © 1993, 2002, 2018 by Eugene H. Peterson; Modern English Version (MEV) The Holy Bible, Modern English Version. Copyright © 2014 by Military Bible Association. Published and distributed by Charisma House. ; Names of God Bible (NOG) The Names of God Bible (without notes) © 2011 by Baker Publishing Group. ; New American Bible (Revised Edition) (NABRE) Scripture texts, prefaces, introductions, footnotes and cross references used in this work are taken from the New American Bible, revised edition © 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington, DC All Rights Reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner. ; New American Standard Bible (NASB) Copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation; New Century Version (NCV) The Holy Bible, New Century Version®. Copyright © 2005 by Thomas Nelson, Inc.; New English Translation (NET) NET Bible® copyright ©1996-2006 by Biblical Studies Press, L.L.C. http://netbible.com All rights reserved.; New International Reader's Version (NIRV) Copyright © 1995, 1996, 1998, 2014 by Biblica, Inc.®. Used by permission. All rights reserved worldwide.; New International Version (NIV) Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.; New International Version - UK (NIVUK) Holy Bible, New International Version® Anglicized, NIV® Copyright © 1979, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.; New King James Version (NKJV) Scripture taken from the New King James Version®. Copyright © 1982 by Thomas Nelson. Used by permission. All rights reserved.; New Life Version (NLV) Copyright © 1969, 2003 by Barbour Publishing, Inc.; New Living Translation (NLT) Holy Bible, New Living Translation, copyright © 1996, 2004, 2015 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188. All rights reserved.; New Revised Standard Version (NRSV) New Revised Standard Version Bible, copyright © 1989 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; New Revised Standard Version, Anglicised (NRSVA) New Revised Standard Version Bible: Anglicised Edition, copyright © 1989, 1995 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; New Revised Standard Version, Anglicised Catholic Edition (NRSVACE) New Revised Standard Version Bible: Anglicised Catholic Edition, copyright © 1989, 1993, 1995 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; New Revised Standard Version Catholic Edition (NRSVCE) New Revised Standard Version Bible: Catholic Edition, copyright © 1989, 1993 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; Orthodox Jewish Bible (OJB) Copyright © 2002, 2003, 2008, 2010, 2011 by Artists for Israel International; Revised Standard Version (RSV) Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; Revised Standard Version Catholic Edition (RSVCE) The Revised Standard Version of the Bible: Catholic Edition, copyright © 1965, 1966 the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.; Tree of Life Version (TLV) Tree of Life (TLV) Translation of the Bible. Copyright © 2015 by The Messianic Jewish Family Bible Society.; The Voice (VOICE) The Voice Bible Copyright © 2012 Thomas Nelson, Inc. The Voice™ translation © 2012 Ecclesia Bible Society All rights reserved. ; World English Bible (WEB) by Public Domain. The name "World English Bible" is trademarked.; Wycliffe Bible (WYC) 2001 by Terence P. Noble; Young's Literal Translation (YLT) by Public Domain
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← ELIZABETH & DANIEL LEE
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Current Events » James Alex Fields Jr
James Alex Fields Jr
JAMES ALEX FIELDS JR: ACCORDING TO THE ASSOCIATED PRESS (AP): MAN WHO DROVE INTO CHARLOTTESVILLE CROWD CONVICTED OF FIRST-DEGREE MURDER — 12/09/2018
Charlottesville, Va. (AP) — A man who drove his car into counter protesters at a 2017 white nationalist rally in Virginia was convicted Friday of first-degree murder, a verdict that local civil rights activists hope will help heal a community still scarred by the violence and the racial tensions it inflamed nationwide.
A state jury rejected defense arguments that James Alex Fields Jr. acted in self-defense during a “Unite the Right” rally in Charlottesville on Aug. 12, 2017. Jurors also convicted Fields of eight other charges, including aggravated malicious wounding and hit and run.
Fields, 21, drove to Virginia from his home in Maumee, Ohio, to support the white nationalists. As a large group of counter protesters marched through Charlottesville singing and laughing, he stopped his car, backed up, then sped into the crowd, according to testimony from witnesses and video surveillance shown to jurors.
Prosecutors told the jury that Fields was angry after witnessing violent clashes between the two sides earlier in the day. The violence prompted police to shut down the rally before it even officially began.
Heather Heyer, a 32-year-old paralegal and civil rights activist, was killed, and nearly three dozen others were injured. The trial featured emotional testimony from survivors who described devastating injuries and long, complicated recoveries.
After the verdict was read in court, some of those who were injured embraced Heyer’s mother, Susan Bro. She left the courthouse without commenting. Fields’ mother, Samantha Bloom, who is disabled, left the courthouse in a wheelchair without commenting.
A group of about a dozen local civil rights activists stood in front of the courthouse after the verdict with their right arms raised in the air.
“They will not replace us! They will not replace us!” they yelled, in a response to the chants heard during the 2017 rally, when some white nationalists shouted: “You will not replace us! and “Jews will not replace us.”
Charlottesville City Councilor Wes Bellamy said he hopes the verdict “allows our community to take another step toward healing and moving forward.”
Charlottesville civil rights activist Tanesha Hudson said she sees the guilty verdict as the city’s way of saying, “We will not tolerate this in our city.”
“We don’t stand for this type of hate. We just don’t,” she said.
White nationalist Richard Spencer, who had been scheduled to speak at the Unite the Right rally, described the verdict as a “miscarriage of justice.”
“I am sadly not shocked, but I am appalled by this,” he told The Associated Press. “He was treated as a terrorist from the get-go.”
Spencer had questioned whether Fields could get a fair trial since the case was “so emotional.”
“There does not seem to be any reasonable evidence put forward that he engaged in murderous intent,” Spencer said.
Spencer popularized the term “alt-right” to describe a fringe movement loosely mixing white nationalism, anti-Semitism and other far-right extremist views. He said he doesn’t feel any personal responsibility for the violence that erupted in Charlottesville.
“Absolutely not,” he said. “As a citizen, I have a right to protest. I have a right to speak. That is what I came to Charlottesville to do.”
The far-right rally in August 2017 had been organized in part to protest the planned removal of a statue of Confederate Gen. Robert E. Lee. Hundreds of Ku Klux Klan members, neo-Nazis and other white nationalists — emboldened by the election of President Donald Trump — streamed into the college town for one of the largest gatherings of white supremacists in a decade. Some dressed in battle gear.
Afterward, Trump inflamed tensions even further when he said “both sides” were to blame, a comment some saw as a refusal to condemn racism.
According to one of his former teachers, Fields was known in high school for being fascinated with Nazism and idolizing Adolf Hitler. Jurors were shown a text message he sent to his mother days before the rally that included an image of the notorious German dictator. When his mother pleaded with him to be careful, he replied: “we’re not the one (sic) who need to be careful.”
During one of two recorded phone calls Fields made to his mother from jail in the months after he was arrested, he told her he had been mobbed “by a violent group of terrorists” at the rally. In another, Fields referred to the mother of the woman who was killed as a “communist” and “one of those anti-white supremacists.”
Prosecutors also showed jurors a meme Fields posted on Instagram three months before the rally in which bodies are shown being thrown into the air after a car hits a crowd of people identified as protesters. He posted the meme publicly to his Instagram page and sent a similar image as a private message to a friend in May 2017.
But Fields’ lawyers told the jury that he drove into the crowd on the day of the rally because he feared for his life and was “scared to death” by earlier violence he had witnessed. A video of Fields being interrogated after the crash showed him sobbing and hyperventilating after he was told a woman had died and others were seriously injured.
Wednesday Bowie, who was struck by Fields’ car and suffered a broken pelvis and other injuries, said she felt gratified by the guilty verdict.
“This is the best I’ve been in a year and a half,” Bowie said.
The jury will reconvene Monday to recommend a sentence. Under Virginia law, jurors can recommend from 20 years to life in prison on the first-degree murder charge.
Fields is eligible for the death penalty if convicted of separate federal hate crime charges. No trial has been scheduled yet.
The following Official Record of James Alex Fields Jr is being redistributed by Mugshots.com and is protected by constitutional, publishing, and other legal rights. This Official Record was collected on 12/09/2018.
twincities.com – https://www.twincities.com/2018/12/07/jury-set-to-deliberate-murder...
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‘Just Remember This’
‘Culture After Google’
‘A Bonfire of Art’
‘Planet Malaquais’
‘Paper Empires’
‘The Mage of Lake Geneva’
‘Sarkozy’s Fifth Column’
‘Adieu to Cahiers’
‘The Camera Possessed’
109 , Jan Feb 2018
Back to NLR 109, Jan Feb 2018
Emilie Bickerton
A New Proletkino?
One of cinema’s first images is of workers leaving a factory. The young women come out first, in their long dresses and summer hats. It is the end of their day, they look delighted, they link arms with friends, they have plans for that evening, they chat animatedly. Young boys run off, a dog jumps up to greet his owner, some people glance at the camera and smile. The joyful atmosphere in La Sortie des ouvriers de l’usine Lumière, first screened in Paris in 1895, is typical of the work of Auguste and Louis Lumière. The brothers liked to capture—and create—typical moments in a day busy with life. In another of their short films we see a very different group of people, this time disembarking from a riverboat. Distinguished gentlemen pour up the gangplank in elegant coats and top hats, some doffing these cheerfully to the camera as they walk past; the ladies are clutching handbags and parasols. Le Débarquement du Congrès de Photographie à Lyon is reminiscent of Sortie de l’usine in form: the still camera set a few metres away from the action, fully visible to those it is filming, unmoving, recording the crowd. The working class and the bourgeoisie, represented on screen in the same way.
This would not last. ‘Proletkino’, announced in 1923, was one of many revolutionary film initiatives to flourish in the early days of the Soviet Union, under the broad umbrella of the People’s Commissariat of Enlightenment. It was one of the first attempts to make films about and for the working class—and to register this formally, in the very production and aesthetics of the film. ‘The production of proletarian films is our first and basic slogan’, declared the organization’s journal, Proletkino, even as it registered the difficulties of the international situation:
A handful of German comrades struggled for two years to found the proletarian Volksfilmbühne and they failed. The American workers’ film cooperative has put enormous efforts into production, but nothing has been released because the cinema trusts suppress things. Upton Sinclair makes the first film that is really close to the proletariat and they confiscate it . . .footnote1
‘All the efforts of our Western comrades to create a workers’ repertoire founder on capital or are smashed by the fist of the ruling class’, the Proletkino editors continued. The spirit was uncompromising: there could be no proletarian cinema—films for the working class, made by them and about their lives and struggles—as long as capitalism was in power. In this light, Sortie de l’usine was no more than a visual document of workers captured by the most bourgeois of directors, who also owned the very factory the workers were coming out of. Only in the Soviet Republic, ‘where all past cultures are being re-examined and the culture of the future forged, can the dream of a proletarian cinema be realized.’ The journal was under no illusions: ‘Colossal difficulties await us . . . Proletkino’s first steps will be slow and full of mistakes.’ But it could not fail to register its own significance. Of all the hundreds of film magazines published in the West, ‘not a single publication among them deals with the great questions of the use of cinema by the proletariat.’ The electrifying early works of Sergei Eisenstein demonstrated how those questions might be posed. Strike (1924) dramatized, with gathering momentum, a rebellion by pre-1905 factory workers that was brutally repressed. Produced by the Goskino studio, it introduced exciting new techniques of montage that added extra layers to the narrative through form, the silhouetted hands of the fleeing workers cross-cut with slaughter-house scenes. The very subject, in other words, demanded a change and disruption of form. To represent the strike in a conventional way, using the same techniques regardless of what was being shown was to flatten cinema’s potential as a radical art of the masses.
Further incarnations followed. In the 1930s, Jean Renoir’s deep-focus mise-en-scène and longer, more elaborate takes framed the common humanity of Popular Front working-class leisure time: picnicking, making love. Of the sans-culottes portrayed (by pcf workers) in La Marseillaise, Renoir said: ‘Of course, first and foremost they were revolutionaries, but that didn’t stop them eating, drinking, feeling too hot or too cold.’footnote2 His Toni (1934), produced by Marcel Pagnol’s studio in Marseille, introduced immigrant workers, Spanish and Italian navvies and quarrymen, to the French cinema of the interwar period. In the 1940s, the impoverished social landscape of post-war Italy provided the backdrop for the neo-realism of Vittorio de Sica’s Bicycle Thieves (1948), in which Antonio, now on foot and empty-handed, is proletarianized all over again by the loss of his bike. Luchino Visconti’s Rocco and His Brothers (1960) dramatized the corrosive effects of migration to industrial Milan, while Pier Paolo Pasolini’s Accattone (1961) was set among the prostitutes and petty criminals of Rome’s borgate. In Brazil, cinema novo filmmakers took their cameras out on the streets, merging documentary and fiction to produce a narrative and formal wildness in striking contrast to the down-to-earth grit of their European counterparts. In Britain, ‘kitchen sink’ realism took off in the same decade with a new wave of films from the industrial north, along with similar movements in theatre and fiction. Karel Reisz’s Saturday Night and Sunday Morning (1960) was one of the first to focus on the domestic trials of working-class (male) characters, young, angry and alienated.
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Herman Daly & Benjamin Kunkel, ‘Ecologies of Scale’
Geoffrey Ingham, ‘Finance and Power’
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Audemars Piguet Revives Its Heritage With a New Collection of Classic Watches
The luxury brand is returning to its roots with its latest line.
Nazanin Lankarani, January 21, 2019
Code 11.59 by Audemars Piguet. Perpetual calendar. Photo: Courtesy: Audemars Piguet.
“If we are writing a new page in the history of the company, it has to be perfect.”
With those words, Audemars Piguet’s chief executive, François-Henry Bennahmias, introduced Code 11.59, the Swiss watchmaker’s new collection at a much anticipated unveiling last week in Geneva, just as the 29th edition of the Salon International de Haute Horlogerie (SIHH) got underway. “This is our most important launch since the Royal Oak was designed by Gerald Genta in 1972,” Bennahmias told a group of international journalists, dressed in his usual leather motorcycle jacket and calmly undaunted by the self-imposed challenge.
The Code 11.59 chapter was long-awaited by the watch industry. Although the watchmaker remained tight-lipped ahead of the unveiling, the internet went abuzz after pre-launch photographs of the collection circulated on social media. Much of the anticipation was generated by Audemars Piguet’s announcement that the new collection was a “return to classicism.”
In watch-industry jargon, classicism typically signals a round watch case, the shape most frequently found in men’s watches. Appropriately, Code 11.59 is designed with a distinctive round case embedded in an octagonal middle case with both polished and matte finishes to emphasize its angles. The octagon in the middle is a subtle sign of its affiliation with the Royal Oak. The open-worked lugs are welded to an extra-thin bezel and a complex, dome-shaped, double curved, glare-proof sapphire crystal enhances the watch’s contemporary design.
What the collection exudes in force and restrained intensity is due to the fact that it brings together all of the know-how for which Audemars Piguet is renowned. The result of at least seven years of research and development, it comes in 13 models, three new calibers, and five complications that include an integrated chronograph with flyback function, a perpetual calendar, and a “supersonnerie” chiming complication.
Code 11.59 by Audemars Piguet. Self-winding. Photo: Courtesy: Audemars Piguet.
A History of Design Experimenting With Design
The name Code 11.59 was chosen to suggest that Audemars Piguet stands at the dawn of a new day, a minute before midnight, in a world where every second counts. “The idea was to launch a contemporary classic model that would be both imposing and not easily copied,” Bennahmias said. “It is harder to create a well-designed everyday watch than it is to do a sport watch. Everyone else is doing sports watches today.”
Code 11.59 is the watchmaker’s first foray into classic territory in four decades, and “classicism” is a term hardly associated with the brand. Since the Royal Oak was born, the brand has mainly occupied rugged sports watch territory. The original Royal Oak—with its steel case, octagonal bezel, “tapisserie” dial and integrated bracelet—had disrupted existing codes of watchmaking and quickly become a modern ideal. It is still one of the most distinctively masculine sports watches ever designed, recognisable by its signature shape and imposing allure.
Yet in the years predating the Royal Oak, Audemars Piguet (which was founded in 1875), was known for its classic round watches and for experimenting with shapes and designs. Code 11.59 is, in that sense, a evolutionary step in an ongoing process. And to refresh everyone’s memory, the watchmaker displayed in its booth at SIHH a few historic models dating back nearly a century, including a 1936 oversized round chronograph; a 1945 round minute repeater; a 1959 round Disco Volante extra-thin; and a 1961 multi-geometric model, with a round dial encased in a rectangle.
Code 11.59 by Audemars Piguet. Openworked caseback. Photo: Courtesy: Audemars Piguet.
New Clients and Strategic Partnerships
Bennahmias, who has been at the helm of the company since 2012, said that classic watches were a terrain that Audemars Piguet was looking to reconquer. That is one of many projects in the works for a brand that produces some 40,000 timepieces annually, and generates a cool billion dollars in sales, according to Bennahmias. Among those other ambitions is a new museum and archive dedicated to historic timepieces, now under construction in Le Brassus. Meanwhile, production facilities are being augmented, indicating optimism as the company looks to the future.
Bennahmias’s strategy is to focus on producing bespoke events in line with Audemars Piguet’s strategic partnerships, ones that are tailored to the needs of a younger clientele. Those partnerships are principally with Art Basel in Miami and an upcoming partnership with the Montreux Jazz Festival this summer in Switzerland.
“The idea is to be more agile as a brand, to be present where the clients are, and to have the latest models available,” Bennahmias said. “The young generations want to buy their watches immediately. For a model to be available six months after launch, it is too late.”
He is betting on the success of Code 11.59, projecting that the new collection will, in time, make up 20 percent of sales by appealing to die-hard Audemars Piguet fans wedded to the Royal Oak, and to a new clientele in the market for an everyday, classic yet contemporary watch with a recognizable look.
The models in the Code 11.59 collection are priced from $26,800 for the automatic with white dial to about $295,000 for the minute repeater, and will be available in February in Audemars Piguet boutiques around the world.
Nazanin Lankarani
Take a Virtual Tour of the Immersive Art Project That Brought the Swiss Jura Mountains Indoors at Art Basel
By In Partnership with Audemars Piguet , Jun 21, 2019
An Equestrian Sensibility and a New Collaboration Underpin Hermès’s Latest Watch, Galop d’Hermès
By Nazanin Lankarani , Feb 1, 2019
A Polish Billionaire Carved Out a Mountain in Switzerland to Build a New Museum
By , Jan 21, 2019
From Kanye West’s $10 Million Gift to Jeff Koons’s Latest Round of Layoffs: The Best and Worst of the Art World This Week
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Guided walks explore London’s history of sexual diversity
Posted on 8:55 am, Wednesday, 29 August 2018 by Editors in Culture, History
Two fundraising guided walks to support international LGBT activists will take place in September and uncover the hidden sexual history of some familiar surroundings.
The newly refurbished and once notorious Fitzroy Tavern will be one of the many venues visited.
London-based activist Richard Cohen is leading the guided tours, in affiliation with the Amnesty International Mayfair and Soho group, showcasing the fascinating heritage of London’s LGBT community.
The walks take in Covent Garden, Soho, Bloomsbury, Fitzrovia and King’s Cross, and feature stories of Oscar Wilde, and a Victorian scandal which rocked the establishment to the core.
Charlotte Street’s “notorious” Fitzroy Tavern which was the headquarters of the literary and artistic demimonde of the 1920s and 1930s and its Bohemian sub-cultures will be one of the many venues explored en route.
The walks will also pass the vanguard of lesbian and gay theatre and a bookshop which has been at the heart of the LGBT community since 1979, and the homes of the writers and artists of the Bloomsbury Set who challenged Victorian codes of behaviour and see the house where the great genius of polari Kenneth Williams was brought up.
Cohen will relate how the LGBT community rallied together to respond to the HIV/AIDS crisis of the 1980s and visit the place where the first same sex weddings were joyously celebrated.
The suggested donation of £10 per person will go towards supporting LGBT activists in Russia and Chechnya, and fighting against homophobic victimisation of LGBT people around the world.
From Mollies to Pride: London’s LGBT Heritage, 6.30pm Wednesday 5 September 2018. Meet at the Eleanor Cross in front of Charing Cross Station. Pay on the day (suggested contribution £10). Contact by text 07852 14 1425. Alternatively sign up through Eventbrite.
From Prejudice to Pride: Our LGBT heritage in Fitzrovia and Bloomsbury, 6.30pm Wednesday 26 September 2018. Meet outside Goodge Street Station. Pay on the day (suggested contribution £10) Contact by text on 07852 14 1425 or book through Eventbrite.
Lia Gard retreat centre Norway
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Niall Horan and Hailee Steinfeld Pull the Plug on Their Relationship: Here’s Why
Eamonn M. McCormack/Dimitrios Kambouris, Getty Images
It looks like the couple that never went public with their relationship chose to do the same about their break up. On Thursday (December 13), E! News reported that Niall Horan and Hailee Steinfeld pulled the plug on their relationship. In fact, multiple sources claim the pair hasn't been dating "for a few months."
"Hailee and Niall were going strong over the summer but split a few months ago and have been trying to keep it low-key," a source close to the actress/singer revealed. "Hailee realized she had a lot on her plate and her work schedule was insanely busy. She was gearing up for a huge press tour for her new movie," and she ultimately realized they "would be apart for mass amounts of time."
"They really tried to make it work," the insider added. "It definitely was 'young love.'"
Dating rumors first sparked between the former One Direction member and Pitch Perfect star back in February, and by summer their relationship was all but confirmed.
But Steinfeld has been on the road promoting her upcoming film Bumblebee with John Cena, gearing up for its December 21 release date, and Horan recently wrapped up his Flicker world tour and is working on new music.
Celebrity Break Ups of 2018
Source: Niall Horan and Hailee Steinfeld Pull the Plug on Their Relationship: Here’s Why
Filed Under: Hailee Steinfeld, Niall Horan
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Little Evidence Pain Creams Work
TUESDAY, Feb. 5, 2019 (HealthDay News) -- Despite their wide use, commercial pain creams and gels don't do much for chronic pain, a new report claims.
In fact, the government-funded study, ordered by U.S. Congress, found these creams/gels were no better than placebos, researchers said.
"Our study of nearly 400 pain patients suggests that people who use these compounded creams and gels are being taken advantage of, because the scientific evidence to support a benefit is not there," said study senior author Dr. Steven Cohen, director of pain research at Walter Reed National Military Medical Center.
The products can cost anywhere from $20 to thousands of dollars a tube, and billions are spent on them in the United States each year, the researchers said.
About one-third of U.S. adults have chronic pain, resulting in direct and indirect health care costs of about $600 billion a year, according to Cohen. He is also a professor of anesthesiology and critical care medicine at the Johns Hopkins University School of Medicine in Baltimore.
Compounded creams and gels typically contain one or more anesthetic, analgesic, sedative, antidepressant, anti-seizure or muscle relaxant drugs.
The study was conducted August 2015 to February 2018 and included 399 participants, aged 18 to 90. Nearly 43 percent were active duty military personnel, and the remaining participants were retired members of the military or dependents, such as spouses.
All the participants had pain in specific areas, such as the face, back, buttocks, neck, abdomen, chest, groin and/or up to two extremities. The average length of time they'd had pain was 6.7 years.
They had three types of pain: neuropathic, caused by disease or damage to the nerves, such as shingles or diabetes; nociceptive or non-neuropathic, caused by injury to tissue, such as burns or sprains; and mixed pain, caused by damage to the nerves and tissues, such as certain types of back pain.
Patients were told to apply either a compounded cream or a placebo cream (they didn't know which they were using) three times a day to the affected area, and to make entries in a pain diary twice a day. The diaries were used to measure the outcomes.
After the treatment period ended, the study found no statistically significant difference in pain score reductions between the placebo and compounded cream users.
The slight improvements experienced by all the participants were probably due to the placebo effect, Cohen noted.
"With the number of research participants studied as long as they were studied, we should have been able to see a statistically significant difference in pain reduction if these creams were actually working," Cohen said in a Hopkins news release.
"But we didn't see this in our data," he added. "The pain reduction we saw in patients being treated with the pain cream was nearly the same pain reduction we saw in placebo -- there was just not a large enough difference for the reduction to be scientifically meaningful."
The study was published Feb. 5 in the journal Annals of Internal Medicine.
The study participants were eligible for coverage under TRICARE, a health insurance plan provided by the U.S. Department of Defense, covering some active duty and retired military personnel and their family members.
TRICARE spent $259 million on compounded pain creams in fiscal year 2013, and the cost increased to $746 million in 2014. In the first month of 2015, the Department of Defense spent about $6 million per day on the medications. In 2015, Medicare Part D paid out more than half a billion dollars for the creams, the researchers said.
The U.S. National Institute of Neurological Disorders and Stroke has more on chronic pain.
SOURCE: Johns Hopkins Medicine, news release, Feb. 5, 2019
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Home | Miscellaneous | Tasting and Synesthesia: the Outliers
Tasting and Synesthesia: the Outliers
Posted by Tim Gaiser | Feb 27, 2016
Daniel Tammet is a remarkable man. The London born 34-year-old Tammet is both autistic and a savant. In his book “Born on a Blue Day” he describes his struggles with autism as a child and young adult and how through sheer force of will and the help of his family and a multitude of others he was able to acquire the skills to be able to function in the adult world, itself an extraordinary feat. But what is equally arresting about Daniel is his incredible memory for numbers; he can recite the number pi past 22,000 digits as well as multiply and divide enormous sums in his head with the accuracy and speed of a computer. But there’s more. To Daniel numbers such as arithmetic problems or days of the week are experienced as different shapes, colors and movements—hence the title of his book. This phenomena is called “synesthesia,” a term often defined as a neurological condition where stimulating one of the senses results in an automatic, involuntary response/experience with a second sense. Tammet describes synesthesia as “cross-talk” between the senses. He and others like him are called “synesthetes.”
Over 60 kinds of synesthesia have been documented and some of the more common forms include grapheme or color synesthesia where letters or numbers are perceived as colors; ordinal linguistic personification where numbers, days of the week and months of the year are experienced by the individual as personalities; and spatial-sequence, or number form synesthesia where numbers, months of the year, and/or days of the week are experienced as specific and very precise locations in space.
In thinking about Tammet it’s tempting to put forth the idea that everyone experiences synesthesia from time to time given that our inner senses are so interdependent. Any strong memory–be it pleasant or not—is a complex package of intensely interconnected images, sounds and feelings. But true neurological synesthesia is always involuntary thus differentiating individuals who experience it from the rest of us.
As for tasting and synesthesia, I’ve learned that most of the colleagues I’ve worked with in my tasting project are like me. We’re visual dominant in our thinking and represent our internal experience of wine primarily with images in any number of different ways. But over the last year I noticed several outliers among participants; professionals who taste at a world-class level but whose inner processing of the wine experience is so far outside the norm that their tasting strategies are challenging to deconstruct and code. To these few the experience of wine is not so much about using images associated with memories of aromatics and flavors but instead experiencing wine as a flow, shape, colors, texture and sounds often projected outward from their body. These tasters are synesthetes, the true instinctual tasters. Here are three of them.
Sur Lucero, MS
Sur Lucero, MS describes himself as an instinctual taster who learned how to work with the MS tasting grid only after many long months of hard work in order to pass the Master’s tasting exam in the summer of 2012. Sur is also one of 16 individuals to ever receive the Remi Krug Cup for passing all three parts of the exam on his first attempt. Lucero told me that he’s never relied on the aromatic and taste profiles that most students use but more from the “picture” of a wine in terms of how it interact texturally on his palate.
“I visualize how the wine feels on my palate,” he says, “whether it feels flat, lifted, vibrant, tense, or youthful.” When asked for an example he mentioned New Zealand Sauvignon Blanc describing it as an “intense wine with lots of energy and crisp angularity to it with shades of green, yellow and platinum.” I asked if he saw shapes and he replied that he doesn’t necessarily see shapes but does see colors and movement in what he described as a linear fashion out in front of him. “They move and they’re not just in one dimension. They expand on an X and a Y axis.” Further, he went on to say that the shape of a wine is largely determined by the structure. To Sur the “intensity, the sharpness and austerity” of a wine will create more lift on the Y axis as opposed to a wine that’s richer, fuller and fatter which be more expansive and breadth on the X axis.
But then I wanted to know how he was able to assess the quality of the fruit or age of the wine. He answered by saying, “The colors are generally based on the ripeness of the fruit. Leaner, tauter wines are going to have lighter shades of color … a New Zealand Sauvignon Blanc is a pretty intense, almost electric green. For Chablis it’s a very pale cream straw, almost transparent.” Further, “I get the aromatic properties in terms of the fruit composition generally from the shades of colors that I see moving within the X and the Y axes. Again I don’t necessarily see cherries or blueberries or other specific fruits, I see shades of colors on the X – Y axes. But I don’t really think of the X and y axes as being present in this picture, I just see the shapes of the colors and how they move; the richer wines have more volume and the leaner wines have more height.”
I asked him where a shape comes from and he replied with the following: “It comes from my chest and my head. Whenever I smell something I can feel it coming from here (motioning from his chest up to his face), definitely the upper part of my body.”
Gilian Handelman
Gilian Handelman is director of education for Kendall-Jackson. She’s long known that she doesn’t process wine the same way that most people do. During our session (interview to be posted in the near future) I asked her how she was able to recognize a specific fruit vs. another. She replied by saying, “I guess it’s just an instantaneous reaction in my brain. There’s this thought that I’ve catalogued all these smells and there’s a synapse that’s telling me this is dark fruit. It’s almost like electricity. Once I make those quick decisions, say that it’s in the black fruit world, I’m asking if it’s fresh black fruit or prunes or whatever.”
While saying the previous she was motioning with her hands out in front of her face. I asked her if her hand movements corresponded to images of the aromatics she was smelling in the wine. She replied saying, “No, I think they are lines or shapes that connect in my brain leading me to one framework or another. I haven’t really articulated this before but for me it’s sort of a family tree or a logarithm, almost like electricity.” As for the shapes she said that the quality of the fruit and structure of a wine had a lot to do with determining the kind of shape. She described her experience of the RDV Cabernet from Virginia we were tasting as:
“It’s like a big rubber casing that’s filled and things are shooting out the end of the casing making the rubber stretch … then in the back there’s this kind of roller coaster and other stuff stretching through the casing. But there’s also like a cascade of what’s going on. There’s tannin and acid, and it (cascade shape) goes up (she motioned with her hands) coming back down and then goes up again.”
When I asked her if the shapes were consistent within a single grape variety she responded by saying, “It’s not that clear cut for me. It’s more like thought flowing into shape. So round, black fruit that’s kind of stewed like in this wine is amorphous. In fact, all the fruits I smell will go into those kind of roles. Maybe that’s what it’s like for me, a channel of shape and sound. So (speaking in a high voice) this is a tiny channel that is bristly, high-noted and cleaver-shaped. Then (speaking in a much lower voice) this amorphous pool of a shape.”
Gilian also experiences different sounds with different styles of wines. For her a rich, round wine like the Cabernet we were tasting sounded like “gloop, gloop, gloop” vs. a lighter-bodied, high-acid wine like a German Riesling which would sound more like water lapping on the edge of a lake or pond or “fffft, ffft, ffft” as she described it. She further said, “I see and hear music a lot when I taste. For me this wine is more of a basso sound (hums) vs. a higher sound.”
I then asked her where a shape would come from and she replied, “It comes from my whole body. It’s really a three-dimensional model of my palate.” She went on to say that the shapes are outlines and some, but not all, have color to them.
Gilian has illustrated many of the shapes for different grapes and they can be found at the KJ website: https://www.kj.com/sensory-tour
Gilian Handelman: Kendall-Jackson Reserve Chardonnay
Gilian Handelman: Kendall-Jackson Pinot Noir
Gilian Handelman: Kendall-Jackson Highland Estates – Napa Mountain Cabernet Sauvignon
Roland Micu, MS
Like Gilian, Roland Micu MS has always known that the way he tastes wine is different from most everyone else. As soon as we started his interview (also to be posted in the near future) Roland said, “I smell the wine and then there’s this so-called shape or texture. Maybe it’s a type of synesthesia because if you hear a note on a keyboard it’s going to have a kind of impact. All the notes are going to have different impacts. So the shapes or textures remind me of that.”
I asked him if the different components in a wine like a specific fruit had different shapes. He responded yes and then described the dark plum note in the Merlot blend we were tasting as having a round shape that was black in color. But his experience of the shape was more complex in that it had texture as if he were biting into the actual fruit. He went on to say that “different fruits have different textures. Raspberry is going have more angularity and be mushier. A dark cherry will be more focused and a dark plum more broad.”
I then asked if images were involved in his processing of the different aromatics and he said yes but that the shapes were the initial sensation before an image of something would appear. But the two he said were almost simultaneous as the process unfolds rapidly when he smells a wine. He went on to describe the Merlot blend we were tasting with the following: “To me this wine is like a level. There are no sharp angles and texturally nothing shoots out. It’s not like a contact lens but more like squished elliptical shape and the edges are round.”
I asked him where the shapes come from and he said, “It’s a feeling and it comes out of me (pointing to his chest) and then moves up through my chest and out through my eyes so I can see it and translate it.” In terms of assessing the kind and quality of the fruit he said that “the shape is being formed and all these fruits are being assessed at the same time.”
Roland described any changes in the wine from the nose to the palate with the following: “I think with the nose its two dimensions but when it gets to the palate it’s three dimensional. It also might be more blocky or pixilated. But it’s three dimensional as opposed to the nose where it’s an image of a cherry or whatever.” As for assessing the structure in the wine we were tasting during the session Roland used the shape to calibrate the amount of alcohol, acid and tannin: “I don’t base structure on texture but I’ve done some research and found that the elliptical shape in this wine typically is related to higher alcohol, riper fruit, new oak (usually barrique) and minimal minerality.”
Ultimately the purpose of my tasting project is to model best practices by deconstructing the internal strategies used by top tasters; the end goal is to take the best strategies and be able to teach them to anyone interested in learning about wine. With that, the question of what can be taken from the strategies of Gilian, Roland and Sur arises. At this point I’m not convinced their strategies can be easily taught. But perhaps what we can gain from them is the idea of using colors, sounds and shapes to more intimately and precisely calibrate the different aromatic and structural properties in wine. But more than that, working with tasters like Sur, Gilian and Roland makes me think about how complex and miraculous the human mind is. And though we share common “hardware” in the form of our brain and nervous system how different we all are and how important it is that we celebrate these differences and learn from each other—on a blue day or any other.
PreviousTasting Interview: Gilian Handelman
NextThe Holiday Book Bag
Tim Gaiser is a internationally renowned wine expert and lecturer. He is one of 240 individuals worldwide to attain the elite Master Sommelier wine title and is the former Director of Education and Education chair for the Court of Master Sommeliers, Americas. Tim continues at the Court on the Board of Directors and sits on the exam standards and exam development committees.
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The Nonindigenous Occurrences section of the NAS species profiles has a new structure. The section is now dynamically updated from the NAS database to ensure that it contains the most current and accurate information. Occurrences are summarized in Table 1, alphabetically by state, with years of earliest and most recent observations, and the tally and names of drainages where the species was observed. The table contains hyperlinks to collections tables of specimens based on the states, years, and drainages selected. References to specimens that were not obtained through sighting reports and personal communications are found through the hyperlink in the Table 1 caption or through the individual specimens linked in the collections tables.
Hybognathus hankinsoni
(Brassy Minnow)
Translate this page with
Hybognathus hankinsoni Hubbs in Jordan, 1929
Common name: Brassy Minnow
Taxonomy: available through www.itis.gov
Identification: Becker (1983); Holton (1990); Page and Burr (1991); Pflieger (1997).
Size: to 9.7 cm TL
Native Range: Upper St. Lawrence River and Lake Champlain drainages, Quebec and New York, across Great Lakes, Hudson Bay, and Missouri--upper Mississippi River basins of southern Canada and northern United States south to Kansas; Fraser River system (Pacific Slope), Alberta and British Columbia (Page and Burr 1991).
Puerto Rico &
Guam Saipan
Native range data for this species provided in part by NatureServe
Hydrologic Unit Codes (HUCs) Explained
Interactive maps: Point Distribution Maps
Nonindigenous Occurrences:
Table 1. States with nonindigenous occurrences, the earliest and latest observations in each state, and the tally and names of HUCs with observations†. Names and dates are hyperlinked to their relevant specimen records. The list of references for all nonindigenous occurrences of Hybognathus hankinsoni are found here.
Year of earliest observation
Year of last observation
Total HUCs with observations†
HUCs with observations†
Colorado 1982 1993 2 Colorado Headwaters; Lower Gunnison
New York 1979 1979 1 Upper Susquehanna
Ohio 2009 2009 1 Shenango
Tennessee 1973 1973 1 Powell
Utah 1986 1999 2 Upper Colorado-Kane Springs; Upper Lake Powell
Table last updated 10/4/2018
† Populations may not be currently present.
Means of Introduction: Smith (1985) suggested that its presence in the Susquehanna River drainage, New York, may have been by way of dispersal through the Chenango Canal. However, this species was not reported from the Susquehanna drainage in a review of the species' distribution by Bailey (1954), and the Chenango Canal has been inactive since the late 1800s. Thus it is more likely due to a bait bucket introduction; Smith (1985) reports that the Brassy Minnow is frequently used as a baitfish. According to Etnier and Starnes (1993), the Tennessee record was based on a single specimen taken in 1973; they considered it a bait bucket introduction. Records in Colorado also may be the result of bait bucket releases. There is no information for means of its introduction into Utah.
Status: Reported from Colorado, New York, Tennessee, and Utah.
Impact of Introduction: The impacts of this species are currently unknown, as no studies have been done to determine how it has affected ecosystems in the invaded range. The absence of data does not equate to lack of effects. It does, however, mean that research is required to evaluate effects before conclusions can be made.
Remarks: Pflieger (1997) noted that small populations of this species found in two tributaries of the upper Mississippi River in Missouri may be the result of recent bait bucket releases.
References: (click for full references)
Bailey, R.M. 1954. Distribution of the American cyprinid fish Hybognathus hankinsoni with comments on its original description. Copeia 1954(4):289-291.
Becker, G.C. 1983. Fishes of Wisconsin. University of Madison Press, Madison, WI.
Etnier, D.A., and W.C. Starnes. 1993. The fishes of Tenneessee. University of Tennessee Press, Knoxville, TN.
Holton, G.D. 1990. A field guide to Montana fishes. Montana Department of Fish, Wildlife and Parks Helena, MT.
Page, L.M., and B.M. Burr. 1991. A field guide to freshwater fishes of North America north of Mexico. The Peterson Guide Series, vol. 42. Houghton Mifflin Company, Boston, MA.
Pflieger, W. 1997. The fishes of Missouri. Missouri Department of Environmental Conservation, Jefferson City, MO.
Smith, C.L. 1985. The inland fishes of New York State. New York State Department of Environmental Conservation, Albany, NY.
Tilmant, J.T. 1999. Management of nonindigenous aquatic species in the U.S. National Park System. National Park Service.
FishBase Summary
Author: Pam Fuller, and Matt Neilson
Revision Date: 9/26/2012
Peer Review Date: 4/1/2016
Citation Information:
Pam Fuller, and Matt Neilson, 2019, Hybognathus hankinsoni Hubbs in Jordan, 1929: U.S. Geological Survey, Nonindigenous Aquatic Species Database, Gainesville, FL, https://nas.er.usgs.gov/queries/FactSheet.aspx?speciesID=544, Revision Date: 9/26/2012, Peer Review Date: 4/1/2016, Access Date: 7/18/2019
This information is preliminary or provisional and is subject to revision. It is being provided to meet the need for timely best science. The information has not received final approval by the U.S. Geological Survey (USGS) and is provided on the condition that neither the USGS nor the U.S. Government shall be held liable for any damages resulting from the authorized or unauthorized use of the information.
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Toxic triclosan in toothpaste?
By Dev Gowda
Director, Campaign for Toxic-Free Products
A recent article in the LA Times revealed that a new study found that the toxic compound triclosan, which is commonly found in toothpaste as well as other consumer products such as cosmetics, children’s toys, and yoga mats, “could cause adverse effects on colonic inflammation and colon cancer.”
The U.S. Food and Drug Administration (FDA) has found triclosan to be not generally recognized as safe for antiseptic products, and ordered a ban on triclosan in soaps and hand sanitizers in 2016. We use soap on our hands--but toothpaste goes in our mouths. The FDA still allows the harmful compound to be used in toothpaste and the EPA hasn’t taken action to get rid of triclosan in other consumer goods. The compound is also used in paint, carpeting, and kitchenware.
The good news? Major consumer product giant Procter & Gamble (P&G), the maker of Crest and Oral-B toothpastes announced that it has phased out the use triclosan in its products. Other toothpaste manufacturers are doing the same thing. But not all are getting rid of triclosan, and a lot of people don’t even know what triclosan is, let alone know to check to see if their toothpaste has triclosan in it. When many popular toothpaste brands are already taking the initiative to remove the toxic compound from their products, the FDA needs to step up and take action to ban its use in ALL toothpaste to protect our public health.
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Posts Tagged ‘King Arthur’
Clive Owen- King Arthur to Shoot em up
Few actors get to enjoy the status of “overnight sensation”. Next to none get to enjoy it twice. Yet this has happened to Clive Owen, the latest addition to the UK’s canon of international superstars. Breaking through, back in 1990, as the wisecracking, sharp-suited wheeler-dealer Stephen Crane in the hit show Chancer, he was the hottest thing on TV. Then, after spending the best part of a decade seeking cinematic success, came the sleeper smash Croupier. Failing dismally in the UK, it looked at first to be a disaster. Yet the US critics loved it and, Stateside, it raked in millions, at the same time lifting Owen into the upper echelons. And, this time, he was ready.
Clive Owen was born on 3 October, 1964, in Coventry. His father, a Country and Western singer, walked out when he was three (he’d not meet him again for 16 years), and he was raised by his mother and stepfather, the latter working in the ticket office for British Rail. Clive was the fourth of five brothers. The eldest was Garry, now a salesman. Then came Alan and Lee, musicians (they’d release a single called Heartbeat), then Clive and Scott.
Attending Binley Park Comprehensive School, Clive was initially a good student, in the top stream. Then something thoroughly unexpected happened. Clive has often said that, for some unknown reason, he always wanted to act. But it was only after he played the Artful Dodger in a production of Oliver! that everyone else knew it too. Bitten badly by the bug, he couldn’t concentrate on anything else, putting all his energy into the youth theatre he joined at 13. His schoolwork fell away dramatically. Sitting nine O-levels, he passed only one – English.
His persistence was amazing, really. When he first announced in class that he wanted to act, his teacher encouraged all the other kids to laugh at him. Thankfully the steely intensity he exudes onscreen is a real part of his character and he kept at it.
After his catastrophic exam results, Clive was all for jacking school in. But one teacher saw his potential and was keen for him to continue his studies at drama school. Being a prickly little sod, Clive was having none of it. No one can teach you how to act, he said, it’s all inside you already. The teacher fought back, arranging an audition for him at Mountview college and even buying him a train ticket to London. Owen made the journey, and was accepted by Mountview. Yet even this didn’t work. Absolutely convinced that drama school was useless, Clive turned Mountview down, deciding instead to keep working with his youth theatre group and seek work.It would be a bad two years. Another alumnus of Binley Park had been John Bradbury, drummer of the band The Specials, and The Specials’ Number One hit Ghost Town had pretty accurately described the state of Coventry at the time. Work was near impossible to find and, gradually losing contact with his theatre group, Clive began to waste away. “I was doing what half of Coventry was doing at the time,” he said later, “playing pool and waiting for the next Giro”.
Come 1984, his situation was desperate, so desperate that his altered his anti-education stance and, applying to RADA, was accepted. His fellow pupils including Ralph Fiennes and Jane Horrocks, he did well, graduating in 1987. He also had a stroke of luck, experience-wise. While at RADA, his class worked on a new Howard Barker play, then being performed at the Royal Court with Gary Oldman in the lead. When Oldman fell ill, Clive was asked to step in – being the only other actor in the world who knew the part.
After graduation, Owen went looking for stage work. He appeared in The Cat And The Canary at Watford, and Twelfth Night at the Crucible in Sheffield. Then he won a place at the Young Vic, playing in Romeo And Juliet and Measure For Measure and, in Manchester, The Doctor’s Dilemma. He also met his wife. Onstage. In an incident so romantic it borders on cliché, while playing Romeo he fell for his Juliet, Sarah Jane Fenton. Though their relationship would occasionally be turbulent, with the couple splitting up several times, it would last, the pair marrying in 1995 and eventually producing two daughters, Hannah and Eve.
It was all looking good. In 1988, Clive made his film debut, in Vroom. Here he and David Thewlis played two northern lads who restore a classic American car and take off on the road. Before they leave, though, Clive picks up sexy widow Diana Quick, who adds serious spice to the trip. Next he showed a very dark side with his portrayal of the psychotic Gideon Sarn, alongside Janet McTeer’s Prue Sarn, in the historical costume drama Precious Bane. And then came a big TV hit when he played John Ridd, the man who takes Lorna Doone to the altar in RD Blackmore’s classic. Polly Walker was his Lorna and Sean Bean, of course, was the brooding Carver Doone.
Then, suddenly and quite unexpectedly, he was a star. Chancer, where he played the natty, waggish Stephen Crane, pulling scams on a weekly basis, was immensely popular, throwing Clive’s life into turmoil. The tabloid press were deeply interested in this good-looking newcomer and invaded his privacy wherever possible. He should have enjoyed it, but he didn’t. Hating the constant attention of the tabloids, he refused to co-operate with them, gaining a reputation as a “difficult” actor. Also, as a serious thespian, he was aware of the danger he was in. The public might forever see him as Crane, or at least as a loveable rogue. Threatened with typecasting, he decided to bail out.
Onscreen, this meant controversy. His next part was in Stephen Poliakoff’s Close My Eyes, where he played Richard, younger brother of Saskia Reeves’ Natalie. They’re working-class, trapped in the stuffy middle-class world of Natalie’s husband, played by Alan Rickman. And there’s something else. They’re closer than they should be and actually WAY too close when they embark upon a doomed incestuous affair. The public were shocked that charming Stephen Crane should get up to such beastly antics. And Clive lost an advert, too. He turns them all down, as a rule, but for once had accepted a beer commercial. With Close My Eyes causing such a stir, it was not to be. “They pulled out,” explained Clive “because they didn’t want their Beer Man to shag his sister. How mad’s that?”
Clive would not be seen onscreen for another two years. Keen to let his Chancer-based fame die away, he took to the stage. At the Hampstead Playhouse, he played Leonard Charteris in George Bernard Shaw’s The Philanderer, directed by Brian Cox (later to be his co-star in The Bourne Identity). Pushing even harder against type, he also appeared as a bisexual in Sean Mathias’s Donmar Warehouse revival of Noel Coward’s Design For Living, a show that would see the breakthrough of Rachel Weisz. The Mathias connection would prove useful again later.
Come 1993, and Clive was back onscreen and, for the first time, working in the US. In Class Of ’61 he was Devin O’Neil, an Irish West Point graduate sent off to fight in the Civil War. A modern drama, it concentrated on people issues – friendships broken, tangled relationships, etc – most notably the race question. Then came The Magician, a British TV drama involving Scotland Yard, the IRA and a great deal of counterfeit cash.
After this, Clive was back with Stephen Poliakoff, in Century. Set at the end of 1899, it had Clive as a researcher in a medical centre, working for the grand and brilliant Charles Dance. First he falls for a girl working there, the sexually liberated Clara, played by Miranda Richardson. And then he realises, much to his horror, that Dance is actually practising eugenics, pre-figuring the Nazis by killing and sterilising the poor and “undesirable”.
His next project was serious, too. In Nobody’s Children, Ann-Margret played an American woman who loses a baby and decides to find another in Romania – a Romania wracked by the revolution against Ceaucescu. As Bratu, Clive appeared as an appropriately intense Eastern European, alongside such Brit stalwarts as Katrin Cartlidge and Frances Tomelty, Sting’s ex-wife.
From 1994 to 1996, it was TV all the way. In escaping his Chancer reputation, Clive took all manner of roles, the only similarity being that each was radically different from the last. He was excellent alongside Paul Merton, Martin Clunes and Caroline Quentin in the football-based comedy An Evening With Gary Lineker. Then came Doomsday Gun, where Frank Langella played a supergun-builder who helped first the CIA, then Saddam Hussein. Here Clive joined a heavyweight cast including Kevin Spacey, Francesca Annis and Edward Fox. Next came a starring role in Thomas Hardy’s The Return Of The Native where, as Damon Wildeve, he’s a publican in love with Eustacia Vye (Catherine Zeta Jones), a wild girl who wants to be “loved to madness” and taken away from bleak and lonely Egdon Heath. To spite her, Wildeve marries someone else and, as is the way with Hardy, everything slowly slides towards tragedy and death.
After this period drama came something deeply contemporary in The Turnaround. This was a pilot for a TV series that saw Clive as “seedy but saucy” cop-turned-PI Nick Sharman, having a tough time on complex cases in South London. The role gave Clive plenty to get his teeth into. Sharman has lost his job and his wife due to drink and drugs, so he’s bright but flawed, confident but regretful, an interesting character. The series itself would run in 1996.
Before that, it was back to America for The Rich Man’s Wife, a winding, Usual Suspects-type thriller. Here Halle Berry is trapped in a terrible marriage and conducting an affair with Clive, her husband’s business partner. Meeting a stranger, she mentions how great it would be if her hubbie were out of the way and, horrifically, he very soon is. Clearly, it’s a very messy situation.
This classy thriller was followed by a genuine oddity, when Clive lent his image to the space age videogame Privateer 2. Here Clive, having been frozen for a decade while a cure is found for his terrible injuries, wakes up on a strange planet and has to go searching across the galaxy to find out who he is and what the hell happened. The rest of the cast is a spectacularly bizarre mish-mash. Lending weight are Christopher Walken, John Hurt and Jurgen Prochnow. Adding sci-fi pedigree is Mary Tamm, formerly Dr Who’s assistant, Romana. Then there’s David McCallum, Brian Blessed and – well REALLY, Rigsby – Don Warrington from Rising Damp.
Still battling to broaden that CV, Clive now took on perhaps his most challenging role. Teaming up once more with Sean Mathias, he took the lead in the film adaptation of the stage hit Bent. As Max – a role originated by Ian McKellen in London, then played by Richard Gere on Broadway – he was a gay man in Dachau, who refuses to confirm his homosexuality and receives a yellow (Jewish) label instead. In the camp, though, he falls for the proudly gay Horst and gradually learns to stand up for what he is – even if it means death. Clive, who lost nearly three stone to play Max, was excellent in the part, at first manipulative and grabbing, then open and strong.
The same year (1997) saw Clive back on the London stage in Closer, a sexy, modern, bitter take on relationships that was described as “Private Lives for the Nineties”. A National Theatre production at the New Ambassadors, it would soon move to Broadway, where Rupert Graves would take Clive’s role, as he had done when Design For Living crossed the pond (Graves had also appeared alongside Clive in Bent and Doomsday Gun). Closer would not be the last time Clive would test himself on the boards. In 2001, he’d star alongside Victoria Hamilton in A Day In The Death Of Joe Egg, about a marriage crumbling under the strain of raising a multiplegic child. Clive had in fact played that role before, back in 1994 at the King’s Head in Islington (the area where Clive now lives).
And now came Clive’s big break – though it didn’t seem that way to begin with. In Mike Hodges’ Croupier, he played a South African wannabe writer who, thanks to his con man father, is schooled in most things shifty. Getting a job in a casino, he’s smart, cool and efficient, consequently he catches the eye of Alex Kingston, who’s planning a scam. Clive goes along with it – but only because it might make great material for a book – and so we enter a world of deception, paranoia and rampant double-crossing. It was a pretty good movie, with Clive standing out as the taciturn, constantly plotting lead. Yet there was no audience in the UK – Croupier sank without trace.
Clive moved on. In the dark Christmas tale The Echo he was Michael Deacon, a maverick reporter who, chasing up the story of a tramp found dead in the garage of rich woman Joely Richardson, discovers far more than he’d bargained for. Then there was an Australian production, Split Second, where he was a lawyer who accidentally kills a cyclist and runs away, only to have his whole life collapse around him.
And then came yet more TV success. In Second Sight he was Detective Chief Inspector Ross Tanner, investigating the savage murder of a 19-year-old kid. Trouble is, Tanner has AZOOR, an acute problem with the eyes that’s causing him to lose his sight. He doesn’t want to tell anyone till he’s solved the case, but it becomes apparent to Detective Inspector Catherine Tully, played by Claire Skinner (his wife Thomasin in The Return Of The Native) who, deciding to help him, becomes his eyes. The show – as pacey as ER, clever and taut as Prime Suspect, and with a dash of The X-Files – was a big hit, spawning three sequels straight away, with more in the pipeline.
By now, Clive’s life had changed. Croupier had enjoyed fabulous reviews in the US. In fact, popular belief had it that, had the movie not already been shown on Dutch TV, it would have received Oscar-nominations. Hollywood was at last taking notice, and the parts were coming his way. First though came Greenfingers, where he played a prisoner with a talent for gardening. Spotted by horticultural expert Helen Mirren, he finds himself entered in a national competition. There’d also be a string of five short films for BMW. In each, he played the mysterious Driver, engaged in various exciting missions. These were not simply adverts for the cars. The directors included John Frankenheimer and Ang Lee, one was penned by Seven writer Andrew Kevin Walker, and co-stars included Mickey Rourke, Stellan Skarsgard and Madonna, who played a spoilt, arrogant pop star in Star, directed by her husband Guy Ritchie. 2002 would see a further three episodes, seeing Clive work with such luminaries as John Woo, Tony Scott, Gary Oldman, F. Murray Abraham and James Brown.
Now the big hits began. In Robert Altman’s country house murder mystery Gosford Park, Clive found himself at the centre of the action, as a butler with a secret past that might well have something to do with the housekeeper – Helen Mirren once again. Then came The Bourne Identity where an amnesiac Matt Damon is on the run and trying to discover his own identity, while everyone, including Clive as the shady Professor, is out to kill him.
Success allowed Clive to generate his own projects and, with Mike Hodges, Croupier’s director, he put together the existential gangster flick, I’ll Sleep When I’m Dead, concerning an ex-enforcer drawn back into the London underworld when his drug-dealing brother is raped and driven to suicide by crime boss Malcolm McDowell. In its themes it was very much like Hodges’ earlier classic, Get Carter.
After this came Beyond Borders. Here Clive played an impassioned relief worker who gets involved with philanthropist socialite Angelina Jolie as they continue to bump into each other across the planet, in the midst of wars and dreadful natural disasters. Originally, the movie was to have been directed by Oliver Stone and to have starred Kevin Costner. According to producer Peter Guber, though, Costner was so demanding they had to dump him, with Clive’s old RADA mucker Ralph Fiennes coming onboard. But then Stone left, and Fiennes too. Once in, Clive would not let it slip, making the most of dramatic scenes like the one where he carries a starving Ethiopian child into a London charity ball and accuses the wealthy guests of dangerous irresponsibility. It was a good role, but a weak movie, not helped by constant delays. Though budgeted at $35 million, it would take only $4.5 million at the US box office.
Nevertheless, Croupier and Gosford Park had raised Clive’s cinematic profile to such a degree that he was chosen by uber-producer Jerry Bruckheimer to take the lead in Disney’s historical re-imagining of the legend of King Arthur. Here Owen would play the once and future king as a Roman general leading a band of Sarmatian auxiliaries in occupied Britain. Then, as Rome begins to fall and his knights reach the end of their tours of duty, he must decide whether he will stick around and lead the Brits against the invading Saxons.
He moved on to the infinitely more claustrophobic Closer, taking the role he’d originated in Patrick Marber’s play. As doctor Larry, he’d be set up for humiliation with photographer Julia Roberts by writer Jude Law, but actually enjoy a relationship with her, before forging a bond with Law’s own girlfriend, a self-destructive stripper played by Natalie Portman. It was harsh and testing emotional stuff, with Clive stealing scene after scene from his world-renowned co-stars. It came as no surprise when he won a Golden Globe and found himself Oscar-nominated, too.
Following this, he’d join another all-star cast for Sin City, Robert Rodriguez’s adaptation of Frank Miller’s legendary series of intertwining comic strips. Here he’d play ex-news photographer Dwight, horribly messed around by his dream-girl , manipulated into murder, nearly destroyed. Saved by Rosario Dawson and the girls of Old Town, he then becomes their violent protector. Clive would then move on to Derailed, adapted by Collateral scribe Stuart Beattie from James Siegel’s novel. Here he was an ad exec made despondant by a sexless marriage and a daughter with chronic diabetes. Missing his commuter-train one day, he takes a later one and catches the eye of sexy Jennifer Aniston. They hit it off and, eventually, wind up at a seedy hotel where they’re attacked by a thug, Aniston being raped and Owen badly beaten. Even more unfortunately, the thug steals their details, realises they’re both married and attempts blackmail, leading a guilty Owen to seek incompetent revenge.
Now considered a true Hollywood up-and-comer, 2006 would see Owen making no fewer than four appearances on our screens. First he’d pop up in a 2-minute comedy cameo in Steve Martin’s The Pink Panther, dressed in a tuxedo, chasing bandits and being sprayed with poisonous chemicals in jokey reference to the James Bond role he’d recently lost to Daniel Craig. Then would come Spike Lee’s Inside Man where he’d play a charismatic, cold and clinical crook who, when a bank raid goes wrong, must be talked out of executing the hostages by cop Denzel Washington.
Having missed out on starring alongside Julianne Moore in Savage Grace, Owen would next join her in The Children Of Men, based on PD James’ novel and directed by Alfonso Cuaron. This would be set in the chaotic world of 2027, where all men are impotent and the country is run by the sinister Warden, who promotes the suicide of the elderly, the exile of criminals and the enslaving of immigrants. Owen would play a fusty academic, used to an ordered existence, who’s drawn into activism and agrees to help a miraculoualy pregnant Moore reach a sanctuary at sea where she may help scientists save the human race. Following this, he’d return to Sin City territory for Shoot ‘Em Up, a gun-loving bullet-fest described as a John Woo wet dream, where Clive would deliver a woman’s baby during a gunfight and then have to protect it against a huge army of shooters.
Having escaped unwanted flash-fame, then worked hard to earn genuine respect through a series of challenging roles, coming into his own in his late thirties, Clive Owen is doing all he can to take control of his own life. And anyone who’s ever spent time playing pool and waiting for the next Giro would understand that.
(sourced from the internet)
Posted in British Actors I admire, Movies, News | Tagged Clive Owen, King Arthur, Shoot Em Up | 1 Comment »
Ray Winstone- The Man ( I had to say that or he’d have me)
Aside from its usual period dramas and flash, empty gangster films, the UK film industry has also managed to continue a longstanding tradition of cinema verite. This began with John Osborne and his emotionally charged kitchen-sink drama, and continued on through the tough and often controversial works of Mike Leigh and Alan Clarke. Today, the genre has been very much resuscitated by two movies in particular – Gary Oldmans Nil By Mouth and Tim Roth’s The War Zone. And the star of both, the man chosen to portray the strong, loyal, kind and utterly psychotic Late Nineties British Male? Ray Winstone – seemingly a lucky Cockney journeyman plucked from obscurity for no reason other than the fact that his face fitted. But this is far from true. Winstone has reached this peak by overcoming quite fearsome hurdles in a career stretching back 23 years. The guy is, quite literally, a fighter.
Raymond Andrew Winstone was born on February 19th, 1957, in Hackney, East London. The Winstones were originally from Cirencester – half of the family shifting to London, the other half to Wales. Moving via Plaistow to Enfield when young Ray was 7, his father (also Raymond) ran a fruit and veg business (he’s now a cabbie) while his mother, Margaret, had a job emptying fruit machines. Winstone recalls playing with his friends on bomb sites – until the nation heard the confessions of the Moors Murderers, and all that changed. Raymond was schooled at Edmonton County, which had changed from a Grammar School to a Comprehensive upon his arrival. He didn’t take to academic education, eventually leaving school with a single CSE (Grade 2) in Drama
Drama, he liked. His father would take him to the cinema every Wednesday afternoon (often falling asleep, having been up so early at the markets), and Winstone remembers his first cinematic experience, seeing 101 Dalmations and rushing towards the screen to berate Cruella de Vil. Later, he would witness Albert Finney in Saturday Night, Sunday Morning and the bug would bite – “I thought ‘I could be that geezer'”, he said later. Other major influences would be John Wayne and the menacing, unhinged characters of James Cagney and Edward G. Robinson. So, receiving extra tuition from the drama-teaching mother of a female schoolmate, he took to the stage, appearing as a Cockney newspaper-seller (what else?) in a production of Emile And The Detectives.
Another thing he took to was boxing. Known to his friends as Winnie, at home he was called Little Sugs (his dad already being known as Sugar – after Sugar Ray Robinson). At age 12, Winstone joined the famous Repton Amateur Boxing Club and, over the next 10 years, won 80 out of 88 bouts. At welterweight, he was London Schoolboy Champion of three occasions, fighting twice for England. The experience gave him a valuable perspective on his later career. “If you can get in a ring with 2000 people watching and be smacked around by another guy,” he said “then walking onstage isn’t hard”.
Deciding to pursue Drama, Winstone enrolled at the Corona School in Hammersmith. At £900 a term, it was expensive, considering the average wage was some £36 a week. And Ray was way too much of a rebel to make the most of it. Back then he was a skinhead, into ska and natty tonic suits. Once he turned up to ballet class in a leotard and bovver boots, another time he received an exam mark of zero for reciting passages from Julius Caesar in ripe Cockney. He did make his stage debut proper, in What A Crazy World at Stratford East, but he danced badly and sang terribly, leading his usually-supportive father to say “Give it up, while you’re ahead”.
Then came the crunch. Winstone was not popular with the school establishment, who considered him a bad influence. After some 12 months, he found that he was the only pupil not invited to the Christmas party and decided to take revenge for this slight. Hammering some tacks through a piece of wood, he placed it under the wheel of his headmistress’s car and blew out the tyre. For this, he was expelled. No problem, he wasn’t into it anyway. For a laugh and a farewell drink, he went up to the BBC, where his schoolmates were involved in an audition. Hanging around reception, he flirted with the receptionist and, for an even bigger laugh, wangled his way into an audition of his own. The audition was for one of the most notorious plays in history – Alan Clarke’s Scum – and, because Clarke liked his cocky, aggressive boxer’s walk, he got the part. Amazingly (also considering the part had been written for a Glaswegian), it seemed he was on his way to the top.
He wasn’t – yet, anyway. Due to its sickening violence and outraged condemnation of the borstal service (the government, of course, running that service AND the BBC), Scum was shelved indefinitely. Giving acting up as a bad lot, Winstone retired, working on fruit stalls and as a sales rep. Then, suddenly, Scum was un-shelved. Or rather Clarke managed to get it re-shot as a movie. Winstone was called in again, this time by producer Davina Belling, to re-play the bully Carlin. This led to a part in The Who’s Quadrophenia, and the Belling-produced That Summer – a kind of punky coming-of-age flick set by the seaside. On location in Torquay (in 1979), Winstone met Elaine. They married, had two kids – Lois, born in 1982, and Jaime, born three years later – and, unusually in showbiz, are still married to this day.Still, times were hard. Winstone was bankrupted by the Inland Revenue before his marriage, and again soon afterwards. His near-religious refusal to worry saw him through, as it would his occasional run-ins with the police. Winstone’s face and carriage might win him regular roles as a villainous hard man, but they also attract the attention of the law. As a kid, he was arrested on sus on several occasions. Later, returning from filming an episode of Bergerac on Jersey, he was stopped on suspicion of gun-running. And, a couple of years after that, he spent 72 hours in a Leeds jail, having been “identified” by a member of the public who’d seen an identikit picture of a criminal on Crimewatch UK.After a short run in the TV series Fox, and a role in All Washed Up (alongside Diane Lane, Laura Dern and a hosts of real-life punks like Fee Waybill, Steve Jones, Paul Cook and Paul Simonon), Winstone got another big break, being cast as Will Scarlet in the Jason Connery-starring series Robin Hood. He proved immensely popular and enjoyed the role, considering Scarlet to be “the first football hooligan” – though he was not so keen on the dubbed German version, which had him sounding like a “psychotic mincer”. But once the show was over, the parts dried up. He got involved in co-producing Tank Malling, starring Connery, Amanda Donohoe and ex-Page 3 girl Maria Whittaker, and scored a few TV parts – over the years he’s appeared in all manner of shows, including The Sweeney, The Bill, Boon, Fairly Secret Army (as Stubby Collins), Ever Decreasing Circles, Murder Most Horrid, Birds Of A Feather, Minder, Kavanagh QC, Auf Wiedershein Pet and Get Back (with the fledgling Kate Winslet) – but nothing to secure his future. He was increasingly drawn to the theatre, playing in Hinkemann in 1988, then Some Voices in 1994 and Dealer’s Choice and Pale Horse the next year.
And it was in the theatre that it all came good. Winstone was asked to appear in Mr Thomas, a play written by his friend and fellow-Londoner Kathy Burke. The reviews were good, and led to Winstone being cast, alongside Burke, in Gary Oldman’s crushing, claustrophobic drama Nil By Mouth. As a cocaine-fuelled wife-batterer, he was lauded across the board, receiving a BAFTA nomination (he’d actually got one 17 years earlier, as Best Newcomer for That Summer). The psycho tough guy roles would come rolling in – in the likes of Face – but Winstone’s talent for portraying conflicted characters was also recognised, most notably by Tim Roth who cast him in The War Zone as a man who betrays wife Tilda Swinton with his own daughter and simply cannot see anything wrong in his actions. It’s worth noting that both Oldman and Tim Roth were fellow alumni of Alan Clarke. There was one distasteful episode, when Ray did a series of Pils ads where he played upon the phrase Who’s the Daddy, thus undermining the seriousness of both Nil By Mouth and The War Zone. Not good.
Winstone’s obvious toughness would also allow him to play decent men softened by love in romantic comedies like Fanny And Elvis and There’s Only One Jimmy Grimble. In Last Christmas, he even managed to convince as a dead father, now a trainee angel, who returns from heaven to help his young son cope with his bereavement. And he could play second fiddle to other tough guys, in Sexy Beast facing the comically overblown wrath of Ben Kingsley when he refuses to return from the Costa del Crime for one last job.
His career was still on the up. After a brief role alongside Kathy Burke again in the tragi-comic and almost universally slated The Martins, came Last Orders, directed by Fred Schepisi (of Roxanne fame), where he starred alongside the weighty likes of Michael Caine, Helen Mirren, David Hemmings and Tom Courtney. This saw three friends meeting up for the funeral of a fourth (Caine), with Ray playing Caine’s son, Vince. In flashback, the tale of their lives would be told, including that of Vince’s severely handicapped sister, a girl never accepted by her father. Before shooting began, Ray was fearful that meeting these actor-heroes (he loved the likes of Zulu and The Loneliness Of The Long Distance Runner) might turn out to be disappointing. Thankfully, his co-stars were as impressive as he’d hoped.
Next Ray would nab a prime part in Ripley’s Game, the follow-on piece to The Talented Mr Ripley. Here John Malkovich takes over from Matt Damon as the sinister Ripley, playing him as a cold-blooded terror. Ray’s an old friend who asks Ripley to murder some Russian enemies of his – Ripley agrees, as long as Ray persuades poor, innocent Dougray Scott to attempt the murders too (Scott being an enemy of Ripley’s). Ray is superb as the cajoling thug, showing no mercy in bending Scott to his will. Then would come Lenny Blue, the sequel to Tough Love, and the short The Bouncer, finding real feelings in a tough job.
Also on TV, Ray would appear as Henry VIII in a six-part TV series, desperate to beget a son and battling to hold on to an unruly court and kingdom, his situation made all the worse by his inability to control either his wives or his own emotions. Alongside such heavyweights as Charles Dance, Joss Ackland, Sean Bean and Helena Bonham Carter, he put in an excellent performance, showing Henry as exuberant but also paranoid, suspicious and haunted by his own treacheries.
And, having been told by his dad all those years ago to give it up, his stage-work has improved immeasurably too, having in 2000 starred in To The Green Fields Beyond at the Donmar Warehouse – being directed by Sam Mendes, the man behind American Beauty. 2002 would see him at the Royal Court, as Griffin in The Night Heron, then two years later he’d join Kevin Spacey for 24 Hour Plays at the Old Vic, a series of productions that were written, rehearsed and performed in a single day.
Now internationally known, Ray was next chosen by Anthony Minghella to play Teague, the rough Home Guard boss in his civil war drama Cold Mountain. Empowered to execute Confederate deserters, he runs his outfit with relish, killing a mother’s sons before her eyes and also slaughtering a backwards boy. Not believing that Nicole Kidman’s lover Jude Law will return from the war, he sets his sights on winning both Kidman and her land, and proves a thoroughly unpleasant villain.
Perhaps inspired by Kathy Burke and Gary Oldman, Ray now decided to create his own features, setting up Size 9 and Flicks production companies with his long-time agent Michael Wiggs. The first effort would be She’s Gone, where businessman Ray’s young daughter disappears in Istanbul (though filming would be held up by unrest in the Middle East).
In the meantime, there would be more action in King Arthur, where Clive Owen’s Arthur was a Roman general leading Samartian horsemen during the occupation of Britain. Rome is falling, his henchmen are reaching the end of their terms of service and the Saxons are invading. Will he remain behind and lead the Brits in a battle for freedom? Ray would play Bors, one of Arthur’s key knights, in this frantic, romantic drama, produced by the ever-overheated Jerry Bruckheimer. More craziness would follow when Ray provided the voice of Soldier Sam in the long-awaited screen version of The Magic Roundabout.
2005 would provide a neat summation of Winstone’s status in the industry. First he’d skip off to Australia for The Proposition, a seriously gritty Outback tale where he’d play Captain Stanley, obsessed with civilising his new nation, who leaves the comfort of life with wife Emily Watson to hunt down three murderous outlaw brothers – Guy Pearce, Richard Wilson and Danny Huston. Capturing the first two, he strikes a deal with Pearce; hunt down and kill Huston or both he and Wilson will be executed. It was as twisted and violent as you’d expect from the pen of ex-rocker Nick Cave and Winstone was suitably merciless in his law-bringing.
Next would come a part in The Lion, The Witch And The Wardrobe, intended to match the success of The Lord Of The Rings franchise. A massive worldwide hit, this would see his War Zone co-star Tilda Swinton bubble with frosty malice as Jadis, the White Witch, with Winstone lending his voice to Mr Beaver, brave enough to shelter the Pevensey kids but also smart enough to scurry away from danger. On TV – for Winstone would still devote time to TV, despite his burgeoning Hollywood reputation – there’d be Vincent, where he play a rough ex-cop-turned-private-dick leading a squad of maverick investigators. It wasn’t a particularly good series, its weak scripts hidden behind a torrent of swearing, but it was popular. The British public, it seemed, now took Winstone’s presence, like that of Helen Mirren, as a sign of high quality.
2006 would see Winstone stick to the same fecund course. Through his own Size 9 Productions he’d deliver the bloody Sweeney Todd, playing the butchering barber as a man destroyed by a traumatic childhood, suffering inner turmoil but killing without conscience. Also on TV would be All In The Game, where he’d play the presurised manager of a failing Premiership football team. Untypically, he’d go way overboard with his performance (and, again, his foul language). In fact, it was a fairly pointless role for Winstone at this stage of his career, and he surely only took it because, as a major fan of West Ham United, he wanted to experience life as a true insider.
On the Silver Screen, he’d still happily slip between the micro and the mega. For his Cold Mountain director Anthony Minghella, he’d pop up in Breaking And Entering, playing a curious cop investigating a burglery at architect Jude Law’s office (Law then doing some investigating of his own and winding up in a relationship with Bosnian refugee Juliette Binoche). Then would come another prestigious part, this time in Martin Scorsese’s The Departed, where cop Leonardo DiCaprio would infiltrate Jack Nicholson’s criminal gang and crook Matt Damon would sneak into the police. Nicholson would win huge plaudits for his psychotic and depraved display, and he’d be well backed by Winstone as his suspicious, vicious henchman Mr French.
Somehow – probably because Americans had been so impressed by Sexy Beast – Winstone had risen to unlikely Hollywood heights. And he’d maintain this position in 2007 when taking the title role, alongside Angelina Jolie and Anthony Hopkins, in Beowulf, where director Robert Zemeckis would recount the ancient saga using the same motion capture techniques he’d used to such success with The Polar Express. But Winstone, being Winstone, would remain resolutely indie, too, rejoining Nick Cave for the saucy British comedy Death Of A Ladies’ Man, where he’d be a travelling beauty products salesman preying on lonely women.
Having struggled so hard for so long, Ray Winstone’s feet are firmly on the ground. He lives with Elaine in Roydon, Essex, and keeps up the physical training, being a regular at Ricky English’s gym in Watford (English is the guy who trained Brad Pitt for his part in Guy Ritchie’s Snatch). He supports his children (in 2006 Jaime would star in the tough East End drama Kidulthood). And he loves music, sharing his dad’s love of crooners, but also enjoying the soul of Motown, Al Green, Sam Cooke and Marvin Gaye, as well as punky London poets like Paul Weller, Madness and the late lamented Ian Dury.
Having taken a fearful battering in the middle rounds of his life, Little Sugs has come off the ropes swinging. Here’s one guy who WON’T be shouting “No mas”.
sourced from the net
Posted in British Actors I admire, News | Tagged Boon, Cockney, Cold Mountain, face, King Arthur, Nil by mouth, Quadrophenia, Ray Winstone, Ripleys Game, Robin Hood, scum, Sexy beast, The Bill, The proposition, The Sweeney, War Zone | 7 Comments »
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Minecraft Tops 90 Million Active Monthly Users, Over 250 Million Downloads
by Brandon Orselli | @brandonorselli on October 2, 2018 at 6:55 PM, EDT
Microsoft has announced Minecraft has reached a new record in terms of concurrent active users per month.
The game now sees over 91 million active users every month, with 154 million copies of the game being sold across pretty much every gaming (or not) platform under the sun. Furthermore, the game has been downloaded over 250 million times, a figure that includes the 100 million downloads from China, where the game is free.
Previously, Microsoft acquired both Minecraft and its developer Mojang from its founder, Markus ‘Notch’ Persson, back in 2014 for a cool $2.5 billion.
In related news, a new spinoff game in the franchise, Minecraft: Dungeons, was recently announced – you can read more about that here.
Minecraft has been available for Windows PC, Mac, Linux, PlayStation 3, PlayStation 4, Xbox 360, Xbox One, 3DS, PS Vita, Wii U, Nintendo Switch, and both iOS and Android. The console version’s new Bedrock update was rolled out in September of last year, enabling players to play in VR, as well as cross-platform.
Editor’s Note: Featured image is from Peachyhue
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A Sigh of Relief—Not So Fast
By Gilbert N. Kahn May 24, 2017, 12:00 am 0 Edit
Gilbert N. Kahn is a professor of Political Science at Kean University.
When Trump sticks to the script and plays by the rules he can actually behave like a President. His problem is that he does not permit anyone to tell him how to conduct himself. It should not be the case that Trump needs to be outside the country to behave himself. His visits to Saudi Arabia and Israel as well as his audience with Pope Francis appear to have gone off, relatively speaking, without a hitch. The hard work of the trip, however, begins now in Brussels and Sicily.
The visit to Saudi Arabia was about finalizing a $100 million plus arms package. All of the rest—a visible signal to the House of Saud that he will not raise human rights issues as well as a mutual agreement to fight ISIS–were nice sidebars. Even his speech to the large assemblage of Sunni Arab leaders and his speech to the Arab world were dutiful. They were probably less important for Trump than the image of him doing the dance with the swords.
The Israel visit was a continuation of the Bibi-Trump admiration society with not much substance. So too was the meeting with Abbas in Bethlehem which was only a symbolic visit. It will remain to be seen–despite the Tillerson press briefing–if anything will yet emerge from Trump’s bravado that he can actually make a “deal” on the peace process.
As if there was not enough for Trump now to address, the specter of the terrorist attack in Manchester undoubtedly will hang as a pall over the NATO meeting and the G-7 gathering. It is not clear if Trump will continue to stay on script and to interact appropriately with all the leaders. Trump was unpredictable going into the meetings but the potential for some explosive and/or aggressive remarks from Trump after Manchester would not be surprising. While discussing the terrorist threats, Trump already made reference to the Manchester bombers as “evil losers”; whatever that turn of phrase was supposed to mean.
The issue of terrorism both on the continent and in the Middle East will dominate much of the attention at these meetings in light of the elevated danger in Britain following the Manchester bombing. Many of the countries in Europe already have sizeable Muslim populations some of whom have been citizens for several decades; not the least of which is France whose new President also will be attending his first summit.
Addressing the terrorist problem for these countries is a daily issue which requires nuanced understanding and strategies, not aggressive, blanket denunciations; something the President does not understand. The huge costs incurred by America’s European allies to cope with the large scale refugee crisis emerging from the war in Syria and caring for their already mushrooming Muslim immigrant population is a policy direction with which Trump’s America First foreign policy is not interested. Finally, these problems impact dramatically on Theresa May’s June 8 election and Angela Merkel’s on September 24. For them it is as important as increasing their financial participation at this time in the cost of NATO.
Trump then will have the restful thought that he now can return home and face the domestic clamor which has continued to grow.
Kahntentions
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Real Estate Shaken, Not Stirred
Noah Freedman of BOND New York Talks Apps And BOND Magazine
By Michael Ewing • 12/06/13 11:00am
Noah Freedman, the co-founder of BOND, is going to make real estate so much fun.
Noah Freedman is going to make real estate fun. The Co-founder of BOND New York is transforming the boring text of lease contracts into a vibrant, lifestyle decision. NYO reached out to Noah to discuss BOND’s latest projects, an original in-house publication, BOND Magazine, and a soon-to-come app for smartphone users.
You were only a broker for a few years. What sparked going out on your own and creating BOND?
I had a good friend in the business and we always talked about opening a firm. I felt that being that I was young and cocky, I could do a lot of things better than what I saw being done at the firm. I wanted to create a more efficient and better environment for the agents to really serve the clients better. I was only 25, and I thought that we could take over the world.
You did! But what were some of the biggest challenges in starting a new company?
We were under the misguided assumption that all of our coworkers would want to come work for us, and that all of the landlords and developers we knew worked with us because they liked us. We did not realize the strength of our previous firm, its brand and relationship. We got hung up on a few times, but we were young and perservered, and ultimately earned respect over time.
What should we expect from your publication?
It has a lot of great real estate information and it is also primarily a lifestyle blog about New York: food, culture, events, crazy things that people see in the street. Most real estate firms have a blog, but almost none have completely original content – including all original graphics – and run it like an actual magazine. We write all editorial content ourselves, or enlist well-known experts to guest blog, and keep an editorial calendar with the goal of trying to capture the quirks of New York City living in words and pictures. We think of our publication as a New York City-lifestyle journal, not a real estate blog.
What are some editorial features that are unique to BOND?
We created a series called “How to ___ Like a New Yorker” in which we ask well-known experts to write a guest blog entry. We contacted independent restaurant reviewer Marc Shepherd of New York Journal to give our readers tips on “How to Eat Like a New Yorker.” We followed up with “How to Dress Like a New Yorker” and “How to Smell Like a New Yorker.” Instead of linking to a story about CitiBikes, we write our own – interviewing agents that use them, doing man-on-the-street interviews, and even enlisting Citi Bikers as a guest blogger writing a unique and upcoming piece for us, How to Bike Like a New Yorker (in cold weather).
That’s great. I’ve also heard that BOND is developing an app. What’s going on with that?
Yes! We’re working on an app. Most real estate apps are just a version of their website on your phone. You just search for listings, which is great, but it isn’t adding a lot of value. Our app has more of a neighborhood guide. After you move in, you have information about where you are living, and you can use the app beyond your apartment search.
That’s really interesting. What else will I be able to find on it?
The app will allow you to see which Italian restaurants, grocery stores, bars, etc, were near your apartment. It’ll also tell you how to get to them and what people are saying about them. It tells you if your subway is delayed, the movie times at your favorite theater, and, of course, we can let you know what is going on in New York City by pushing our blog posts to your phone.
How does the magazine and app really fit into the BOND narrative?
The essence of everything we do in terms of our social media and technology strategy is to attempt to quantify one’s return on investment when buying or renting an apartment. It isn’t just about the square footage and amenities, but more about how there is a whole world on every block of New York City. That is what you are really paying for.
Correction: The pictures of Bond Magazine that ran in an earlier version of this story were incorrect – they depicted a different magazine with a similar title. Additionally, Noah Freedman was mislabeled as CEO of Bond Management. He is the co-founder of BOND New York, the largest independently-owned real estate brokerage in Manhattan.
Filed Under: Fashion, Real Estate, Lifestyle, Celebrity, Travel, fashion, New York -2, real estate, Travel, NYO, society-2, Bond
SEE ALSO: On the Market: What If Your Neighbor Is a Hoarder? The Super Bowl Makes Hustlers Out of Us All; Related Demands Massive Willets Point Tax Break
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Anderson Judd June 21, 2019 June 20, 2019 No Comments on For Such a Time as This
The account of Esther in the Old Testament is a story of great courage displayed in the face of great danger. It is a story of a faith in God that is so strong that Esther would even risk death to try and save her people.
Let me set the stage for you. Esther takes place in the time when the Jews were in Persian captivity. The king at the time was King Ahashuerus. The King decided to have a huge party. He invited the leaders of 127 provinces to a feast that would last 187 days. That’s more than 6 months of feasting, drinking, and sinning. Near the end of this feast, the King wanted the Queen, named Vashti, to show her beauty to those in attendance at the party. She, as a woman of modesty and self-respect, denied the request of the King. In those days, the King had all power, and no one could disobey him without severe consequences. Esther 1:10 tells us that the King was drunk when he sent for Vashti, and verse 12 says that when she denied his request that he was furious. Someone in attendance suggested that the King put away (or divorce) Vashti. The King quickly agreed and puts away Vashti. The King might never have divorced Vashti if he had not been drunk. We can see from this account the evil ramifications of sin.
The party ends, all the rulers go back to their provinces, and the King realizes he has a problem. He no longer has a Queen. So the King essentially has a beauty contest, and the winner would become Queen. This is when we meet the main character of our story, Esther. Esther was one of the young women chosen to compete for the job of the Queen. Esther was a Jewess. Esther was also an orphan that was raised by her first cousin Mordecai.
By divine providence, Esther is chosen to compete for the role as Queen, and she wins. Esther goes from being an orphan to the most powerful woman in the Persian Empire. Mordecai is in trouble, though, because he offended the King’s second in command, a man by the name of Haman. Haman finds out that Mordecai is a Jew and devises a plan that will have Mordecai and all the other Jews in the Empire put to death. Haman tricks the King into signing a decree that will have all the Jews destroyed. What the King does not know is that his Queen Esther is a Jew.
Mordecai hears about this plot and immediately goes to Esther. She was the only one who could possibly get the King to change the law. But Esther is hesitant to go to the King and ask him to change the law because she knew that anyone who went in to talk to the King without an invitation would be executed unless the King held out his scepter to them.
Mordecai then told her this in Esther 4:13-16: “And Mordecai told them to answer Esther: ‘Do not think in your heart that you will escape in the king’s palace any more than all the other Jews. For if you remain completely silent at this time, relief and deliverance will arise for the Jews from another place, but you and your father’s house will perish. Yet who knows whether you have come to the kingdom for such a time as this?’ Then Esther told them to reply to Mordecai: ‘Go, gather all the Jews who are present in Shushan, and fast for me; neither eat nor drink for three days, night or day. My maids and I will fast likewise. And so I will go to the king, which is against the law; and if I perish, I perish!’”
Think of the huge level of faith that it must have taken for Esther to walk into that throne room, knowing that if the King did not welcome her, she would be killed. I hope all of us would have as much faith as Esther. We need to have the faith to tell others about the gospel. Some will make fun of us, some may not talk to us anymore, some may indeed want to kill us, but we have God on our side, and just like Esther, we can have faith that God will take care of us no matter what happens.
The story ends with the Jews being saved and Haman being hung on the gallows he had prepared for Mordecai. Esther’s bravery paid off. She saved thousands of people. We may not convert thousands by telling others about God’s word, but if we take one person with us to heaven that would be worth whatever effort we make.
Today, I would encourage you to have courage and faith like Esther. Tell someone else about your faith, and always remember that God will take care of his people.
Christian Living, Perspectives of a Teenager Courage, Esther, faith, Jews, Mordecai, queen, Salvation, Vashti
Why I Love Summer Camp
Going Outward
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6 matches on "American Indian athletes--United States--History"
Jim Thorpe at desk photograph
Jim Thorpe at desk photograph Save
Description: This photograph shows Olympic athlete and professional football player Jim Thorpe, ca. 1920-1929. Jim (James Francis) Thorpe was born in 1888 in Oklahoma to Hiram P. and Charlotte Thorpe. Both Hiram and Charlotte were of European and American Indian heritage and Jim was raised in the Sac and Fox tribes. In 1904 he was sent to a boarding school in Carlisle, Pennsylvania for American Indian children. While at Carlisle he played multiple sports, including football, lacrosse, baseball, basketball, and track. He left Carlisle in 1909 and 1910 to play professional baseball with teams in Eastern Carolina League in North Carolina. He returned to Carlisle in 1911 for two successful football seasons. In both 1911 and 1912 he was an All-American halfback for football. In 1912 he became the only person to win gold medals in both the pentathlon and decathlon at the Olympic Games in Stockholm, Sweden. His Olympic celebrity propelled him a three year contract playing professional baseball for the New York Giants. He also played baseball with the Boston Braves and Cincinnati Reds. However, it was as a professional football player that Thorpe was more successful and strongly tied to Ohio. He was associated with four professional or semi-professional football teams in Ohio as a player and coach: the Canton Bulldogs, the Cleveland Tigers, the Oorang Indians based in LaRue, and the Portsmouth Shoe-Steels. His greatest success was with the Canton Bulldogs, which he led to win national championships in 1915, 1916, 1917 and 1919. From 1922-1923 he was a player and coach for the Oorang Indians, a National Football League team comprised of all native players. The majority of the Oorang Indians team members, like Thorpe, had played at Carlisle. The team owner, Robert Lingo, used the team and Thorpes celebrity to advertise his Oorang Kennels Company, particularly his Airedale terriers. Thorpe played another season with the Bulldogs in 1926 and then went to Portsmouth as a player-coach for the semi-professional Portsmouth Shoe-Steels in 1927. This was Thorpes last athletic job. During the 1930s and 1940s he worked a variety of jobs until he died of a heart attack in 1953. View on Ohio Memory.
Image ID: AL02916
Subjects: Thorpe, Jim, 1887-1953; Football--Ohio--History; American Indian athletes--United States--History
Carlisle Indian Industrial School football team photograph
Carlisle Indian Industrial School football team photograph Save
Description: Dated ca. 1907-1912, this photograph shows the Carlisle Indian Industrial School football team, possibly in pregame warmup. One of the players pictured here is Jim Thorpe, a Sac and Fox Native, who was an American athlete, playing professional football and baseball, and an Olympic track gold medalist. Founded by the United States government in 1879, the Carlisle Indian Industrial School was a boarding school for American Indian peoples. Students were taught common school subjects, such as English, history, and math, and also learned professional trade skills for their careers after school. Many American Indians criticized the Carlisle Indian Industrial School, and other boarding schools for native youths, because the schools forced children to leave their families and abandon their native language and culture. View on Ohio Memory.
Image ID: AV235_1_23
Subjects: Carlisle Indian Industrial School; Thorpe, Jim 1887-1953; American Indian athletes--United States--History; American Indian history; Education
Places: Carlisle (Pennsylvania); Cumberland County (Pennsylvania)
Carlisle Indian Industrial School classroom photograph
Carlisle Indian Industrial School classroom photograph Save
Description: Dated ca. 1907-1912, this photograph shows a classroom at the Carlisle Indian Industrial School in Carlisle, Pennsylvania. One of the students pictured here is Jim Thorpe, a Sac and Fox Native, who was an American athlete, playing professional football and baseball, and an Olympic track gold medalist. Founded by the United States government in 1879, the Carlisle Indian Industrial School was a boarding school for American Indian peoples. Students were taught common school subjects, such as English, history, and math, and also learned professional trade skills for their careers after school. Many American Indians criticized the Carlisle Indian Industrial School, and other boarding schools for native youths, because the schools forced children to leave their families and abandon their native language and culture. View on Ohio Memory.
Carlisle Indian Industrial School barracks photograph
Carlisle Indian Industrial School barracks photograph Save
Description: Dated ca. 1907-1912, this photograph shows the barracks at Carlisle Indian Industrial School. Founded by the United States government in 1879, the Carlisle Indian Industrial School was a boarding school for American Indian peoples. Students were taught common school subjects, such as English, history, and math, and also learned professional trade skills for their careers after school. Many American Indians criticized the Carlisle Indian Industrial School, and other boarding schools for native youths, because the schools forced children to leave their families and abandon their native language and culture. Jim Thorpe attended the Carlisle Indian Industrial School as a young man. Jim Thorpe, a Sac and Fox Native, was an American athlete, playing professional football and baseball, and an Olympic track gold medalist. View on Ohio Memory.
Image ID: AV235_1_9
Jim Thorpe's homecoming in Carlisle
Jim Thorpe's homecoming in Carlisle Save
Description: This photograph shows the streets of Carlisle, Pennsylvania, decorated for Jim Thorpe's homecoming parade in 1912. Jim (James Francis) Thorpe was born in 1888 in Oklahoma to Hiram P. and Charlotte Thorpe. Both Hiram and Charlotte were of European and American Indian heritage and Jim was raised in the Sac and Fox tribes. In 1904 he was sent to a boarding school in Carlisle, Pennsylvania for American Indian children. While at Carlisle he played multiple sports, including football, lacrosse, baseball, basketball, and track. He left Carlisle in 1909 and 1910 to play professional baseball with teams in Eastern Carolina League in North Carolina. He returned to Carlisle in 1911 for two successful football seasons. In both 1911 and 1912 he was an All-American halfback for football. In 1912 he became the only person to win gold medals in both the pentathlon and decathlon at the Olympic Games in Stockholm, Sweden. His Olympic celebrity propelled him a three year contract playing professional baseball for the New York Giants. He also played baseball with the Boston Braves and Cincinnati Reds. However, it was as a professional football player that Thorpe was more successful and strongly tied to Ohio. He was associated with four professional or semi-professional football teams in Ohio as a player and coach: the Canton Bulldogs, the Cleveland Tigers, the Oorang Indians based in LaRue, and the Portsmouth Shoe-Steels. His greatest success was with the Canton Bulldogs, which he led to win national championships in 1915, 1916, 1917 and 1919. From 1922-1923 he was a player and coach for the Oorang Indians, a National Football League team comprised of all native players. The majority of the Oorang Indians team members, like Thorpe, had played at Carlisle. The team owner, Robert Lingo, used the team and Thorpes celebrity to advertise his Oorang Kennels Company, particularly his Airedale terriers. Thorpe played another season with the Bulldogs in 1926 and then went to Portsmouth as a player-coach for the semi-professional Portsmouth Shoe-Steels in 1927. This was Thorpes last athletic job. During the 1930s and 1940s he worked a variety of jobs until he died of a heart attack in 1953. View on Ohio Memory.
Subjects: Jim Thorpe (Pa.)--History--20th century--Pictoral works; American Indian athletes--United States--History
Jim Thorpe's homecoming in Carlisle in 1912
Jim Thorpe's homecoming in Carlisle in 1912 Save
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American Civil War /
Colt Single-Action Revolvers
Weapon 52
Author: Martin Pegler
Illustrator: Mark Stacey, Alan Gilliland
Short code: WPN 52
In 1836, Samuel Colt changed the face of warfare with the production of the first of a series of iconic and influential single-action revolvers, including the .44-calibre Colt Walker and the seminal .45-calibre Colt Single Action Army, which remains in production today. These weapons shifted the role of the pistol from single-shot weapon of last resort to a practical and powerful sidearm that gave the user the ability to defend himself once his primary armament was discharged. It transformed cavalry tactics and relegated the sword to a largely ceremonial role in many armies.
Featuring full-colour artwork, expert analysis and gripping first-hand accounts, this is the absorbing story of Colt's family of single-action revolvers, covering their origins, development, use and lasting impact on the modern world.
Martin Pegler was for many years the Senior Curator of Firearms at the Royal Armouries Museum, Leeds. Martin enjoys shooting historic firearms, and has participated in many shooting competitions. He is currently an author and firearms consultant, as well as running a bed and breakfast in the Somme region, France.Mark Stacey was born in Manchester in 1964 and has been a freelance illustrator since 1987. He has a lifelong interest in all periods of history, particularly military history, and has specialized in this area throughout his career. He now lives and works in Cornwall. Born in Malaya in 1949, Alan Gilliland spent 18 years as the graphics editor of The Daily Telegraph, winning 19 awards in that time. He now writes, illustrates, and publishes fiction (www.ravensquill.com), as well as illustrating for a variety of publishers (www.alangilliland.com).
The Colt 1911 Pistol
WPN 9 Multiple formats
The Beretta M9 Pistol
WPN 11 Multiple formats
The Webley Service Revolver
Sharpshooting Rifles of the American Civil War
The ‘Broomhandle’ Mauser
The "Trapdoor" Springfield
Pictish Warrior AD 297-841
Lützen 1632
The Plains Wars 1757–1900
Decatur’s Bold and Daring Act
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Emily Greene Balch
Died: 01/09/1961
Primary Vocation: Activism
Geographic Connection to Pennsylvania: Bryn Mawr, Montgomery County
Lifelong peace activist Emily Greene Balch won the 1946 Nobel Peace Prize for her efforts.
Emily Balch was born on January 8, 1867, in Jamaica Plains, Massachusetts. She was a member of Bryn Mawr’s first graduating class and received the school’s first Fellowship award. She went on to become an essential figure for international peace. She wrote about many of her studies in books such as: Public Assistance of the Poor in France, Women at The Hague: The International Congress of Women, Approaches to the Great Settlement, and Occupied Haiti. Balch spent twenty-one years as a Professor at Wellesley Women’s College and spent the rest of her time working for organizations such as the Women’s International League for Peace and Freedom. In 1946 she was awarded the Nobel Peace Prize and continued her mission for peace. Balch died in 1961 in Cambridge, Massachusetts.
Emily Greene Balch was born on January 8, 1867, in Jamaica Plains, Massachusetts. She was one of six children born to parents, Francis V. Balch and Ellen Noyes Balch. She had four sisters and one brother. Her father was a successful lawyer, and a secretary to abolitionist U.S. Senator Charles Sumner (R-MA) during the Civil War. Unfortunately, when Balch was seventeen years old, her mother died while giving birth to a child who also died.
As a child, Balch grew up in a Unitarian household, which influenced her to use her intellect for good works. She had tutors, went to Miss Catherine Ireland’s Private School in Boston, and was able to read adult books by the time she was nine years old. She also attended a private bible class where she learned from Minister Charles Fletcher Dole, whose main message was to serve goodness no matter the cost. Judith Stiehm quotes Balch describing Dole as “the chief of all the influences that played upon [her] life,” and as “a preacher of good-will in the sense of unceasing active willing of good,” (Stiehm Champions for Peace).
Balch continued her schooling at Bryn Mawr College. Her initial interests were in literature and sketching; however, she eventually decided to study economics. When contemplating what she had learned and what she wanted for her next year, Balch said, “I long for reverence, humility, purity, truthfulness, simplicity, strength, wisdom, love, providence, gladness, regularity,” and “I hope I shall not get lost in study or pursue it for pleasure beyond its best measure for my purpose, unknown to me as yet.” Three years after her entrance, Balch became a member of the college’s first graduating class in 1890 and was awarded Bryn Mawr’s initial Fellowship for one year’s study in Europe. Although she did not think she deserved it, Balch took the Fellowship and went to Paris, France, where she worked with Emile Levasseur to study Paris’s economy. She then used her research to write a book entitled Public Assistance of the Poor in France (1893).
When Balch returned, she did social work with the Boston Children’s Aid Society. During this time she also co-founded the Dennison House Settlement and served as its first headworker. She then spent a summer in school studying applied ethics where she met Jane Addams and decided to complete her formal studies. She did this through classes at Harvard University and the University of Chicago. She then spent a full year, funded by her father, working in economics in Berlin.
In 1897, Balch became a professor at Wellesley Women’s College where she worked until 1918. She was an excellent teacher; she created her own courses that taught sociology and economics through fieldwork and volunteering. According to one of her students quoted by David and Selvidge,
Miss Balch was an utterly unpretentious woman, spare of figure, unmindful of clothes and fripperies. Besides her learning, which was broad and deep, she had a very wide personal acquaintance with civic and humanitarian leaders in Europe as well as America…Professor Balch would frequently overlook some of the mechanical details of teaching…[but] her teaching was all the more better for her excursions into the buzzing centers beyond the placid college walls.
During her time as a professor she also helped found the Women’s Trade Union and served on municipal boards and state commissions. She contributed to movements for women’s suffrage, racial justice, and child labor.
Balch took a two-year leave from Wellesley to study the Slavs and write about her research (Our Slavic Citizens, 1910). Then, as World War I broke out, Balch became even more concerned with peace than ever before; she became involved in the American Union Against Militarism, the Women’s Peace Party, and the International Congress of Women at The Hague. During this time Balch worked with Jane Addams and Alice Hamilton to write Women at The Hague: The International Congress of Women (1916).
Balch asked for an extension of her leave, but Wellesley decided to terminate her contract instead. She accepted an editorial position for the magazine The Nation, and wrote another book called Approaches to the Great Settlement (1918), about the problems with peace after World War I and the stabilization of Europe. She also attended a second convention for the International Congress of Women, at which they decided to organize themselves as the Women’s International League for Peace and Freedom (WILPF), for which Balch agreed to become the international secretary-treasurer.
Between the wars, Balch continued her work with international organizations and commissions of various types; she edited, and wrote most of, Occupied Haiti; and she tried to find ways to help victims of Nazi persecution. In 1946, Balch won the Nobel Peace Prize for all of her work for peace with the WILPF. She shared the prize with John R. Mott who received the prize for his work in establishing and strengthening international Protestant Christian student organizations that worked to promote peace. She took her $17,000 share of the prize money and gave it to the WILPF.
After receiving the prize, Balch continued her activism despite her frail health. She worked with the WILPF as the honorary chairwoman. In 1959, she served on a commission that organized the 100th anniversary celebration in honor of Jane Addams’s birth. Balch entered Mr. Vernon Nursing Home in Cambridge, Massachusetts, in 1961, where she died of pneumonia at age 94.
Selected Works:
Public Assistance of the Poor in France. Baltimore: American Economic Association, 1893.
Our Slavic Fellow Citizens. New York: Charities Publication Committee, 1910.
The Women at The Hague: The International Congress of Women. (With Jane Addams and Alice Hamilton) New York: Macmillan, 1916.
Approaches to the Great Settlement. New York: B. W. Huebsch, 1918.
Occupied Haiti. New York: The Writers Publishing Co. Inc., 1927.
Davis, Anita Price and Marla J. Selvidge. Women Nobel Peace Prize Winners. Jefferson, NC: McFarland and Company, Inc., 2006.
“Emily Greene Balch.” Encyclopedia of World Biography. Vol. 1. 2nd ed. Detroit: Gale, 2004. 463-464.
“Emily Greene Balch: The Nobel Peace Prize 1946.” Nobelprize.org. 1946. Nobel Foundation. 22 Mar. 2010. <>http://nobelprize.org/nobel_prizes/peace/laureates/1946/balch-bio.html>.
Randall, John Herman Jr. Emily Greene Balch of New England. Washington: Women’s International League for Peace, 1946.
Stiehm, Judith Hicks. Champions for Peace: Women Winners of the Nobel Peace Prize. Lanham, MD: Rowman and Littlefield Publishers, Inc., 2006.
Alexa Woelfle
Written by Alexa Woelfle, Spring 2010
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How to write a hit record pdf
How to write actionscript in flash cs6
Ucf graduate studies thesis and dissertation manual woodworkers
Great works do not express the personal emotion of the poet. So, for the first time in the history of the earth, ethics and values will be debated and transformed in a context that is not limited to a particular geographic region, or constrained by a specific religion or culture.
Furthermore, he is not advocating a return to the state of nature, though some commentators, even his contemporaries such as Voltaire, have attributed such a view to him. The third question faces anyone who makes any decisions at all, and even not deciding is itself a decision. Low-context communication emphasizes directness rather than relying on the context to communicate.
As such, his notion of tradition stands at odds with feminist, post-colonial and minority theories. Low- and high-context communication refers not only to individual communication strategies, but may be used to understand cultural groups.
His thinking, however, was far ahead of other scholars; and, at the time, many people considered him to be an eccentric scientist who was engaging in flights of fantasy about ethics.
Should those involved meet face to face, sharing their perspectives and stories with or without the help of an outside mediator? Therefore, faith is the essential cornerstone for understanding God.
A mystic believes what he feels. Soon, there become distinct social classes and strict notions Great traditions in ethics essay property, creating conflict and ultimately a state of war not unlike the one that Hobbes describes.
In its corrupted form, amour-propre is the source of vice and misery, and results in human beings basing their own self worth on their feeling of superiority over others.
Among all things of creation, humans themselves are "central" because they have the ability to cultivate and centre natural forces. We are meaning-making creatures, telling stories and creating understandings that preserve our sense of self and relate to our purpose.
We may mistake differences between others and us for evidence of bad faith or lack of common sense on the part of others, not realizing that common sense is also cultural.
However, there are still a few chosen ones whom God bestows salvation on as a free gift. The purpose of the state is to effect justice, provide aid and sustenance to persons in mortal danger, protect species in danger of extinction, and prevent torture.
These virtues allow people to escape vanity and an emphasis on superficial values that he thought to be so prevalent in modern society. See the bibliography below for works by R. Rousseau himself thought this work to be superior to the First Discourse because the Second Discourse was significantly longer and more philosophically daring.
The first two questions face anyone who cares to distinguish the real from the unreal and the true from the false. When an intractable conflict has been ongoing for years or even generations, should there be recourse to international standards and interveners, or local rules and practices?
Starting from the premise that the goal of ethical philosophy should be to help humans adapt and thrive in evolutionary terms, Kropotkin's ethical framework uses biology and anthropology as a basis — in order to scientifically establish what will best enable a given social order to thrive biologically and socially — and advocates certain behavioural practices to enhance humanity's capacity for freedom and well-being, namely practices which emphasise solidarity, equality, and justice.
However, it should be recognized that Eliot supported many Eastern and thus non-European works of literature such as the Mahabharata. For the Enlightenment project was based on the idea that progress in fields like the arts and sciences do indeed contribute to the purification of morals on individual, social, and political levels.
Cultural fluency is a key tool for disentangling and managing multilayered, cultural conflicts. The judges were irritated by its length as well its bold and unorthodox philosophical claims; they never finished reading it.
Therefore, we should not seek to be noble savages in the literal sense, with no language, no social ties, and an underdeveloped faculty of reason. In shaping our values, cultures contain starting points and currencies[1].
By religiously motivated theories, moral theory defenders usually have their crosshairs set upon divine command theory and maybe natural law theory. Whereas Eliot believes that the great poet is faithful to his predecessors and evolves in a concordant manner, Bloom according to his theory of " anxiety of influence " envisions the "strong poet" to engage in a much more aggressive and tumultuous rebellion against tradition.Eleven Exciting Term Paper Ideas In Business Ethics The main area of study in business ethics is the code of conduct that guides employees and operations of any organization on daily basis.
A term paper on business ethics will majorly revolve around how decisions made affect the common folk interacting with the organization.
The Nicomachean Ethics, Aristotle's most important study of personal morality and the ends of human life, has for many centuries been a widely-read and influential book.
Though written more than 2, years ago, it offers the modern reader many valuable insights into human needs and conduct. Ethics essay topics may concern a great variety of issues in different business areas. For example you can write about medical ethics and non-disclosure of patient’s medical conditions.
For example you can write about medical ethics and non-disclosure of patient’s medical conditions.
Essays Related to Social Ethics. 1. Ethics of Social Behavioral Research. Subsequently code of ethics was developed for research with both animal and human subjects.
During and after s ethics in research has gained due recognition and it regulates almost any type of social behavior research either with non-human animals subjects or. We will write a custom essay sample on Great Traditions In Ethics specifically for you for only $ $/page.
Ethics or moral philosophy is a branch of philosophy that involves systematizing, defending, and recommending concepts of right and wrong conduct. The field of ethics, along with aesthetics, concern matters of value, and thus comprise the branch of philosophy called axiology.
Ethics seeks to resolve questions of human morality by defining concepts such as good and evil, right and wrong.
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Water Incident at National Harbor
At about 4:30 pm today Prince George's County Firefighters and Paramedics were alerted to a possible water rescue involving a paddle boat at the National Harbor in Oxon Hill MD.
A family of 4 occupied a rented paddle boat in the Potomac when a strong wind pushed them into a shallow rocky area of the Potomac not far from the shore line. It does not appear the boat overturned but all four occupants ended up in the water after making contact with the rocks. The occupants were assisted by other boaters and bystanders in reaching the shore. One of the boaters, a female in her 20's, could not make it over the retaining wall due to lower body injuries and was assisted out of the water by firefighters and paramedics.
All four family members will be transported to an area hospital for evaluation. The grandmother, 50ish female, was experiencing trouble breathing, a 20ish female with lower body injuries and her two young daughters, ages 1 and 4, for possible hypothermia.
All appeared to be in good condition. Firefighters and paramedics were clear the scene at about 5:10 pm.
In addition to firefighters/medics and rescue boats from the Marine division the Coast Guard and Alexandria had their rescue boats in the area as well.
Mark Brady, PGFD PIO
3 Teens Rescued from Swift Moving Waters of the Northwest Branch
MEDIA CONTACT: Mark E. Brady, Chief Spokesperson, 240-508-7930, mebrady@co.pg.md.us
On a day when storms rolled through Prince George’s County with heavy rains, high winds and threats of tornado's, the Fire/EMS Department Technical Services Team was kept busy. The team handles complex rescues involving collapse, confined space, high angle and swift water. The teams had to utilize two of those skills while performing the rescue of three teen-aged males from the swollen and swift moving Northwest Branch waterway.
Sometime after 7:00 pm several residents of the Mount Rainier and Brentwood Community came outdoors during a break in the storms. The power of Mother Nature was evident near the 38th Street Bridge in Mount Rainier. One resident saw three teen aged males walking near the shoreline. She turned away for just a moment and when she looked back she saw them in the water frantically attempting to make their way back to the safety of the shore. They didn’t stand a chance swimming in the swift moving water and were carried downstream. They passed a concrete bridge support and each one was able to grab onto and climb on to the wide base. They became stranded and trapped with the water level continuing to rise. The witness called 911 and a response of Fire/EMS Units from Bunker Hill, Hyattsville and Chillum responded to the scene as well as the Departments Technical Services Team and rescue boats from the Laurel Volunteer Rescue Squad and Marine Division. Firefighters worked rapidly to devise a plan to retrieve the teens. Another thunderstorm was approaching and the water level in the Northwest Branch continued to rise.
A system of ropes and pulleys were set up with the assistance of the ladder from Hyattsville. Firefighter Joe Ford was placed into a harness and lowered over the bridge and down about 25 feet to the water level. He explained to the anxious teens how the rescue would work; the teens would be raised to the top of the bridge one at a time. Once on the bridge level they were treated for hypothermia by medics. All three were removed at about 8:20 pm and transported to a hospital in good condition.
The successful outcome of this incident was a result of coordination and teamwork by all personnel on the scene. Incident Commanders, firefighters, EMT’s, Paramedics, Technical Services and Marine Division personnel, both volunteer, career and civilian, worked cohesively to bring this potentially tragic incident to a extremely positive outcome.
The video was taken by William "Hawk" Hawkins, Fire Chiefs Aide and is provided courtesy of the Prince George's County Fire/EMS Department.
The still images are by Mark E. Brady, PGFD PIO.
Posted by PGFD at 12:27 AM No comments: Links to this post
3 Teens Rescued from Swift Moving Waters of the No...
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The Universal Battle: Snow White and the Huntsman, a review
Snow White and the Huntsman from first-time director Rupert Sanders is brilliant. It’s not perfect by any means, but it’s a rarity in Hollywood these days to have a big budget movie that doesn’t feel like a product. There were no cutesy pop culture references, no trite one-liners with a long pause for the laugh. SWatH is an old yet refreshing story about the universal battle between good and evil. And for a first effort? Awesome. Think what Sanders’ fifth or even tenth film will be like.
First things first: The dislikes: I didn’t really care for the dwarves. They did have some catchy funny lines, but I couldn’t really understand what they were saying and blind dwarf playing by Bob Hoskins irked me beyond belief. The shots of him looking almost directly at the camera took me out of the film every single time. Also, I was really bothered that they hadn’t hired actual dwarves or little people for the film.
Likes, likes and likes: The cinematography was breathtaking, and I couldn’t help but smile at all of the references to other fantasy films like The Lord of the Rings. The forest could’ve easily been haunted by the spider Shelob, or Gollom or both. Not surprisingly, Charlize Theron outshone the rest of the cast when it came to the acting, but villains usually have the most personality in these sorts of tales. Kristen Stewart did a great job as well, especially with her voice. I don’t know if the accent she used was pitch perfect British, but it sounded natural, which frankly is more important. Chris Hemsworth’s huntsman brought a wonderful gravitas to the production. The actor is twenty-something, but has such a maturity and presence about him that instantly brings integrity to the screen. As the “prince”, Sam Claflin didn’t have much screen time to shine, but he had one or two scenes done really well. The story itself was good, if unfocused at times. I liked the idea of rediscovering a world that maybe you once knew (the enchanted forest), but had long forgotten in dealing with the darkness and brutality of life.
Themes: We tend to pull out from films and stories something of what we believe or how we see the world. I’m no different, and as a Christian immediately latched onto the theme of good vs. evil in Snow White and the Huntsman. Snow White whispering The Lord’s Prayer and the beginning seemed at first like a throwaway reference to her “goodness” (i.e., she believes in God or is religious, so she is good) But they expanded on that idea of her goodness by showing the empathy she feels for other people and creatures, signaling that if her goodness comes her faith, it’s a deep faith, something that is part and parcel of herself. Her personality is quiet, calm and sure. She doesn’t panic or babble and her presence is a sanctuary for those around her. This is how I’ve always thought of Jesus Christ, as a sanctuary, and so that’s the symbolism that stuck for me. The stag or hart of the forest that they show about halfway through, is also something that has been used as a symbol or reference to Jesus. So, the stag giving its blessing to Snow, could be like Jesus blessing the Church.
In contrast, the queen Ravenna is rough and loud and has no empathy, not even, I think, for herself. She’s merely a wretched creature, much like other iconic villains such as “The Eye” Sauron from LOTR and the serpent-like Voldemort from the HP series. Her life is utterly dysfunctional and she takes absolutely no joy in the world. Her power is oppressive, but not really interesting. This is a person who has no imagination, much like the ultimate prince of darkness, Satan. And for some reason, these super powerful bad guys can’t rule on their own, they always have these lackeys hanging about. Ravenna has a brother who does her bidding. He’s as chained to evil as she is and distinctly lacks purpose.
The ultimate love story: Snow White and the Huntsman is an epic love story––it’s just probably not the love story we usually think of. The love story in the film isn’t really between Snow White and the huntsman, but is between Snow White and her kingdom. Magnifying that in a Christian theme: The love story is God and His love for this world. Snow White can symbolize God, the savior Jesus, or, most-fittingly, the believers in Christ, or the Church. The queen then, would be the Devil, Satan, the very powerful, but not powerful enough, ruler of this world.
If that is the case, if the love story is actually between Snow White and her kingdom, then it makes perfect sense that the chemistry if any between her and the Huntsman is so subtle. It makes sense that he kisses her dead lips not because of romantic love, but because he had started to hope in something good and pure again and it was taken from him. The Huntsman is searching for spiritual truth. He threw his lot in first with the queen, hoping she could bring back his dead wife. Yes, Satan promises this as well, through witchcraft, spells or other means, but he, like Ravenna, truly has no power in the giving or bringing back of life. All they bring is death always and forever.
At the end, much like Satan, the queen declares that she will give this world “the queen it deserves,” all this while standing in the midst of flames in case we should fail to see the reference. The world is awful and burdened with sin, it does deserve a a terrible tyrannical ruler. It deserves that, but what the world actually has is a living God who is both love and justice. The Church (Snow White) has true faith in God’s love and justice. She empathizes with the creatures of the world and even with the queen, but for there to be any justice, she must slay the queen, and that’s exactly what she does with her new believers’ help (the Huntsman and the Prince). From her sorrowful expression, it is clear that Snow White, much like God, is not happy to have to slay the wicked, though again, it is necessary if there’s to be any justice at all. If the world is to ever be free of his reign, the Devil, along with his minions and believers, must be condemned to hell, apart from a loving God that he will never understand. In the end, the believers in God, love and justice, can say to the Devil or the evil queen “you can’t have my heart, my heart belongs to someone far greater than you.”
Romance: There is a romance between Snow and the Huntsman, but it is very, very subtle and a touch I absolutely loved. Not every romance is all wittiness, winking and wooing. I think when the Huntsman kissed Snow White, it was a last-ditch effort at having hope. When she rose from the dead that’s when he began to truly love her. I think the moment Snow realized that she loved him was when he made a flirty comment about her chain mail. She didn’t know what to say, I think, because she realized at that moment that true love was dawning on both of them. The ending was perfect: They didn’t need to kiss, they just exchanged a look that seemed to be her declaring her love for the Huntsman, and him accepting that love and pledging loyalty to her. Okay, I’m probably reading too much into it, but I thought it was a beautiful moment and a thought-provoking movie. It is one I definitely want to see again.
This entry was posted on June 3, 2012, in Movie Reviews and tagged Charlize Theron, good vs. evil, Kristin Stewart, movie reviews, religious symbolism, religious themes, Snow White and the Huntsman. Bookmark the permalink. Leave a comment
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Britain's New Neo-Nazi Star
By Mike McNally 2009-10-28T03:20:49
British television viewers were last week treated to the extraordinary spectacle of the openly racist leader of an openly racist party -- and a Holocaust denier to boot -- appearing on a prime-time political panel show, on which he attempted to defend his mostly indefensible views in the face of an onslaught from hostile fellow panel members and an even more hostile studio audience.
Nick Griffin, leader of the British National Party and recently elected member of the European Parliament, appeared on the BBC’s Question Time after BBC bosses refused to give in to pressure to exclude him. The result was an entirely predictable media circus, with Griffin jeered at every turn while anti-racism campaigners battled with police outside the studio.
It’s hard to know what the BBC’s motives were. Perhaps they really were playing by the rules and acknowledging Griffin’s right to be heard. Perhaps the leftists who run the BBC thought they were cleverly giving Griffin enough rope to hang himself. Or perhaps, as this story in the UK’s Telegraph suggests, they simply wanted to generate publicity and boost the ratings for Question Time -- both of which they succeeded spectacularly in doing.
Even among the majority who are opposed to the BNP, opinion on Griffin’s appearance was sharply divided. In one camp were those who said that by allowing the BNP to share a platform with mainstream politicians, the BBC was giving the party respectability and a public relations coup. On the other side were those who said that, no matter how odious its views, the BNP had a right to be heard, and that banning the party would allow it to don the cloak of free speech martyrs and drive its support underground. And, they argued, allowing the party to spout its nonsense would expose its members for what they truly are and drive away potential supporters.
Depending on which report you believe, Griffin’s appearance was either a spectacular victory for the BNP or a spectacular failure. The reality is that it was probably neither. Those who either supported or opposed the BNP will have had their attitudes hardened, while a few undecideds may have been persuaded one way or the other.
Outside of the BNP’s relatively small number of supporters, opposition to the party and its policies is overwhelming, both among people of all political stripes and those not ordinarily concerned with politics. Yet it was old-school, hard-left Labour politicians, left-wing commentators, and pressure groups who most vociferously demanded that the BNP should be censored.
Why such palpitations from the left, when so many Britons oppose the BNP so emphatically? The answer is to be found in a poll conducted for the Telegraph in the wake of Griffin’s sixty minutes of infamy. More than a fifth of voters said they would “seriously consider” voting for the BNP -- a troubling number, but, assuming that perhaps half of that group make good on their threat, not enough to enable the party to extend its representation beyond the current scattering of local councillors and two Euro MPs. But the more telling statistic was that more than half of those questioned thought the BNP “had a point.”
And that’s a problem not only for the ideological left, but for both of Britain’s main political parties. The British National Party, deeply unpleasant though it might be, has a point. In fact it has several points, and they’re points that neither Labour nor the Conservatives are at present willing or able to address.
The BNP speaks to the white working classes, a constituency which feels increasingly alienated, neglected, and abandoned by a "New" Labour party which once drew the bulk of its support from those same people. In broad terms, these are people who feel left behind by the pace of social and economic change. They are concerned about the erosion of what they see as their British identity under a government obsessed with promoting multiculturalism. More pressingly, they feel under pressure from mass immigration, angered by the continuing transfer of political power away from their elected leaders and into the hands of unaccountable bureaucrats of the European Union, concerned by rising crime, and alarmed by the spread of Islamic extremism.
The last time the far right (to use the term in its broadest and laziest sense) made inroads into British political life, in the 1970s, they were killed off by the arrival of Margaret Thatcher, who stood up for British interests and addressed the concerns of the working classes without pandering to racist attitudes. The economic chaos that accompanied the fall of the Labour government in 1979 was exploited by racist and nationalist groups, and it’s no coincidence that now, as then, such elements are growing in popularity during the death throes of a Labour administration.
Thatcher was largely able to repair the damage. These days, however, the malaise runs deeper. Labour long ago lost the big battles of economic ideas to the Conservatives, but Britain’s cultural establishment has succeeded in making left-wing and "progressive" views on immigration, Europe, and crime the orthodoxy of the ruling classes, despite their unpopularity at the ballot box. (A former Labour advisor recently revealed how Tony Blair and his ministers encouraged mass immigration to socially engineer a "multicultural" Britain and "rub the right's noses in diversity.")
Those who comprise the establishment are insulated from the problems which have turned their less privileged countrymen toward extremists such as the BNP. The elites don’t live in those parts of London where you take your life in your hands when you get on public transport or where children have to run the gauntlet of gangs armed with guns and knives in order to get to school. Nor do they live in the northern cities, where Islamic extremist preach jihad at Friday prayers. Yet they feel eminently qualified to tell others how they should behave and what they should think.
So anyone who voices legitimate concerns about virtually unregulated mass immigration or suggests that it would be a good thing if immigrants who arrive legally were encouraged to integrate into society is branded a racist. And anyone who voices the opinion that maybe British voters should be able to have a say in how they’re governed, rather than having laws imposed on them from Brussels, is labeled a xenophobe.
The British left is more angry than usual these days because the rise of far-right extremism during a long period of ostensibly progressive government doesn’t make progressive policies look good. But so successful has been the left’s distorting of the debate -- there is no "far left," only the "far right" and, on the other side, "normal" people -- that the Conservatives have been cowed into silence on issues that matter deeply to a majority of the British people.
And if the Tories fail to address the problems that have festered for the past twelve years, the extremists will grow stronger. If a rabble of a party like the BNP, with its repellent leader and half-baked set of policies, can attract the support of a million voters, there’s a real danger that more articulate and persuasive racists will one day become serious players in British political life.
https://pjmedia.com/blog/the-far-right-hits-prime-time-during-question-time/
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Search more than 3,000 biographies of contemporary and classic poets.
Stephen Sandy
Stephen Sandy was born on August 2, 1934, in Minneapolis, Minnesota. After serving in the Navy for a short time, he enrolled in Yale College in 1951 and graduated with a BA in English in 1955. In September 1957, he entered Harvard University, during which time he attended Robert Lowell’s poetry workshop at Boston University and studied with Archibald MacLeish. He earned his MA in 1959 and PhD in 1963. That same year, Sandy joined the Harvard University faculty as a full-time instructor in English. In 1967, Sandy started his yearlong tenure as a Fulbright lecturer at the University of Tokyo. Upon his return, he joined the English faculty at Brown University. The following year, he moved to Bennington, Vermont, where he taught at Bennington College.
Sandy is the author of eleven books of poetry, the most recent of which include Overlook (Louisiana State University Press, 2010), Netsuke Days (Shires Press, 2008), and Weathers Permitting (Louisiana State University Press, 2005).
Poet J. D. McClatchy writes, “Sandy’s poems have an infectious curiosity, a moral weight and witty balance. They speak from and to the heart.”
Sandy’s honors include fellowships from the MacDowell Colony, the Ingram Merrill Foundation, the Lannan Foundation, the National Endowment for the Arts, and Vermont Council on the Arts. In 2006, he was awarded an Academy Award in Literature from the American Academy of Arts and Letters. He died on November 7, 2016, in Bennington, Vermont.
Overlook (Louisiana State University Press, 2010)
Netsuke Days (Shires Press, 2008)
Weathers Permitting (Louisiana State University Press, 2005)
Surface Impressions (Louisiana State University Press, 2002)
Black Box (Louisiana State University Press, 1999)
The Thread, New and Selected Poems (Louisiana State University Press, 1998)
Thanksgiving Over the Water (Alfred A. Knopf, 1992)
Man in the Open Air (Alfred A. Knopf, 1988)
Riding to Greylock (Alfred A. Knopf, 1983)
Roofs (Houghton Mifflin, 1971)
Stresses in the Peaceable Kingdom (Houghton Mifflin, 1967)
The Raveling of the Novel, Studies in Romantic Fiction from Walpole to Scott (Arno Press, 1980)
Photo credit: Star Black
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Read poems by this poet
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By This Poet
Hard to believe the racket geese make, squabbling,
holding a confab in the dark--pitch dark to him
padding back to check the lights; yes, the windows
are dark.
But that honking down on the pond, like angry
taxis, stops him: late geese on their way--he thinks--
homeward. But geese are home, wherever. A continent.
Are acting without accomplices; no past
or future to know. That squawky banter is
an irremediable thing.
He makes for his car, the office
shut down. Now someone passes him. They know each other--
each speaks with mild surprise the other's name,
no more. And heads his separate way across the dark.
Cretan farmers still press their olives. Swallow
retsina, tend their flocks. Our scholars know
—oracular computers tell them so—
it’s just as the Minoans did. Do we
know them then, the Minoans? Is their debris
ours too? Rather consider to what degree
warehouse palaces are dazzlements,
and through the dark mullions of romance
see for once that we see nothing, nothing.
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Oops. U.S. News' Ranking Screwup - Poets&Quants for Undergrads
Oops. U.S. News’ Ranking Screwup
by: John Byrne on September 10, 2014 | 0 Comments 2,302 Views
2015 U.S. News Top 25 Undergraduate Schools For Entrepreneurship
2015 Rank & School
1. Babson College Babson Park, MA
2. MIT (Sloan) Cambridge, MA
3. University of Southern California (Marshall) Los Angeles, CA
4. Indiana University (Kelley) Bloomington, IN
4. University of Pennsylvania (Wharton) Philadelphia, PA
6. University of Arizona (Eller) Tucson, AZ
7. UC-Berkeley (Haas) Berkeley, CA
8. University of Texas-Austin (McCombs) Austin, TX
9. Syracuse University (Whitman) Syracuse, NY
9. University of North Carolina (Kenan-Flagler) Chapel Hill, NC
11. University of Michigan (Ross) Ann Arbor, MI
12. Baylor University Waco, TX
13. St. Louis University St. Louis, MO
13. University of Maryland (Smith) College Park, MD
15. Xavier University Cincinnati, OH
16. Brigham Young University (Marriott) Provo, UT
16. University of Scranton Scranton, PA
16. University of Washington (Foster) Seattle, WA
19. Arizona State University (Carey) Tempe, AZ
19. New York University (Stern) New York, NY
19. Texas Christian University Fort Worth, TX
19. Washington University (Olin) St. Louis, MO
23. Carnegie Mellon University (Tepper) Pittsburgh, PA
23. John Carroll University University Heights, OH
23. Loyola Marymount University Los Angeles, CA
Source: 2015 U.S. News & World Report specialty rankings
Tagged: 2015 U.S. News specialty rankings, U.S. News mistake in ranking, U.S. News ranking of best accounting schools, U.S. News ranking of best schools for entrepreneurship, U.S. News ranking of the best schools for finance
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You are here: Parliament home page > Parliamentary business > Publications and Records > Committee Publications > All Select Committee Publications > Commons Select Committees > Foreign Affairs > Foreign Affairs
Select Committee on Foreign Affairs Minutes of Evidence
Examination of Witnesses (Questions 264 - 279)
PROFESSOR PHILIPPE SANDS, QC AND MR DANIEL BETHLEHEM, QC
Chairman: The Committee now moves on to the second part of this afternoon's session dealing with international law and pre-emptive military action. It is my pleasant duty to welcome you, Professor Philippe Sands, and Mr Daniel Bethlehem, both eminent lawyers, to help us in that consideration.
Q264 Mr Illsley: The initial question relates to existing international, legal cases and the guidance we can gain from them for the legality of pre-emptive military action. I would like to ask initially whether those longstanding, international cases still hold good or whether, in the light of comments from various international figures on the new immediacy of threats, particularly from international terrorism, from weapons of mass destruction, those cases are no longer relevant and whether we need to review the whole aspect of international law around the theory of pre-emptive self-defence. I know that you perhaps have different theories on this in light of your papers but could you give us your views on that question first?
Mr Bethlehem: It is a great honour to be invited to give evidence before you today. You will have seen in my memorandum, at paragraphs 16 and 17, that I deal with the question of, in particular, judgments of the International Court of Justice. There are very few judgments of international tribunals that deal with the question of use of force. There is one going back to 1949 in which the United Kingdom was involved, which addressed certain events in the Corfu Channel. There was an advisory opinion in the mid-1990s that dealt with the threat or use of nuclear weapons, which set out the law in this area generally and there have been a number of other cases. First of all, Nicaragua v The United States in the mid-1980s and, second, a more recent decision of the International Court of Justice in November last year which addressed certain issues between the United States and Iran. Against that background, my view is that there has been an inclination on the part of the International Court, perhaps for very good reasons, to draw the law too narrowly. My concern is that, when we begin to look at the kinds of threats with which the Committee is concerned, the law as described is perhaps not going to be quite so helpful. That is for a number of reasons. First of all, because the Court has been concerned to circumscribe the right of self-defence and to narrow it as much as possible, perhaps for laudable reasons but certainly with repercussions. In doing so, it has caused to be read out of practice responses to certain types of eventsfor example, responses to an accumulation of a whole series of attacks. My suggestion is that we do need to look again at the law as it has emerged from the jurisprudence of the International Court of Justice with a view to seeing whether it is appropriate to current threats.
Professor Sands: I am not going to focus so much on the jurisprudence, which has been summarised very properly by Mr Bethlehem. It is plain that the circumstances in which we now find ourselves, in which in particular weapons of mass destruction are capable of being proliferated and in which non-state actors, NGOs and terrorist organisations can potentially get hold of such weaponry, is a significant change of factual circumstance; but the rules of international law, as I have tried to set out in my paper, are flexible. The basic rules relating to the use of force, whether self-defence or collective security, and the emerging principle of the right for humanitarian intervention are flexible enough to take into account these new circumstances. What I have tried to do in my paper is to illustrate by reference to recent eventsparticularly in Iraq but also Afghanistan and Kosovothat it is possible for the rules to be interpreted and applied properly, in a manner which accommodates those changed circumstances. Specifically, the point that I make is that it is not appropriate to claim that recent circumstances require us to conclude that the existing system does not work and that we have to start again from scratch. I do not think that is reflective of the reality. To the extent that the Prime Minister's important speech at Sedgefield makes that suggestion, I think it takes us in the wrong direction and distracts us. The key issue in my view is to ensure that the processes of decision making are sound and proper, that the circumstance in which a state feels free to exercise self-defence is based on proper decision making, proper information, proper intelligence and similarly, in relation to Security Council resolutions, that they are interpreted, construed and applied in an appropriate way. I am not for a moment saying that the rules of international law are perfect. Absolutely not. The last 60 years make it abundantly clear that that is not the case. I do not think recent events require us to throw the whole lot out, or to reconceive the whole thing. What we have to be very careful about is looking at the three bases for the use of force and consider, on a case by case basis, whether they apply or not.
Q265 Mr Illsley: We have had this argument, particularly recently, as to whether the quality of our intelligence and the quality of the decision making based on that intelligence was sufficiently thorough to justify military action. Professor Sands, what you are saying is that, if a government acted in good faith on the information it had before it which represented to it that there was an immediate threat, pre-emptive action would be justified, even though in subsequent months that threat was found to be non-existent. You are saying that international law is adequate enough to deal with that and that government would be found not guilty on the basis that they acted in good faith. Would that be fair to conclude from your remarks?
Professor Sands: The use of the word "pre-emptive" makes me a little uncomfortable. Where there is broad agreement amongst international lawyers is that the existing rules of international law permit the use of force in what is known as anticipatory self-defence. That is to say, before an attack has actually occurred. The key questionI think we are in agreement on thisis defining the circumstance of imminence. The circumstance of imminence was put by the Attorney General, I think correctly, in the statement he made in the House of Lords in April, as being related to an issue of remoteness. To what extent do the facts as identified give rise to a credible threat such as to permit an immediate response? I have dealt in my paper with the situation in which evidence emerges that a private, non-state group, a terrorist organisation, with an avowed commitment to use force (say against the United Kingdom) using weapons of mass destruction, and credible information emerges that that group is in the process of acquiring the final component, or even an early component. Plainly the rules of international law permit a state, in an exercise of self-defence, to protect itself. Everything turns on the credibility of the information. That is the important point in the process. What has concerned me about the direction which has been taken is that this aspect is not addressed in the Prime Minister's speech. That is the issue that I think determines whether the rules work and work effectively.
Mr Bethlehem: I agree entirely with Professor Sands's emphasis on the credibility of the evidence. I think that is immensely important from whatever spectrum of the law one approaches this. I would come back to what I see as a problem with the law and perhaps it is emphasised by an extract I quoted from the judgment of the International Court in the recent Oil Platforms Case, where the Court indicated quite clearly that there was no margin of appreciation to States. It is not a question whether States are acting in good faith: whether they have tried to discover the information. It is simply a question whether there is an objective threat. I do read that as a problematical statement for current times.
Q266 Mr Illsley: Does the war in Iraq change the legal framework for military action? I know that both of you in your documents have to some extent suggested that the situation in Iraq is unique and perhaps does not change anything and should not affect the law, but would you like to expand on that?
Professor Sands: In the paper, I go through the three possible arguments that could be made. I read very carefully this Committee's report, which I thought was an extremely useful briefing document, as well as the exchanges with Professors Greenwood and Brownlie. I noted that someone right at the end suggested that it is terribly important as to which professor you choose to get your advice from. That was a rather prescient comment. Humanitarian intervention was never invoked in the context of Iraq and plainly would not have been justifiable, even if one accepts that as a basis in existing international law. There was not as of March 2003 a massive, fundamental threat to the fundamental human rights such as to permit that argument. Self-defence was not argued either. I do not think it could have been argued, and I think that is essentially conceded by the Attorney General in his statement last April, and also by the Prime Minister in his speech. There was no imminent threat against the United Kingdom as of March 2003. What that takes us to is the argument that is made that somehow the Security Council authorised the use of force in Resolution 1441. I have set out in my paperand will not rehearse againmy reason why I think that argument is fundamentally misconceived and why most independent commentators and the vast majority of states consider it to be fundamentally misconceived. The central point is that international law and the rules of the United Nations do not allow one or two members of the United Nations to determine for themselves in what circumstances force can be used to enforce Security Council resolutions. One can imagine other situations. We listened to your two previous speakers. There are examples in Israel and the Middle East at the moment of Security Council resolutions not being followed. Is one state entitled to interpret what the Security Council has done and say, "We may now use force"? I heard your question. Once we go down that route, we are in extremely dangerous territory. In simple terms, the answer to your question is no. In a real sense, Iraq is a bad case on which to hang a claim to revisit the fundamental rules of international law. I agree entirely with Mr Bethlehem that there are other cases where plainly the rules of international law are wanting and we need to revisit them.
Q267 Mr Illsley: You do not consider, as we were told here on occasions by ministers, that an immediate threat to the region gives a right to anticipatory self-defence? In other words, if Iraq was looked upon as a threat to Israel or surrounding countries in the Middle East, would that justify military action?
Professor Sands: It could in certain circumstances, depending on the pattern of treaty or other arrangements between the state and the region and the United States and the United Kingdom. NATO is constructed on the principle that an attack on one Member State (or an imminent threat against one Member State) constitutes an attack or a threat against all Member States. In principle, that could have applied But again, I do not think it appears that the evidence, as of March 2003, was such that Iraq posed an imminent threat to any other countries in the region.
Mr Bethlehem: Did Iraq promise a change or raise questions necessitating a change? I think the answer is yes in some respects and no in others. Iraq has been a rather important watershed in respect of questions relating to the efficacy of the United Nations and a review of the institutional structures of the United Nations. In that respect, I think Iraq has been immensely important. I think Iraq has also been important because it has put before us very squarely the question of the evidence that we rely upon. This Committee has looked at questions of military intelligence and other evidence before. I think that has been brought to the table by Iraq. On the question of the law more generally, no, I do not think Iraq has put into play issues of international law which have not been in play before. I think these have been issues that have been in place since 1949 or 1945. It does not change the issues that are in play. But certainly the events of the last few years have made it very much more urgent that we arrive at answers, or at least that we embark upon the road to those answers.
Q268 Mr Illsley: Does the UN Charter still provide a viable legal framework and do we need to refine it in view of the new realities and the new threats? Does the international community need to develop criteria for the Security Council to advise it when making decisions in relation to humanitarian disasters and so on?
Professor Sands: On the first question, yes, the UN Charter remains a viable framework, interpreted in accordance with new situations. Two, in relation to criteria, Mr Bethlehem touches on this in relation to the issue of imminence although not so much humanitarian crisis. There is an effort to do that now. There are various initiatives within the UN. The Canadian Government has set up an initiative. Both are extremely useful. In answer to that question, yes, it would be useful for the international community and for statesand perhaps for this Committeeto recommend that further efforts be undertaken to seek to develop a consensus on these issues. That said, one has to recognise that ultimately, particularly when it comes to the use of force in relation to self-defence, it is going to turn on issues of information and intelligence, which states are not going to be willing to share with other states for very sensible reasons.
Mr Bethlehem: I agree with that. I do not think anyone is proposing that we reconceive the UN Charter. That having been said, I think it is quite clear and widely accepted in many quarters that the workings of the United Nations really do have to be looked at specifically in this context. The Secretary General has recently appointed an eminent panel and they are due to report later this year, I believe. One of the big issues that they are asked to address is precisely the working of the Security Council.
Q269 Sir John Stanley: You referred to the fact that the world had changed, I think rightly so. We are in a situation in which the world is facing a quite different level of threat from people who are in some cases invisible and extremely difficult to detect. I suspect that the scenario that lay behind the Prime Minister's speech on 5 March was something like this: somewhere out there in the world firm intelligence is received that a particular party, which might be a very dangerous and aggressive state but is probably more likely to be a terrorist organisation, is believed to be in possession of weapons of mass destruction or able to get manufacturing capacity to produce weapons of mass destruction. Those weapons of mass destruction are there. The target for them is unknown and therefore the self-defence ground in international law does not apply but that party is simply too dangerous to be allowed to have weapons of mass destruction or access to weapons of mass destruction. The question the Prime Minister posed, I think rightly, is whether we need to push out the boundaries of international law as far as pre-emptive action in those circumstances is concerned. I would like to ask you both: against that scenario, do you think we should do so?
Mr Bethlehem: Yes, and I have said so quite expressly in my memorandum. I think there are circumstances in which we can conceive of a threat of catastrophic action where the boundaries of anticipatory self-defence need to be pushed out. I am concerned that the language of imminence, as traditionally interpreted, is rather too narrow and it is construed in a temporal context only rather than in the context of the harm that is likely to occur. In circumstances in which the scenario you paint might arise, we need to look at the law again. Perhaps I could meet your example with another. If there was intelligence of a meeting of the hijackers of the 11 September aircraft on 1 September in Afghanistan, would the law have permitted pre-emptive, anticipatory action to have been taken then? My concern is that in that scenario we are in an area of uncertainty and I think we need to clarify that uncertainty so that action can be taken. Again, I come back to Professor Sands's comment that it does depend on the credibility of the evidence.
Professor Sands: I broadly agree with that approach, save that I would finesse it in this way: in my opinion, existing rules of international law are adequate to deal with that scenario. In the case that Mr Bethlehem has posited, in my view, there is a perfectly decent argument to be made that the use of force would have been justified in those circumstances under the present rules of international law. The point of convergence is that this does not turn, I fear, so much on the interpretation of the rules. They are there. They are sufficiently flexible to be applied to deal with those circumstances. It really turns on the credibility of the information, the credibility of the intelligence. The main thrust of my paper is to express a real concern that events over the past year have undermined that credibility at two levels. They have undermined credibility in relation to the public, which plainly appears to have concerns about the information side. And perhaps more seriously it has undermined credibility amongst states. I do a lot of work for many countries around the world, so I know that the United Kingdom has a really esteemed position at the intersection of relations with the United States, Europe and the Commonwealth. It is a rather unique position. It is and has always been respected for exercising judgment on issues of this kind. My fear is that over the past year serious damage has been done to the credibility of the country in relation to factual and intelligence issues and in relation to the sorts of legal arguments that the British Government has been willing to associate itself with.
Q270 Sir John Stanley: The difference between the two of you is that you are saying, unlike Mr Bethlehem, that in your view present international law, particularly the application of the right of self-defence, would apply in circumstances where a WMD capability is firmly believed to be there based on intelligence, even though the party that is going to take pre-emptive action cannot demonstrate any direct threat to itself.
Professor Sands: The issue turns on the question of direct threat to itself.
Q271 Sir John Stanley: That is the key point.
Professor Sands: A state is entitled to exercise anticipatory self-defence in relation to its territory and its population and, in response to a question earlier, in relation to those friends and allies with whom it has arrangements. Under the present state of international law, one state cannot exercise the right of anticipatory self-defence to protect the interests of a third state with which it has no legal obligation or right to act. In relation to the situation that Mr Bethlehem described, I think international law is flexible and permits an appropriate response in those circumstances.
Q272 Chairman: Gentlemen, you have spoken about the quality of intelligence as being very relevant. That quality is very much in the eye of the beholder. In the case of Iraq, for example, not only the CIA and our own intelligence agencies but the French and the Germans agreed that there were weapons of mass destruction there. Does that alter the position? If you were in a position of taking a decision at the relevant time, you, as non-professionals, would have had to accept the quality of that evidence.
Professor Sands: This takes us into an area beyond my expertise. I can only answer that question as a member of the public. I read all of the documents at the time and frankly I was not persuaded that the evidence as it existed . . .
Q273 Chairman: With respect, you are an amateur in respect of that. You cannot comment from your professional viewpoint on the quality of intelligence. On the question of imminence, in 1981 Israel saw Iraq developing a nuclear reactor which would have produced highly enriched uranium. Presumably the international community attacked Israel then because it was believed that it was not sufficiently imminent. Now, with the development of law, would there be a different view?
Professor Sands: Over the past few days, we have been discussing precisely that case, the attack on the Osirak reactor. It appears with the benefit of hindsight that there may be arguments that could have been made that the attack was justified, but of course the difficulty that we face is that friends and allies change. In 1981, the then government of Iraq under President Hussein was perceived to be a useful and friendly government to certain countries, which subsequently took a different view. I think applying the Attorney General's test of remotenesswhich is the right testit could not be said, as the facts were in 1981, that Iraq posed an imminent threat to its neighbours or to the United Kingdom.
Q274 Chairman: There would come a point along the continuum where the imminence would become a potentially decisive factor and therefore you would agree there would be a legal basis?
Professor Sands: Yes, I would agree.
Q275 Chairman: Is that agreed?
Mr Bethlehem: I would go further than Professor Sands. My viewI think it emerges from my paper and I deal with the Osirak reactor case head onis that a very good case was made then, although it was not accepted, for the legality of the attack. It is not simply a question of the temporal dimension and imminence and how close it was to weapons being produced. It was also the consequences of when an attack to neutralise the reactor might have been made. As I recall, the Israelis at that stage said this was the point at which they could undertake action with the least amount ofwhat is the euphemism?collateral damage. In those circumstances a very good case could have been made and there are certainly very many who are reassessing that now.
Q276 Chairman: On that basis, would you be persuaded?
Professor Sands: I want to come back with a related point. I do not think I would be persuaded but I would come back with this related point, that I allude to in my paper but do not elaborate because it is outside the terms of reference. I am not sure that you can address these issues of self-defence and the use of force against nuclear reactors in a narrow context. You have to take them in the broader context of the rules of international law which allow trade and international movements in certain products, chemicals, nuclear material, and look at the use of force rules as part of that broader context. If we are going to address the issue that plainly exists, I think we all agree, in relation to new threats, it is not good enough just looking at the rules of international law to deal with the use of force once the threat has arisen. We have to look at the whole multilateral framework, whether it is the International Atomic Energy Agency or other international rules and conventions, which ensures that there are appropriate safeguards to stop this type of material floating around. The two go hand in hand.
Q277 Chairman: I think that one of you said, "Are one or two states entitled to interpret what the United Nations Security Council decides?". If 14 of the UN Security Council agreed one thing and one of the permanent five decided to veto, possibly for capricious reasons, would that nevertheless still give authority to proceed in international law, or should it?
Professor Sands: No, it would not. We have constructed a systemcoming back to one of your earlier questionsin which, right or wrong, we have five states that are permanent members. If one exercises a veto, that is the end of the matter. I would like to say very clearly that the suggestion that was made by the Prime Minister in the run-up to the war in March 2003that somehow the United Kingdom would be entitled to override an unreasonable veto, as it was putis really unacceptable. Once we go down that route, the door really is open to certain countries using force in very dangerous circumstances.
Q278 Chairman: But is there not a danger in your thesis of rather sanctifying the UN Security Council? You recall that, shortly before the Kosovo intervention, China said that it would not agree to the renewal of the mandate of the UN force in Macedonia, for the wholly capricious reason that Macedonia had recognised Taiwan. If on that basis the UN Security Council was not able to act, and the international community therefore not able to prevent a massacre, would not the international law be an ass if it could not respond in those circumstances?
Professor Sands: With respect, I think that it is terribly important to distinguish between the different legal bases for use of force. Humanitarian intervention, a grey areabut many people are now beginning to accept that is justifiable. In those circumstances it does not matter what the Security Council does. If there is an overriding threat to fundamental human rights on a massive scale then, irrespective of what the Security Council does, one state or a group of states may claim to be free to act.
Q279 Chairman: You do not accept that yet. You do not accept that international law has moved sufficiently to encompass intervention for humanitarian aims?
Professor Sands: My personal view is very much moving towards the view that the circumstances of Kosovo do not pose a problem in existing rules of international law; but that is a different issue from a situation in which you are faced with collective self-defence, Security Council authorisation, and a permanent member exercises its veto. In those circumstances, once the veto is exercised, it is the end of the matter. You then have to look to the two other reasons: either self-defence or, possibly, humanitarian intervention. But collective security is out.
Mr Bethlehem: Let me move away from the particular to the abstract of the question. I think that there are many instances in which the burden of interpreting Security Council resolutions and acting in pursuit of them is borne more heavily by one state or by some states than others. In fact, the UN Charter envisages this. If I recall correctly, Articles 48 and 49 envisage an unequal burden. So I think that, in the particular issue, one would have to take account of the circumstances and assess whether it is a capricious vote within the Security Council. Of course, the United Nations' Charter system does contemplate a circumstance in which the Security Council is unable to act on the basis of the Uniting for Peace Resolution, where matters go back to the General Assembly. For myself, I have to say that that becomes more problematic rather than less so when we are dealing with the use of force, because I do not think that there is a sense of non-partisan treatment of these issues in the General Assembly. As a concluding comment on this point, I draw your attention to a document, which I think you have considered before and certainly Professor Sands has mentioned in his paper, the Responsibility to Protect proposal, published by the Canadians in 2001. That deals with humanitarian intervention and says very squarely that the issues relating to humanitarian intervention should rest with the Security Council, and that the Security Council should, when acquitting its responsibility, bear in mind that, if it does not do so, States may be pushed into unilateral action. I think that the same goes in the area of self-defence.
Chairman: I am obliged, gentlemen. You have been very helpful. Thank you very much.
Prepared 29 July 2004
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Tom Brake: I recently conducted a survey of all local authority chief executives in the UK about the impact of NHS budgets on their local authorities, 25 per cent. of whom said that NHS budgets were hurting them. For instance, Buckinghamshire county council estimated a cost shunt of £670,000 from the health service on to the local authority. Camden is seeing an increase in the number of hours of home care as a result of faster hospital discharges. What discussions has the Minister had with the Department for
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Communities and Local Government about the impact of NHS finances on local authorities and what action is she taking
Mr. Speaker: Order. This is a supplementary question, not an Adjournment debate.
Ms Hewitt: The hon. Gentleman reflects well the need for social services authorities and the local NHS to work closely together to provide even better care for the people whom they look after from both the local government budget and the NHS budget. We have increased both those budgets and my Department works closely with the Department for Communities and Local Government on that score. I hope that the hon. Gentleman will encourage Liberal councillors to ensure that they do not cut social services for vulnerable elderly people.
Ann Winterton: Notwithstanding the Secretary of States earlier replies, I still cannot see how the undoubted deficits in this years budget can be made up other than by cutting services. Mine is a predominantly rural constituency, and is she aware that my constituents will not take kindly to any cuts in services at hospitals in Macclesfield, Leighton or north Staffordshire, or at the Congleton War Memorial hospital? In addition, they will not accept cuts in the mental health services, which remain the Cinderella of NHS provision in this country.
Ms Hewitt: In that case, I hope that the hon. Lady will welcome the recent opening of a new day-case unit and a new medical admissions unit at Macclesfield district general hospital where, in addition, a new MRI scanner has been brought into commission. Moreover, we have invested more in mental health services in every part of the country than any previous Government.
Mr. Geoffrey Robinson (Coventry, North-West) (Lab): Is my right hon. Friend aware that we in Coventry have received enormous benefits from the great investment made by this Government? We have a brand new hospital, and there has also been tremendous investment in mental health services. That continuing success derives in part from the citys MPs ongoing close consultative relationship with the Department, which I hope will continue with her blessing.
Ms Hewitt: I can assure my hon. Friend that that will indeed be the case.
Kitty Ussher (Burnley) (Lab): During the Christmas recess, did my right hon. Friend have the opportunity to read the Institute for Public Policy Researchs recent report entitled The Future Hospital? One element of the analysis stated that, on average, patients stay in hospital a day longer if they are admitted on a Thursday than if they are admitted on a Sunday. What is her estimate of the savings that NHS trusts could make if they corrected that inefficiency, without jeopardising patient care?
Ms Hewitt: I did have the opportunity to see that report. It confirms that the NHS would save nearly
£1 billion every year if all hospitals ensured that patients went home as soon as they were clinically ready. That is what the best hospitals do already, and the report provides further confirmation that there can be no trade-off between better care for patients and better value for money. The two things go together, and that is what our reforms are designed to achieve.
Mr. Eric Illsley (Barnsley, Central) (Lab): What incentives are there for primary care trusts to try and balance their books? My Barnsley PCT has been funded under target for years, but it would have achieved financial balance by the end of this financial year had it not been required to pay £7 million to fund the deficits in Sheffield, Doncaster and Rotherham. How long is that money likely to be held by the strategic health authority?
Ms Hewitt: My hon. Friend makes an extremely important point, which reflects the fact that only a small minority of hospitals and PCTs are overspending. Indeed, 50 per cent. of the NHS deficit is concentrated in just 6 per cent. of its organisations, and it is unfair for that minority to overspend at the expense of the majority. That is why we are so determined to ensure that the NHS as a whole returns to financial balance, and that the minority of overspenders put their houses in order by making themselves more effective. They must deliver better care for patients and better value for money, and they must also repay the money that they have borrowed, as in the example that my hon. Friend gave.
Dr. Richard Taylor (Wyre Forest) (Ind): What steps is the Secretary of State taking to promote more widely the valuable information contained in the NHS quarterly Better Care, Better Value indicators? In particular, is she promoting that information to hon. Members, so that they can point out to their PCTs the benefits of prescribing generic statins? Is she aware that, in the league table of prescribing generic statins, the PCTs of two of her colleagues on the Front Bench are ranked 291 and 298 out of a total of 303? If they improve
Mr. Speaker: Order. I have counted three supplementary questions already, and I think that the hon. Gentleman is about to ask a fourth.
Ms Hewitt: The hon. Gentleman is right; the quality and value indicators that we published last year repay close study. That is why we have made them available on a website so that each PCT and hospital can see where they need to make their services more effective, and how they can improve patient care and free up money for new drugs and new treatments. I certainly commend the quality and value indicators to every Member, because they show, once again, how better care for patients can go hand in hand with better value for the record sums of money that the Government have invested in our NHS.
Fiona Mactaggart (Slough) (Lab): In tackling the difficulties that some areas of the NHS have experienced with their finances, innovative programmes such as the one in our accident and emergency department to help older peopleare often the first to
go, rather than traditional programmes. What can my right hon. Friend do from the centre to encourage innovative programmes, which tackle health inequalities and provide improved access to services, and to ensure that they are not the first out under the last-in, first-out programmes that sometimes seem to happen when dealing with health budgets?
Ms Hewitt: My hon. Friend makes an important point. Sometimes, under the pressure of financial difficulties, local organisations understandably make short-term decisions that may undermine innovative programmes that give patients better care and prevent falls, injuries and disease in the future. They thus help to deliver better care with better value for money. We do not try to micro-manage every hospital and PCT from the centre, but we give guidance [ Interruption. ] We do indeed give guidance to ensure that such innovation is supported.
Mr. Peter Lilley (Hitchin and Harpenden) (Con): Can the Secretary of State tell us what proportion of the additional money going into the NHS is being absorbed by large pay increases, not for categories of staff in short supplyfor whom, as she knows, I have long advocated increasesbut for groups of highly paid staff, including consultants and general practitioners who have received increases of between £14,000 and £25,000 a year? Before the increases the General Medical Council was sending out notices headed Important information for medical graduates, which pointed out:
There are an average of 210 applicants for each advertisement for junior hospital posts. Many posts attract over 1,000 applicants.
In the light of that fact, why were the pay increases necessary?
Ms Hewitt: I am sure that the British Medical Association and its membership will note with great interest the right hon. Gentlemans desire to cut the pay of both hospital doctors and GPs. I am proud of the fact that about half the additional record investment that we have made in the NHS has gone on additional staff and better-paid staff. In the case of GPs in particular, the reason they are earning so much more with a Labour Government than they were under the right hon. Gentlemans Government is that they are doing so much more work, preventing so much more illness and caring for patients so much better.
Mrs. Sharon Hodgson (Gateshead, East and Washington, West) (Lab): I am sure that my right hon. Friend is aware that Gateshead Health NHS trust is one of five in the country that has innovated and now offers physiotherapy services over the telephone. I am sure that she will agree that that helps to reduce admissions by caring for people in the community, and that through such programmes money can be saved and lives transformed.
Ms Hewitt: My hon. Friend is absolutely right and I very much congratulate the NHS in Gateshead on that innovation. There is no doubt that as more orthopaedic patients receive physiotherapy directly in the community, those who need surgery can also be treated much more quickly in hospital.
Norman Lamb (North Norfolk) (LD): May I ask the Secretary of State about trusts that have massive historical deficits, often of more than 10 per cent. of their turnover? Nigel Edwards of the NHS Confederation said that for those trusts
financial recovery would imply such damage to patients that no sensible person would go for it. They would not compromise the survival of the people they serve.
Is the Secretary of State intent none the less on requiring those trusts to clear their deficits within a specified period, irrespective of their current financial performance and irrespective of the impact on patient care?
Ms Hewitt: I congratulate the hon. Gentleman on his promotion and welcome him to his new place on the Front Bench.
I have made it clear all along that we expect the NHS as a whole to return to financial balance by the end of the financial year. For the very small minority of organisations with very serious and long-standing deficits, it would be quite impossible for them to return to balance within one financial year, so they are being given longer. However, the longer they take to return to financial balance, the longer other organisationswe have heard from one of the primary care trusts todaywill have to hold back on some of their growth money to compensate for the continuing overspending elsewhere.
Mr. Lindsay Hoyle (Chorley) (Lab): Will my right hon. Friend ensure that the future viability of Chorley and Preston hospitals will not be put at risk through the transfer of work from those hospitals to the private sector? The issue is about capacity within those two hospitals and we do not want to see ward closures. Will she ensure that that work is not transferred?
Ms Hewitt: The new independent sector care assessment and treatment service that is proposed for the north-west will deliver to my hon. Friends constituents and many other patients a better and faster service and it will do so by providing capacity additional to the capacity already available within the NHS and by enabling NHS capacity to be used much more effectively.
Mr. Andrew Lansley (South Cambridgeshire) (Con): Does the Secretary of State agree that the financial stability or otherwise of NHS organisations is a fundamental measure of overall financial performance? Halfway through the last financial year, 134 NHS organisations forecast a deficit at the end of the year. Will she tell the House how many NHS organisations this year are forecasting a deficit?
Ms Hewitt: The information, as at the six-month point, was published in that financial report, but we will update that next month when we publish the quarter three financial report. As I say, I remain entirely confident that the NHS will achieve overall financial balance and that more organisations will move towards financial balance this year.
Mr. Lansley: I am surprised that the Secretary of State did not tell us; the answer to the question is 175 NHS organisations this year. What is particularly worrying is that last year the situation deteriorated between month six and the end of the year. An
additional 45 organisations went into deficit. Can she explain why she believes that fewer NHS organisations will be in deficit this year and how many she expects to be in deficit? If they remain in deficit, precisely what the hon. Member for Barnsley, Central (Mr. Illsley) described will continue to happen: the money for organisations across the country will be top-sliced and their growth money will disappear in order to fund continuing deficits.
Ms Hewitt: I notice that the hon. Gentleman never has anything constructive to say about the need to get better value for the record investment in the NHS and nor does he ever support NHS organisations in making the difficult decisions that are needed to get better value. We are publishing quarterly financial reports on the NHSwe are the first Government to have done soprecisely so that we and the NHS can track the progress that is being made, see exactly what steps need to be taken and take account of additional factors, such as the further cuts in prescription drug prices that are coming through, to ensure that the NHS gets back on track financially and continues to improve services for patients.
6. David Taylor (North-West Leicestershire) (Lab/Co-op): What discussions she has had with ministerial colleagues on the funding required to establish a network of NHS psychological therapists. [113230]
The Minister of State, Department of Health (Ms Rosie Winterton): Improving access to psychological therapies formed part of ministerial discussions for the White Paper Our health, our care, our say. The two demonstration sites that have been established will provide evidence for a business case on investing in local psychological therapy services across England and will form part of our discussions with the Treasury as part of the comprehensive spending review.
David Taylor: The Government have done a good deal to tackle the Cinderella status of mental health within the NHS, but there remain difficulties with access to psychological therapies such as cognitive behavioural therapy, where waiting times exceed 12 months in 90 per cent. of primary care trusts. Can the Minister please act to ensure that such talking therapies are made available to all who need them and not just to those whose employment prospects will be improved and, in particular, to widen access to marginalised groups such as children, adults in hospital or in prison and black and minority ethnic communities?
Ms Winterton: My hon. Friend is quite right to say that waiting times are too long at the moment, particularly for CBT. The point of putting the demonstration sites together is to learn from them exactly what is working so that we can make the case to persuade other areas to follow that example. As well as improving the number of clinical psychologists, it is important to look at the part that other health care professionals can play, particularly in the case of the new graduate workers that we are bringing in, and to look at extra training for health care visitors, for
example, so that they can reach out to some of the groups that he has outlined to make sure that they get access to these important therapies.
Simon Hughes (North Southwark and Bermondsey) (LD): Will the Minister look at the effect of the delays in psychological services generally and cognitive behaviour therapy specifically on young people, including students? All the evidence is that young people going into early adulthood, particularly at universities and colleges, are the most likely to commit suicide or to self-harm. There are often long waiting lists and no local services available, even with the best will of the universities. Will she see whether she can either buy in more services or allow people to use other services locally to prevent a crisis or worse?
Ms Winterton: The hon. Gentleman is quite right: it is important that we look specifically at younger people. There are many instances where different agencies could work more closely together. I am talking about some of the personal advisers through the Connexions services and some of the facilities available in schools. We need to look at how we can bring those more closely together to make sure that, when people need those kinds of services, we are able to provide them more readily than they are provided at the moment.
Angela Eagle (Wallasey) (Lab): Will my right hon. Friend look closely at the positive results coming from pathways to work pilots, where cognitive behaviour therapy offered by the NHS, but paid for by the Department for Work and Pensions, is having an enormously beneficial effect in improving peoples mental health and allowing people not only to re-enter the work force, but to be happier as human beings? Clearly, that needs to be available in the rest of the country. Will she also look at the evidence that this therapy can be offered not only by psychologists, but by other health care professionals such as nurses and health visitors?
Ms Winterton: My hon. Friend is absolutely right. Part of the important work that is being done in the pathways to work pilots is making that connection with employers. There is a lot that employers can do not only to break down some of the stigma and discrimination that there is against people who have mental health problems returning to work and remaining in work, but to support them when they have those difficulties. Again, the demonstration sites, linking with the pathways to work project, show a way in which we can build that into the services that we provide more widely. She is absolutely right that, as I have said, there are other health care professionals who, with a little extra training, can provide some of these services extremely effectively.
Bedford Hospital NHS Trust
7. Alistair Burt (North-East Bedfordshire) (Con): What recent representations she has received on the financial situation of Bedford Hospital NHS Trust. [113231]
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Censorship of Christian Teacher Heads to Second Circuit
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Profil de face
Charline Mignot was born Franco-Swiss at the dawn of the 90’s. From childhood, this young woman developed a very personal point of view to explain and understand the world around her. The result is a burning desire to express herself, which lead her naturally to photography.
She moved to Lyon to continue her studies. Her culture of aesthetics of her photographic work brought her closer to the world of fashion, and her appetite for pushing her limits lead her to write the lyrics of a song, which she wanted to use as the music for one of her photoshoots; thus the track «Est-ce que tu t’en souviens» was created. The characteristic style of the artist is already strongly felt and was identified by her label, Profil de Face.
This meeting of artist & artistic direction gave a completely different twist to the project, which from there took on the name of Vendredi Sur Mer (Or VSM for short).
In 2016, the second single La femme à la peau bleue was released. This was produced by the talented Lewis OfMan, who imposes his unique sound, and helps to create a real momentum and public visibility to the project Vendredi sur Mer. The brand Sonia Rykiel used this song for the soundtrack to their iconic Spring/Summer 2017 which acted as a tribute show to the fashion house’s creator. It has also been championed on Radio Nova, entering into its regular playlist rotations; as well as appearing on other French stations. Having released three titles in three years, the craze around his project continues to grow. Vendredi sur Mer released her first EP of six tracks entitled : «Marée Basse.» (Which translates to «Low Tide.») Lewis OfMan provided the production; inspired by Gainsbourg, Daho, and even the French rap with texts (Orelsan, Nekfeu). This first EP highlights the desire to tell stories through her music. VSM is currently writing her first album, projected to be released in 2019.
VENDREDI SUR MER MORT / FINE SINGLE 2015
VENDREDI SUR MER LA FEMME À LA PEAU BLEUE SINGLE 2016
VENDREDI SUR MER LES FILLES DÉSIR SINGLE 2017
VENDREDI SUR MER LARME À GAUCHE SINGLE 2017
VENDREDI SUR MER MARÉE BASSE EP 2017
VENDREDI SUR MER ÉCOUTE CHÉRIE SINGLE 2018
VENDREDI SUR MER PREMIERS EMOIS Album 2019
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You are here: Parliament home page > Parliamentary business > Publications and Records > Lords Publications > Lords Hansard > Daily Hansard
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Lord Lamont of Lerwick: My Lords, the Minister commented on the balance of probabilities. I hope that he will forgive me if I was out of the Chamber when he mentioned the relevant case, but will he comment on the South African case where the United States authorities sought the extradition of a British citizen who was the victim of a case of mistaken identity? The noble Lord, Lord Bassam, shakes his head as though that is an inappropriate question. However, he has just advanced the case that these matters are easily resolved. The man in question suffered terribly from being mistakenly identified.
Lord Bassam of Brighton: My Lords, I greatly respect the noble Lord's sincerity in advancing an alternative case, as it were. However, he is asking me to make a judgment. I am not prepared to make that judgment. It would be wrong of me to do so. It is not right for me to comment on that particular case.
I referred to a case which I believe supports the principles behind the Government's legislation. It is a serious matter which needs to be taken into consideration. I invite the noble Lord and other Members of your Lordships' House to reflect very carefully on that before they seek to press these amendments. I hope that, having heard the serious import of what I said, the noble Baroness will feel able to withdraw the amendment.
Baroness Anelay of St Johns: My Lords, the noble Lord, Lord Bassam, indulged in much rhetoric in trying to portray those who support the amendments as "do badders" who are keen to allow the worst terrorists to flee. He knows that that is not the case. I shall not indulge in the same kind of rhetoric. We are trying to catch the kind of circumstance that was recounted very carefully by the noble Viscount, Lord Bledisloe, in Grand Committee, and which we
22 Oct 2003 : Column 1720
tried to hint at in the amendment. There are occasions when someone is patently innocent and should not be subject to extradition proceedings. I confess freely that we have not found a way of addressing what we consider to be the vital point that the noble Viscount, Lord Bledisloe, raised. I shall continue to address that point.
As noble Lords around the House said tonight, none of us would want an innocent person to be subject to these proceedings. None of us would want to sign up to legislation that would allow to go free a person who is accused of killing a member of our forces or our police or who is accused of an act of terrorism or a serious criminal act. However, we must serve the whole public. I shall consider how we can return to the matter at a later stage. I undertake to talk to the noble Viscount between now and Third Reading to see whether we can find an amendment which properly serves our joint objective. I beg leave to withdraw the amendment.
Amendment, by leave, withdrawn.
[Amendments Nos. 48 and 49 not moved.]
Clause 8 [Remand etc.]:
Baroness Anelay of St Johns moved Amendment No. 50:
Page 5, line 34, at end insert
"( ) ensure that the person has had the opportunity to receive independent legal advice about the implications of giving or withholding consent to extradition;"
The noble Baroness said: My Lords, in moving Amendment No. 50, I wish to speak also to Amendments Nos. 201 and 211 with which it is grouped.
The point at issue here is the provision of legal aid at the initial stage of proceedings and in connection with the giving or withholding of consent to extradition. When we debated the matter in Committee we thought again about how our amendments were phrased. We listened to the points made in Committee and studied Hansard carefully. Many noble Lords drew to our attention the drafting error in our amendments. We heeded their advice and changed them.
It is clear that we all agree that we must ensure that no one gives their consent to extradition unless they have had at least the opportunity to receive legal advice. The Government have already shown us their commitment to that principle through the amendments to Clauses 44 and 127. They put significant safeguards into the clauses on consent, which we certainly welcomed.
Our amendments are on the same theme, but are designed to strengthen the Government's commitment to the provision of independent legal advice throughout the Bill. Clause 8 lays an obligation on the judge to proceed under it by fixing a date for the extradition hearing, informing the person of the contents of the warrant, giving the person the required information about consent, and remanding the person in custody or on bail.
Initially, we intended to amend the clause by removing the duty on the judge to give the person the required information about consent, and by placing
instead a positive obligation on the judge to ensure that the person had received independent advice about consent issues. We felt that that approach was flawed, so our new amendment maintains that independent legal advice should be provided to the defendant at the initial hearing. We have already explained that that is advisable. At the moment, the judge must tell the defendant that he can consent to extradition or not, how the procedure will work if he does consent, and that consent is irrevocable. In Clause 44, we see that the person can give his consent only if he has had access to legal advice, and is either legally represented at the time of giving consent or has refused legal aid having been given the opportunity of it.
We are concerned about the timing. At what stage will the lawyers have access to the defendant in order to run through the issues involved in giving consent? We want to make sure that the person has had time to talk matters through and reflect on which course is appropriate to the situation, without in any way opening the gate to people who want simply to extend the process for their own purposes rather than proper judicial reasons.
Under Clause 44, the person who has been arrested may have had legal aid for only a matter of hours before he is required to make his decision. We want the Bill to make sure that such a short time frame is not the case. By introducing a requirement for the defendant to have access to legal aid at the stage that Clause 8 describes, we would try to provide certainty that he had time to consider the very serious decision before him.
I make it clear that all the amendments are strictly probing. We are trying to get a picture on record of how the provisions will work. I beg to move.
Lord Bassam of Brighton: My Lords, as ever I am extraordinarily grateful to the noble Baroness, Lady Anelay, for having tabled the amendments and explained their purpose. She always gets her explanations spot on.
The amendments relate to the important issues of consent to extradition and, more specifically, of the legal advice available to a person in such circumstances. It may be worth recording that somewhere between a quarter and a third of those who are the subject of extradition proceedings in this country consent to extradition, so it is not an insignificant issue. It is also very significant for the individual concerned. Deciding whether to consent to the extradition request or to go back voluntarily is a very important decision.
That makes it absolutely vital that those concerned understand the full implications of granting that consent. For that reason, the judge is required at the initial hearing to explain to the fugitive about the possibility of giving consent and also about the implications and consequences of so doing. In particular, the judge must set out the consent procedure and make sure that the person is aware of the very important fact that once consent has been given it cannot be revoked.
The amendments would impose an additional requirement on the district judge at that initial hearing. He would also be required to ensure that the person has had the opportunity to receive legal advice about the implications of consenting to his extradition.
I am sure that many of your Lordships will regard this as a sensible proposition, as do I. I do not disagree with the underlying sentiment behind the amendments, but I want gently to suggest that they are superfluous. I remind noble Lords, first, that anyone who is the subject of extradition proceedings is entitled to legal aid. Every person who is arrested in an extradition case has the same entitlement as those arrested in purely domestic cases. That entitlement is to independent legal advice.
The duty solicitor scheme is designed precisely to ensure that this advice is available before the first court appearance. In the extradition context, that means that the legal aid is available before the fugitive has any opportunity to consent to extradition. So the advice is there before he is put in the position of considering consent.
As your Lordships will see from the draft code of practice on police powers, which we put out for consultation, the first duty of the custody officer following a person's arrest in an extradition case is to ensure that he is informed at the first instance of his right to free, independent legal advice. So right at the outset it is the duty of that custody officer to make that crystal clear.
I want to take this opportunity to put on the record one other point which arose in Grand Committee. My noble friend Lady Scotland has written to the noble Baroness, Lady Anelay, about it. The Government are engaged on a consultation exercise about possible changes to the duty solicitor scheme. However, extradition cases are of such a seriousness that they would not be affected by any such changes. We wanted that to be widely known and understood. In other words, the duty solicitor scheme will continue to be available to all those arrested in connection with extradition.
However, my reason for suggesting that these amendments are unnecessary goes beyond that. If noble Lords care to take a careful look at Clause 44 and the corresponding Part 2 provisions in Clause 127, they will see that they make clear that the district judge cannot accept a person's consent to extradition unless that person is legally represented or has had the opportunity to have legal advice. In other wordsand I have chosen these words very carefullyit will never be possible for a person to consent to his extradition unless he has had the opportunity to take legal advice. That is what the Bill already provides for and, accordingly, I do not believe that these amendments are appropriate or necessary. I hope that, having heard that, the noble Baroness, Lady Anelay, will feel not only reassured but confident in withdrawing her amendment.
Baroness Anelay of St Johns: My Lords, I am grateful to the Minister. He has put the Government's arguments on the record more clearly than in Grand Committee. I certainly accept his assurances on those matters.
He was right to refer to legal aid. I asked questions in Grand Committee because I was concerned about the continuation of legal aid being available for serious cases. I was grateful to the noble Baroness, Lady Scotland, for writing to me to confirm that. I beg leave to withdraw the amendment.
Baroness Crawley: My Lords, I beg to move that consideration on Report be now adjourned.
Moved accordingly, and, on Question, Motion agreed to.
Hereford Markets Bill [HL]
Returned from the Commons agreed to.
House adjourned at four minutes past ten o'clock. Correction In col. 1549 on Tuesday 21st October, the first two sentences of the Lord Livsey of Talgarth on Amendment No. 4 to the Hunting Bill should read, "The passing of Amendment No. 2 incorporates specifically the principles of registration and exemption. The new clause contained in Amendment No. 4 clarifies and defines registration."
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Security and DevOps: Puppet Podcast with Gareth Rushgrove
Beth Cornils
published on 15 November 2016
Sign up for our podcast on iTunes or subscribe to our feed with your favorite player.
Welcome to the final episode of our three-part infrastructure security series. Puppet senior software engineer Gareth Rushgrove chats about the future of infrastructure security, and how breaking down organizational silos can help devs, sysadmins and security experts work better together.
Gareth discusses how other DevOps practices like test-driven development and continuous delivery can help you create more secure software and infrastructure.
If you've had the chance to hear Gareth at security conference talks, you know how good he is on this topic. If you haven't heard him, here's a great opportunity to get the benefit of his experience in infrastructure security.
Beth Cornils is senior product manager at Puppet.
Beth Cornils, senior product manager: Hi, everybody. I am Beth Cornils. And we are here to kick off the first of our Security Podcasts. To do that, we have the delightful Gareth Rushgrove. Thank you so much for joining us.
Gareth Rushgrove, senior software engineer: No problem.
Beth Cornils: Gareth has an extensive work experience within security in a variety of capacities. And we'll probably give him an opportunity to talk about that shortly. He is actually one of my go-to people here at Puppet when I have questions or as I'm going through what our roadmap should be and say, "Oh my God, does this make sense or not?" So I'm super happy to have you here, and thanks so much because I know the time zone difference is a little bit of a bugger.
So let's start out with the general niceties. I've said a little bit about me. Gareth, why don't you tell us a little bit about you?
Gareth Rushgrove: Yeah, no problem. So hi, everyone. I'm Gareth Rushgrove. Pretty much garethr everywhere on the Internet. I'm a senior software developer here at Puppet, mainly working on a whole bunch of things around containers, new operating systems, integration.
As an aside, I also curate the DevOps Weekly email newsletter, which lots of people know and love.
Beth Cornils: Yes, I know. I signed up for that once I realized that that was actually a thing. So that's been pretty fun and good. I really appreciate it. Okay. So let's kick off with a couple of questions. So this one's going to sound like, why are we talking about this? We're talking about DevOps and not security. But trust me, we'll get there.
So Gareth, you've spent some time thinking about the DevOps world and how it's evolved. So let's take some time to talk a little bit about that, kind of like from your perspective.
Gareth Rushgrove: Yes. So I'm — I guess I've been lucky enough to be involved in two different ways: One, to be have been part of this DevOps movement from pretty early. I wasn't at the first DevOps days event where like the word DevOps came from. But I think I was at the second or third one, the second one in Europe anyway, in Hamburg. And I've been around the rest of the community. I helped out with some of the DevOps Days events. I've spoken at a bunch of DevOps events and been along and recently spoke at DevOps Enterprise Summit. And I — in parallel to that, I've been in worlds where I've been a software developer.
I've been in worlds where I've been much more on the operations side, operations management side. And I did a lot of crossover bits and pieces. And I think that's how I ended up in that community, as part of that community, interested in the things that this whole DevOps community's been interested in. And one of those things that's become much more of a theme, I would say, maybe two, three years ago now, was security.
And to start with it was very much just a conversation between the typical sysadmin and the typical developer taking a outside-in look at things. But more and more — it was to start with all about everyone, and everyone has just become much more about , I guess, this being testing and quality folks, and performance, and increasingly security.
But one of the things to realize and sort like — in all this everyone knows the word DevOps. Everyone is increasingly familiar with some of the practices. If you jump back five or 10 years, things looked very different. Certainly before we had the word DevOps. But also before a lot of the practices were — and anything even talked about.
Agile systems administration was the precursor. And again, like 10 years ago that was not the way anyone really worked. Alternation was really not the way anyone worked, apart from like on the edges and behind the scenes in a few very specific places. And operations at that point was definitely like a silo. It was definitely something that was not well regarded like from outside its own sphere, that had arguments to relate to developers.
And it was procedures of bottleneck. There was like this stereotype of operations and the stereotype of developers. Like 10 years ago it was — the stereotype was much closer to the reality in most places. And I think it's easy to forget that in where we are now where there's a DevOps event even somewhere around the world every week or two.
Where there're newsletters, where there are companies, where there are tools, where there's a constant conversation about how we can like better operations as a discipline. And there are tools that you can buy, tools that you can download from the Internet free that can help you, and people to talk to and places to go. And it feels like operations has come a long way in the last like five and 10 years.
Beth Cornils: Yeah, I can see that. And I've been — as the product owner for a security, I've spent an awful lot of time talking to security people, and not necessarily Puppet users who are in security, but other people. And one of the common themes I've been hearing is we have all these security conferences that security go and talk to each other about security, about all the things that they already know because they're all concerned about the same things.
And they're starting to actually go to DevOps conferences and talk about security at DevOps conferences to raise that visibility and see how we can all kind of work together. And they're trying to get developers to come to the security conferences as well. So it does seem like there's a shift that is starting to happen. So yeah, I would definitely agree with that. I've been hearing that and it seems like it's a good thing, because any time you keep any particular group in a silo, nothing good can come from that, in my opinion.
Gareth Rushgrove: Yeah. I'd say those people are pretty progressive on the security side. I think there's a growing interest and there's some awareness on the security side. But it definitely feels that it's only been in the last year or two. So that's starting to happen.
Beth Cornils: Yes. Yeah. No, I would agree with that.
And that's one of the things that I've been sending my developers to security conferences, whether they like it or not. And having some of the security people who have a security background here are going to DevOps conferences. So that's one of the things that, from a Puppet perspective, has been really important to me.
As you mentioned, it's only in the last couple of years, as I've heard like a couple of people say, "Yeah, every time I go to a security conference, it's only security people, and we keep complaining about the same things. Or maybe we're evolving a little bit, but how do we get the rest of the industry to follow us along."
Gareth Rushgrove: And I think that's the area between where we are today with security and maybe where we were with our operations systems administration five, 10 years ago. But it looks the same from my viewpoint.
You've got the early adopters. You've got those people who are enthusiastic. They are saying, "Well, actually, I'll step over the line." And whether that was the operators going to developer conferences, developers going to IT prototype conferences, or today security professionals going to DevOps events. It always takes those few people to start with to step over some imaginary nonexistent really, but quite firm line.
I think as well, there's an one to one event in particular in London, and it's on again this year, was the first event I went to where I think they did an amazing job. The audience really felt like it was in thirds. Software development as a third. I saw people from more of an IT operations background, and a third from a security background.
And that was security people from a policy side as well as security people from the more hands-on, security engineering side. And it was operations people from a automation, like software systems engineering point of view, but also operations people from a service management point of view. They did a really good job of bringing together a really wide range of people.
And it felt like one of the first events I've been to where it really was everyone in the room as opposed to being a developer event, which has some security people who have come along to help like developers learn more or operators learn more or whatever. And so I think we'll see more of that as well with like really good crossover events.
Oh, I think that's exciting. I hope we do because it's definitely exciting when you think about it, security has been in a silo for so long.
And when I think back — so I've been in the industry for about 15 years. We had devs who were like, "Oh, I'm not going to go talk to ops." And ops who were like, "Yeah, devs are always going to like screw me over. So whatever." And now they're working together. Before they worked so hard to keep in their own silo. And I see security people in a lot of ways doing the same thing. And as you said, there are some of the cutting edge people who are willing to go over the imaginary line that are starting to like try to integrate and bring everybody together.
So I think it's really exciting. It's kind of an exciting time to be in security, as far as I'm concerned.
Gareth Rushgrove: Oh definitely.
Beth Cornils: So let's see. So how do you see the world changing in security? I find it interesting that there are more people who are willing to reinvent instead of using open source.
There seems to be almost like this “keep everything close to yourself” when you're in security instead of sharing and being a little more open about how you're handling your security, how you're handling security within your industry. Do you think that will start to change? Do you think open source is going to be a thing that will be more relevant and useful in the security world? What are your thought on that?
Gareth Rushgrove: I guess, broadly, yes. But also not just open source but openness in general. I did a recent talk at Information Security Europe in London about the benefits and challenges of openness is security, because I think one of the things that's happened over the last 10-year period or made-up timescale and of operations and developers working more closely together, infrastructure as a service, and like to the DevOps movement.
There's been an explosion in software. But in reality, a lot of that type of software existed, people had their scripts. People had their ways of doing those things. But by collaborating together, they were able to come up with actually high-level tools or more polished tools.
And there's been a lot more effort spent on a small number of tools rather than everyone have their own scripts. And Puppet it's a great example of that. The number of people from such a large number of organizations that have come a bit over the last 10 or so years has provides that network effect. And everyone contributing, everyone using, benefits from everyone else contributing and using.
And I don't think the same things have happened yet in the security environment. There are definitely individual products used for security purposes that are open source. And many of them are low level, and many of them will then the low levels of development tools, the low levels of inspection tools. But you don't really have the higher level and frameworks for the most part.
And I think some of that collaboration around software comes hand in hand with conversations and sharing and being more open in general. And I don't think Puppet would be where it is today as a tool or as a company if there hadn't been all those people talking about it.
Luke did travel quite a lot and started talking about Puppet in the early days. But way more people outside Puppet have given talks about Puppet and showing their colleagues or showing their friends or showing people at user groups Puppet. That happened inside a company, and that effect, that large community of people has I don't see anything quite like that within security yet.
And I think that's interesting because the effect open source and the open source culture and sharing and the network effect of these sorts of platforms in infrastructure, platforms, in operations have had on not just how operators do their work but also the industry, like the companies and players in it. I think the same thing could completely play out in the security environment.
There's a lot of really good tools and products. But in a similar way to maybe things on the infrastructure side, they can be perceived as expensive and for the very high end. And I think in infrastructure we've seen the the high-end tools become as readily available for your three-person startup or your like education establishment, just with different bells and whistles and different ways of working.
I can definitely see the same thing playing out in security.
Beth Cornils: Yeah. I think it's interesting because when I've talked to, again, people in the industry — that's my job as a product manager, which is why I keep bringing it up — it seems like not a lot has changed within the tools that are being used. And so it remains very much the same.
And security can actually be a fairly lucrative kind of environment. And it can, from both the companies who create the tools as well as the people who do things like countries who are willing to steal personal information. You have like Mafia is actually into this.
You have holding companies ransom with DDOS ransomware. So you see a lot of that happening. And so I see the connection between security companies or security teams keeping things closed and more siloed, and the fact that that allows security software companies to not evolve.
They don't have to evolve if the security teams aren't evolving. So do you see that security companies will change as we start to make this change and as people are starting to cross over that line, do you think that that will happen? I mean, I feel like it kind of — it has to happen, right, because otherwise, the security vendors are not keeping up with what people are doing, like the Mafia and different companies stealing PII data or whatever data, that thing.
Like it has to change. So do you feel like this is the time that it's going to happen, or do you have any like ideas of how you think that will happen?
Gareth Rushgrove: I think it is happening already. I think in hindsight, it's easy to look at what happened with operations tools as happening overnight. In reality, it played out over 10, 15 years from the point where certain organizations had taken a different approach and said, "We're not going to use the same tools everyone else is using.
"We want different tools. They don't exist, so we're going to create them for ourselves." And if you talk to very large but not always very large companies, like technology centric companies, not necessarily technology companies as well, where they have real security problems and they have an awareness of the security problems.
And they're often building that tool, really good tools, themselves. And I think you don't just have to do it by piecing very complete solutions together. You can often start seeing it coming out with organizations that piece things together from small components and they invest their money then in integration and gluing things together. And that approach will work for all organizations.
But I think what it will demonstrate is that there are other approaches to securing data, securing infrastructure. A good example of that, I guess, is the — that much more historical model of securing the perimeter, investing everything in a single device or single devices that secure your perimeter and ultimately, say, not having a big wall.
And over time that space become clear that like actually, yes, progress reports are important, but unless like you're actually defending inside your network and you've probably got more problems than you realize. And those problems are completely bypassing your often quite expensive perimeter security, you've put all your eggs in one basket.
And I think like that doesn't have to be the approach, but when you're in a world where you can only buy off the shelf, you often then don't have Internet tradeoffs like that, because you can maybe only invest that. It's that much money and you have to pick one or the other. And when you're doing a lot more bits yourself, you can be a lot more nuanced. But you need the skills and the ability and the trust and the environment to do that.
And I think like with operations, we've shown that organizations can move towards like doing some more of those things. But you will find extreme organizations that do it in an extreme way and pay costs for that and pay an ongoing cost for that, but probably move first. But a lot of those things can then be more industrialized and then later productized and commercialized and play out everywhere else. I think we're already seeing it.
It's just that it's unevenly distributed. And in many cases, you can't buy it today, in the same way as you couldn't buy really good infrastructure automation tools maybe five, six, seven, eight years ago. It's not that they didn't exist. It's how they were preserved by the early adopters. And now, obviously, there's a lot more like modern infrastructure tooling. So I think we're seeing it.
It's just that change takes a lot longer than people think.
Beth Cornils: Yes, it does. Yeah, no that's true. And it's one of those things that I've thought about that what drives some of that change. And it seems like we hear a lot more about breaches. We hear a lot more about security issues. We had very high visibility with the FBI and Apple, that I wonder if part of that will start to help us evolve more quickly within like, oh, it seems like we have to kind of like change more quickly to keep up with the Joneses, so to speak.
In terms of some of our security software and what we're doing in our approach and how do we take a look at it, and do we need to reframe how we're handling security, because it seems like, for a long time, there was a very stagnant way of looking at security - do this, you have these rules and regs that you follow, you follow this procedure, you check off this box.
And those things are good. Those are not bad and we should not throw them out. But there's also the ability to be — and I hate to use the word — but a little more agile in how we address some of our security stuff and how we can take a look, and can we learn from that — if we're less closed off, we have the ability to be more open and make everything better for everyone.
And then it's more of a united front against some of the attackers as opposed to this one company over here found this amazing way to identify anomalies, and they're working on making it open source. And so maybe we can get that in the next year-type thing. Is that what you're talking about? Or did I kind of take us off track there a little bit?
Gareth Rushgrove: No, one example. I think security's one of those areas, and the security experience tends to be quite good as a somewhat close community of sharing within itself, because there's generally a sense that like you don't — you don't win at security by someone else being like compromised, if you like.
There's like — it's not the same. The — as a — like working for an organization that isn't a software vendor, that's not selling some things. Someone else not being compromised is good for you as well. I think that the issue there is that real change tends to come about from this, I guess, existential crisis.
So what's been happening, and Apple being a good example, Apple really saw reinvesting and investing in infrastructure, and using that and pushing that out as part of their marketing, even. And so it's not just technology; it's policy as well. But they had a real existential crisis there. And everyone else can look at that. But most organizations will think, "Well, glad it wasn't me," and move on.
I fear that most organizations change because they have an existential crisis, not because someone else did. And there is that risk that as an entire group, we do know how to do things better, [but] actually like we did individual organizations, it's difficult to find how you apply the pressure within your own organization to do things better, to do things differently.
I think it's going to be one-faceted. And security's becoming more visible. It's becoming more obviously problematic. I think one of the things that's happening there is going to be insurance and how the insurance industry, interestingly, like becomes involved in applying pressure for people to be more secure.
And I think that's — that's going to be one of the things that increasingly plays out. I think in lots of cases already, security is being to a degree driven by compliance made in modern security. And there's a link there that being compliant with something like PCIs, like they are trying to drive standards across an industry and ensure things are more secure.
But that large brush strokes and they're across everyone. And so there's a baseline there. And rather than it being much more contextual, much more about your organization and your own threats, and something that maybe less specific — that is more specific to your organization, is more specific to you as a company. And driving security would probably be good.
And the best driver is always that existential crisis. But that tends to mean something's gone very wrong beforehand, and there's a question of can we, as an industry and as individual companies, do things without that. You hope so. But how that plays out is difficult to see in some cases. I think that the only way that really happens across lots of organizations is with sharing.
It is with people being — people finding it easier to know what works and what doesn't work, and easier to adopt new things quickly. You mentioned this. A lot of that in lots of cases is being able to change our action, be able to not always just move faster but ultimately adapt faster.
And that's something that in lots of cases, security — often security driven by compliance finds it very difficult to do, and is adopted on a like — on a regular cadence, on a week by week, on a day by day basis, rather than seeing through the eyes of a compliance regime which might be much more six month, or yearly or biyearly basis. And it's centered around those audits rather than centered around the day to day security risks, which may have actually little to do with compliance.
Beth Cornils: Right. No, absolutely. And it seems like if I kind of tie loosely with the DevOps world and just getting the security and getting security people out of their silo, having other people within the organization aware of the security risk that they could be helping to prevent.
Or why when a security person is coming to them with their hair on fire with a the bottle of gin in their hand going, "Oh my God, the world is on fire and I need this gin because it's going to make me feel better." They understand the reason why they're doing that. And they take it seriously instead of like, "Oh God, here's someone who's going to tell me no, or who's just going to like take me off track for everything." So it's that visibility and bringing people together.
Gareth Rushgrove: Well, visibility and context.
But is it’s an example that, I guess, that some of the practices that are — actually have really good support in the data about being good, and are being adopted by larger and larger organizations. And so, for example, around continuous deployment, continuous delivery, releasing in small batches and much, much more regularly, with literally the opposite, if you like, of the best practice 10 years ago.
And what's interesting there is that we have data to back that up. So to start with, people were doing it and everyone was saying they're crazy. And to a degree, there're still people saying that today. But it's much easier to have a grownup conversation because we have really good data from across industries, and, for example, in the DevOps report, that shows this works. And I think having the — that only happens when there's — like there's an ability to share, there's an ability to question existing best practices.
And I think the same thing will happen in security. And it's that questioning that has happened in some organizations, and they have new ways of working and they think are better. The main thing is, if they are better, can we prove it? And if we can prove it, can we get the word out?
And again the operations, they're like — the parallel, to me, is someone who's being on lots of different sides of this, really strong and the answer feels like yes. I don't know what the answers are. I don't know what all the new practices are or what the new tools might look like. But they definitely exist. There are definitely better ways of doing like what we're doing today.
Beth Cornils: Right. Yeah. Well, in a way, we kind of have to, right? We can't say where we are.
Okay. So one of the — well, I have two final questions for you. One is open-ended. You tell me if I've missed anything. But what are some of the interesting changes that you've seen recently in the security area, or maybe adjacent to security, that you think is like, wow, this is amazing. This could be — this can really change how the world thinks about things, or not the world but this part of the world.
Gareth Rushgrove: So I think there's, first off, several approaches. And as someone who's been a guest and both a software engineer, operator and has interest in security, and I'm drawn to a number of the tools that are around applying software, applying code to security problems.
I think that's to an extent a product of like my background and my interests. But it was the same thing with infrastructure as code and with Puppet as well. And that worked out. Like we demonstrated that there's value in taking things that were maybe previously in people's heads, differently in different people's heads, written down in human language, maybe across language barriers, maybe not, but just in a lofty way.
This , oh, how do I make this change? Oh, there's a book somewhere on the Wiki. When was it last updated? It was last updated when someone started and did that task because the previous one was out of date. That's like massive information, turning that into well-structured code that we can reuse as being a theme that DevOps may have been.
And there's a number of tools popping in security that — they're all starting to do the same things. They maybe lack the sharing platform at the moment, but the low-level tools are there. So this was actually one of the things that was mentioned around testing in the recent cyber reliability engineering book from Google.
And it's interesting to see that it was something that they'd been doing in parallel to everyone else and doing as well. So tools like Service Pack can be used here like writing unit tests based around security policy for your code. They inspect framework as well from the folks at T-Mobile Labs. There's also BDD security is an interesting one, applying human language code using the cucumber gherkin syntax.
But the tool itself comes with lots of built in security. Has scanning features, if you like. So it's not just that. It moves you away from the idea that an expert runs the scan on an ad hoc basis and interprets the tea leaves, interprets this all this data that's difficult to analyze and gives you a result at the other end. Rather than having — like having code actually scan — and interpret — and you making specific assertions against that.
So you can be much more fine-grained. Also you can push that — those fine-grained checks out into individual application teams or individual service teams or infrastructure teams. But you can all see all of the new answers. So you still need that expertise to know what those things should be in the first place.
But you can much more easily share the information about what's working and what's not, what needs to be fixed, and what's bad, like what's been broken for a while. So I think that's a really interesting area. — you can nearly run with the idea. It's not like — there's not like this equivalent to infrastructure as code. What would we mean by security as code? It's all a good — like a good hypothetical question. Like do some of the same approaches work?
Do some of the same lessons that we've learned through applying software engineering practices to infrastructure? Do they work in security? And I don't think we — I think the answer is probably yes in some way. And we got like anecdotes about that working in some way. But I think that will be a good thing to run with over the next few years.
Beth Cornils: Yeah. That's interesting. I like that. Okay. So then last question: Is there anything that I missed that maybe you wanted to talk about in this? Because sometimes I miss things, it turns out.
Gareth Rushgrove: I don't know. I think that's a pretty good run through a series of topics.
Beth Cornils: I thought you kind of rocked it.
Gareth Rushgrove: I think it's just — it's interesting observing the , I guess, the tectonic plates of all these different IT disciplines moving. And I think if you talked to some people at some organizations, they really don't see themselves as separate. But actually, when — if you're forced to think and look at how you work and how you've always worked and how your department is structured, and how people are paid and how people are incentivized and who reports to whom.
And really take a step back, you can start — you start seeing that actually, yeah, we often have structured IT organizations to have these characteristics of siloing themselves off. And I think that maybe the only thing we haven't touched on is when you realize that from a security point of view, how do you change your organization structurally to best take advantage of maybe this serendipity like of security people talking to developers, talking to operators.
Beth Cornils: Right.
Gareth Rushgrove: And I think that's something else that we've seen on the operations side is that lots of organizations are changing how they structure themselves, that they're undergoing , in some cases, incredibly large reorganizations to take advantage of operating developers working more closely together and ultimately pushing towards being able to move faster.
And I think that's a pressure on security organizations, because if the rest of the organization changes shape and does so in pursuit of moving faster, if a security organization could just keep up before, it's definitely not going to be able to do it in the future if he retains the same shape.
And in lots of those cases, they're probably also not going to — if it's — if they're — if applications are being deployed 10 times faster, let's say, after early, and the security organization's probably not going to get 10 times as many people or 10 times the budget, or 10 times anything else. So it's going to have to change in order to adapt to that new normal.
And I think we'll hear a lot more about — over the next few years how security organizations are reorganizing - what sorts of skills are required, what people are required in them to keep up with that rate of change.
Beth Cornils: Yeah. No, that makes sense, because, well, that's the nature of software. That happens in every group, and I can see that happening in security especially. All right. Excellent. Thank you so much, Gareth, for your time. I really appreciate it.
This was a super fun kickoff to our security podcast series that we're going to be doing. So I hope everyone looks forward to the next one that we have coming up.
Thanks so much, Gareth. I appreciate your time.
Gareth Rushgrove: No. No problems. Always good to chat.
Puppet Podcast
Text format Basic HTMLRestricted HTML
How Automation Helps You Harden Your Systems and Beco...
The shortest path to better security and compliance
Sakura KCS - Japanese Version
Sakura KCS
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Lori Loughlin & Her Husband Plead Not Guilty In College Admissions Scam
posted by Lauren Crawford - Apr 15, 2019
Lori Loughlin and her husband, Mossimo Giannulli, are gearing up for a fight.
On Monday (April 15), the former Fuller House star and her fashion designer husband entered a not guilty plea to each charge against them in the college admissions scandal.
The two are among dozens of wealthy parents accused of scamming elite colleges and universities to get their children in. Loughlin and Giannulli allegedly paid $500,000 to make it look like their daughter had been a rower so that she could be accepted into the University of Southern California. They were initially arrested on a felony charge of conspiracy to commit mail fraud and honest services mail fraud. However, last week, the Department of Justice charged them with an additional felony count of money laundering, so they are now facing up to 20 years behind bars for each charge.
While several other indicted parents have also entered not-guilty pleas, actress Felicity Huffman, and 12 other wealthy parents, plead guilty to one count of conspiracy to commit mail fraud and honest services mail fraud as part of the college admissions scandal last Monday (April 8).
"I am pleading guilty to the charge brought against me by the United States Attorney's Office," Huffman said in a statement. "I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions."
"I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community," the statement continued. "I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty."
Huffman admitted to paying $15,000 to a fake charity associated with Rick Singer, the facilitator of the college scam, "to participate in the college entrance exam cheating scheme on behalf of her oldest daughter," read her indictment.
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Basic Digital Concepts: New Technology/New Rules
by Rick Allen
Digital audio! It has opened a whole new world of possibilities in radio production: precision editing, the chance to undo any edits you didn't like, the courage and time to try some edits you would have never attempted before, no tape hiss or generation loss when making copies. The list goes on. But then we discovered that despite these advantages and the fact that newer digital audio systems have become pretty straightforward, we still hit a snag with some technical problem every once in a while, and it always seems to happen when the PD is screaming for that promo he wants to run before the next stop set. So here are some tips and concepts for general digital audio recording and a few more that apply to the lucky group of us who use it for our jobs in radio. For some people, I know this look at digital recording will be a basic recap of areas you're already very familiar with. For others, it will seem very close to a foreign language loaded with too many numbers. Hopefully though, if you're like me, every time you learn something new about this great technology, you find several more areas you want to explore.
On a very basic level, the same principles of digital audio apply to the recording, the playback and the storage of sounds. This includes DATs, MiniDiscs, CDs, samplers, hard disk recorders and digital multitrack tape machines. It all begins by converting the analog audio (waveform) into numbers that represent the sound in a way that a computer can use to capture and manipulate the audio. This is done by measuring the amplitude and frequencies of the incoming signal at a predetermined rate and converting them into a binary number.
Two factors of this representation can drastically affect the quality of digital sound. The first is the sample rate. Your CD player plays back at 44.1 kHz. Your DAT recorder might record at 44.1 or 48 kHz. This rate is the number of times each second that the signal is measured. The faster these measurements are taken, the more the numerical picture represents the original waveform, and the higher the frequency of the audio that can be captured and played back. However, you'll also be eating up more hard drive space with bigger chunks of numbers. The frequency that corresponds to half of your sampling rate is the maximum frequency that your system can reproduce. So, if you're sampling at 48 kHz, you can capture audio between zero and 24 kHz. Remember that FM broadcasting's bandwidth drops off sharply at 15 kHz. So if you want more recording time, you can sample at 32 kHz (giving you audio up to 16 kHz). To give you a reference, a 2-gig hard drive can record around 531 track minutes at a sampling rate of 32 kHz, 385 minutes at 44.1 kHz, or 354 minutes at 48 kHz. Choosing 32 over 48 gets you 146 extra minutes of recording time. On the other hand, remember that once you record at the lower sample rate, you can never recreate those higher frequencies. This came back to haunt me at HOT 97 once when I did a quick in-house edit of a song at 32 kHz. The record company liked it and asked my PD for a copy so they could release it on a CD. At 32K, the edit sounded just fine on the air, but everything above 16 kHz would be missing on a CD. I had to go back and recreate all my edits a second time after resampling the original song at 44.1 kHz. A lot of extra work just because I wanted to save some hard disk real estate.
The other factor is resolution. This is the number of bits used to represent each signal measurement. You've heard of 8-bit samplers or 16-bit CD players. There are many choices out there. What's the difference? Well, a string of 8 binary numbers (8-bit) can express 256 different signal levels when recording a snapshot of audio, while a 16 bit system can represent 65,536 different levels. The higher the resolution the closer the number represents the true level of the analog signal, but again, the more space you need to store it.
Another factor comes into play once you've recorded audio and are doing a digital to digital transfer. You have to pay attention to the clock source. The clock gives both digital systems the timing reference so all the information is placed at the same place on the copy as it was on the original. Some systems choose the clock source automatically. If you're working with one that doesn't, you must tell the destination system to listen to an external clock (the clock from the original source). It is possible to get clock feedback loops. If this happens, recheck and make sure the only digital connection plugged in is the source digital output into the destination digital input.
That's a very simple look at just a few areas of the digital domain. Don't let any of the technical jargon get you frustrated. Always remember, digital audio is not brain surgery. I can assure you it is just as complicated and risky, but it is always a lot more fun, and most of the time there's a lot less blood.
Johnny George | voice actor
America's Voice Talent
The R.A.P. Cassette - January 1997
Production demo from interview subject, Eddy Temple Morris @ BBC Radio 1, London; plus more imaging, promos and commercials from Keith Smith @ K-EARTH Los Angeles, Linc Kelly @ Triple M Perth, Pat White @ WIL St. Louis, Dennis McAtee @ KKOW Pittsburgh, Ric Gonzalez @ KISS San Antonio, Jeff Thomas @ ...
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Citizenship in Question: Evidentiary Birthright and Statelessness
Benjamin N. Lawrance
Benjamin N. Lawrance is Hon. Barber B. Conable Jr. Endowed Professor of International Studies and Professor of History and Anthropology at Rochester Institute of Technology and the author of Amistad's Orphans: An Atlantic Story of Children, Slavery, and Smuggling.
Jacqueline Stevens is Professor of Political Science and founding director of the Deportation Research Clinic in the Buffett Institute for Global Studies at Northwestern University and the author of States without Nations: Citizenship for Mortals.
Jacqueline Stevens
From the Outside Looking In: U.S. Passports in the Borderlands
Rachel E. Rosenbloom
Rachel E. Rosenbloom, 2017. "From the Outside Looking In: U.S. Passports in the Borderlands", Citizenship in Question: Evidentiary Birthright and Statelessness, Benjamin N. Lawrance, Jacqueline Stevens
Passports draw lines of belonging and exclusion not only at international borders but also within nation-states. In chapter 7, Rachel E. Rosenbloom describes the rush of passport applications occasioned by the imposition of new documentation requirements for U.S. citizens entering the United States across land borders, and the U.S. State Department’s denial of passports to many Mexican Americans born in the borderlands of South Texas. The State Department has justified these denials by citing heightened fraud concerns regarding birth certificates signed by Latina lay midwives who practice near the U.S.-Mexico border. Rosenbloom argues that litigation over these passport applications is only the latest chapter in a much longer history of the domestic use of U.S. passports by those on the margins of U.S. citizenship, and of racialized presumptions of fraud within the adjudication of birthright citizenship claims.
Official or Administrative Acts
American Birthright Citizenship Rules and the Exclusion of “Outsiders” from the Political Community
To Know a Citizen Birthright Citizenship Documents Regimes in U.S. History
Legislatures and Court Disputes
Gender, Genealogy, and Mestizaje
Robert Mapplethorpe Whitewashed and Polished (2014)
Mexico-U.S.
Paper Trails
The Novel and the Passport: Towards a Literary History of Movement Control
Of Race: The Exorbitant Du Bois
Revolutionary Genealogies: Suzanne Césaire's and Christiane Taubira's Writings of Dissent
Archives and Histories of Racial Capitalism: An Afterword
Needed Interventions to Reduce Racial/Ethnic Disparities in Health
Putting Messianic Femininity into Zionist Political Action: The Race-Class and Ideological Normativity of Women for the Temple in Jerusalem
On the Very Idea of the Making of Modern Jamaica
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Category: Raymond Floyd
PRO GOLFER DAVE STOCKTON GAVE A LESSON OF A LIFETIME
Redlands Connection is a concoction of sports memories emanating from a city that once numbered less than 20,000 people. From the Super Bowl to the World Series, from the World Cup to golf’s U.S. Open and the Olympics, plus NCAA Final Four connections, NASCAR, the Kentucky Derby and Indianapolis 500, Tour de France cycling, major tennis, NBA and a little NHL, aquatics and quite a bit more, the sparkling little city that sits around halfway between Los Angeles and Palm Springs on Interstate 10 has its share of sports connections. – Obrey Brown
Here it is, August 16, 2018. On this date in 1976, another major golf championship was awarded. On Aug. 13, 1970, a previous major title had been awarded.
Pro golfer Dave Stockton taught me a lesson about sports I never forgot.
I’d never met the San Bernardino native. I’d interviewed him a couple times – years ago – by telephone. A onetime Pacific High School star, who won the 1959 CIF-Southern Section championship, had a stalwart golfing career.
Dave Stockton, a San Bernardino native now living in Redlands, holds the Wanamaker Trophy, symbolizing victory in one of professional golf’s grandest prizes — the PGA Championship (photo by Wikipedia Commons).
He’s won the PGA Championship twice, in 1970 and 1976. He’s a Senior U.S. Open champion. There have been other championships, including the Los Angeles Open and a few other prominent tournament titles. Around these parts, Stockton’s considered a General among those who’ve achieved at the highest levels in any sport.
The seeds of my life’s lesson were planted in August 1970. That’s when Stockton, who was in contention at the 1970 PGA Championship at Southern Hills Golf Club in Tulsa, Okla. was taking on a rather large challenge.
Arnold Palmer – not to mention Arnie’s Army – was the hurdle standing in Stockton’s pathway.
(A curious note, perhaps: About 15 miles from Redlands, the city of Beaumont includes a housing complex dubbed Tournament Hills. Street names include Trevino Trail, Woods Way, Casper Cove, Hogan Drive, Nicklaus Nook, Palmer Ave.
Other streets are named Crenshaw, Bean, Miller, Mickelson, Runyan, Irwin, Bean, Venturi, Shore (as in Dinah) and Pepper (Dottie), among others, plus parks named for Trevino, Palmer and Nicklaus.
I happen to live on the corner at Stockton Street.)
At age 15, I’d only caught a minor glimpse on how formative Arnie’s supportive fans could be. I also had no idea how rugged they could get against a player who was challenging Palmer’s run to a memorable golf championship.
The PGA Championship is the fourth major golf tournament, following the Masters, U.S. and British Opens. I believe only Gene Sarazen, Ben Hogan, Gary Player, Jack Nicklaus and, eventually, Tiger Woods have won the Grand Slam of Golf.
Jack Nicklaus, who is receiving the Presidential Medal of Freedom (photo by Wikipedia Commons), was very close to Dave Stockton in both of his PGA Championship victories, which came in 1970 and 1976.
Nicklaus and Woods are multiple ’Slam winners.
My Dad, Neal Brown, and I watched Palmer go after that elusive fourth major in 1970, a title he’s never won despite an otherwise illustrious career. Dad was such a fan of Palmer’s that he actually fashioned his own golf swing after Arnie’s, whose swing was often a source of discussion among the sport’s purists during his days.
In August 1970, Dad and I sat and watched, rooting for Arnie. We were definitely part of Arnie’s Army, TV-style.
Stockton stood up under the heat and the pressure.
Pressures of a major golf championship are immense. It included the likely possibility that gallery members – Arnie’s Army supporters – were doing things to irritate him.
Like Dad, I was disappointed that Arnie didn’t win.
INSIGHT INTO THAT 1970 PGA TITLE
Fast forward a decade, or so.
I was now working for the Redlands daily sports section.
The Stockton family had moved back to Mentone, a neighboring community next to Redlands. I got the telephone number where Stockton was staying while he was playing at a tournament in Canada.
He was obliging, honest and frank in his answers. I could hardly wait to hit him up with my remembrance on how he knocked off Arnold Palmer at the 1970 PGA Championship.
I was certain he could fill in some of the gaps from that experience.
It was likely the highlight of his career. When the subject came up, the onetime Pacific High and University of Southern California golf star was ready.
Arnold Palmer? The missing link in his trophy case? The destiny with history? Golf’s Grand Slam?
Arnold Palmer’s chances of winning golf’s Grand Slam was cut off by Dave Stockton at the 1970 PGA Championship in Tulsa, Okla. (Photo by Wikipedia Commons).
“My family,” said a serious Stockton, without missing a beat, “needed it more.”
Palmer, who was a remarkable golfer for decades, had won four Masters titles, two British Opens and the 1960 U.S. Open. He tied for second at the PGA Championship on three occasions — including 1970.
For the record, veteran golfer Bob Murphy tied for second with Palmer at one-over par. Stockton was two-under.
Jack Nicklaus was four shots back.
Johnny Miller held the first-round lead.
Stockton shared the second-round lead with Larry Hinson.
After three rounds, Stockton held a three-shot lead over Raymond Floyd heading into the final 18 holes. Palmer trailed by five.
Stockton, who shot a final round 73, shared the experience of holing out a 125-yard wedge shot.
He’d also shared that the media referred to him as an “unknown.”
After he notched the victory, he was no longer that unknown.
“I hit a tee shot into the trees,” he recalled, “and I heard (an Arnie Army reserve) holler, ‘go get ’em, Arnie.’ That made me hot.”
Said Stockton: “I had some work to do. That (final round) wasn’t easy.”
That was the lesson, folks. Who cares if there was a blank spot in Palmer’s trophy case? Palmer needed that championship about as much as the Yankees needed another World Series trophy.
The esteemed Palmer seemed to do quite well, I noticed, never having won that fourth major. It might be a blank space on his trophy case in 1970, but no matter. His bank account probably didn’t suffer all that much in 1970.
Neither did his career.
ONE MORE WANAMAKER TROPHY ADDITION
Stockton, however, added a jewel to his trophy case, which also included the L.A. Open. At Riviera Golf Club, Stockton outdueled another golf legend, Sam Snead a few years earlier.
Since learning that lesson from Stockton, I don’t necessarily root against the Yankees. Or against Notre Dame’s football machine. Or against the Lakers or the Celtics pulling out another NBA title.
I love the Final Four when a mid-major like Gonzaga or Marquette or George Mason or Butler, challenges for that elusive prize ahead of North Carolina or UCLA or Duke or Kentucky.
What I do love are the good stories coming from unexpected winners.
That lesson came via Stockton.
“My family needed it more,” keeps shooting through my mind.
The Wanamaker Trophy, symbolizing the PGA Championship, found its way back into the Stockton family six years later.
On the 72nd hole in 1976 at Congressional Golf Club, Stockton connected on a 15-foot par putt to beat Floyd and Don January by a single shot.
The ever-dangerous Nicklaus, defending champion and looming closely to the top, was beaten by two strokes.
Let’s not overlook Stockton’s other top finishes at major championships.
He tied for second place at the 1974 Masters, trailing Gary Player by two shots alongside Tom Weiskopf.
In the 1978 U.S. Open, he tied for second place with J.C. Snead, one shot behind Andy North at, of all places, Cherry Hills (Colo.) Country Club – the site where Palmer notched his only U.S. Open victory.
Stockton’s best finish at the British Open, a tie for 11th place, came one year after winning the 1970 PGA Championship. Lee Trevino won at Royal Birkdale.
As for the San Bernardino native, Stockton moved to Mentone in the 1980s. A couple decades later, his family moved again — this time to Redlands, near the traditional country club.
President Gerald Ford is one of a handful of honorary members at Redlands Country Club (photo by Wikipedia Commons) that also includes golfer Dave Stockton.
Along with comedian Bob Hope, President Gerald Ford and Dodger owner Walter O’Malley, Stockton was presented as an honorary member at Redlands Country Club.
He told me, again by telephone, “I had no idea there were honorary members at Redlands.” Stockton seemed moved. This wasn’t an Arnie’s Army remembrance party.
It was part of that Redlands Connection.
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Saint Alexis
Clergy and the People
Orthodox Parish
When the Apostle Philip made an invitation to his friend Nathaniel concerning Jesus Christ, he said: "Come and see;" Come and see for yourself the Savior of humanity. That invitation cannot be improved upon; it's the same now as it was then. We invite you to come and see, come and experience Orthodox Christian worship and community. We are an English-language parish, comprised of "cradle" Orthodox as well as converts. So, come and see!
Saint Alexis Orthodox Church began as a student organization at Purdue University, West Lafayette, Indiana, a quarter century ago. Priests came from nearby areas to serve Divine Liturgy. In the 1980's, some faithful Orthodox in Lafayette and West Lafayette began the search for a full-time priest and a permanent location to establish a parish. Between 1976 and 1990, the faithful had been worshiping at St. Thomas Aquinas Catholic Chapel on the Purdue University Campus. Attendance averaged 25.
Then in 1993, Fr. Charles Sunderland, who had been retired for some time, volunteered to begin the mission parish on the foundation established by the Purdue Student Fellowship. He was appointed Mission Parish Administrator by Metropolitan Nicholas (of blessed memory) of the American Carpatho-Russian Greek Catholic Archdiocese in October, 1993. Services moved to St. Elizabeth Hospital Chapel that year and both attendance and membership rose steadily. In March, 1998, St. Alexis Orthodox Church moved to our first permanent home on South 24th Street in Lafayette. In October, 2000 our parish was blessed by the ordination to the Holy Priesthood of Father Gregory Allard. In July of 2001, our beloved Fr. Charles and Matyushka Anne Sunderland retired to Colorado. On Sunday, December 7, 2014, we moved to our new temple, located just outside Battle Ground, Indiana, at the intersection of State Roads 43 and 225 (2115 SR 225 E Battle Ground 47920, mailing address P.O. Box 161, Battle Ground, Indiana 47920-0161). More than 104 souls attended, up 30% from a "good" Sunday attendance at the old location.
Within the jurisdiction of the American Carpatho-Russian Greek Catholic Archdiocese, the St. Alexis Parish serves a growing number of both university students and families from north-western Indiana. "Cradle" Orthodox from the Greek, Syrian, Russian, Romanian, Ukranian and Carpatho-Russian traditions worship at St. Alexis along with converts from a number of Protestant denominations and Roman Catholicism in our uniquely "American" melting-pot parish. Our Diocese is under the omiphor of the Ecumenical Patriarch, the Archbishop of Constantinople.
Those who serve the people
Father Gregory
Fr. Gregory previously taught high school English in Galesburg, IL, for about 13 years. He also served in the Lutheran pastorate for 12 years. His journey home to Holy Orthodoxy began in 1992, along with his wife Joanne and son Joshua; the family were chrismated a year later. Following the St. Stephen's Course in Orthodox Theology (Antiochian Archdiocese) and several retreats at Christ the Saviour Seminary in Johnstown, PA along with working with mentors, His Eminence Metropolitan Nicholas ordained him to the diaconate in 1998 and to the holy priesthood in 2000. Building on the good foundation provided by his predecessor Fr. Charles Sunderland, Fr. Gregory was able to be part of the planning and building of the new temple in Battle Ground.
Subdeacon Gregory
Subdeacon Gregory converted to Orthodoxy in 1996, and alongside Reader John, was tonsured a reader by His Eminence Metropolitan Nicholas of blessed memory the following year. In 2003, Greg was ordained to the subdiaconate in Toledo, Ohio during the consecration of St. George Orthodox Cathedral (OCA). He is proud of his Carpatho-Rusyn heritage, and particularly of his grandfather, Professor George Kostraba, who served as a cantor in the Byzantine Catholic Church for more than seven decades.
Reader John
Our Cantor is Reader (Roger) John Bennett. Roger has been singing in choirs for more than 50 years, and began helping with congregational singing immediately when he entered the Church in 1997.
2115 SR 225E
Battle Ground, IN 47920
frgregory@gmail.com
2115 State Road 225 E
Tuesday — Friday
7am First Hour
4pm Confession
5.30pm Vespers
8.15am Matins
9.30am Divine Liturgy
Member of the American Carpatho-Russian Orthodox Diocese of the U.S.A
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Senior (education)
Senior (album)
Saudia Flight 163
Saudi 2
Senior may refer to:
Senior citizen, a common polite designation for an elderly person in both UK and US English
Senior (surname)
Senior (album), a 2010 album by Röyksopp
Senior (education), a student in the final year of high school, college or university
A suffix for the elder of two or more people in the same family with the same given name, usually a parent or grandparent
Senior Bowl, a post-season college football exhibition game played in Mobile, Alabama
Senior debt, a form of corporate finance
Senior Chief Petty Officer, an E-8 in the United States Navy and United States Coast Guard
Senior status, form of semi-retirement for United States federal judges
Seniors (film), a 2011 Indian Malayalam film
The Senior, a 2003 album by Ginuwine
The Seniors, a 1978 American comedy film
Wise old man, archetype
Senioritis, colloquial term used in the United States and Canada
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Senior
Senior is a term used in the United States to describe a student in the 4th year of study (generally referring to high school or college/university study).
In the United States, the 12th grade is usually the fourth and final year of a student's high school period and is referred to as senior year. In England and Wales, students in their tenth year and above in Secondary School are seniors; in Scotland, students in their fifth year and above are seniors. In the Canadian province of Ontario, high school students in their third year and above are considered to be seniors.
In the United States, the final year of a student's education towards a bachelor's degree, typically the fourth year, is known as the senior year.
In college athletics, a student in their final year of eligibility is known as a senior.
The term super senior is used in the United States to refer to a fifth-year student who has not completed the graduation requirements by the end of the fourth year, and thus is required to stay an additional year to complete said requirements.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Senior_(education)
Senior is the fourth studio album by Norwegian electronic music duo Röyksopp, released on 8 September 2010 by Wall of Sound. Consisting of instrumental tracks only, the album is described as more introspective and withdrawn than its predecessor, Junior (2009). The CD's final track "A Long, Long Way" also includes the hidden track "The Final Day", which is available as a separate track on the iTunes Store.
The album debuted at number 33 on the UK Albums Chart with first-week sales of 3,864 copies.Senior spawned two singles: "The Drug" and "Forsaken Cowboy".
Senior is intended to be an introspective, withdrawn, atmospheric counterpart to the "bubbly dance grooves" of Junior (2009), with Röyksopp stating it has a more "autumn mood" to it, in contrast to Junior's "spring feel". In an interview with KCRW's Morning Becomes Eclectic, Svein Berge dubbed Senior "the senile sibling of Junior who lives in the attic". Berge cited "The Alcoholic" as a standout track, explaining that they had "this romantic, nostalgic idea based on this hobo who hitchhikes on trains and travels from place to place".
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Senior_(album)
Saudi Arabia ( i/ˌsɔːdiː əˈreɪbiə/, i/ˌsaʊ-/), officially known as the Kingdom of Saudi Arabia (KSA), is an Arab state in Western Asia constituting the bulk of the Arabian Peninsula. With a land area of approximately 2,150,000 km2 (830,000 sq mi), Saudi Arabia is geographically the second-largest state in the Arab world after Algeria. Saudi Arabia is bordered by Jordan and Iraq to the north, Kuwait to the northeast, Qatar, Bahrain, and the United Arab Emirates to the east, Oman to the southeast, and Yemen to the south. It is the only nation with both a Red Sea coast and a Persian Gulf coast, and most of its terrain consists of arid inhospitable desert or barren landforms.
The area of modern-day Saudi Arabia formerly consisted of four distinct regions: Hejaz, Najd, and parts of Eastern Arabia (Al-Ahsa) and Southern Arabia ('Asir). The Kingdom of Saudi Arabia was founded in 1932 by Ibn Saud. He united the four regions into a single state through a series of conquests beginning in 1902 with the capture of Riyadh, the ancestral home of his family, the House of Saud. The country has since been an absolute monarchy, effectively a hereditary dictatorship governed along Islamic lines. The ultra-conservative Wahhabism religious movement within Sunni Islam has been called "the predominant feature of Saudi culture", with its global spreading largely financed by the oil and gas trade. Saudi Arabia is sometimes called "the Land of the Two Holy Mosques" in reference to Al-Masjid al-Haram (in Mecca), and Al-Masjid an-Nabawi (in Medina), the two holiest places in Islam. The Kingdom has a total population of 28.7 million, of which 20 million are Saudi nationals and 8 million are foreigners.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Saudi_Arabia
Saudia Flight 163 was a scheduled passenger flight of Saudia that caught fire after takeoff from Riyadh International Airport (now the Riyadh Air Base) on a flight to Jeddah, Saudi Arabia on Tuesday, 19 August 1980. All 287 passengers and 14 crew on board the Lockheed L-1011-200 TriStar, registration HZ-AHK, died after the aircraft made an emergency landing back at the Riyadh airport.
At the time, the accident was the second deadliest single aircraft disaster in history, after Turkish Airlines Flight 981. It's the sixth deadliest aircraft disaster overall, after the Tenerife airport disaster, Japan Airlines Flight 123, the Charkhi Dadri mid-air collision, Turkish Airlines Flight 981, and Air India Flight 182. It was also the highest death toll of any aviation accident in Saudi Arabia and the highest death toll of any accident involving a Lockheed L-1011 TriStar anywhere in the world. It is also the deadliest aviation disaster that did not involve a crash on impact or mid-flight break up.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Saudia_Flight_163
Saudi TV Channel 2 (KSA 2), or as of 2014 known as Saudi 2 is the English news and entertainment TV channel of Saudi Arabia.
Established in 1964, the channel produces programmes focusing on cultural, political, and economic issues aimed at expatriates living in Saudi Arabia. Following its conversion to a 24-hour channel it expanded its broadcasting to Europe and North America in the middle of 2007 and now employs a large network of news correspondents based in the Middle East, the United Kingdom and the United States.
Saudi 2 live
Saudi TV Channel 2 at LyngSat)
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Saudi_2
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Latest News for: Saudi senior
Princess Reema meets US treasury chief Steven Mnuchin
Arab News 18 Jul 2019
The Saudi Arabian embassy in the US, in a tweet, said the two senior officials explored “ways to strengthen Saudi Arabia’s close partnership with the United States on countering the financing of terrorism, as well as US support for the Kingdom’s ......
Saudi official attends Egyptian National Day celebrations in Riyadh
Prince Mohammed bin Abdulrahman bin Abdul Aziz, senior diplomats, business leaders and members of the Egyptian community. Prince Mohammed represented the Saudi government at the celebration....
Evercore set to lose out as Aramco reshuffles IPO roles -sources
The Saudi energy minister Khalid al-Falih, who also chairs Aramco, said earlier in July the long-awaited listing could happen in 2020-2021 ... "International banks feel that they have no choice...they will again send senior teams to Saudi Arabia to pitch, work and hopefully execute the deal," one of the sources said....
Saudi- Council of Senior Scholars praises King's hosting 200 pilgrims from New Zealand
MENA FN 18 Jul 2019
(MENAFN - Saudi Press Agency) Riyadh, July 18, 2019 -- The General Secretariat of the Council of Senior Scholars has praised the Custodian of the Two Holy Mosques King Salman bin A... ....
Saudi women will soon be allowed to travel without ‘mahram’
The Siasat Daily 17 Jul 2019
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UK's Hammond presses Saudis to deal with illegal sports broadcasting
Arabian Business 17 Jul 2019
UK Chancellor of the Exchequer Philip Hammond urged senior Saudi officials to crack down on the theft of valuable sports rights, according to a person familiar with the situation ... Hammond’s intervention may carry weight in Riyadh as Saudi Arabia is Britain’s traditional ally in the region....
US firm wins contract for giant Saudi shipyard project
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US approves bill demanding sanctions on Saudi officials responsible for Khashoggi murder
Middle East Monitor 16 Jul 2019
The governing party of the US has been less hawkish over US relations with the Saudi’s nevertheless senior members are seeking a major course change in President Trump’s handling of the Khashoggi murder....
The newest “Iran did 9/11” hit piece from neocons & Saudi PR. Some caveats
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As evidence, it cites an article by the Saudi-government owned Al Arabiya network written by a journalist/”#HumanRights activist” (mirror) who appears to specialize in publishing negative articles on the Islamic Republic ... In October 2000, a senior operative of Hezbollah visited Saudi Arabia to coordinate activities there....
Iran’s Response to Britain’s Tanker Seizure
The Washington Institute 15 Jul 2019
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Saudi seniors reach Everest base camp
A group of intrepid Saudi explorers have braved adversity and danger to make the impressive trek up to Everest base camp in Nepal ... The latest group of Saudi citizens to hoist the flag was made up primarily of senior citizens and retirees ... Saudi Arabia Tags....
Turkey bought Russian S-400 missiles designed to down NATO planes. For the US, that's a problem
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Erdogan and other senior members of his ruling Justice and Development Party (AKP) have often played to anti-American sentiment among the party's conservative, nationalist base ... The Trump administration retaliated by imposing sanctions on senior Turkish ministers....
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The contrast lends credence to the suspicion that the US President is courting Kim in hopes of winning the Nobel Peace Prize ... The Shia-Sunni split can mean nothing to Trump or his all-powerful son-in-law and senior adviser, Jared Kushner, but both have good reason to prize the Arab alliance. Saudi Arabia is by far the biggest buyer of US arms ... ....
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Rape and Statutory Rape
Rape is nonconsensual sexual intercourse, often consisting of unwanted intercourse accomplished by means of force or fear. One variation of rape — called statutory rape — disregards consent issues and makes it unlawful to have sex with a minor under the age of 18. This article defines the crime of rape and presents real world examples of criminal cases involving rape.
Legal Definition of Rape
For purposes of rape laws, sexual intercourse occurs at the moment of sexual penetration, however slight.
The most typical form of rape is forcible rape, in which a rapist uses violence or threats of violence to coerce a victim into sexual intercourse. In most states, however, rape can also occur in a number of other ways. For example, rape generally also consists of sexual intercourse occurring under these conditions:
the rapist prevents a victim from resisting by plying the victim with alcohol or drugs
the rapist poses as a public official and threatens to arrest or deport the victim unless the victim agrees to sexual intercourse, or
the rapist knows that the victim has a disorder or disability that prevents the victim from legally consenting to sexual intercourse.
Degrees of rape. In some states, first degree rape may consist of rape accompanied by severe physical injuries. First degree rape carries a harsher punishment than second degree rape, which may involve no physical injuries beyond the rape itself.
Rape between married partners. In most states, if sexual intercourse is nonconsensual within the meaning of the rape laws, the fact that the parties are married is irrelevant. Of course, the fact that the alleged rapist is her husband may make it more difficult for a wife to convince the police or a judge or jury that rape rather than consensual intercourse took place.
Female offenders. In a few instances, females have been convicted of rape when they have been the accomplices of males and have lured a victim to a place where a rapist awaits.
Rape: Case Example 1
Facts: Belinda is sleeping when Stan breaks into her apartment, pulls out a knife, and threatens to use it unless Belinda agrees to sexual intercourse. Belinda pleads with Stan to leave, but he refuses and begins to strike her. Eventually Belinda gives Stan a condom and says, “At least use protection.” Stan uses the condom while having sexual intercourse with Belinda.
Verdict: Stan is guilty of rape. The sexual intercourse was forcible, not consensual. Belinda’s request that Stan use a condom is not evidence of consent, but rather an effort to suffer as little future harm as possible.
Facts: Amanda goes out to dinner with her boss Fred. After dinner, Fred suggests that “we go back to my office and enjoy ourselves.” Amanda has heard that Fred has been violent in the past. Fearing both that Fred may hurt her and that her career may suffer if she doesn’t go along, Amanda agrees to go back to the office and engages in sexual intercourse with Fred.
Verdict: Fred is not guilty of raping Amanda. Fred neither used force nor threatened harm to Amanda. Her subjective fear based on what she has heard about Fred doesn’t invalidate her consent. Of course, Amanda may have a valid civil claim against Fred and the company for workplace sexual harassment.
Rape Evidence Rules — Dramatic Changes
Until the mid-1970s, evidence rules tended to discourage rape victims from reporting the crime. Since then, largely as the result of political pressure from women’s rights groups and their allies, two dramatic shifts in rape evidence laws favorable to rape victims have taken place. First, rape shield laws often prevent defendants from inquiring into rape victims’ sexual histories. Second, in most states, the general rule forbidding inquiry into defendants’ past crimes has been abandoned in sexual offense cases. When a defendant is charged with rape or another sexual offense, the prosecution can offer evidence of the defendant’s past sexual offenses.
“Stranger Rape” vs. “Date Rape”
“Stranger rape” occurs when a rape victim is attacked by a previously unknown person. For example, an assailant who violently drags a passerby into a secluded spot and rapes her commits a stranger rape. Date rape occurs when the rapist and the rape victim have an existing social relationship and the rapist strikes in the course of that relationship. For example, a date rapist may prevent a woman from refusing to have sexual intercourse by drugging her drink while they are out on a date. Date rape is far more common than stranger rape. While both are equally illegal, the ambiguities that are inherent in many social situations make date rape a far more difficult crime to prove than stranger rape.
Statutory rape consists of sexual intercourse with a minor, defined in most states as someone who is under age 18 or 16 (depending on the state) at the time intercourse takes place. The minor’s outward consent to intercourse is irrelevant. Statutory rape laws are strict liability laws that make a minor legally incapable of consenting to sexual intercourse. The assumption behind statutory rape laws is that someone under the age of 16 or even 18 does not have the mature mental capacity to voluntarily consent to intercourse. In many states, statutory rape is a felony only if one of the participants (usually a male) is at least three years older than the other; otherwise, it is a misdemeanor.
A minor can be guilty of statutory rape of another minor. If two 16-year-olds engage in sexual intercourse, in many states each could be prosecuted for statutory rape. In other states, only males can be prosecuted for statutory rape. Of course, such cases are rarely prosecuted. Even when they are, laws in many states.
The Morales Law Firm would like to thank NOLO for sharing this information with us.
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Huawei founder says his company does not spy for China and would refuse if Beijing asked
"I still love my country, I support the Communist party, but I will never do anything to harm any country in the world."
by Alex Linder
With his company being seen as a security threat by countries around the world and with his own daughter arrested in Canada, Huawei founder Ren Zhengfei sat down on Tuesday for a rare interview with foreign media.
At the roundtable meeting in Shenzhen, the 74-year-old CEO — known mainly for being reclusive and for being a former People’s Liberation Army officer — attempted to distance his company from the Chinese government and dismiss accusations that Huawei is using its technology to provide backdoors for Beijing.
Ren repeatedly insisted that his company had never spied for the Chinese government, even claiming that he would refuse if Beijing asked him to do so, despite his background as a PLA veteran and Communist party member.
“I still love my country, I support the Communist party, but I will never do anything to harm any country in the world,” he said. “I don’t see a close connection between my personal political beliefs and the businesses of Huawei.”
Recently, Huawei has been attempting to expand overseas but has found some of its efforts thwarted by nervous governments. In the belief that Huawei technology could be used to spy on its citizens, New Zealand, Australia, and the United States have all banned the company from providing equipment for their national 5G networks. Similarly, UK telecoms company BT has said that it will not work with Huawei in creating its own next-gen wireless network. Norway is reported to be mulling doing the same.
During the interview, Ren also put in some words for his daughter, Huawei’s chief financial officer Meng Wanzhou, who was infamously arrested in December in Vancouver at the request of authorities in the US where she is wanted for violating Iran sanctions.
Ren said that he misses his daughter very much but is optimistic that justice will prevail in the end. Meng has been released on bail but has been ordered not to leave British Columbia. She faces extradition to the US.
Finally, Ren also happened to mention Donald Trump, calling Trump a “great president” for cutting taxes.
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Tag Archives: Marvel Cinematic Universe
Posted on April 24, 2019 by sdouglasferguson
With Avengers: Endgame just about to hit theaters, I and everyone else obsessed with movies whether professionally or otherwise have decided to look back to the beginning in 2008 and rank and talk about the 21 movies which have been released prior to the epic finale of phase 3 and of the entire Marvel story line thus far. The feature films in the MCU could arguably be the most consistently entertaining, crowd pleasing group of movies ever released by a studio, but that doesn’t mean they are all equal nor that they don’t have their share of issues.
The secret to Marvel’s success and consistency, in my opinion, is a deep understanding of their characters and themes. While they have had an issue giving life to their villains at times (and certainly not all the time, there are a few great villains in their canon), they otherwise give us three dimensional, exciting, witty people we can get deeply invested in. Where they fail is in lack of stakes and in being so true to visual and storytelling formulas that all their films look and feel far too similar, creativity gets lost to what is seemingly studio mandate.
From their worst to their best, here is how I feel about the pre-Endgame MCU feature films.
21. Thor: The Dark World (Taylor; 2013)
Underwhelming writing, dull cinematography, and a cast which doesn’t seem to want to be there make for Marvel Studio’s worst film by a rather large margin.
If any of the MCU films can be called downright bad, it would be Thor: The Dark World. The villain problems extant in much of the MCU is at its worst here with a villain so basic, so lacking in any personality or distinguishing traits that he’s nearly impossible to remember for most. The heroes aren’t much better with Chris Hemsworth not being used to the best of his ability, yet, and obvious lack of chemistry between most of the cast, and supporting characters who don’t seem to have much of a reason to be in the film beyond exposition and snark. Even Tom Hiddleston, the best part of the first two Thor movies, is somewhat wasted here as Loki is only in half the film and his character is written inconsistently.
20. Iron Man 3 (Black; 2013)
Much like Thor: The Dark World, Iron Man 3 is a mess of a movie with dull villains and an unnecessarily complicated story line. The exploration of Tony Stark’s PTSD after the events of The Avengers is a fantastic idea, but the idea is poorly executed and diluted by too many unrelated subplots.
Iron Man 3 does take its fair share of risks, something I wish more Marvel Studio’s films would do, but in this particular case those risks don’t pay off and can be actively aggravating.
I admit to this low of a ranking being subjective. I did not see Iron Man 3 until many years after its release by which time I had seen a few MCU films which already grappled some with Stark’s PTSD and so the impact wasn’t as great as it could have been had I seen the films in order. I decided to not take that into account in my rankings, however, as this demonstrates one of the many ways personal experience can impact one’s investment into and enjoyment of art.
19. The Incredible Hulk (Leterrier; 2008)
The Incredible Hulk is sort of the poster child for what makes a bad MCU film. It understands the character of its protagonists well enough, but it again has dull villains (yes, that will be said a lot throughout this list), is predictable, takes no risks with its story, and outside of its action sequences has little creativity in its technical aspects. The tensions between Edward Norton and the studio are also well known, and almost certainly played a part in The Incredible Hulk‘s lack of inspiration.
William Hurt’s role as General Ross was arguably the movie’s highlight, and his return in later films was appreciated. Hulk – not a smash.
18. Iron Man 2 (Favreau; 2010)
Iron Man 2 is undeniably a mess. It touches on Tony Stark’s irresponsibility and alcoholism, but not to the degree necessary for those themes to contain any weight. Its story line is a little all over the place trying to grapple with more conflicts and character arcs than its running time can reasonably allow. And, its action sequences are arguably the hardest to follow in the entire MCU.
It does have two often forgotten saving graces, however, in Mickey Rourke and Sam Rockwell as well thought out, well acted villains. Mickey Rourke famously hated working on the film and refuses to return to the MCU, which is too bad because his professionalism still allowed him to give a captivating turn as Whiplash, but the fact that Rockwell has never returned as Justin Hammer is a little bewildering as he was excellent as well.
17. Thor (Branagh; 2011)
Thor’s origin movie suffers from the same problems as its sequel where the cast chemistry is concerned, but has the advantage of Hemsworth being allowed to flex is comedic muscle a bit more and Tom Hiddleston has a much larger role. The film does suffer from pacing issues, and the fact that Hiddleston and Hemsworth are separate for the majority of the film means we are stuck with Hemsworth and Portman’s comedically bad rapport for most of Thor.
The screenplay does do an excellent job of getting the primary characters personalities down, Branagh’s direction does add a distinction most MCU movies don’t contain, and Hiddleston was so great that I believe he is the reason Rourke and Rockwell were all but forgotten about from Iron Man 2. Thor has more positive than negative, but is still far too inconsistent and rocky to be considered among even the more moderate movies of the MCU.
16. Captain America: The First Avenger (Johnston; 2011)
By the time the first Captain America movie came along, Marvel Studios had a plan and it showed. However, it did not have a complete formula and that also shows for better or worse.
When Chris Evans was chosen to play Captain America the general consensus was that he looked perfect for the part, but since he was just coming off of a short run as The Human Torch in the not so great Fantastic Four movies many were dubious as to his being able to give the role the calm charisma needed. We know now that he perfectly embodied the role to the same degree Hugh Jackman embodied Wolverine, Ron Perlman did Hellboy, or Ryan Reynolds Deadpool.
The rest of the film is not quite as great. Cap’s relationship with Bucky is near perfect, but the rest of the characters don’t fare quite as well. His chemistry with Peggy is certainly better than Thor’s with Jane, but it’s still not stellar, and Hugo Weaving gives a so-so performance as Red Skull. Overall, a solid, but slightly underwhelming entry into the Marvel canon.
15. Ant-Man and the Wasp (Reed; 2018)
Ant-Man and the Wasp is a film which may epitomize both the best and the worst parts of the MCU in one film. On the one hand, it understands the majority of its characters intimately, nailing their relationships with one another, the positives and negatives of their personalities, and what their talents and abilities allow them to accomplish on both a practical level and in a fun for the audience way. It’s humorous without devolving into pure camp, its action is creative and exciting, and its dialogue witty but light and unpretentious.
However, it suffers from having a truly underwhelming and underwritten villain in Ghost (which is particularly annoying here since the last few Marvel films had gotten past this flaw), and it’s primary plot shows that stakes in Marvel films are not just light, but non-existent. It’s a running gag that people never die in the comics, but the Marvel films could fix that since actors have contracts and while Spider-Man in the comics has to survive for decades to sell books, the movies not only don’t have that problem, they can’t even if they wanted to. So, to have the Marvel films constantly resurrect their dead protagonists lowers the stakes when we know it isn’t ever permanent, to have a plot which revolves around essentially bringing a character back from a point of no return epitomizes and exacerbates that.
14. Avengers: Age of Ultron (Whedon; 2015)
What Marvel having a cinematic universe allows it to do better than any series of films before or since is have large event films with dozens of characters and gigantic action scenes which don’t need the usual exposition and set up since this has already been done in other movies. Personally, I enjoy these large event movies more than the smaller films (spoiler alert as to which films are going to be toward the top of this list) as they allow me to see something on an epic scale done in a manner few if any films prior to the MCU have been able to accomplish.
Avengers: Age of Ultron most definitely has the touch of its director Joss Whedon with witty dialogue, a light tone which uses self awareness and verbal prestigitation, and death to evoke an emotional reaction. Unfortunately, these very qualities undercut the film’s tone giving us a villain more snarky than scary (though not dull, at least), a film with emotional beats more manufactured than earned, and an action movie which depends more on what the characters say than what they do.
Add to all that inconsistent tone and many scenes which have little to do with the main story and break the narrative flow, and that makes Avengers: Age of Ultron the worst of these large event films.
13. Ant-Man (Reed; 2015)
One thing Marvel did in its second phase of films is start branching off into different genres than straight comic book action dramas. In Ant-Man we got Marvel’s first heist movie with all the fun and large supporting cast heist movies generally entail.
Going with the Scott Lang version of Ant-Man rather than the original Hank Pym version was a bit inspired as it allowed Ant-Man to be portrayed by Paul Rudd with his “aw shucks” brand of hilarious charisma rather than an Ant-Man who is incredibly intelligent but otherwise bland as Pym is in the comics. It also created a far more interesting character dynamic than Pym’s origin had in the printed version.
Unfortunately, Ant-Man was severely hampered by a plot far too similar to the other Marvel origin movies, including the usual lackluster villain, and the comic, light-hearted tone means the film didn’t even have high stakes tension to lean on for excitement factor.
12. Dr. Strange (Derrickson; 2016)
The fact that a movie as solid as Dr. Strange is this far down the list speaks to why the Marvel Cinematic Universe has struck such a chord with general audiences. We’re not even halfway through the list and we’re to films that aren’t just good, but have positive qualities which far outweigh their negatives.
Dr. Strange is nearly perfectly cast, it has trippy, creative visuals, it separates the magic of the Marvel world from the fantasy magic we are used to from traditional fantasy films, and it is written with a deep understanding of its characters without being afraid to change their more problematic elements.
All that being said, Dr. Strange still has horrible villain problems, the only interesting factor involving the villains is how the ultimate enemy is finally defeated, and is predictably formulaic to an extreme. Benedict Cumberbatch is perfect for the role, and Ejiofor as Mordo showed a lot of promise as a future villain, so I have to believe that the second solo Dr. Strange film will be superior.
11. Spider-Man: Homecoming (Watts; 2017)
The only entry in the MCU not distributed by Disney/Marvel Studio’s, Spider-Man: Homecoming is a solid entry for Sony, one of the best of the Spider-Man films, but not quite good enough to break into the top 10. Sony made the very intelligent choice to not make Spider-Man: Homecoming and origin story, figuring most likely correctly that its audience already knows this story and more than a little sick of it. Another aspect of Spider-Man: Homecoming which demonstrates a lot of intelligence on the part of its creators is a phenomenal cast including the rare for Marvel movies fantastic villain Vulture played by Michael Keaton and Tom Holland as Spider-Man the first person to take on the role who is excellent as both Spider-Man and Peter Parker.
The very personal story line of Spider-Man: Homecoming allows for one of the most intimate character studies in a Marvel movie to date of both Peter Parker and Adrian Toomes (Vulture) but it also makes for much smaller stakes than we are used to in an MCU film. I do like the fact that this means for his first MCU feature we get a “friendly neighborhood” Spider-Man, I don’t like that this makes for a movie which has very little to say beyond its surface.
Still, what we get is enough to make it a strong entry in the MCU, the second best live action Spider-Man film after Spider-Man 2, and while its themes of working class man who gets screwed over by the powers that be are shallow, they are enough to make for a bit more than just surface level investment.
10. Thor: Ragnarok (Waititi; 2017)
I’ve stated that Marvel has never made a truly bad movie, except possibly for Thor: The Dark World, but past this point we go beyond mediocre and good into exceptional. Which if you have already calculated the very simple math means I believe that nearly half of the output of Marvel Studios enters the exceptional category (though, I don’t believe any approach anything resembling a masterpiece).
Thor: Ragnarok is the first Thor film to recognize and utilize Chris Hemsworth’s talent for comedy to its fullest extent, which makes sense since it is directed by Taika Waititi the New Zealander responsible for What We Do in the Shadows. What doesn’t make sense, yet absolutely works anyway, is that this comedic tone is taken in a film which focuses on gladiatorial combat, the end of the universe, and the goddess of death.
The first Marvel Universe film which is a straight-up comedy also deals with its darkest subject matter (until we get to Infinity War) but Waititi somehow manages to balance the light tone with the heavy stakes without turning to cynical dark comedy. It’s an amazing feat, and I hope that Waititi and Marvel Studios can somehow find a way to work together again sometime down the line.
9. Guardians of the Galaxy Vol. 2 (Gunn; 2017)
This was perhaps the most difficult film for me to place on this list as it does the thing I love most in a film better than any other Marvel movie, and that’s use the fictional and the fantastic to grapple with a theme relevant to reality. In Guardians of the Galaxy Vol. 2‘s case its using superhero space opera to cast the light from a semi-warped mirror onto the dysfunctions present in most every family on Earth. It sheds that light primarily onto those with “daddy issues”, but it also tackles sibling rivalry, being overly attached to a parent, and issues prevalent in foster families.
Guardians of the Galaxy Vol. 2 also has the best cinematography of any MCU film. Somehow, Gunn managed to get away with more than just the standard practical but farthest away from anything which could be considered art cinematography of the other Marvel Studio’s films and gave us a few scenes, in particular the opening credits scene of all things, which have a definite artistic personal style to them.
Even though GoG 2 does two things better than any other MCU entry, though, I can not rank it any higher than this because it suffers from the same villain problems as most other Marvel films (though not quite to the usual degree) and its comic tone never finds a true balance and is often downright distracting in it inability to just let a tender emotion sit and stew with the audience.
8. Black Panther (Coogler; 2018)
There is one reason and only one reason that Black Panther isn’t far enough up on the list to make it the best of the Marvel solo origin movies, and that reason is that starting with Iron Man we had already seen this film 5 times before in the MCU. Man lives morally questionable lifestyle, said lifestyle threatens man’s life, man makes better choices and acquires superpowers simultaneously, man meets his villainous mirror image, man overcomes villainous mirror image in final battle to make up for past self is the Marvel solo movie formula, each one having one variation on the theme, and Black Panther is no different. But, this no different is the 6th time it was no different.
Beyond that, though, Black Panther is brilliant. There’s the obvious fact that it highlights a continent and a culture which too much of the world is largely ignorant of. While T’challa may not be the first black superhero to lead a film, not even the first time for a Marvel movie, Black Panther is the first superhero film to have a very predominantly black cast and, in my opinion even more importantly, crew. It has a solidly African American message, too, which may be handled with the subtlety of a jackhammer, but not every movie needs to be subtle, and it being primarily a big budget, epic scale, superhero action movie I can definitely forgive it not making its audience discover its themes. In fact, that was absolutely the right way to go in a film of this sort.
Black Panther is also the very rare Marvel movie which has a villain more interesting than its hero. Its costumes won it an Academy Award, every aspect of its production design was incredible, and even its soundtrack was excellent and original. Except for its way too derivative plot, Black Panther is top notch superhero origin movie material.
7. Captain Marvel (Boden & Fleck; 2019)
Captain Marvel is far from a perfect movie. It tries to do too much in its just over 2 hour running time to maintain consistency. Its tone is a little all over the place, its humor is inconsistent, and its the rare Marvel movie which neglects protagonist characters as well as its villains. But, this all occurs because Captain Marvel is an incredibly ambitious, risk taking movie – a quality far, far too rare in Marvel films – and those risks make for a unique experience among the MCU, and while that uniqueness occasionally is discordant, it more often adds up to a very powerful experience.
The risk that always works is its overtly, and also sometimes not so overtly, feminist themes. Wonder Woman was an inspirational film, and it was wonderful to see a well made movie about a woman with godlike powers finally do well with both audiences and critics, but Captain Marvel not only has all those same qualities, but it also intelligently scrutinizes the way women are treated by their male peers (lest anyone think that means this movie “hates men”, may I point out her closest companion throughout the movie is a man).
But, what sets Captain Marvel just ever so slightly above Black Panther in my esteem is the fact that it finally breaks the MCU solo origin movie formula. Rather than show a man overcome his past both literally and metaphorically, we get to see a woman gain power through her own heroism, then realize there is nothing wrong with fully embracing that power despite what the men around her whisper in her ear.
6. Avengers: Infinity War (Russo & Russo; 2018)
This is the ultimate example of what the Marvel Universe was created to do. It would be impossible in any other circumstance to make a movie with dozens of protagonists all with established personalities, motivations, and backgrounds. Even a television show, which in many ways the MCU resembles more than any other series of films, would take multiple seasons to establish a cast of characters as Marvel has, and a television series wouldn’t have anywhere near the budget a feature film has.
Avengers: Infinity War‘s genius is that it does even one better than would seem necessary, though. Not only did Marvel studios have the patience to wait for 20 films so that it could tell a story so epic in scale without having to use the majority of its running time for exposition and character development, it wrote its villain as its protagonist so that we still do have that exposition and character development for a singular character for which it’s most important. This also has the not incidental side effect of making it so Avengers: Infinity War does not have the MCU’s usual villain problem.
Avengers: Infinity War is not the smartest, most emotional, most artistic movie in Marvel Studio’s canon. But its epic scale, particularly where the sheer number of characters is concerned, has arguably never been matched in any film before. It does that without sacrificing cohesion or audience investment, and that’s damn impressive.
5. Iron Man (Favreau; 2008)
The movie that established the MCU is still one of its very best. Prior to 2008, Iron Man was at best a third stringer superhero. If you said the name people had heard of it, though it’s just as likely it was because of the Black Sabbath song as the comic character, but they probably couldn’t say much more. As someone who collected comics for a while in my teen years, I still had never bought a title in which he was a main character. But, post 2008 Tony Stark is a household name just as much as Clark Kent or Bruce Wayne.
The secret to Iron Man‘s success (and Dr. Strange‘s, and Thor‘s, and Ant-Man‘s, and Black Panther‘s, and The Incredible Hulk‘s if it can be considered a success) was that the story came from the character and his growth and experience rather than the other way around. Tony Stark isn’t a man reacting to circumstances beyond his control, he’s engineering his own fate and everything that happens to him from his accident, to his change of heart, to his battle with his former partner comes naturally as an extension of who he is.
Iron Man is not just the first of the Marvel movies, it’s still the best of the origin movies and it’s the movie that defined what the Marvel formula was to be (at least until Captain Marvel – we shall see what happens from here).
4. Captain America: The Winter Soldier (Russo & Russo; 2014)
Captain America: The Winter Soldier has as much, if not more, in common with The Bourne Identity as it does with other superhero movies. This, the second Captain America movie, was the first of the Marvel movies to play around with genre by giving its audience a political spy thriller instead of straight comic book action/adventure. Its success both with audiences and with critics meant it wouldn’t be the last Marvel film to incorporate different genres into its story and tone.
What made the success of The Winter Soldier more surprising than perhaps any other factor, was its directors. Prior to this movie, Joe and Anthony Russo were known for directing comedies. Television situation comedies for that most part, at that. Many thought prior to The Winter Soldier‘s release that the heads at Marvel Studios had lost their marbles and had made their first major, possibly studio ending, mistake. What the heads at Marvel had actually done was demonstrate their genius, or at least their luck, in a grander fashion than ever before.
The Winter Soldier is a fantastic film on its own merit even if none of the other Marvel Studios films had ever existed, but it ended up being more as much of the storyline still going on derives from this movie. The first Captain America movie defined his character, but this is the movie that defined his place in the Marvel Cinematic Universe, and thus the path of the MCU in general to a very large degree.
3. Marvel’s The Avengers (Whedon; 2012)
The first big Marvel event movie had huge expectations partially due to the quality of the films leading up to it, partially due to Joss Whedon helming the project, and partially just from pure hope that it could be as much fun as the idea seemed. It not only met those expectations, it exceeded them and became one of the top grossing movies of all time as well as a critical success.
It was made in the days before Marvel Studios forced the same visual style on all of its directors, and so had some truly fantastic visuals including a long, unbroken shot during its final fight scene which has been equalled in artistic and technical merit only by the opening credit sequence of Guardians of the Galaxy Vol. 2 mentioned earlier. It also had Joss Whedon’s style tattooed all over it from its witty dialogue, to its subversion of both character and genre, to its use of humor and drama when least expected to heighten the impact of each.
Marvel’s The Avengers created the template for the huge event movie of today, and remains one of its best examples still.
2. Guardians of the Galaxy (Gunn; 2014)
Guardians of the Galaxy was Marvel’s greatest risk not only because it was a property which not even die hard comic book nerds had much familiarity with let alone the majority of its potential audience whom had never heard of it at all, but also because it had to be an origin story for an entire group, not just a single person, and could thus very easily have lost focus. done a disservice to its characters, or more likely both for a movie this large in scale with this many moving parts.
It not only pulled off giving us five fully fleshed out, engaging, charming protagonists within an epically scaled space opera along with just as fully formed side characters, Guardians of the Galaxy and director James Gunn created the tone which would propel forward not only the rest of the Marvel Cinematic Universe, but which would also be copied by movies such as Baby Driver, Suicide Squad, Atomic Blonde, and many more.
It broke the mold on Marvel movies and action movies in general, created a new one which everyone wanted to get their hands on, made household names of characters whom nearly no one had heard before, and did it all in a movie seemingly cram packed with too much material for anything to get the attention it deserved, yet somehow was actually perfectly paced. Its only real glaring problem was, say it with me, the villain, whom even by Marvel standards was especially bland.
1. Captain America: Civil War (Russo & Russo; 2017)
Like Guardians of the Galaxy, Captain America: Civil War somehow managed to have its cake and eat it too by being both one of Marvel’s epic event movies and a piece which was personal in scale by focusing more on character than on plot. It has the large scale action and fight sequences with many characters and moving parts to keep your heart racing and your eyes glued to the screen, but at its heart is a movie about duty, friendship, and responsibility and what those values mean to different people.
Captain America: Civil War‘s secret to success was to focus not on the accords nor the assassination attempt, those were merely excuses to move forward the action, but on Captain America’s friendships with both Bucky and Tony Stark and the lengths to which he’ll go to protect those people and ideals which mean the most to him.
Everything great about any individual Marvel movie is present in Captain America: Civil War, except for the occasional brilliant camera work. It has relatable, engaging characters who change and grow throughout the movie, it takes risks in making those we’ve always seen as heroes before into the villains here, it has some of the greatest action sequences ever put into a Marvel movie which means they are in the running for greatest of all time, period, and it does all this while also having themes with far more depth than all but a handful of the other Marvel films and it introduces two characters brand new to the MCU on top of all of that. If Marvel ever manages to top this movie, it will only be because they somehow managed to add art to their formula, because aside from that missing factor Captain America: Civil War is a near perfect comic book movie.
Posted in analytical, film analysis, film study, movie review | Tagged Avengers, Captain America, comic book, Dr Strange, Guardians of the Galaxy, Iron Man, James Gunn, Joss Whedon, list, Marvel, Marvel Cinematic Universe, MCU, Ranking, Russo Brothers, superhero | Leave a reply
Thor: Ragnarok (Waititi; 2017)
Posted on November 3, 2017 by sdouglasferguson
Thor: Ragnarok is the seventeenth movie in the Marvel Cinematic Universe. Fifteen movies in nine years. James Bond, of course, has more at twenty-five, but it took fifty-six years to get there. Batman has had seventeen movies over twenty-eight years, but that’s not a franchise so much as a popular character getting rebooted. Star Trek got thirteen movies over thirty-seven years. Those numbers alone should show how remarkable the Marvel film franchise is, but all of those other long-lasting franchises have also had some terrible entries and box office flops, Marvel has yet to make a film that has disappointed on either an entertainment or a box-office level, though the Thor films have come the closest to doing both. Thor: Ragnarok not only continues Marvel’s pedigree of excellence, but it is also far and away the best of the Thor films and in the upper echelon of Marvel movies period.
Marvel is advertising Thor: Ragnarok as the studio’s first comedy, though I would argue that the Guardians of the Galaxy movies and particularly Guardians of the Galaxy Vol. 2 were, but if you know what the term Ragnarok means you know that it’s dealing with pretty dark subject matter for a Marvel movie let alone a comedy. (If you don’t know, I won’t spoil it for you here.) This contradiction is a balancing act walked throughout the entire film by its cast and crew as they try to keep things light-hearted and fun while at the same time showing that the story has serious stakes and consequences for those taking part in it. While they do have to cheat here and there to pull off this feat, pull it off they do and spectacularly enough that the cheating can be mostly overlooked.
Chris Hemsworth (Thor) was initially cast as Thor largely because of his appearance and because he’d worked with Joss Whedon earlier on Cabin in the Woods so he’d proven he could take on a large film anchoring role. Take on the role he absolutely did, and with gusto, but the character of Thor is one the more bland Marvel heroes as he has to be both so immensely powerful as to rarely be in honest danger, but also has to embody humility and virtue so doesn’t really have major character flaws, either. He’s Marvel’s Superman, but without a great rogue’s gallery and level of fame, and this made for a character that even when played as well as possible by Hemsworth is still the least interesting of the Avengers. Over the last few years, though, Hemsworth has proven he has some real comic chops between his shorts as “roommate Thor” and being the funniest character in the 2016 Ghostbusters reboot. Marvel very intelligently ran with that and allowed Thor to also be the funniest Avenger, which is the defining character trait he’s needed all along and allowed Thor: Ragnarok to finally be a truly special Thor movie.
The rest of the cast is also fantastic with Mark Ruffalo returning as The Hulk/Bruce Banner and showing that he also has comic talent, Tom Hiddleston giving us a Loki who we already knew could be both hilarious and nefarious, and Jeff Goldblum appears for the first time in a Marvel movie as the Grandmaster and manages to steal every scene he appears in with his own eccentric brand of comedic performance. While these four give the film its heart and soul, Cate Blanchett as the god of death Hela is incredibly menacing and captivating, and Tessa Thompson as Valkyrie and Karl Urban as Skurge hold their own in this amazing cast as two Asgardians with more personality than we get from the majority of the gods. The only real disappointments here are Idris Elba returning as Heimdall and Anthony Hopkins as Odin who both seem like they were more or less phoning in their roles, and Hopkins not even caring if anyone noticed.
The movie does play fast and loose with the lore of both Marvel comics’ version of Thor and actual Norse mythology. For the most part, the changes work and add a fun unpredictability to the film for those who know either story of Ragnarok well but could annoy the geekier purists out there. The patchwork light and dark tones also make for a story able to surprise, particularly in the film’s climactic battle which is the most daring ending to a Marvel film yet, but it can also make for inconsistent motivations from the characters as they act in ways which are more concerned with what is funny or exciting than what is consistent or realistic.
Thor: Ragnarok has one of the most unusual soundtracks for a Marvel movie to date. Most of the Marvel films use a classic orchestral score while the Guardians of the Galaxy films are famous for their use of classic rock. Thor: Ragnarok has a largely orchestral score, but it also mixes in techno music reminiscent of 80’s New Age music and somehow has the rights to Led Zeppelin’s “The Immigrant Song” despite the band’s legendary stinginess with giving out the rights to their music. This mix works for the most part and allows for some incredibly epic action, but every now and then it can be distracting enough to break the movie’s spell.
Final verdict: Thor: Ragnarok continues the Marvel tradition of giving us an excellent thrill ride with just enough of the familiar to make us comfortable and just enough spin to make a superhero movie not quite like any we’ve seen before. Its mix of comedy and bold plot complications makes for a bit of a patchwork, but a pretty remarkable patchwork that manages to work far more often than it distracts, though it certainly isn’t perfect. If you’re already a fan of the Marvel Cinematic Universe then heading out to see Thor: Ragnarok as soon as possible on the largest screen possible is an absolute no-brainer. If you are either not a fan or have somehow avoided seeing any of the other fourteen films for this long, it’s not quite as easy of a recommendation, but while you will miss some of the nuance longtime fans of the series will enjoy, Thor: Ragnarok is so much pure fun that I find it hard to believe that any but the most interminable stick in the muds will find a good amount of enjoyment in it.
Posted in film analysis, film study, movie review, new release | Tagged action, adventure, Anthony Hopkins, Asgard, Cate Blanchett, Chris Hemsworth, comedy, comic book, Fenris, Grandmaster, Hela, Hulk, Idris Elba, Jeff Goldblum, Karl Urban, Led Zeppelin, Loki, Mark Ruffalo, Marvel Cinematic Universe, MCU, Norse Mythology, Odin, sci-fi, science fiction, Skurge, superhero, The Executioner, Thor, Tom Hiddleston, Valkyrie | Leave a reply
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Issue 177: 2018 11 08: Edward Burne-Jones
Tate Britain (24 October 2018 – 24 February 2019).
Reviewed by William Morton
King Cophetua and the Beggar Maid, 1884, Sir Edward Burne-Jones, Bt, The Tate.
Edward Burne-Jones (1833-1898) was one of the leading Pre-Raphaelite artists. He abandoned a theology degree and took up art with encouragement from Rossetti. He was a close collaborator of William Morris and a friend of Swinburne. He made a number of trips to Italy to study Renaissance art and was a prolific draughtsman, designer and painter. He, like Morris, was fascinated by classical myths, Chaucer and the Le Morte d’Arthur legends and his paintings are largely devoted to subjects taken from such sources. He married Georgiana Macdonald (Kipling’s aunt) but had affairs, in particular with Maria Zambaco, an artist and model of Greek descent.
Burne-Jones was immensely successful. His worked chimed with the Victorian era and he was created a baronet and was commissioned by people such as Arthur Balfour, later Prime Minister. At the instigation of the Prince of Wales, his memorial service was held at Westminster Abbey, the first time an artist was so honoured.
However, like that of his contemporary, G F Watts, his work fell out of favour after his death. Although he has now been re-assessed, he remains a controversial figure and his subject matter is not perhaps in tune with modern taste. This exhibition has stimulated some savage assessments of his work – see, for example, Waldemar Januszczak of the Sunday Times, www.waldemar.tv, who takes great exception to what he calls ‘the droopy girls’ featured in his paintings.
One can understand where Januszczak is coming from and it has to be admitted that many of the women (and a few men) seem to share the same face. However, provided you are comfortable with the mythological/romantic background, there is much to enjoy in the paintings. Most of them are large, highly-coloured and definitely catch the eye. The so-called Exhibition Pictures in one room include well known works such as Love among the Ruins where the man and girl crouch with an air of desperation among fallen columns. In King Cophetua and the Beggar Maid our attention is drawn to the cleverly high-lighted figure of the maid. In Laus Veneris, a subject taken from a Swinburne poem, the central female figure is lost in thought while her maids gossip beside her. They successfully convey a sense of other-worldliness. Burne-Jones also gives value for money with a wealth of detail so that, for example, in Love Leading the Pilgrim the briars are filled with small birds. No corner is left without a vista or a corridor leading away. The paintings in The Briar Rose series, which are packed with detailed human figures, are flanked by rather charming simple panels of roses.
One room is devoted to portraits, which are interesting although perhaps not his finest work. One of his wife shows her looking a bit anxious with his children in the background. Katie Lewis is shown lying reading on a sofa reading. She is described as difficult and that can be seen in her face. There is a rather curious one of Paderewski, the Polish pianist and Prime Minister, who seems to be having a bad hair day.
Burne-Jones was a prolific designer, particularly for Morris & Co, and the exhibition includes stained glass and tapestries produced to his designs. His style suits tapestries and there are some fine examples on view such as that of the goddess Pomona.
He is not perhaps one of the truly great artists but merits attention and the exhibition is worth seeing. In a sense, he is always on show as so many churches have windows designed by him.
Issue 177: 2018 11 08: The Tethered Goat »
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Idiomas:deenesfr
EntrenamientoAperturasFritztrainer aperturas
The Accelerated Dragon - a sharp weapon against 1.e4
por Nadezhda Kosintseva
After 1.e4 c5 2.Nf3 Nc6 3.d4 cxd4 4.Nxd4 g6! leads to the so-called “Accelerated Dragon Defense” of the Sicilian, which is characterised by the idea to achieve the thematic central break d7-d5 in one move (in contrast to the “Dragon Variation”, in which Black plays d7-d6). On this DVD the Russian grandmaster and top women player Nadezhda Kosintseva reveals the secrets of her favourite opening. Kosintseva has played the Accelerated Dragon for many years and achieved a lot of success with it. You too can accelerate your opening – with this complete repertoire for Black against 1.e4!
Nivel: Avanzado, Jugador de torneos, Profesional
02: Move orders [13:22]
03: Traps - Trap-1; Trap-2; Trap-3; Trap-4; Trap-5; Trap-6; Trap-7; Trap-8; Trap-9 [17:39]
Chapter 2: Maroczy Bind 5.c4
01: Maroczy Intro [10:25]
02: 5...Bg7 6.Be3 Nf6 7.Nc3 0-0 8.Be2 d6 9.0-0 Bd7 10.Qd2/Rc1/f4 - Video notation [16:20]
03: 5...Bg7 6.Be3 Nf6 7.Nc3 0-0 8.Be2 d6 9.0-0 Bd7 10.Nc2 - Video notation [22:10]
Chapter 3: 5.Nc3 Bg7 6.Be3 Nf6 7.Bc4
01: Intro 7.f3/Qd2 - Video notation [11:45]
02: 7.Bc4 0-0 8.Bb3/f3 - Video notation [11:32]
03: 7.Bc4 0-0 8.Bb3 d5 9.exd5 Na5 10.0-0/Nde2/Nf3/Qd2 - Video notation [20:47]
04: 7.Bc4 0-0 8.Bb3 d5 9.exd5 Na5 10.Qf3 - Video notation [10:57]
05: 7.Bc4 Qa5 8.0-0 0-0 9.Nb3 - Video notation [19:04]
06: 7.Bc4 Qa5 8.0-0 0-0 9.Bb3 - Video notation [11:27]
Chapter 4: The Classical Be2
01: 5...Bg7 6.Nb3 Nf6 7.Nc3 0-0 8.0-0 d6 9.Bg5/Kh1/f4/Re1 - Video notation [20:01]
02: 5...Bg7 6.Nb3 Nf6 7.Nc3 0-0 8.0-0 d6 9.Re1 - Video notation [09:35]
03: 5.Nc3 Bg7 6.Be3 Nf6 7.Be2 0-0 8th move alternatives - Video notation [20:50]
04: 5.Nc3 Bg7 6.Be3 Nf6 7.Be2 0-0 8.Nb3 d6 9.0-0 Be6 - Video notation [08:20]
Chapter 5: Sidelines
01: 5.Nxc6 or 5.Nc3 Bg7 6.Be3 Nf6 7.Nxc6 - Video notation [14:06]
02: g3 setups - 5.Nc3 Bg7 6.Nde2 Nf6 7.g3/5.Be3 Nf6 6.Nc3 Bg7 7.g3 - Video notation [16:25]
Chapter 6: Test section
01: Test 1 [03:05]
10: Test 10 [02:25]
On move five White has basically two continuations. First, 5.c4 – the popular Maroczy system, against which Kosintseva has a number of strong recommendation in store. Second, the “Open Variation” 5.Nc3, against which the grandmaster offers no less than two promising systems: the modern dynamic treatment with a quick d7-d5, which is a firm part of the repertoire of top grandmaster Boris Gelfand from Israel, who employed this line successfully on a number of occasions in 2017 which made it very popular. And the quieter, strategic approach with …d6 and … Qa5, which gives the game an entirely different character. Kosintseva explains the theoretical main lines and side lines of the Accelerated Dragon, but also the many strategic finesses of this opening with its typical plans and pawn breaks (such as d7-d5 and b7-b5), and of course she also shows clever tactical stratagems such as the classical Sicilian exchange sacrifice ...Rxc3 followed by ...Nxe4. The material learnt can be practised with interactive tasks with video feedback which makes you fit for the practical game – and helps you to make your opponent sweat!
• Video running time: 4 h 51 min(English)
• With interactive training incuding video feedback
• Extra: Database with model games
• Including CB Reader
The Accelerated Dragon Powerbook 2018
Roughly 78.000 games from the engine room of Playchess as well as just 10.000 games played by humans constitute the basis of the Accelerated Dragon Powerbook.
A Sicilian Stunner - The Kalashnikov
This increasingly popular opening is easy to pick up as the Black pieces can usually be developed quickly and smoothly. Many of the ideas are thematic and Black can achieve attacking positions in several of the variations.
The Vienna Variation - a reliable and ambitious weapon against 1.d4
The Vienna Variation is a particular and independent system of the Queen’s Gambit. It arises after 1.d4 d5 2.c4 e6 3.Nf3 Nf6 4.Nc3 dxc4, when black’s capture on move 4 is strongly reminiscent of the Queen’s Gambit Accepted.
Anti-London System
On this DVD GM Yannick Pelletier offers Black a repertoire against the London System that you can employ no matter which opening (Systems with d5, systems with g6, Queen’s Indian, Queen’s Gambit, Benoni, Benko, Dutch) you usually play against 1.d4 followe
A Classical Guide to the French Defence
This DVD gives you the key to start out with the French Defence. GM Yannick Pelletier is a specialist of this opening, and believes that the most efficient way to understand its ideas, plans, and typical structures is to study classical lines.
Power Play 25: Popular Queen’s Pawn Openings – A Repertoire For Black
En este DVD, el gran maestro Daniel King presenta un repertorio para las negras contra las aperturas de peón de dama populares como el sistema Londres o la Trompowsky
Power Play 22: A Repertoire for Black with the French Defence
Daniel King le ofrece un repertorio para las negras con la Francesa. Abarca las líneas principales Explora diferentes sistemas de forma que siempre mantendrá a su rival en la incertidumbre.
Cómo jugar la Najdorf (Vol. 3)
The Accelerated Dragon
After 1.e4 c5 2.Nf3 Nc6 3.d4 cxd4 4.Nxd4 g6! leads to the so-called “Accelerated Dragon Defense”. On this DVD the Russian grandmaster and top women player Nadezhda Kosintseva reveals the secrets of her favourite opening.
The Löwenthal Variation in the Sicilian Defence
In this 60 minutes video GM Nadezhda Kosintseva offers White a repertoire to counter the Löwenthal Variation.
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Iconic Rock n’ Soul Singer LULU Makes NYC Concert Debut with February 16th Event at B.B. King’s
January 2, 2013 Michael J. Roberts
Britain’s iconic singer LULU will make her NYC concert debut with a February 16th performance at B.B. King Blues Club & Grill, backed by an All-Star Band, featuring Will Lee, Jimmy Vivino and Rich Pagano from The Fab Faux, plus Paul Shaffer.
Lulu’s name is synonymous with rock and a whole lot of soul. She first burst onto the scene in the sixties at the tender age of 15, with the enduring mega-hit Shout. Since then she has topped the charts in every decade (working with everyone from Jimi Hendrix, Johnny Cash and The Beatles to Elton John, Sting, David Bowie and Paul McCartney) and also become an accomplished actress, in such notable works as the cult classic ‘To Sir With Love’ and legendary guest appearances on the BBC comedy, ‘Absolutely Fabulous’. Here’s a look back at some of the most memorable moments from her career: http://www.youtube.com/watch?v=n6THDqrW9DE <http://www.youtube.com/watch?v=n6THDqrW9DE>
From Will Lee:
“New York will be blessed to finally hear one of England’s most revered soul voices in person at this long-awaited event!”
From Jimmy Vivino:
“LuLu possesses one of the voices that jumped out of my radio and grabbed me and never let go. A chance to work with her is a chance to fulfill an artistic and schoolboy crush. Really, I never would have dreamed of this actually happening!”
From Rich Pagano:
“As a young musician, my family and I watched ‘To Sir With Love’ on TV and when the title song was performed, it was an awakening for me of great songwriting and how a great song can be even better with a perfect voice like Lulu’s.”
From a young age, Lulu found inspiration in the r&b and soul records made by American artists. She was showcased in the 2003 Mike Figgis/Martin Scorsese documentary “Red, White and Blues” along with other British artists (Eric Clapton, Jeff Beck) who were influenced by the genre. When she turned her hand to writing, her song I Don’t Wanna Fight became a world-wide number one for Tina Turner and was nominated for both Grammy and Ivor Novello Awards. And who can forget the high-energy duet with Take That, lifting Relight My Fire to new heights and taking it to number 1 in the UK? While mentoring the hopefuls on American Idol, Lulu stopped the show with a powerhouse version of To Sir With Love – arranged by Barry Manilow – to a stunned audience of over 70 million.
Never one to slow down, Lulu still regularly performs with her band throughout Europe. She enjoyed two successful sold-out tours of her “Here Come The Girls” show, which paired her with Anastacia and Chaka Kahn. Now she looks forward to bringing her unique brand of rock n’ soul to the United States.
LULU – BRITAIN’S ICONIC TREASURE AND LADY OF SOUL MAKES HER NYC DEBUT AT BB KINGS – 237 West 42nd Street, New York, NY 10036
http://www.bbkingblues.com/bio.php?id=2342 <http://www.bbkingblues.com/bio.php?id=2342>
Backed By An All-Star Band featuring JIMMY VIVINO, WILL LEE + RICH PAGANO of THE FAB FAUX plus PAUL SHAFFER
Doors Open @ 6:00PM
Tickets are $36.00 in advance, $40.00 day of show – 1-800-745-3000 or: Ticketmaster
General Admission Seating
First come, First seated
$80.00 VIP tickets include reserved premium seating, color show poster & a post-show meet & greet with Lulu.
« FUN AND LIVELY WAY TO CELEBRATE MLK DAY: JOFFREY BALLET’S AFRICAN DANCE MASTER CLASS WITH LIVE DRUMMING ACCOMPANIMENT At Joffrey Tower, January 21
MadKap Productions Presents the Chicago Premiere of SIDE EFFECTS MAY INCLUDE…at the Greenhouse Theater Center from January 4 through February 10, 2013; Written by Seinfeld writer Marc Jaffe and Emmy nominee Eric Coble »
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Toby Driver
credit: Gemma Fleming
Toby Driver - Avignon
Toby Driver is a composer and multi-instrumentalist from New York City best known by his role as bandleader of the avant-goth, experimental doom band, Kayo Dot, and bassist of Pythagorean surf-prog wizards Secret Chiefs 3 (ex-Mr. Bungle).
On the heels of Kayo Dot's 2016 album, "Plastic House on Base of Sky," Driver sustains his inexhaustible output with a solo album titled "Madonnawhore."
After exploring a retro-futurist noir sound on 2014's album "Coffins on Io," then delving even further into electronic music with "Plastic House on Base of Sky," Driver was eager to write a different kind of song. "Madonnawhore" represents a foray into traditional songwriting, stripped of the progressive flourishes and unpredictability of Kayo Dot. These six austere tracks were recorded as a solo effort, sparse and atmospheric, evoking empty spaces and the beauty sometimes inherent in death. They occupy a heretofore unexplored place in Driver's oeuvre, further demonstrating his immeasurable talent.
Although not a concept album, "Madonnawhore" is united by its exploration of the "madonna-whore complex," a psychological neurosis first identified by Sigmund Freud whereby a man feels he can only love a woman who maintains a saint-like purity, but desires to be intimate with someone he considers to be debased. This sacred/profane dichotomy has far reaching effects that are seemingly inescapable in modern society and ripe for examination.
Toby Driver has toured all over the world for almost two decades, from North and South America to Europe, the Middle East, Russia, Siberia, and Japan.
Subgenre: Goth
From: New York, NY
Events featuring Toby Driver
Toby Driver at The Hideout
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TV/Streaming Media
Original Chekov Walter Koenig Reveals His Favorite ‘Star Trek’ Movie
Posted September 5th, 2016 by Jax Motes
Some say the ‘Star Trek’ movies have an “every other rule,” meaning that only every other one is any good. Following the phenomenal success of the first ‘Star Wars’ movie, every movie studio scrambled to crank out their own space adventure flick and Paramount was no different. Unlike a lot of the others though, Paramount already had a popular cosmic property on their hands, ‘Star Trek’ which ran for three years in the 60s in first run episodes but never left the airwaves thanks to syndication, earning new fans constantly over the years. Unfortunately, ‘Star Trek: The Motion Picture’ was a bloated bore that failed to capture the charm of the TV series. But the franchise was redeemed big time with ‘Star Trek II: The Wrath of Khan’ which is still considered the best Trek film by many.
Then came ‘Star Trek III: The Search For Spock’, another dud. But once again, following that disappointment came ‘Star Trek IV: The Voyage Home’ and fans were once again back on board. And they aren’t the only ones.
Walter Koenig recently spoke to Yahoo about his experiences over the last 49 years playing Pavel Chekov the navigator of the Enterprise. Koenig first popped up during the original show’s second season and continued through the first seven movies. Out of those, Koenig singles out ‘The Voyage Home’ as his favorite.
“I feel that’s best film we did. From my own point view, Chekov got to have some specific action, like the scene we did with the “nuclear wessels” and his interrogation by the FBI. He even got his own theme music! I had never shot anywhere but on a soundstage, and that was the first time I got to go out and shoot on the streets of San Francisco. I also think it’s the film that’s most representative of Gene Roddenberry’s original inspiration, to tell socio-political stories that spoke to what was transpiring in the world at the time. We addressed the topic of the environment with the storyline about the extinct whales. I feel we did a service for the world by addressing that subject in cinematic form and making it part of their consciousness.”
‘The Voyage Home’ is often sited as one of the best Trek films ever by fans and critics and it has a healthy 85% freshness rating on Rotten Tomatoes.
Is it one of your favorites? Or do you think there’s another installment that transcends it?
Pavel Chekov
Star Trek IV: The Voyage Home
Exclusive: Mark Waid Ventures Into The Dark Side Of Superheroes With ‘Axiom’
‘Star Trek: Discovery’ To Boldly Go Into Companion Novels And Comics
Sony Sets A Release Date For ‘Masters Of The Universe’… Even Without A Director
Colin Trevorrow Promises No New Hybrids For ‘Jurassic World 3’
It’s “Time To Play” With The New ‘Child’s Play’ Trailer And Poster
Zac Efron And Amanda Seyfried Will Voice Fred And Daphne In Theatrical Movie ‘Scoob’
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Public Release: 22-Mar-2019
A first glimpse deep beneath an ultraslow-spreading mid-ocean ridge
Technology allows researchers to make images from 120 km below a mid-ocean ridge
Norwegian University of Science and Technology
IMAGE: An illustration of what it's like in a black smoker field. view more
Credit: Illustration: NTNU
More than 100 years ago, the German meteorologist and avid balloonist Alfred Wegener remarked in a letter to his future wife Elsa Köppen on an odd pattern he noticed on world maps.
"Doesn't the east coast of South America fit exactly against the west coast of Africa, as if they had once been joined?" he reportedly wrote in December 1910. "This is an idea I'll have to pursue."
Wegener's insight eventually led to the understanding, many decades and much debate later, that the Earth is made of plates that fit together like the cracked shell of an egg -- except that the shells, or plates, move around on a more plastic layer called the asthenosphere.
The areas where the plates move apart, like down the middle of the Atlantic Ocean, are where new crust forms. Here, molten rock rises up, forming a ridge between the plates. But because these mid-ocean ridges are in deep water and remote, they are notoriously difficult to study and are poorly understood.
Now, a team of Norwegian scientists has used advanced electromagnetic technology to create the first-ever images of a specific type of mid-ocean ridge, as a way to learn more about the dynamic forces in the Earth's mantle underneath. Their results have just been published in Nature.
Deep imaging of the unknown
Ståle Emil Johansen, the first author of the study and a professor at the Norwegian University of Science and Technology (NTNU)'s Department of Geoscience and Petroleum, says the researchers decided to study a specific type of mid-ocean ridge called an ultraslow-spreading ridge.
As the name suggests, this is where plates are moving apart extremely slowly, less than 20 millimetres per year. In contrast, velocities measured at different parts of the Pacific plate show movements of more than 150 mm per year.
More than 30 per cent of the mid-ocean ridges in the world are ultraslow-spreading ridges, he said. But for all of that, geologists know very little about them.
"No one has ever imaged these kinds of ridges before using modern electromagnetic methods, and this is deeper than we have ever been able to image before," he said. "The deep structures are simply unknown."
Loki's Castle under the sea
The ultraslow-spreading ridge that the team studied is called Mohns Ridge. It lies southwest of Svalbard and east of the coast of Greenland.
Here, the oceanic crust is very thin and there's a prominent black smoker field in an area called Loki's Castle. Black smokers are vents on the seafloor that release a steady stream of extremely hot, mineral-rich seawater. Black smokers are also a prime location for deposition of deep-sea minerals.
Johansen said the project was focused on developing fundamental information about the kinds of forces that drive upwelling of partly melted mantle rocks along the ridges.
"It's basic research," he said, "although it also provides groundbreaking insight into the formation of black smokers and subsea metal deposits."
Measuring weak voltages over great distances
The researchers were able to use a special kind of electromagnetic imaging technique called controlled-source electromagnetic surveying technology (CSEM). The technology requires a ship to place antennas on the ocean floor in a grid, after which the ship tows a source of electromagnetic energy over the grid on a long cable and collects information about the energy that returns back from the subsurface.
The seafloor antennas are also able to record a second type of electromagnetic signal, a naturally occurring electromagnetic background signal. The technique that uses this energy is called magnetotellurics (MT). "Charged particles from the sun create electrical currents when they hit the Earth's atmosphere. You can also see this energy when you see the Northern Lights," he said.
Johansen said it's fascinating that this natural signal, which is very weak, can even be detected at all, since it makes a long journey from the ionosphere deep into the mantle and back again to the sea floor. But it works, especially when combined with CSEM technology.
"What we have done for the first time is to combine these two signals into one, to create quite spectacular images of these deep structures, " he said.
In this case, however, the researchers wanted to figure what was happening below an ultraslow-spreading ridge. Were the structures under the ridge being formed passively by partly melting rocks "bubbling" up when the North American and Eurasian plates moved apart?
The information they collected -- weak differences in voltage that result from different electrical conductivities in rocks under the ocean floor -- can be translated into images that show the subsurface distribution of different rock types as well as melts and fluids.
In one image, the researchers were able to detect the plumbing system for deeply circulating seawater that forms mineral deposits at Loki's Castle.
Another series of images they made shows what's happening where the two plates are spreading apart, which is what the scientists were most curious about.
The technology worked so well they were able to create images down to 120 km below the seafloor. Their findings, they realized, could help explain the mapped structures beneath the ridge and also to understand fundamental processes that create ultraslow ridges.
Understanding how new crust is formed at mid-ocean ridges
Even though Wegener's plate tectonic theory has been accepted for the last six decades, and the general principles behind plate movement are generally understood, there's still much more to learn -- especially when it comes to mid-ocean ridges.
What's important to understand is that when plates pull apart in one part of the globe, plate edges will meet at another part of the globe. That means something has to give.
When two plates meet the side of one plate gets pushed, or subducted, under the other plate. This is what is happening in the Pacific, where the eastern side of the Pacific plate is sliding under the South-American continent.
There's generally lots of tectonic activity, such as earthquakes or volcanoes, at plate boundaries. It tends to be more visible when the edge of the plate is near the continental edge, as in western North America. Think California.
Passive or active ridge system
In this case, however, the researchers wanted to figure what was happening with the ultraslow-spreading ridge. Were the structures below the ridge being formed passively by partly melting rocks "bubbling" up when the North American and Eurasian plates moved apart?
Or is there a push from below, where overpressure in the mantle creates a dynamic system that actively pushes partly melted rock up from the deep?
"Normally when we think of plates moving apart, they create a space between them and magma rises up. So if you make an image of this, the normal thing to think is that it looks nice and symmetric," he said.
However, when the scientists looked at the images they had, they realized that the lithospheric plate on the eastern side of the ridge was much thicker and colder than on the western side of the ridge.
This matters because geologists have traditionally believed that asymmetric thickness along mid-ocean ridges means there must be a dynamic system and that overpressure pushes magma up from the deep mantle.
In this case, however, the researchers realized that there was a much simpler explanation for why the eastern side of the ridge was thicker and deformed: the eastern side of the ridge is the edge of the Eurasian plate, which is slowly moving southwards. In contrast, the North American plate is moving nearly west.
Asymmetric plate movement helps explain the pattern
In short, "the asymmetry below the ridges doesn't have to be a sign of push from below," he said. "Maybe it is simpler than that. Maybe when you have asymmetric structures below the ridge, it's because you have asymmetric plate movement at the surface."
That could mean no push from below at the Mohns Ridge, but that the movements of the plates themselves are making the patterns the researchers see, he said. It's also another piece of information that will help researchers to better understand how the Earth's tectonic plates behave.
Johansen came to academia after a career working at Equinor, the Norwegian energy company, and with EMGS, the company that has developed the electromagnetic imaging technique the researchers used in their findings.
"People ask me why I do this," he said, he said of his shift to academia. "It's because of the excitement of discovery that is a part of basic research."
Reference: Deep electrical imaging of the ultraslow-spreading Mohns Ridge. Ståle Emil Johansen, Martin Panzner, Rune Mittet, Hans E.F. Amundsen, Anna Lim, Eirik Vik, Martin Landrø & Børge Arntsen. Nature 2019 doi:10.1038/s41586-019-1010-0
Ståle Emil Johansen
stale.johansen@ntnu.no
@NTNU
http://www.ntnu.edu
GEOPHYSICS/GRAVITY
Black Smoker Field (IMAGE)
Tectonic Plates and their Boundaries (IMAGE)
Cross Section of Black Smoker Ridge (IMAGE)
https://geminiresearchnews.com/2019/03/a-first-glimpse-deep-beneath-an-ultraslow-spreading-mid-ocean-ridge/
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View all in Earth Science
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Oncologists disagree on use of value to guide cancer treatments
A new study found that oncologists have divergent views on how to use “value” to guide cancer treatment recommendations.
Author Jennifer HuberPublished on April 4, 2018 April 4, 2018
Cancer care is expensive, with the cost of new chemotherapies exceeding $100,000 annually and the growth in cancer care costs increasing faster than the growth in general medical care costs. In addition, there is a widely acknowledged mismatch between the costs and benefits of treatment.
“The pricing of cancer drugs doesn’t appear to be related to their health benefit. This is problematic and unaffordable both for the health care system and for patients, who are expected to engage in not-insubstantial cost sharing,” explained Risha Gidwani-Marszowski, DrPH, a health economist at the VA Palo Alto Health Care System and at Stanford.
In response to this gap, oncology professional societies now recommend that oncologists consider the value of a treatment when making clinical recommendations, a major shift in clinical practice. But how are oncologists defining whether a therapy has “high value?” And how are they using this information?
Gidwani-Marszowski investigated these questions in a new study recently published in Value in Health. Her multi-institutional research team conducted in-depth interviews with 31 U.S. oncologists who practiced in a diverse range of environments, including academic medical centers, community medical centers and the Veterans Health Administration.
The researchers asked oncologists open-ended questions about larger questions regarding value — specifically, about the oncologists' definitions and measurements of value, as well as about their value-based choices.
"We didn’t want to operate under the erroneous assumption that we knew everything there is to know about the relevant features of the value problem,” said Gidwani-Marszowski. “We felt it would be better to keep things open-ended, so that practicing oncologists could tell us the aspects of value that were most relevant or salient to them.”
Once these in-depth conversations were transcribed, two independent investigators qualitatively assessed the transcripts to identify themes — pinpointing and recording patterns. Their analyses revealed that oncologist have wide ranging views. Gidwani-Marszowski explained:
One of the most interesting things we found through this work is that the divergent views exist at a very basic level — the definition of value. For example, in defining value, some oncologists said cost was one of multiple factors that should be considered, while others said cost had no role at all to play in value.
Additionally, some oncologists looked at cost in relation to a patient’s quality of life, while others looked at quality of life alone to measure value. One oncologist explained in the paper: "I think [value] shouldn’t just be measured by overall survival, but quality of life has to really be integrated into that. I’m extending the patient’s life by two months, if they’re filled with chemotherapy side effects and toxicity, have we increased the value?”
The oncologists also disagreed on how value should be measured, who should assess the value of a treatment and whether value should be discussed with the patient.
For one oncologist, conversations about costs are important: "I tend to explain to them what the cost is and what the benefit is. And some patients actually say, 'I don't think it's worth it.' ... So I will give them [information about the] cost and the side effects and the benefit and we'll make the decision together."
For another oncologist, the conversations don't work well: "Most of the time we don't [discuss the cost of care] because then the patients and families think hey, these guys are looking at dollars and not providing the care... So that's kind of really controversial. Plus it's very uncomfortable even to talk about the money and the care we provide to them..."
Now, the team is using the results from these in-depth interviews to design a closed-ended survey, which they plan to disseminate to a large sample of oncologists across the country. Gidwani-Marszowski explained:
Oncologists often have the best understanding of the effectiveness of a particular drug in a specific patient and largely guide the purchasing of care for cancer patients. Thus, it is partly through understanding their perspectives that we can improve the value of cancer care.
Gidwani-Marszowski also told me that for value efforts to be successful, a critical first step is to make sure all of the relevant stakeholders — oncologists, patients, caregivers, other health care providers, payers, health economists and policymakers — are able to reach a consensus on the definition of value in cancer care. That will build a foundation for efforts to establish thresholds for value, mechanisms to measure value, and ultimately, efforts to improve the value of cancer care, she said.
Image by Nick Youngson
Cancer Health care costs
cancer318 Health costs96 health policy232 News Home3208
High-value oncology practices include “support for the patient journey”
Author Krista CongerPublished on November 16, 2017 December 19, 2017
Identifying ‘high-value’ practices in primary care; a Stanford study pinpoints key attributes
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Warner Bros. Sets 2017 Release Dates for Stephen King’s ‘It’ and ‘CHiPs’
Warner Bros. has announced release dates for two of their upcoming adaptations / reboots, adding both films — along with an untitled mystery project — to their 2017 slate. First up is CHiPs, Dax Shepard’s new action-comedy based on the classic ’80s TV series, starring Shepard and Michael Peña in the leading roles. Next is It, the long-developing and slightly-delayed adaptation of Stephen King’s beloved horror novel, which became the subject of some minor controversy following director Cary Fukunaga’s departure.
Although we still have no idea who’s actually starring in It, Deadline reports that the new adaptation from director Andres Muschietti (Mama) will hit theaters on September 9, 2017 — it’s a smart month for a riskier horror project, as the first month of the post-blockbuster season tends to be a bit dead. David Kajganich (The Invasion) and Gary Dauberman (Annabelle) recently reworked the original script by Fukunaga and Chase Palmer, while no casting has yet been announced. Will Poulter (The Revenant) was rumored for the role of Pennywise before Fukunaga’s departure, and reports suggest that Muschietti may have stuck to that casting.
Meanwhile, CHiPs will hit theaters on August 11, 2017, where it will compete with Sony’s baffling Emoji Movie. Directed by Dax Shepard and starring Shepard, Michael Peña and Kristen Bell, the film follows two California Highway Patrol motorcycle officers as they make their rounds. Even though the film is based on an action-comedy series and has been described as such in reports, Peña has said in interviews that this version of CHiPs will actually have a more action-oriented and serious tone.
Warner Bros. also dated an untitled PG-13 comedy for December 22, 2017 — fairly daring, considering Star Wars: Episode VIII arrives one week earlier.
Filed Under: CHiPS, Dax Shepard, It, Michael Pena, Stephen King
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Chicago Sky Re-Sign All-Star Guard Allie Quigley
CHICAGO – The Chicago Sky announced today the team has re-signed guard Allie Quigley. Per team policy, terms of the deal were not disclosed.
“I’m more than excited to have Allie Quigley sign with us again,” Sky General Manager and Head Coach James Wade said. “Allie represents the hard work of Chicago by how she’s blossomed in the Chicago Sky uniform. We just want to continue her personal success and add on to our team success.”
A two-time WNBA All-Star (2017, 2018) and two-time WNBA Sixth Woman of the Year (2014, 2015), Quigley enters her 11th season in the league and seventh with the Chicago Sky. Last season, Quigley made history when she walked away back-to-back champion of the WNBA All-Star Game’s Three-Point Contest, setting a new all-time record for most points scored in the competition across both the NBA and WNBA.
Quigley started in 32 games for the Sky in 2018, averaging 15.4 points, 2.4 rebounds, and 2.4 assists, while shooting 85.7 percent from the free-throw line and contributing 29.7 minutes per game.
“Chicago is already home to me but this organization and team feels like family,” Quigley said. “I’m really happy and grateful to be back. I’m anxious for the season to start and am so ready to get Chicago back to the playoffs!”
A Joliet native, Quigley was originally drafted out of DePaul University by the Seattle Storm in the second round of 2008 WNBA Draft, before being waived shortly after. From 2009 to 2011, the 5-foot-10 guard made short-lived appearances on the rosters of the Phoenix Mercury, Indiana Fever, San Antonio Stars, and the Seattle Storm once more, but never played more than 10 minutes per game in her first six WNBA seasons.
Quigley joined the Chicago Sky in 2013 to return to her hometown, and quickly became one of the team’s top performers. In 2015, she became the second player in history to be named the WNBA Sixth Woman of the Year in consecutive years (2014, 2015) after her performance helped lead the Sky to the team’s second-best record in franchise history. In 2017, Quigley became a full-time starter Chicago. Her remarkable career trajectory made her a candidate for the WNBA’s Most Improved Player award that same year.
Chicago tips off its 2018 campaign on Saturday, May 25 in Minneapolis against the four-time WNBA champion Minnesota Lynx. The Sky will host the defending WNBA champion Seattle Storm for opening night at Wintrust Arena on Saturday, June 1 at 7:00 p.m. Fans can purchase tickets by calling (866) SKY-WNBA or by visiting sky.wnba.com/tickets.
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Big Trump checks to vets groups sent on day of media report
Posted on 06/01/16 by iam_angelena
U.S. Army vet Claude Copeland, center, “is joined by veterans, as he speaks during a press briefing outside a Donald Trump news conference, Tuesday May 31, 2016, in New York. “We stand against anyone who is using hate rhetoric in regard to representing veterans,” said Copeland. Following sustained pressure from media outlets, Trump announced Tuesday, May 31, 2016, the charities that have received millions of dollars from a veterans’ fundraiser he held earlier this year. (AP Photo/Bebeto Matthews)
NEW YORK (AP) — More than a dozen big checks flowed out of New York last week, bound for veterans’ charities from Donald Trump. On Tuesday, he announced he had made good on his promise of last January to give the groups millions of dollars from a highly publicized fundraiser.
The announcement by the presumptive Republican presidential candidate came in the midst of a 40-minute rant against “dishonest” and “sleazy” reporters who have been pressing the issue.
The largest donation, a $1 million check dated May 24 and drawn from Donald J. Trump’s personal account, was addressed to a small Tuckahoe, New York, group that provides scholarships to the children of fallen Marines.
Trump had been interviewed that same day by The Washington Post, which for weeks had been raising questions about where the promised money was, urging him to disclose recipients of the millions raised during a splashy telethon-style fundraiser he held in Iowa in January in place of a Fox debate he was boycotting.
At a news conference Tuesday, Trump released a list of 41 groups he said had received $5.6 million.
“Most of the money went out quite a while ago,” Trump said. “Some of it went out more recently. But all of this has gone out.”
Throughout Tuesday’s confrontational event, Trump repeatedly slammed the media as “unbelievably dishonest” for its treatment of the issue and dismissed an ABC reporter as “a sleaze.” He said many times that he didn’t want credit for the fundraising but seemed peeved that he wasn’t thanked for it.
“Instead of being like, ‘Thank you very much, Mr. Trump,’ or ‘Trump did a good job,’ everyone’s saying: ‘Who got it? Who got it? Who got it?’ And you make me look very bad,” Trump complained, taking on reporters in the room. “I have never received such bad publicity for doing such a good job.”
The Associated Press spoke or left messages with each of the organizations Trump named. Of the 30 groups that responded by Tuesday, about half said they had received checks from Trump just last week.
Several said the checks were dated on or about May 24 — the date as Trump’s interview with the Post — and shipped out overnight.
Among them was the big check from Trump himself, written to the Marine Corps-Law Enforcement Foundation. Trump’s campaign had previously told the newspaper that his promised $1 million personal donation had already been distributed.
Though the foundation had received a $100,000 check from Trump’s charity in March, last week’s $1 million donation came as something of a surprise.
“It is obviously a wonderful donation,” said Sue Boulhosa, the group’s executive director and sole employee. She said the group had “an inkling” that more might come but the amount was a happy surprise.
Trump has a longstanding relationship with the group, which Boulhosa said typically raises a total of between $2 million and $3 million a year. The foundation had presented Trump with an award at its 2015 gala held at a New York hotel.
Appearing on CNN Tuesday, Democratic presidential front-runner Hillary Clinton said she was glad Trump had given out the promised money.
“The problem here is the difference between what Donald Trump says and what Donald Trump does,” Clinton said. “He’s bragged for months about raising $6 million for vets and donating $1 million himself, but it took a reporter to shame him into actually making the contribution.”
Trump’s campaign manager Corey Lewandowski had originally told the Post that the event had raised about $4.5 million — less than the $6 million originally announced by Trump — because some who’d pledged had backed out. Lewandowski also said all the money had been given out.
Trump had claimed during the fundraiser that he’d raised $6 million through a combination of pledges from wealthy friends, the public and $1 million from himself.
But the campaign refused for months to disclose which charities had received the money, leading to questions about whether the money raised was less than he had said.
“It was very unfair that the press treated us so badly,” Trump complained Tuesday.
He suggested he had hoped to keep the donations private. However, Trump hadn’t appeared shy about giving away poster-sized checks at campaign events in the weeks after the fundraiser.
On Jan. 30, just before the campaign’s leadoff caucuses in Iowa, he gave a $100,000 check to the Puppy Jake Foundation, which provides service dogs to wounded veterans. Representatives from the foundation, accompanied by several service dogs, accepted the check at the Adler Theater in Davenport, Iowa, where Trump was being interviewed on stage by Jerry Falwell Jr.
The next day, in Council Bluffs, Trump presented another check, also for $100,000, to Partners for Patriots, which also provides service dogs to disabled veterans.
The public presentations trickled off within days, though some of the groups contacted by the AP did report receiving checks in February, March and April.
But the biggest batch appeared to have gone out around May 24, with several of the groups saying they had no contact with the Trump organization before that.
Trump spokeswoman Hope Hicks denied Tuesday that timing had anything to do with questions from the media.
“Mr. Trump’s team worked very hard to complete this lengthy process prior to Memorial Day Weekend,” she said. The campaign also said it had taken months to carefully vet each of the groups receiving money.
Associated Press writer Jonathan Lemire contributed from New York.
Follow Michael Biesecker on Twitter at https://twitter.com/mbieseck
Tags: Donald, Donald Trump, Trump, veterans. Bookmark the permalink.
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Aggregate Demand Vs. Demand
by Billie Nordmeyer
Demand influences product prices, profit margins, production schedules and capital investments.
Michael Blann/Digital Vision/Getty Images
1 Implications of Business Risk
2 Understand Business Capitalization
3 What Is the Market Analysis of a Supply and Demand Curve?
4 What Is the Importance of Surplus?
It's tough enough for a small business to survive in a down economy, to say nothing of achieving hoped-for growth by opening additional locations, expanding a product line or targeting new markets. The fact is that in a down economy, business leaders look for signals of economic growth before they make significant capital investments. Such signals include a rise in consumer demand and an increase in aggregate demand, which is the combined purchase of goods and services by households, governments and businesses.
Economists define demand as the availability of a product or service at a specific price, time and place, plus a customer's desire to have a good, and his willingness and ability to pay for the good. For example, delivery trucks may be available for purchase, a small-business owner may have a desire for the new truck and his company may have the cash to purchase the truck. However, if the business owner is unwilling to buy the truck until the market for his products grows, a demand for the truck does not exist.
Significance of Demand
The consumer's demand for a good or service is one side of the product market, and the supply of goods and services is the other. Without demand, there is no reason for a small business to produce or sell a product. If customer demand for a product is less than a company's existing supply, the need for increased production or product purchases does not exist. If customer demand is more than a company's supply, it's reasonable for a manufacturer or seller of a product to increase its supply. In addition, as product prices increase, customer demand falls and as prices fall, customer demand increases. As a result, small-business leaders make operational and financial decisions, such as product prices, the company's production schedule and product profit margins, based on current demand and supply.
Aggregate Demand
Aggregate demand represents the collective spending or demand of governments, businesses and consumers for goods and services, combined with the net foreign purchases of goods and services at specific price levels. Elements of aggregate demand include consumer expenditures for durable and non-durable goods and companies’ investments in capital goods, finished goods and work in progress. Aggregate demand also includes government spending for goods and services, and exports sold in foreign markets minus imports sold in the domestic market.
Significance of Aggregate Demand
In 2011, Paul Asworth of Capital Economics stated that the lack of business confidence, as expressed in business decisions to delay planned hiring and hikes in capital investments, was due to "scant demand" and not government policies. Businesses don't make capital investments if spending by households, businesses and government is low. Instead, businesses may delay capital investments and attempt to decrease fixed and variable expenses in a variety of ways, including lowering their head count and hiring temporary and contract workers to fill essential roles to avoid the high costs of benefits.
Managerial Economics And Financial Analysis; S. A. Siddiqui
Minnesota State University: Supply and Demand: The Market Mechanism
Tutor2u: Aggregate Demand
Media Matters for America: The Main Problem With Jobs Growth Is Lack Of Demand, Not Taxes
Billie Nordmeyer works as a consultant advising small businesses and Fortune 500 companies on performance improvement initiatives, as well as SAP software selection and implementation. During her career, she has published business and technology-based articles and texts. Nordmeyer holds a Bachelor of Science in accounting, a Master of Arts in international management and a Master of Business Administration in finance.
Nordmeyer, Billie. "Aggregate Demand Vs. Demand." Small Business - Chron.com, http://smallbusiness.chron.com/aggregate-demand-vs-demand-62796.html. Accessed 18 July 2019.
Nordmeyer, Billie. (n.d.). Aggregate Demand Vs. Demand. Small Business - Chron.com. Retrieved from http://smallbusiness.chron.com/aggregate-demand-vs-demand-62796.html
Nordmeyer, Billie. "Aggregate Demand Vs. Demand" accessed July 18, 2019. http://smallbusiness.chron.com/aggregate-demand-vs-demand-62796.html
How Does Supply Affect Total Revenue?
What Happens to Price When Supply Decreases?
The Effects of Tightening Monetary Policy
What Is an Output Expenditure Model?
Factors Influencing Purchasing Power
What Constraints Are Placed on Business in the Economy?
Reasons for Closing a Business
What Is a Production Budget Used For?
What Happens When a Firm Raises the Prices With a Horizontal Demand Curve?
Difference Between a Demand Function and a Demand Curve
Why Businesses Tend to Be Cautious When They Invest
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US Assistant Secretary Blake to visit Sri Lanka next week
Sept 09, Washington, DC: The United States Assistant Secretary of State for South and Central Asian Affairs Robert O. Blake, Jr. will travel to Sri Lanka next week.
The U. S. State Department said Thursday in a media note that Blake will travel to Sri Lanka and India September 12-16, 2011.
“He will meet with government officials, civil society representatives, university students and political leaders while in Sri Lanka,” the note said.
“In India, Assistant Secretary Blake will meet with Government of India interlocutors and have internal consultations with staff at U.S. Embassy New Delhi,” it added.
The media note did not specifically say when Blake will be in Sri Lanka. However media reports citing State Department sources earlier said Blake has rescheduled his cancelled visit to Sri Lanka for September 14.
He was scheduled to arrive in Colombo on August 29 for a three-day visit but the trip was cancelled due to Hurricane Irene.
US Assistant Secretary Blake to visit Sri Lanka next week Sept 09, Washington, DC: The United States Assistant Secretary of State for South and Central Asian Affairs Robert...
« US Assistant Secretary Blake to visit Sri Lanka next week
The real policy challenges »
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Robert Beverley (ca. 1740–1800)
Contributed by Brent Tarter and the Dictionary of Virginia Biography
Robert Beverley was a planter whose wealth in land and slaves made him one of the richest Virginians during the Revolutionary War (1775–1783). Born in Essex County, he was educated in England and returned to Virginia to manage his father's estate. He married into the powerful Carter family and built Blandfield, his imposing Georgian mansion in the Rappahannock River valley. Beverley generally avoided politics, although his refusal to support independence did not prevent his election to the House of Delegates in 1780. A longstanding feud with the Roane family erupted in violence when Thomas Roane assaulted Beverley with a cane in 1789. Beverley was not seriously injured and successfully sought redress in court. He died in 1800. MORE...
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Beverley was born about 1740 at his father's plantation in Essex County, one of two sons and three daughters of William Beverley and Elizabeth Bland Beverley. His brother died young. His father took him to England in 1750 for his education and enrolled him in a school at Wakefield. When Beverley matriculated at Trinity College, Cambridge, on May 19, 1757, he gave his age as seventeen. Earlier that year he was admitted to the Middle Temple to study law, and he was called to the bar on February 6, 1761. Beverley returned to Virginia almost immediately to manage the enormous estate he had inherited when his father died in 1756, and consequently he never practiced law.
At his father's death, the Beverley estate consisted of valuable properties in England, more than 3,000 acres in several large plantations in Essex County, and huge holdings in the Shenandoah Valley, which combined to make Robert Beverley one of the wealthiest young men in the colony, with an annual income from rents and tobacco of about £1,800 in 1762. On February 3, 1763, he married Maria Carter, daughter of Landon Carter, of Sabine Hall. They had ten sons and six daughters. In 1769 he began several years of construction on a new residence, which was one of the largest and most elegant of all the Georgian plantation mansions in the Rappahannock River valley. His descendants retained his Blandfield mansion until 1983.
Beverley became a member of the Essex County Court by 1764 and served until the outbreak of the Revolutionary War. He eschewed the world of politics, although he kept himself well informed and once, in 1772, commented that he might like to have a seat on the governor's Council. Early in 1775 he was elected to the College of William and Mary's board of visitors, the only public office outside Essex County he held before the Revolution. In 1774 and 1775 Beverley tried to exert a moderating influence on the local political leaders whom he thought were unwisely rushing toward independence. He deplored every action thereafter that widened the breach between Virginia and Great Britain. Beverley opposed independence and refused to take any part in the government of the county or of his parish during the war. The Essex County authorities accordingly deprived him of his arms. Nonetheless, his standing as one of the best-educated and wealthiest men in the region resulted in his being elected to the House of Delegates in 1780, "without offering himself a candidate or being present," according to an unfriendly neighbor. Beverley probably did not take his seat in the assembly, but since he also refrained from active opposition to Virginia during the contest, he was left in peace at his elegant new house for the duration of the war.
In 1787 the Essex County justices of the peace asked the governor to reappoint Beverley to the county court. Spencer Roane angrily petitioned the governor's Council against the proposal, charging that Beverley's actions during the Revolutionary War should disqualify him, but the governor consented after the justices renewed their request. That episode was only one of several conflicts between Beverley and members of the Roane family, culminating two years later when Thomas Roane assaulted Beverley on a public highway and attempted to beat him with his cane. Roane either knocked Beverley from his horse, or Beverley fell while attempting to avoid the blow, and he was injured. Beverley successfully prosecuted Roane for the assault.
In the 1780s Beverley owned approximately 50,000 acres in at least eight counties, with his largest holdings being in Culpeper and Caroline counties. He wrote his will in 1793 and added nine codicils to it between then and January 24, 1800. He owned more than 400 slaves during the 1790s, and his slaves and personal property listed in his Essex County estate inventory were worth almost £8,500. Beverley died at Blandfield on April 12, 1800, and was probably buried there.
ca. 1740 - Robert Beverley is born at his father's plantation in Essex County.
1750 - Robert Beverley is enrolled in a school at Wakefield, England.
May 19, 1757 - Robert Beverley matriculates at Trinity College, Cambridge.
February 6, 1761 - Robert Beverley is called to the bar after studying law at the Middle Temple, in London.
February 3, 1763 - Robert Beverley and Maria Carter marry. They will have ten sons and six daughters.
1764 - By this year Robert Beverley is a member of the Essex County Court.
1769 - Robert Beverley begins construction on a new residence, a Georgian mansion called Blandfield.
1775 - Robert Beverley is elected to the College of William and Mary's board of visitors.
1780 - Robert Beverley is elected to the House of Delegates without offering himself as a candidate. He probably does not take his seat.
1787 - The Essex County justices of the peace ask the governor to reappoint Robert Beverley to the county court. Despite opposition from the Roane family the governor complies.
1793 - Robert Beverley writes his will.
January 24, 1800 - Robert Beverley adds the last of nine codicils to his will.
April 12, 1800 - Robert Beverley dies at Blandfield.
Colonial History (ca. 1560–1763)
Revolution and Early Republic (1763–1823)
Colonial Government
Tarter, Brent. "Beverley, Robert." In the Dictionary of Virginia Biography, Vol. 1, edited by John T. Kneebone, et al., 473–474. Richmond: Library of Virginia, 1998.
Tarter, B., & the Dictionary of Virginia Biography. Robert Beverley (ca. 1740–1800). (2017, April 5). In Encyclopedia Virginia. Retrieved from http://www.EncyclopediaVirginia.org/Beverley_Robert_ca_1740-1800.
Tarter, Brent and the Dictionary of Virginia Biography. "Robert Beverley (ca. 1740–1800)." Encyclopedia Virginia. Virginia Foundation for the Humanities, 5 Apr. 2017. Web. READ_DATE.
First published: April 5, 2017 | Last modified: April 5, 2017
Contributed by Brent Tarter and the Dictionary of Virginia Biography. Brent Tarter is founding editor of the Dictionary of Virginia Biography.
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Leslie Byrne
Leslie Byrne (1946– )
Contributed by Caryn E. Neumann
Leslie Byrne was the first woman elected to the U.S. Congress from Virginia, serving as a Democrat for one term, from January 3, 1993, until January 3, 1995. Byrne emerged as a skilled fund-raiser and hard-nosed campaigner, but her tenure in Congress was marked by Democratic defeats over health care issues and her own sometimes difficult relationships with fellow representatives. In addition to her term in Congress, Byrne served in the House of Delegates (1986–1992) and the Senate of Virginia (2000–2003). She also served as the White House Director of Consumer Affairs under U.S. president Bill Clinton. MORE...
In This Entry
In Congress
State Senate and Beyond
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Leslie Larkin Byrne was born on October 27, 1946, in Salt Lake City, Utah, to Stephen Beck, a smelter at a Salt Lake City copper company, and Shirley Beck, an office manager. Byrne's great-grandfather had moved to Salt Lake City from Scotland, taking advantage of the offer of free passage that the Church of Latter-Day Saints made to immigrants who were willing to join the church. By the time Byrne was a child, however, most members of the Byrne family had left the church. Byrne once commented that she was disturbed by the secondary role that the Church of Latter-Day Saints assigned to Mormon women late in the 1950s. Women were expected to do little more than care for their children, preserve food, and attend church-sponsored women's Relief Society meetings. Byrne thought that women should have the same opportunities as men to get an education and pursue careers. She enrolled at the University of Utah, majoring in psychology and drama, and eventually married Larry Byrne, a classmate she met at a fraternity party. After her sophomore year, she dropped out of school to work at a rental store to help pay for her husband's tuition.
The Byrnes and their two children, son Jason and daughter Alexis, moved to Falls Church, Virginia, in 1971. While her husband took a series of jobs in the federal government, Byrne became involved in politics through community activism, joining the League of Women Voters of the Fairfax area. According to Eric Lipton, writing a 1994 profile of Byrne in the Washington Post, Byrne, as president of the league, "steered the traditionally low-key group into a series of high-profile battles, including successful opposition to planned development in the environmentally sensitive Occoquan watershed in southwestern Fairfax." She also worked with the Metropolitan Housing Authority and served as chair of the now-defunct Fairfax County Commission on Fair Campaign Practices. Byrne also co-founded Quintech Associates, a human resources consulting firm to the high-tech community, serving as the firm's president until her election to Congress in 1992.
In 1985 Byrne defeated two-term Republican incumbent Gwen Cody to win election to the House of Delegates as a Democrat from the Thirty-Eighth District. Byrne became one of the first non-lawyers appointed to the Courts of Justice Committee and held a position on the Finance Committee. She developed a reputation as abrasive in a state known for gentility among female politicians. Admirers called her fearless, but critics suggested that her rough-and-tumble tactics undermined her effectiveness. As a state legislator, Byrne did not focus on so-called women's issues, viewing all issues as important to women. She argued, however, that women have a different perspective than men with respect to issues and how they affect people's lives. Her most significant victory came during her second term when she successfully pushed through legislation mandating covers on debris-carrying trucks. She served until 1992.
Leslie Byrne and Mark Warner
Byrne became the first woman elected to the U.S. Congress from Virginia in 1992 when she beat Republican Henry N. Butler for the seat in the new Eleventh Congressional District. The campaign was often bitter and focused largely on personal attacks. While Byrne rarely mentioned her sex while campaigning, political observers attributed her victory to a belief among voters that a woman was more likely than a man to make needed changes in Congress. Byrne raised almost $800,000 for the campaign, with about $80,000 collected on her behalf by Emily's List, a political network dedicated to electing Democratic women who support abortion rights. Byrne entered the final weeks of the campaign with more money than any other candidate running for an open congressional seat.
Byrne, again criticized for her abrasiveness, had a stormy tenure in Congress. She served on the Public Works and Transportation Committee; its Subcommittees on Surface Transportation and Water Resources and Investigations and Oversights; and the Post Office and Civil Service Committee. She unsuccessfully pushed legislation to make members of Congress live by any health care plan that they imposed on the public. As reported by Eric Lipton in the Washington Post, Byrne also "supported expansions in social programs such as childhood immunizations and Head Start, arguing that by paying for vaccines and early childhood education, the government will avoid more expensive problems in the future." She advocated spending cuts on such items as a new logo for the U.S. Postal Service. When Clinton's deficit-reduction bill ran into difficulties, Byrne initiated an effort to punish fellow Democrats who did not support it by removing them from their posts as subcommittee chairs. She lost her bid for re-election to Republican Thomas M. Davis III in 1994.
During the next decade, Byrne remained in the political arena and made numerous runs for political office. Byrne served for two years in the Clinton administration as White House Director of Consumer Affairs. She ran unsuccessfully for the Democratic nomination for the U.S. Senate in 1996 against Mark R. Warner. In the campaign, Byrne attacked polluters, corporate welfare, and the Republican Congress while touting her experience as a state and federal legislator. She proved to be an especially articulate campaigner, giving detailed and nuanced answers that cited her legislative record instead of making general promises. A self-proclaimed economic populist with strong union support, Byrne denounced the policy of corporate downsizing, wage stagnation, the economic policies promoted by the Federal Reserve Bank, and the North American Free Trade Agreement (NAFTA). Byrne recommended raising the minimum wage, expanding childhood immunization programs, and eliminating tax breaks for companies that lay off workers to make gains in the stock market.
State Democratic Ticket in
Byrne won election to the Senate of Virginia in 1999 to represent the Thirty-Fourth District, which includes the City of Fairfax and part of Fairfax County. She sponsored legislation addressing gun safety, consumer rights, transportation safety, and protection of the elderly. She declined to run for re-election in 2003 when redistricting by the Republican-controlled General Assembly put her in the territory of fellow Democrat Mary Margaret Whipple. Byrne said that the move was an attempt to get her out of politics. Instead, she accepted the position of vice chairman in the Virginia campaign of Democratic presidential candidate Howard Dean.
In 2005, Byrne narrowly lost her bid for lieutenant governor of Virginia. She supported abortion rights and gay rights while opposing Virginia's right-to-work law, which prohibits mandatory participation in unions. She advocated cheaper health insurance for small businesses, more freight capacity on railroads to take truck traffic off the highways, and more resources for vocational education in high schools. In 2008, Byrne mounted a bid to re-take her seat in the Eleventh Congressional District. Byrne has criticized the war in Iraq as well as how members of U.S. president George W. Bush's administration interpreted the Constitution.
October 27, 1946 - Leslie Larkin Byrne is born in Salt Lake City, Utah, to Stephen Beck, a smelter at a Salt Lake City copper company, and Shirley Beck, an office manager.
1985 - Leslie Byrne defeats two-term Republican incumbent Gwen Cody to win election to the Virginia House of Delegates as a Democrat from the Thirty-Eighth District.
1986–1992 - Leslie Byrne serves in Virginia's House of Delegates.
November 1992 - Leslie Byrne becomes the first woman elected to the U.S. Congress from Virginia, beating Republican Henry N. Butler for the seat in the new Eleventh Congressional District.
January 3, 1993–January 3, 1995 - Leslie Byrne, a Democrat, serves as the first woman elected to the U.S. Congress from Virginia.
1999 - Leslie Byrne wins election to the Senate of Virginia to represent the Thirty-Fourth District.
2000–2003 - Leslie Byrne serves in the Senate of Virginia.
Representatives of Virginia (U.S.)
"Leslie L. Byrne" in Women in Congress, 1917–2006. Prepared under the direction of the Committee on House Administration by the Office of History & Preservation, U.S. House of Representatives. Washington, D.C.: Government Printing Office, 2006.
Black, Earl, and Merle Black. The Rise of Southern Republicans. New York: Belknap, 2003.
Foerstel, Karen, and Herbert N. Foerstel. Climbing the Hill: Gender Conflict in Congress. Westport, Conn.: Praeger, 1996.
Thomas, Sue, and Clyde Wilcox, eds. Women and Elective Office: Past, Present, and Future. 2nd edition. New York: Oxford, 2005.
Witt, Linda. Running as a Woman: Gender and Power in American Politics. New York: Free Press, 1995.
Byrne's Congressional biography
Byrne's Campaign Biography
Neumann, C. E. Leslie Byrne (1946– ). (2014, June 15). In Encyclopedia Virginia. Retrieved from http://www.EncyclopediaVirginia.org/Byrne_Leslie_1946-.
Neumann, C. E. "Leslie Byrne (1946– )." Encyclopedia Virginia. Virginia Foundation for the Humanities, 15 Jun. 2014. Web. READ_DATE.
First published: January 28, 2009 | Last modified: June 15, 2014
Contributed by Caryn E. Neumann, an assistant professor of history at Miami University of Ohio. A specialist in U.S. history and women's history, she earned her PhD from The Ohio State University.
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Joseph D. Eggleston Jr.
Joseph D. Eggleston Jr. was a pioneering educator who served as Virginia's first elected superintendant of public schools and made significant advances in Virginia education. He successfully increased funding for both public secondary schools and public universities (the number of Virginia high schools grew under his tenure from 75 to 448), increased teachers' salaries, and lengthened school terms. Eggleston also served as the seventh president of Virginia Polytechnic Institute, where his most ambitious fiscal projects were stalled by U.S. involvement in World War I (1914–1918) and a more wary state legislature. In 1919 he was named president of his alma mater, Hampden-Sydney College, where he remained for twenty years, helping the institution to liberalize its curriculum and to weather the effects of the Great Depression.
Original Author: Unknown
Created: Nineteenth or twentieth century
Medium: Photograph
Courtesy of Virginia Tech Special Collections
Eggleston, Joseph Dupuy, Jr. (1867–1953)
Agnew, Ella G. (1871–1958)
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From Steamboat Willie to Motorboat Mickey
Way back in 1928, Walt Disney's legendary creation Mickey Mouse sort of made his debut in the animated featurette Steamboat Willie.
It was a 'sort of' debut because Steamboat Willie was in fact the third animation that Mickey appeared in, following Plane Crazy and The Gallopin' Gaucho. However, the earlier two cartoons didn't appeal enough to distributors for them to take them on. Thus, Steamboat Willie was the first Mickey Mouse film to receive distribution, and it's considered important for many reasons, including the fact that it's the first animation to feature synchronised sound.
The title takes the - ahem - mickey out of comedian Buster Keaton's film Steamboat Bill, Jr. The title of Keaton's flick refers to a song, 'Steamboat Bill', which happens to feature in Steamboat Willie along with 'Turkey in the Straw'. In fact, what with the synchronised sound, an argument could be made that Steamboat Willie is the very first music video; it is, after all, a story built around two feature tunes. Consider, though, how quickly animated features with synchronised sound developed: it's only 12 years until Disney's Fantasia, a timeless masterpiece that wedded music and imagery so well. It's worth nothing that another part of the plot involves love interest Minnie Mouse almost missing the boat.
In the 90-odd years from his not-quite debut, Mickey has come a long way, and he's all over the place. Clearly, I can't avoid him, no matter where I happen to be strolling after work - whether it's on the entrance to a house in suburban Glebe after recording the audio of a spoken word gig, or in the window of a clothes shop in the high street of that fashion capital, Parramatta, as you'll see.
Although, in this instance, Mickey's activities are a little questionable. What exactly is Mickey Mouse doing, with his back to us, on this top? Where's Minnie now?
It seems somewhat of a distance from Steamboat Willie to 'motor-boating Mickey'.
Mickey Mouse doorbell
Posted at 10:00 PM in Animation, Fashion, Mickey Mouse | Permalink | 0 comments
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Campaign begins to save 82-year-old Church from eroding
By Omar Bah
Members of the Anglican Diocese of Gambia have publicly launched a campaign to canvass for funds for the construction of a 15-meter wide seawall to protect the 82-year-old Church against further cliff erosion.
The campaign, according to the Church members is meant to preserve and conserve church foundation coastline and the environment against coastal flooding and erosion.
“As members of this historic church we are trying to do everything in our powers to preserve it from the rapidly over flooding sea,” Sola Mahoney, a member and chairman of the campaign team told journalists on Sunday.
This, he said should not be seen in isolation, given the fact that most of those living in the area also face similar challenge.
He said although the church is mobilizing funds for the past three years for the constructions of the wall, “there still more to be done to accomplish work at the area.”
“We are doing our level best as a small church to try to address the problem. We do believe that, this is a national interest and we need the collaboration of both government and the private sector,” he said.
He said to address the problem it will require funds, coordination with different people, “with the Gambia government and perhaps with our neighbors.
“We just hope that we will be able to enlist the efforts of others. We also hope that people out there will be able to understand what we are trying to achieve,” he added.
Dentist Melvin George, also a member of the church, said the coastline project is meant to build a fifteen-meter wall that will help to protect the coastline and as well help to retain the land mass between the Church and the sea.
“And thereby ensure that this church with historical significance, dated as far as the Second World War, is protected from the further ravages from the sea. The other reason for building the seawall is to save the sea, because the sea is a tourist destination, so the wall will eventually be in the national interest,” he said.
He said the committee entrusted with mobilizing the construction of the wall has already engaged government and other institutions to support the 15 million dalasi project, saying work has already begun at the site with the construction of a one million dalasi wall.
He extolled Trust Bank for contributing D40, 000 to the construction of the first phase.
Meanwhile, the project director James George said the Church which was built by soldiers who came to work in the Gambia during the war is seriously in need of support to protect it from the sea cliff.
He said the church is currently 30 metres high above the cliff and seven metres at the lowest point, “this poses great danger to the Church and its environment.”
“We call on the government and the private sector to come to our aid, because the project is too big for the Church. Everybody listening or reading what we are saying here should understand that the project is beyond the Church itself, it is a national issue that needs the intervention of every Gambian,” he said.
eroding
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Barrow returns hands full from UAE
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Home » Authors » Tedbiker » Dulcie's Christmas
Dulcie's Christmas
by Tedbiker
Copyright© 2015 by Tedbiker
Sex Story: A rare snow in Maldon, an abandoned baby, and a waif found and rescued. Stands alone, but more meaningful if you're familiar with the last Dulcie and Jenni stories.
Caution: This Sex Story contains strong sexual content, including Ma/Fa Consensual Romantic Heterosexual Fiction Tear Jerker Lactation .
This story is thanks to a couple of readers who made me think. It stands alone, I think, but if you haven't already read the earlier Dulcie, Jennie and Serendipity stories, the background gives the characters more depth.
"I love to watch you feed Peter," Doctor Richard Chesterman smiled at his wife.
"As much as you like to taste my milk yourself?" She grinned back at him.
He screwed his face up, considering. "I don't know. Probably not."
"It's just as well I like both. The way the two of you are going, I'll never stop producing." Dulcie glanced down at the almost one-year-old, suckling at her breast. "Christmas, and a birthday party together. Of course, he won't really understand this year." After a pause, "It's nice having Sasha and Malcolm take the Christingle service and give us some time together."
"Yes. I'm sorry I have the duty tonight. But you know how it is."
"I know. And at least we'll have you with us tomorrow afternoon."
He frowned. "God willing. As long as nothing goes wrong."
The child began to play with the nipple, rather than sucking. "Peter, stop that. If you're not going to eat any more, it's time for bed."
He wriggled in her arms. "No, Mummy." But he yawned.
"Come on, son. It's time for you to be in bed."
Despite his protests, the toddler was asleep almost as soon as his head hit the pillow. Dulcie looked at her watch. "Come on, Richard. We've time for you to empty this breast before you leave and I have to get ready for Midnight Mass." Of course, one thing led to another, and they both needed a quick shower before leaving the Rectory ... Outside, the first flakes of snow were falling. "Well, I wonder if we'll have a white Christmas this year."
"I doubt it," the doctor opined, "I can't remember the last time we had a significant fall of snow at any time of the winter. But I'll take the Defender, anyway." They'd not long since replaced his car with the four-wheel drive Land Rover. Dulcie's Zafira was fine for her needs, both as a mother and as a minister, but there was no doubt the Defender was a safer bet if he was called out in bad conditions. "Liina's staying with Peter?"
"Yes. Sweet girl. I don't like to deprive her of the main Christmas service, but she takes her role as big sister seriously."
His opinion was shown to be wrong, as there was a distinct layer of white on the pavement as Dulcie made her way to the church, and the flakes were much larger, and the fall much denser by the time she got there.
"Oh, Dulcie!" Andrew Cameron greeted her as she entered.
"Happy Christmas, Andrew! Everything under control?"
He laughed, "As much as they ever are. The building's warm, anyway. There's a light out, but I can't get to replace it this evening – it'll have to wait. I don't think anyone will notice anyway."
"Good. Who's doing the welcoming of late-comers?"
"Dennis and Emma, Carli and Jen. Arthur and I will hover anyway, in case of disruptive elements."
The service proceeded normally, with the customary late arrivals, once a year, usually inebriated, folk arriving around midnight from the local hostelries. They were happy drunks, though and were little problem apart from an occasional tendency to make loud comments during the service.
It was Carli Brooks who thought she heard something in the porch and went to investigate. She was careful opening the ancient, heavy oak door, as the old iron latch was capable of a loud 'clack' if lifted unwarily, so by the time she got to the porch she could see no-one. She noticed, and almost ignored, a bundle of what looked like old clothes, but just in time noticed a little whimper coming from it.
It was a bundle of old clothes, but they were wrapped around a baby that could only have been days, or perhaps hours, old. She picked it up and took it into the church, where she found a seat at the back and sat cuddling it. The human contact seemed to pacify it for the time being. She glanced round, seeing the curiosity in the faces of her friends.
At the appropriate time, she took her turn at the altar-rail, still holding the child. Dulcie's shock was clear, but she managed to continue with the administration of the bread, merely touching the babe's head for a brief blessing. Carli took it to one of the front pews, though, rather than returning to the back, and at the end of the service, Dulcie went straight to her instead of immediately taking her place at the back of the church to greet the congregation as they left.
"It was just left in the porch," Carli told her.
Dulcie shook her head. "The poor mite ... the poor mother! Why ... well, that's a silly question, I suppose. There's probably a dozen reasons why a woman might abandon a newborn, though she'd have to be absolutely desperate. Look, I need to go to the back. Ring the police to inform them. But say we'll look after it for the time being."
"But ... what about..."
"Feeding? I still have plenty. That's the least of our problems. I'm pretty sure there're neonate Pampers tucked away in the cupboard-under-the-stairs, 'just-in-case'. Anyway..." and Dulcie set off to greet – and satisfy the curiosity of – her congregation.
The police were very matter-of-fact. Without a description of the mother, all they could do was put out a general call – woman, possibly young, probably distressed, in need of medical attention ... The Social Worker on call was relieved that the baby would be in the care of someone previously approved for foster care, of known reliability and probity. Not to mention that she was able to breast-feed the infant. An on-call doctor would visit as soon as possible to ensure it was not in need of professional attention.
The snow was several inches deep, crunching underfoot as Dulcie carried the bundle back to the Rectory. She trod very carefully; it would not do to slip.
The doctor was brisk and efficient, despite the hour – three in the morning – and pronounced the child, a girl, healthy. "Hours old, only," he said. "The mother..."
"We don't know," Dulcie told him. "The babe was left in the church porch. Fortunately I'm still breast-feeding my own son."
The doctor nodded in approval. "You'd better get her to a clinic as soon as the holiday's over. Have you thought of a name?"
Dulcie frowned, then smiled. "Tikva," she said. "It means, 'Hope'."
He smiled too. "Appropriate," he agreed.
Tom Carmichael, unusually, woke when his wife Chrissie got up to feed their third child, Jennifer. Amy, 'almost six' and David John – 'DeeJay' – 'almost five' were asleep next door. He watched his wife lift the little one from the crib, open her nightie and lift Jennifer to her breast. The whimpers ceased, Chrissie cradled the child against her and walked over to the window and opened the curtains enough to look out, so she was silhouetted against the light, which was ... odd. Different.
He slipped out of bed and stood behind her. "You're beautiful, and I love you, Ashlin," he said in her ear. Then something caught his attention outside. "Snow!"
(Chrissie's middle name is 'Aisling', pronounced 'Ashlin', and means 'Dream'. Tom uses it as an endearment and pet-name.)
"Thank you. You know I love you, too. Isn't it beautiful?" They stood together, Chrissie leaning back against her husband who was only an inch or so taller than she, as Jennifer sucked, and was transferred to the other breast. She finished, and Tom took her to burp her and change her nappy, then put her, asleep again, back in the crib. "As you're awake, darling, you can empty this breast. Of course, if you're too tired..."
"Never."
They were woken, far too early, by Amy, followed by DeeJay, charging into the room and jumping on the bed, holding small toys from the Christmas stockings, which had occupied them for far too short a time.
Amy's and DeeJay's main presents were a scooter and model yacht, respectively. Neither could easily be properly played with with the snow, but Amy also had the recorder she'd been pestering for – not that Chrissie, talented musician herself, had any objection – and DeeJay a train set, so problems were avoided. Breakfast was had and the children played. Jennifer woke, and was fed, and the small turkey put in the oven. The phone rang.
"Tom? I'm sorry to disturb you..."
"You haven't, Dulcie. We've been up some time. Happy Christmas!"
"Good. Happy Christmas to you, too. Look. Someone left a baby in the church porch last night..."
Tom gasped. "Is it..."
"She's fine. I've got her here. But the thing is, the mother's somewhere – we don't know. I just thought, well, it might be good to check the barges. See if maybe she hid in one of them out of the snow."
"I'll do that. It'll do the kids good to go outside, anyway – get some fresh air. Work up an appetite for lunch."
"What a good idea!" He could hear the smile in her voice. "Of course, you could always come to the service at eleven..." after a pause, "There's a couple of sledges in my garage if Amy and DeeJay would like to use them."
With Jennifer in a sling on Chrissie's chest and all of them in Wellington boots and well wrapped up, they set off. The snow was a novelty, so the usual complaints of tiredness from DeeJay didn't start until they were almost at the Rectory. The door was opened by Liina, though Dulcie was right behind, holding Tikva. Liina took Tom to the garage with Amy and DeeJay to find the sledges, flat plastic things, ideal for the soft snow. Returning to the front door, Chrissie was still cooing over Tikva when the door opened again, and, reluctantly, she followed them; the kids riding on the sledges, pulled by Tom. There are very few, very short slopes for tobogganing in Maldon – not usually a problem, since there is rarely any snow to toboggan on. The possibilities were exhausted long before the children's enthusiasm. Tom had to remind himself of the main object of the outing, then to persuade the kids to abandon the slopes.
They didn't object to exploring Daddy's workplace. In fact it was actually Amy who came across the girl, huddled in several duvets, in one of Reminders cabins, and called Tom. On seeing him, the girl was so obviously terrified that he immediately withdrew and called Chrissie, who entered the cabin. Tom went with Amy and DeeJay to the saloon and lit the stove, though it was unlikely to make much difference before they left.
Meanwhile, Chrissie was perched on the edge of the bunk, the girl huddled as far away as possible. Jennifer whimpered and stirred. "She's hungry," she said.
The girl gasped and Chrissie saw tears tracking down her cheeks. Jennifer's complaints grew, and Chrissie fumbled at her clothes to release a breast and guide the baby's mouth to it. The girl stared. She couldn't actually see anything, but it was obvious what was happening, even without the quiet sounds. "My baby..." the girl said.
"She's safe," Chrissie told her.
"I didn't know what to do," the girl whispered.
"How old are you?"
"Fifteen."
"I was fifteen when Tom, and some other good people, saved me from a life of prostitution. It took a while, but ... we have a good life now. Will you let me help you?"
"Help me?"
"You need to see a doctor, then you need to be safe."
"The men ... they'll find me."
"So ... we need to make sure they don't." Chrissie had to stop to switch Jennifer to the other breast, a somewhat more demanding action than the initial one. The girl watched as Chrissie adjusted the sling and her clothing.
"I never fed my baby like that." She gasped. "I just ... left her ... at that church."
Jennifer settled to suckling, but as usual lost interest long before the last of the milk was gone. Chrissie wrapped herself back up. "Come home with me. Tom won't hurt you. Hot bath, clean clothes, turkey dinner." The girl stared, wide-eyed. "What's your name? I'm Chrissie." Silence. "I tell you, I've been where you are. Please?"
Very long pause, as Chrissie held the girl's gaze. "Geraldine," the girl finally whispered.
"Well, Geraldine, will you come home with me? Warm house, bath, clean clothes, food?"
"Yes, please."
There was blood on the duvets. Quite a lot of it. 'Have to do something about that. Phil wouldn't be at all happy to see it.' "You had the baby here?"
"Yes. I didn't know ... where to go, what to do ... but it just happened, you know."
"All on your own?" Chrissie was horrified, although she'd assumed that, the reality hit her hard.
Geraldine cowered, thinking Chrissie was angry with her. "I was afraid."
"My God, I'm not surprised. I can't think how you managed. You're very brave; I don't think I could have coped with that. Come along."
They met Tom at the companionway, and the girl shrank behind Chrissie, away from Tom. Chrissie leant in and whispered in his ear. "There's a bit of a mess in that cabin. I'm going to take Geraldine home – could you bring the duvets with you?"
Chrissie ushered the girl ahead of her up the companionway steps to the deck, and Tom went to the cabin, where he bundled up the two soiled duvets and tied them with a piece of line, so he could sling them from his neck and still have both hands free to pull sledges. The stove would burn out soon enough. He set off home, Amy and DeeJay running around him to warm up.
The house was a very ordinary, Thirties villa, in a row of almost identical dwellings. The girl looked around her in the entrance hall, breathed in the mixture of aromas, scented candles, a hint of tar from Tom's work clothes, cooking turkey. She stripped off the grubby jacket and Chrissie took it. "All your clothes need washing, Geraldine. Mine will be a little long on you, I think, but they'll do for now. Come on upstairs; I need to settle Jennifer in her cot and get you soaking in the tub."
Geraldine watched as Chrissie took Jennifer out of the sling, laid her in her crib and covered her with the little blanket. The little girl barely noticed the transition. Chrissie showed Geraldine to the tiny bathroom, and started the bath running. "We'll start with it warm, and you can heat it up as you thaw and get used to it." Pause, "Take your things off and I'll wash them and bring you some of mine."
The girl, grubby anyway, even before she'd given birth, did as she was told and stepped into the warm water. Chrissie went to start the clothes washing ... and to call Dulcie.
"We found your missing mum, Dulcie ... Yes, in Reminder... Fifteen, would you believe? ... She's having a bath just now. Look, Dulcie, I know the rules have to be followed, but can we make sure it's women who deal with her? She was even terrified of Tom, can you believe it? Probably the least threatening male in Essex, your hubby excepted ... Yes, we've plenty. I told her she'd have Christmas dinner with us ... I really feel for her – you know my story, don't you? ... Bless you, Dulcie."
Dulcie walked to church, Peter toddling along in his Portland Bill Wellingtons, with Liina, who was carrying Tikva in the baby sling. Before they were half-way, the little boy had to be picked up and carried. Walking in six inches of snow is tiring, especially when you're only one year old. The church was warm by comparison with the outdoors, only the chancel and Christmas tree with lights on. Warm, secure, reassuring light. Andy, the Reader, greeted her as she headed for the Vestry.
"Happy Christmas, Dulcie! Everything okay?"
"We're fine. You heard about our guest?" She indicated the bundle slung against Liina's chest.
"Yes, I did. What about her mum?"
"Chrissie and Tom Carmichael found her, just now. I don't suppose they'll get here for the service."
"Will you be okay to take the service? You know I will, if there's a problem."
Dulcie smiled warmly. "Should be okay. I ... well, Liina has a bottle of my milk for Tikva if she wakes and needs it. But thank you, Andy. I don't know what I would do without you, you know."
"You might think about encouraging one or two of the others to do the Readers' course."
Dulcie nodded. "Maybe."
Geraldine appeared, Chrissie's jeans and sweatshirt rolled up so her feet and hands were free, her hair wrapped in a towel. She stopped at the door when she saw that Tom was in the lounge with Amy and DeeJay, and backed away.
"Geraldine!" Chrissie called to her from the kitchen. "Come in here and dry your hair."
Having got the girl to sit in the kitchen with hair-dryer, brush and comb, Chrissie left her there long enough to go to Tom in the lounge. "Tom, why don't you take the kids to church? Give me a chance to reassure Geraldine a bit?"
He nodded. "Good idea. We'll probably be a bit late, but I'm sure no-one will mind." He stood. "Come on, Kids, bring one new toy each and you can ride in the sledges again to church." There was a little whining, but no real resistance, and they were soon wrapped up and out of the house.
The girl's hair was long and, as Chrissie brushed and dried it, it became clear that it was a glorious golden blonde. "Gorgeous hair," she commented.
"They used to pull it, to make me do things."
"Oh, my dear. I ... well, that happened to me, too. Though my hair was never so long. Remember, though, you have friends, now. We'll do our best to make sure you have a better life. First, we need to have a doctor see to you."
"I'm scared."
"I know. But that's the first thing that needs to happen. Then we need to get you straightened out with Social Services. Dulcie will help with them..."
"Who's Dulcie?"
"Dulcie's the Vicar. She's the one who's nursing your baby."
"Oh." Longish silence, then, "Will I see my baby again?"
"Do you want to?"
"I ... well, I don't know. I can't look after her, can I?"
"Probably not. But that's not to say you can't have a place in her life, if you want one."
The short, child-oriented service was an opportunity to get kids out of the house, really, and to sing well-known carols. The children had an opportunity to show off a new toy and to look at the Nativity scene. And no-one minded if the little ones wandered around. At the end, though, after 'Christians Awake' and the benediction, Dulcie remained at the centre of the chancel arch.
"My friends ... one moment, please. Liina, would you come here with Peter and Tikva?" She waited until the young blonde girl was standing beside her. "Last night, during the Midnight service, a young woman left a baby, a little girl only hours old, in the porch. Happily, we found her and she's perfectly well. Her mother has also been found, and we're waiting to hear from a doctor about her health, and Social Services, too. So I'd ask your prayers for their future, both of them. Also, as you probably know, Peter, here," she stooped and picked up her son, "was born here, shortly after the Midnight service last year. I thought you might like to wish him happy birthday..."
The organist played the last few notes of the song and everyone sang 'Happy Birthday' to Peter. It was a bit of a shock to him and he buried his face against Dulcie's shoulder. It took a long time to greet everyone and answer questions, but eventually the building was emptying and Dulcie found Liina, who was chasing Peter round the pews.
"Liina, will you take Peter home? I thought I'd take Tikva and walk with Tom and his two to see Tikva's mum."
"Of course." Liina's reaction was not shared by Peter, whose bottom lip was quivering when he worked out Mummy wasn't walking home with him. But Liina bent down, and in a stage whisper told him, "I think there's chocolate milk-shake and Jaffa Cakes waiting at home for you," knowing that mince-pies definitely had no appeal for the youngster. He perked up immediately and dragged on her hand, delaying the transfer of baby and sling to Dulcie. It was snowing again as they set off.
The doctor and a social worker, both female, as requested, turned up at the Carmichael home just before midday and shortly before Tom and his companions returned. The doctor, who looked young, spoke first. "Doctor Smythe," she said, holding out her hand. "I gather you have an unattended primipara ... um ... a first-time mum who delivered her own baby?"
"That's right." Chrissie shook the offered hand and turned to the other woman, middle-aged and with a somewhat stern expression. "Chrissie Carmichael," she said, offering her own hand to the older woman. "Won't you come in?"
The older woman sighed and shook hands too. "Beverley Jenson," she said, "on call social worker."
Chrissie's eyebrows rose. "Any relation to Harriet Jenson?" she asked.
The woman smiled. "My mother-in-law," she said. The smile transformed her face. "You know her?"
"Indeed – she vetted my foster parents, who later adopted me. She was really good with me."
"The consummate, caring professional," Beverley agreed. "But you have another waif – in your care, now?"
"We do; would you come with me? She's very nervous..."
"Understandable," Beverley said, the doctor nodding in agreement.
"Can I examine her before we do anything else?" the doctor enquired. "I'd like to make sure she's not in urgent need of attention. I expect she's fine, but there's plenty could be wrong."
They entered the lounge and Geraldine looked nervously up from the book she was reading. "Geraldine, these are Doctor Smythe and Missus Jenson from Social Services. The doctor would like to check you over..."
The girl nodded and stood. "Will you stay with me?"
Chrissie looked at Doctor Smythe, who nodded. "If that will make her feel more comfortable, I'm okay with that."
Tom, Dulcie, Amy and DeeJay arrived home and found Beverley Jenson in the lounge. "Who's this, Daddy?" Amy, unsurprisingly, wanted to know. DeeJay, though, tried to discreetly hide behind his father.
"Mister Carmichael? I'm Beverley Jenson, from Social Services. Your wife is with, um, Miss Finlay, while the doctor examines her."
"Any relation..." Tom started,
"To Harriet Jenson? My mother-in-law. That was about the first thing Missus Carmichael asked."
"Okay, good. May I introduce Reverend Dulcie Hanson ... um ... Chesterman." He stepped aside to permit Dulcie to shake hands with the social worker.
"Delighted to meet you, Rector. I've heard a lot about you – all good, I'd have to say."
"Thank you! But please, call me 'Dulcie'. Just to say, I hope we'll be allowed to keep Tikva and Geraldine."
"Tikva?"
"The baby. 'Tikva' means 'Hope' in Hebrew. It seemed appropriate."
"We'll have to see, Dulcie. That would be good all round if there are no problems."
The doctor appeared at the door. "She seems to be fine, though she's covered in bruises and has obviously been abused rectally as well as vaginally. I'd like her to be seen by a gynæcologist, but I'm reasonably sure that'll keep until after the holiday. Of course, if there's any suggestion of a problem, there's always A and E. Actually – it's amazing on several levels. She didn't tear, which is surprising. And on a personal level, that's one amazing young woman; to do what she did, all alone..." She took a deep breath. "She's all yours, Beverley."
The older woman nodded and headed upstairs to find Geraldine with Chrissie in the guest bedroom.
"Missus Carmichael – would you give me a moment alone with Miss Finlay?"
Geraldine scowled. "Can't Chrissie stay?"
"I'm sorry – no. But I only need to ask a couple of questions, then she can come back in. Okay?" The girl sighed and nodded reluctantly. Chrissie left. "Okay. May I call you Geraldine?" The girl nodded again. "You can call me Bev, if you like, or Beverley, or Missus Jenson."
"Okay, Missus Jenson."
"Right. First question – are you quite comfortable with Mister and Missus Carmichael?"
There is more of this story...
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Tag: irish civil war
A House by the Sea
Renvyle, County Galway
Photo of Renvyle Peninsula by P.J. McKenna
No easeful meadows or delightful springs,
Nor visionary islands lure it best;
But far off on the margin of the west,
A sea-grey house, whereby the blackbird sings
— Non Blandula Illa, Oliver St. John Gogarty
Oliver St John Gogarty was a man of some standing in the world. During his student years in Dublin, he caroused with James Joyce and became immortalized as “Buck Mulligan” in Ulysses. He was a successful ear, nose and throat surgeon by the time he married Connemara woman Martha Duane.
In 1917, the Gogartys went looking for a country residence in Martha’s home county, and they purchased Renvyle House “out of the proceeds of my teetotalism” as Oliver wrote to a friend. Far out on the Renvyle peninsula, a bockety car ride along the barely-functional road from Clifden, it was almost the perfect retreat. Almost, because their slumbers were often disturbed by strange footsteps and the sudden quenching of candles — Renvyle House, it appeared, had a ghost.
Among the earliest guests of the Gogartys were W.B. Yeats and his bride, Georgie Hyde-Lee, who spent their honeymoon in Connemara. The new Mrs Yeats fancied herself as a psychic and took it upon herself to communicate with the restless spirit. He identified himself as “Athelstone Blake”, who’d died the previous century at the age of 14, and he promised to stop causing disturbances once he was “placated with incense and flowers”.
All changed, changed utterly:
A terrible beauty is born.
— Easter 1916, W.B. Yeats
Gogarty was a well-known nationalist and had supported the rebels in 1916. But he supported the 1921 Treaty and so, when the Irish Civil War broke out, he found himself on the opposite side to many of his former comrades. In January 1923, he was having a bath in his Dublin home when a gunman broke down the door. Pulling on his clothes and a fur-lined coat, he was bundled into a car, driven to a house in Chapelizod, and interrogated in a dark cellar.
He eventually told them they needed to let him outside or there would be an unpleasant puddle on their floor. Standing beside the roaring Liffey, he handed the heavy coat to his two guardsmen — and plunged into the icy river. At the Phoenix Park, he climbed up the banks and reported to the Police Station, shivering and wet but otherwise well.
Shortly afterwards, Gogarty moved to London where he could feel safe. But his enemies struck out by setting alight his family home in Connemara.
So Renvyle House, with its irreplaceable oaken panelling, is burned down. They say it took a week to burn. Blue china fused like solder…
Memories, nothing left now but memories. In that house was lost my mother’s self-portrait, painted when she was a girl of sixteen, her first attempt in oils… Books, pictures, all consumed; for what? Nothing left but a charred oak beam quenched in the well beneath the house. And ten tall, straight towers, chimneys, stand bare on Europe’s extreme edge.
— As I was Going Down Sackville Street, Oliver St John Gogarty
Gogarty’s first thought was to abandon Connemara altogether, but his wife was having none of that. Throughout the long fight for compensation, Gogarty decided that he had looked down enough noses and throats for a lifetime and would reinvent himself as a travelling lecturer, with his wife as hotelier. The Renvyle House Hotel opened with a great ceremony on the 30th April 1930.
There are a lucky few who have discovered that West Galway is an unrivalled place for their own and their children’s holidays, and to those who appreciate natural beauty and the delights of sea and mountain, no more perfect spot in the British Isles could be found than the modern and extremely comfortable Renvyle Hotel, near Clifden.
— Connemara’s Glories, “The Queen” magazine, February 1934
It still runs as a hotel today. In 2011, my brother Paul and his wife Edda celebrated their wedding there. Many of the guests stayed awake until the early hours of that morning, partying in the same rooms where Oliver and Martha Gogarty once entertained their guests. There was no sign of Athelstone Blake or any of the other ghosts.
Happy couple in the gardens of Renvyle House, photo by P.J. McKenna
Renvyle House Hotel, official web site
A hotel with a history , Rosita Boland, Irish Times 2013-04-01
Author fionahurleyPosted on July 29, 2016 September 15, 2016 Categories Castles & HousesTags 20th century, connemara, county galway, ghosts, irish civil war, oliver st. john gogarty, poetry, renvyle house, w.b. yeats1 Comment on A House by the Sea
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Home | News | Roster | Schedule/Results | Enhanced Stats | Statistics (HTML) | Coaches | Archive | Prospective Student-Athletes
Sea Gulls top Bobcats in series opener
Frostburg State
No. 20 Salisbury
Frostburg State (10-5, 0-4) 0 0 0 0 0 0 0 0 1 1 5 1
No. 20 Salisbury (12-4-1, 4-0) 1 1 0 0 1 0 1 0 X 4 4 2
2B: Jason Paredes; Mitch Fyffe
2B: Jimmy Monaghan
3B: Cameron Hyder
SALISBURY, Md. – The No. 20 Salisbury University baseball team defeated Capital Athletic Conference opponent Frostburg State University in game one of a three-game weekend series on Saturday afternoon, 4-1.
Salisbury (12-4-1, 4-0 CAC) jumped into the run column early in the bottom of the first innings. Cameron Hyder started things off with a leadoff triple, and Jimmy Monaghan sent him home two at-bats later on a groundout to the shortstop to make it 1-0.
The Sea Gulls doubled their lead in the second inning. After Matt Padeway successfully laid down a sacrifice bunt to advance runners to second and third bases, Ron Villone scored lead runner Jay Perry on a groundout to short to push the lead to 2-0.
Monaghan scored Hyder again in the fifth inning on a two-out double down the right field line to push Salisbury's lead to 3-0.
A Jack Barry sacrifice fly in the bottom of the seventh inning tacked on one more for the maroon and gold, making it 4-0.
Frostburg State (10-5, 0-4 CAC) was able to break up the shutout with an unearned run in the top of the ninth inning, but it was all it could muster as it dropped its fourth straight to open conference play.
Clayton Dwyer (4-1) was once again electric on the mound, recording his third complete game in his past four starts. Dwyer allowed only five hits and one unearned run to the Bobcats, while striking out 10 total batters in the process.
The maroon and gold will finish off the three-game series with a doubleheader against the Bobcats tomorrow, March 24. Game one first pitch is scheduled for 11 a.m.
Note: The road contest against Neumann University that had originally been postponed on March 19 has been rescheduled for Wednesday, April 17 in Aston, Pennsylvania. The game is scheduled for a 3:30 p.m. start.
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Pittsburgh Beats Nashville, 2-0, To Repeat As Stanley Cup Champs
Patric Hornqvist beat Pekka Rinne from alongside the net with 1:35 to play, and the Pittsburgh Penguins beat the Nashville Predators, 2-0, to win their second consecutive Stanley Cup in a controversial Game 6 on Sunday.
Joe Student
Austin Dillon Wins Coca-Cola 600 After Jimmie Johnson Runs Out Of Fuel
Austin Dillon passed an out-of-fuel Jimmie Johnson in the final two laps and won a rain-delayed Coca-Cola 600 at Charlotte Motor Speedway in North Carolina on Sunday night.
2017 Stanley Cup Finals Preview: Can The Predators Stop A Penguins Repeat?
The upstart Nashville Predators will face the defending champion Pittsburgh Penguins in the best-of-seven Stanley Cup Finals beginning on Monday night in Pittsburgh.
Takuma Sato Wins 101st Indy 500 With Late Pass
Takuma Sato passed Helio Castroneves with five laps to go and hung on to win the 101st running of the Indy 500 at Indianapolis Motor Speedway on Sunday afternoon.
2017 Coca-Cola 600 Preview: Who Will Go The Distance?
A test of speed and endurance, the Coca-Cola 600 is one of NASCAR’s most anticipated races each year. Here’s a preview of this year’s event:
2017 Indy 500 Preview: It's Fernando Alonso Vs. The Field
The 101st Indy 500 is scheduled for Sunday. Thanks to a very competitive field, this year’s race could live up to the event’s nickname: “The Greatest Spectacle in Racing.” Here’s a preview of the action:
Kurt Busch Wins His 1st Daytona 500 After Other Leaders Run Out Of Gas
Kurt Busch made a furious dash to the finish line to win his first Daytona 500 at Daytona International Speedway in Florida on Sunday afternoon.
Rio Olympics Recap Day 2: Katie Ledecky & Michael Phelps Claim Golds
American swimmers Katie Ledecky and Michel Phelps each broke records while capturing gold medals for the U.S. team at the 2016 Summer Olympic Games in Rio de Janiero, Brazil on Sunday.
Rio Olympics Recap - Day 1: Australia Wins 2 Golds; U.S. Tied For Medals Lead
Two world records in swimming fell in the first full day of competition at the 2016 Summer Olympic Games in Rio de Janiero, Brazil on Saturday.
2016 Rio Olympics Open With Visually Stunning Ceremony
Costumed dancers, raucous crowds and spectacular fireworks welcomed the best athletes in the world to the 2016 Summer Olympic Games in Rio de Janiero, Brazil on Friday evening.
2019 Total Sports Wire, Townsquare Media, Inc. All rights reserved.
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Code Prettify
Translation of Development Readme (trunk): Kannada
Created and maintained by <a href="https://kaspars.net">Kaspars Dambis</a>. All of my open source work is available <a href="https://github.com/kasparsd">on GitHub</a>. You have to log in to add a translation. Details
Created and maintained by <a href="https://kaspars.net">Kaspars Dambis</a>. All of my open source work is available <a href="https://github.com/kasparsd">on GitHub</a>. Created and maintained by <a href="https://kaspars.net">Kaspars Dambis</a>. All of my open source work is available <a href="https://github.com/kasparsd">on GitHub</a>.
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US military deaths in Niger attributed to complacency, lack of training, culture of excessive risk: report
A classified Pentagon report attributes the deaths of four U.S. soldiers — who were ambushed during an operation in Niger in October — to a list of military shortcomings, including complacency and a lack of training.
In addition, low-level commanders took shortcuts to approve operations — with at least one officer lifting orders from a different mission and pasting them onto the “so-called concept of operations to gain approval,” officials familiar with the report told the Wall Street Journal.
President Donald Trump approved recommendations granting lower-level military commanders the ability to make decisions, but the move was not seen as a contributing factor in the Niger deaths, the Journal reported, citing information from the sources.
The report also cited a culture of excessive risk, according to the paper.
http://video.foxnews.com/static/orion/html/video/iframe/vod.html?v=20180426135809#uid=fnc-embed-1
Investigators on the ground probe deadly Niger ambush
Initially, the mission on Oct. 3, 2017, that ultimately sent the Army Special Forces team, along with Nigerian soldiers, into a deadly ambush, was a planned meeting with local officials. However, the team was redirected to assist in a search for Doundou Chefou, a militant suspected of involvement in the kidnapping of an American aid worker.
Upon returning, the team was later attacked by Islamic State-linked militants in a village near Tongo Tongo, resulting in the deaths of four U.S. soldiers and four Nigerien troops on Oct. 4.
✔@WSJ
Poor training and a culture of excessive risk contributed to the deaths of four U.S. soldiers during a military operation in Niger, final report says https://on.wsj.com/2r13beb
12:35 AM – Apr 26, 2018
Classified Report Slams Military Over October Deaths in Niger
Poor training, complacency and a culture of excessive risk contributed to the deaths of four U.S. soldiers during an operation in Niger in October, according to a classified Pentagon report.
The U.S. military members killed were identified as Sgt. La David Johnson, Staff Sgt. Bryan Black, Staff Sgt. Jeremiah Johnson and Staff Sgt. Dustin Wright.
The report also includes measures from Defense Secretary Jim Mattis aimed at preventing a similar incident from happening again, including, “reinforce normal protocols within the chain of command,” the sources told the Journal.
The months-long investigation consists of testimony, diagrams, maps and video from the helmet cameras of the soldiers, as well as statements from Mattis, the Joint Chiefs of Staff and from the Africa Command, the paper reported.
Families of the fallen military heroes will be briefed Monday on the 6,000-page report, along with lawmakers, before a declassified version is released to the public in the coming days.
Mattis told a Senate Armed Services Committee hearing Thursday he has given a 200-page classified summary to Congress.
Mattis acknowledged Thursday there was not one but many problems that led to the American soldiers being ambushed by roughly 50 heavily armed ISIS-affiliated fighters more than six months ago in West Africa.
Mattis said: “I think right now we have found what we believe to be the crux of the problems, not problem but problems that contributed to this. It was not a delegation of authority problem. So we know immediately how to address and we are doing that right now.”
Lucas Tomlinson contributed to this report.
Benjamin Brown
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The Orange Man Inside of Me
October 2, 2015 October 7, 2015 Michael Turpin
In 1972, a bellicose French nationalist named Jean-Marie Le Pen founded the National Front party and began chipping away at the veneer of France’s ubiquitous reputation as an open bridge to the third world and a bulwark against US hegemony. For its first fifteen years, the National Front was marginalized to the fringes of French politics and associated with extreme solutions and isolationist policies.
In the late 80’s, the fall of the Berlin Wall and deconstruction of the USSR ushered in a period of economic and political immigration across Africa, the Middle East and Europe not witnessed since the turn of the century. During the Cold War, the U.S. and Soviet Union would be among the first nations to provide aid and infrastructure to countries experiencing civil, political, environmental and economic upheaval. The two nuclear powers were engaged in proxy wars fighting for the hearts and minds of unsettled nations hoping to advance or blunt one another’s ideologies.
With the deconstruction of the former Soviet Union, nations in turmoil suddenly became the burden of their closest Western neighbor. What was once the foreign policy problem of two superpowers became the yoke of European nations.
As immigrants flooded the border regions of various Western European countries, including France, racial and religious tensions escalated as refugees put a strain on social services, took jobs and in some cases committed crimes that seemed, to locals, to be an inexcusable act of biting the proverbial hand that was so generously feeding them.
The nadir of the “Le Penizination” of French politics hit in the 2002 Presidential elections when Le Pen finished ahead of then Prime Minister Lionel Jospin and second to Jacques Chirac. Jospin and his Socialist Party was humiliated in his third place finish prompting Jospin to immediately resign from public life. Le Pen would now run against Chirac for the French Presidency.
The significance of the election did not make the front pages of American newspapers but moved with the speed of the plague across European and world media. The Le Pen vote was correctly interpreted as a referendum on many things — French leadership, a flagging economy, and higher unemployment but it also insinuated an ugly aspect aspect of the French character that had been so well hidden under the perfume and liberal élan of a historically open arms foreign policy.
The French electorate were elated and horrified at what they had set in motion. Most were publically proclaiming embarrassment that such a bigoted politician could insinuate his way within one step of the Presidency of the Republic. “Mon Dieu, how can this be? I did not vote for him!”
Obviously, someone checked the ballot for Le Pen and a quick analysis of the French voting districts confirmed that the majority of disaffected votes came out of the industrial regions and border provinces where Le Pen’s venomous attacks on immigrants found fertile ground.
To some, Le Pen was a lunatic ultra nationalist preying on the fears of a xenophobic population that was not coping well in a post Cold War world. To others, Le Pen was a savior from the Age of French superiority and self reliance. He was a ronin samurai beholding to no master except his conscience and the notion of France for the French. It seems he had nothing to lose and therefore, had no governor controlling what he said, when he said it or who he might attack in the name of unsanitized candor.
Embarrassed by accusations of closet racism and geopolitical disingenuousness, the French voted overwhelmingly for Chirac in the subsequent Presidential run-off, cutting Le Pen one step short of the highest office in the land. The French breathed a sigh of relief and went back to their espressos while other demagogues and charlatans took notice.
I was in the airport delayed and killing time by watching the recent Republican debates on Fox. An older gentleman in his mid-seventies watched bemused as candidates jockeyed for microphone time while Donald Trump stood with a look of superiority and self satisfaction not witnessed since Mussolini on a balcony in the Piazza Venizia in Rome.
Trump made quick mincemeat of Scott Walker and turned on Carly Fiorina. The man next to me shook his head and laughed,”You got to love that orange son of a bitch. He calls it like he sees it and is the only one who will tell the truth.”
It was not the first time I’d heard a rational person identify with the edgy Trump diatribe and admittedly, I found myself amused at his fearless political incorrectness. The “orange man” was indeed stating the obvious and telling it like it was. “The Russians don’t fear us. The Chinese are duplicitous trade partners waiting patiently for us to sell them the rope that they can use to hang us. Meanwhile, you guys are like Nero and his cronies fiddling while Rome is burning!”
The orange demagogue had some easy targets that night but he clearly is no champion for truth or fair play. He was, in many ways, a manifestation of the kind of person I have tried to avoid becoming over the course of my adult life. He appeals to the cynic and nationalist in us. Trump panders to the part of anyone that resents that fact that they have become part of a new minority where the “have nots” are voting people into office that conspire to raise taxes, mortgage our children’s future and give free stuff to illegals who refuses to even learn our language.
And this is when my father says, ” and your point is?” He often asks this with a mouth full of food prepared by his caregivers, who are all immigrants.
My point is that Trump is our generation’s Le Pen. He is a manifestation of shameless self-promotion and inflammatory rhetoric. He is the underbelly of American capitalism — a hubris ridden, self-aggrandizing buccaneer who lacks empathy and real hair color. There is nothing natural about the man.
It’s easy to pick apart what’s wrong with a country that is leveraged with debt, saddled with complicated social problems and guided by politicians that are more interested in their own survival than in serving as catalysts for change. Yet, I’m not so sure it’s an option for the USA to default on our debt in the same manner the Donald defaulted over four corporate bankruptcies.
It’s a hard job in politics to be a constructive catalyst for change and to exhibit the rare characteristics that bring people together and overcome partisan paralysis — attributes revealed in the energy and wit of Lincoln and the tenacity and courage of a Truman. The orange man grows off our fear and worships at the altar of himself. He knows that self interest is at the opposite end of self sacrifice.
Yet, the beauty of a democracy is you are allowed to vote out of self Interest. A democracy feels great when you’re in the majority. Changing demographics have relegated a generation of US Conservatives to the minority and they don’t like how it feels. It turns out that it’s no fun having your views ignored and concerns swept aside. It’s agonizing being force fed ideologies that chafe against your own beliefs and when the power to pass legislation passes to the opposition, it sucks to see the institutions you hold dear dismantled. It’s even more complex when the minority is the economic majority.
The Pareto Principal suggests that in a balanced market, 80% of the wealth will naturally find itself in the hands of 20% of the population. A natural bell curve of competence favors and rewards a minority. Should this minority be punished for their innovation and success? Yet, when 80/20 becomes 90/10 does the imbalance create a black hole of civil unrest that can destroy the society? The orange man seems to be suggesting that if we mess with the natural laws of selection, we are in deep doo-doo. He does not believe in the better angels of our nature. Might makes right and we should be justified in our fear. A vote for the orange man is a vote for the manifest destiny that once made America great — for those of us who were born here and love our country. We don’t believe in free-loaders and illegal immigrants. Hell, send ’em all back where they came from.
Yet, self interest is a tricky thing. In modest portions, it is compulsory to compete in a flat, crowded world; but, too much of it finds people running over others as they seek to get what they want. Being a minority often leads to hopelessness. Langston Hughes warned that there is nothing more dangerous than the man who believes there is no hope. Fear and cynicism are the currency in the realm of the minority. The majority will tell you to get over it. When you are in the minority, you may accuse those who don’t relate to your plight as ignorant or insensitive. You agitate for change and you look for a champion.
The key is seeking to understand that the world is not black and white but a color bar tinged with shades of gray and that for better or worse, we are a melting pot that we made great by our heterogeneity. How we balance meritocracy and free markets with social responsibility is a tough question. This is a much tougher query than who’s picture should appear on a ten dollar bill.
The orange man is inside everyone. He comes out when we are afraid that we will not get what we believe we need or want. He comes out when things don’t make sense. He pushes the panic button and says if we stay on this path, we are all screwed. Yet he has no answers — quick to kibbutz but purposely vague on how he might correct our course.
The fact is we are better than the orange man inside us. We can’t listen to those who speak only to self interest and fear. That’s where faith comes in and our belief that we can build a better tomorrow and still serve a higher purpose and a radius of responsibility beyond those we know.
I still don’t know who I want as President. But I can tell you who I won’t vote for — and if you give me a shirt for my birthday, just don’t make it orange.
Previous Article Mr. C’s America
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President Trump speaks during an Independence Day celebration in front of the Lincoln Memorial in Washington.
Alex Brandon / The Associated Press
National Opinion: You try writing a speech for Trump
By Jeff Shesol Los Angeles Times
The following column is the opinion and analysis of the writer.
In Washington, the National Mall has gone quiet. The Blue Angels have flown back to base, the Abrams tanks have been returned to Fort Stewart, in Georgia, and President Trump’s July 4 speech has been debunked by fact-checkers and panned by Russian state-run TV. The memes it inspired might prove more enduring than the speech itself.
Even in conservative circles, I suspect, the speech will not be long remembered. It is too muddled, nondescript and full of errors to be recited on future Independence Day speeches. Not to worry: Trump has promised to stage the whole spectacle again next year. Before then, a little more forensic work is in order. Who is at fault for the awfulness this time?
Trump blamed the teleprompter for his claim that Washington’s army “took over the airports.” As a speechwriter, I have spent time in the company of teleprompters, and I know them to be temperamental machines. Still, I have never seen one make things up. No computer glitch could be responsible for lines like “love and unity held together the first pilgrims.” That is human error.
The speech was a roadmap of the pitfalls of the trade: the abuse of alliteration (“willed our warriors up mountains and across minefields”); hyperbole (combat veterans “loved every minute” of their military service; Coast Guard sharpshooters “never miss”); bumper-sticker exceptionalism (“for Americans, nothing is impossible”). Plus an overreliance on the thesaurus: Early in the speech, Trump promised to tell “one of the greatest stories ever told: the story of America.” It is, he said, an “epic tale.” Also, a “chronicle.” Furthermore, a “saga.” All this in one paragraph.
Trump’s speechwriters, in fairness, have a difficult job. They write for a man who resists structure, research, reason, precision — the foundations of speechwriting. What Trump prefers is stream-of-consciousness talking, the kind he does at his rallies, like a spigot left running. And the truth is he could ruin even a well-written speech. Trump would louse up the Gettysburg Address: He would mug his way through it; he would add snarky asides; he would somehow make it sound as if “the last full measure of devotion” was all about him.
Yet his speechwriters gave him exactly what he wanted on the Fourth. His scripted statements typically have the feel of being forced on him, but his heart was clearly in this one — especially its fist-pumping tales of military triumph. America, in Trump’s telling, is a force of “vengeance” and “righteous retribution.” During World War II, “we crushed them all from the air,” he said, and since then, “no enemy has attacked our people without being met by a roar of thunder.” Here as elsewhere, Trump’s swagger is less a projection of strength than a form of wish fulfillment. It also reflects a deep misunderstanding of American greatness.
In 2016, Trump staked his run for the White House on a return to greatness. He and his speechwriters have urged the nation “to choose greatness.” But in what sense and to what end? The speech offered no clues. In three years as president, Trump has never articulated a vision of national greatness apart from military might, or a notion of economic greatness apart from some lost and rusted industrial ideal.
Bad speechwriting is typically the product of bad or vague or incoherent thinking. Even a great speechwriter can’t fill in a vision that is hollow at its core. Trump’s “Salute to America” featured fireworks and firepower. But the man himself was blowing smoke.
Jeff Shesol was a speechwriter for President Clinton and is a founding partner of West Wing Writers, a writing and strategic consulting firm.
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TV ReviewsThe OfficeSeason 6
The Office: "St. Patrick's Day"
Emily Todd VanDerWerff
The OfficeSeason 6
"St. Patrick's Day"
During its sixth season, The Office has come under increased criticism from fans and people who don't like it alike, all of which basically boils down to the fact that the show just isn't as funny as it once was. And while I don't go so far as to think this season is an outright disaster or anything, I do rather think the show is missing some of the really terrific jokes that have made the series such a success in the past. The characters, fortunately, are still fun to hang out with, and that alleviates any of the series' problems with not offering up humor as consistently as it once did. But there have been some bigger problems this season, mostly to do with the plotting.
In general, I think the Sabre arc has been a bit of a misfire. It seems like it's mostly ending this evening, with Kathy Bates heading back to Tallahassee. The biggest problem with the Sabre arc is that it hasn't told us anything we didn't already know about these characters or this world. All story arcs on TV shows are essentially there to resolve themselves, so the status quo can return. It's one of the pleasures and irritations of the form. The reason to do a story arc is to reveal just how your characters will react to the changes and events happening in their world. The Michael Scott Paper Company arc last season - which was structurally very similar to this arc - revealed a little bit about how much Dunder Mifflin was in dire straits, and it revealed just how much Michael Scott understood about his own company. The Charles Minor character was never as good as he could have been (and his hatred of Jim felt arbitrary at times), but the story arc was very much a good one about figuring out how to adjust in a new corporate environment.
The problem with the Sabre arc is that it mostly just copies that storyline with a guest character who's even less interesting than Charles Minor. Kathy Bates is a great actress, but her Jo character is pretty much a walking bag of cliches. She's a tough-talking, shoot-from-the-hip, take-no-prisoners kind of Southern good ol' gal, and if that description doesn't give you a sense of just how much she feels exhumed from a big bag of old character elements, well, I don't know what will. There's really nothing about her that feels fresh or revelatory or new, and seeing Michael suck up to her has gotten rather tiresome awfully quickly.
Would there have been another way to do this story arc? Maybe. But this dovetails with one of the other problems with The Office at present: The show is just getting old. This is nothing it can help and nothing it can change, obviously. There's no way we can all feel the shock at seeing how good the show had gotten in its second season. We've pretty much seen all (or at least most) of the cards the show can play. And even when the show seems to be introducing a new plot arc that might offer up new information - like the tease of Jim being the manager - it abandons it just as quickly, unsure of what it's doing and hurrying to return to the status quo it knows so well.
Also, as the show has gotten longer in the tooth, it's, well, gotten a lot weirder. It's getting harder and harder to see this office as a real office someone might make a documentary out. Take a look at the whole Erin character, pivotal in tonight's episode. She's essentially cut from the same cloth as Pam was back in the day, but she's been cranked up to a few more levels of goofy. She's an orphan who grew up in some sort of crazy foster home and was in the hospital from the ages of 3 to 6. She's got a foster brother who's clearly obsessed with her in a sexual fashion. And she still lives with him. Pam, while obviously a TV character, was also someone you felt like you could know in your real life. Erin is definitely someone you wouldn't. This isn't necessarily a bad thing, per se. The Andy and Erin romance, after all, is still very sweet, and the moment when she kissed him, even though she was sick, in tonight's episode was very well done. But the weirdness of the show feels like a very deliberate split from the show as it was back in the day.
There's been plenty of irritation based around the Jim and Pam characters, too, and this I can get more on board with. It's not that I don't like Jim and Pam, who are still very sweet and funny, but I don't like that the show seems unwilling to let them really change. Jim will take big steps toward becoming a big-time businessman, say, or toward becoming Michael, and then the show will walk them back so he can get back into some sort of prank war with Dwight. I mean, Dwight giving Jim a hard time about how his baby girl was at home and how he was missing out on it was something anyone could have seen coming from a mile away, and that it mostly boiled down to Dwight singing "Cats in the Cradle" was disappointing. (Though I did like MegaDesk vs. QuadDesk.)
The central plot in the episode - when will the office denizens get to leave work to go celebrate St. Patrick's Day - also felt like it was airlifted in for no particular reason. Jo being such a workaholic felt like a contrived way to force everybody to stay behind at the office for a while, and while I really liked the turn where she brought Darryl up to the office upstairs after liking his shipping chart, I just don't buy that the show will treat that story development with any seriousness. Other than that, it just felt as though this was yet another "Michael embarrasses himself and the office and then saves everything at the last possible moment" storyline, and while those storylines can still work, this one felt pretty tired and constructed out of other elements.
I don't want to sound like I'm really down on this season of The Office. I'm rather enjoying it, all things considered, and I've quite liked a number of episodes in it. While I didn't think "St. Patrick's Day" was all that good, I wouldn't say it's a typical episode of the season. The writing is still sharp enough, and the characters have so much goodwill built up toward them that even an off episode like this one is ultimately worth a watch. But the elements of a tired, overlabored show are starting to creep up on The Office. In a way, that's inevitable, but the series had mostly staved them off for so long that it's a bit disappointing to realize it's just another TV show.
"I don't care if you're a loser or practice bestiality, if Jo likes you, you're in."
"According to How I Met Your Mother, that's the date that your kids are going to wait patiently to hear about, and you better have a good story."
"You're here at work, and the baby thinks the refrigerator is its father."
"Whenever I'm sick, it goes away after a few hours, except once when I was in the hospital from age three to six."
"Oscar has a life. I think Ryan has a life."
"As the Irish poet Bobby McFerrin said, 'Don't worry, be happy'."
Recent from Emily Todd VanDerWerff
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Frank’s Place celebrated the best of human life—and of New Orleans
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Paul Margie and Mitul Shah Join the United Nations Foundation Technology Partnership
The United Nations Foundation (UN Foundation) announced today the appointment of Paul Margie as Senior Director for Technology Partnerships and Mitul Shah as Director for Technology Partnerships. In these positions, Margie and Shah will lead the UN Foundation’s landmark partnership with the Vodafone Group Foundation, working to strengthen the United Nations’ ability to achieve development goals using mobile communications and other technologies.
“As new members of the UN Foundation team, Paul Margie and Mitul Shah’s abilities to integrate communications technology into the important development work of the United Nations will lead to social and economic progress worldwide,” said Senator Timothy E. Wirth, President of the UN Foundation.
In June, 2004, The UN Foundation and the Vodafone Group Foundation, the foundation of the world’s leading mobile telecommunications company, announced a five-year partnership agreement worth $27.4 million (£15 million), the largest financial and time commitment made by any corporation to the UN Foundation. To date, the UN Foundation contributes £1 for every £2 contributed by the Vodafone Group Foundation.
Margie and Shah are working with the United Nations, the Vodafone Group Foundation, and the technology industry to develop new initiatives to use mobile technology for program activities tied to health, environmental, economic or social development as well as reaching out to Vodafone’s customers to raise awareness and funds for the UN’s causes.
Paul Margie will direct the partnership drawing from his policy and coalition building experience to consider ways the partnership can integrate mobile technology into the UN’s development work. Prior to joining the UN Foundation, Margie was Legal Advisor to Commissioner Michael J. Copps at the Federal Communications Commission. Previously, he was Senior Commerce Counsel for Senator John D. Rockefeller IV. He has also worked for Wiley, Rein & Fielding, a Washington, D.C. law firm. Margie is also an Adjunct Professor of Law at Georgetown University. He received his legal education from the University of Chicago and his undergraduate degree from Haverford College.
Mitul Shah will work with Paul Margie to manage the Vodafone partnership activities and implement technology partnerships. Before joining the UN Foundation, Shah was Director of Programs for the International Youth Foundation (IYF), where he managed a global education initiative which integrates mobile technology into the classrooms of underserved schools and communities. Prior to his work with IYF he was a Senior Consultant with Inforte Corporation, and an Analyst for Hewitt Associates. Shah is an MBA candidate at the University of Maryland and received his undergraduate degree from the University of California at Riverside.
The UN Foundation was created in 1998 with businessman and philanthropist Ted Turner’s historic $1 billion gift to support United Nations’ causes. The UN Foundation promotes a more peaceful, prosperous, and just world through the support of the UN. Through its grant making and by building new and innovative public-private partnerships, the UN Foundation acts to meet the most pressing health, humanitarian, socioeconomic, and environmental challenges of the 21st century. (www.unfoundation.org)
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Story Behind the Song: Reba McEntire, ‘Freedom’
Reba McEntire has said that her new project, Stronger Than the Truth, is the most "traditional country"-leaning record she has ever released. The country icon explains that the tracks on the record take her back to her early days of performing in dance halls and honky-tonks, and remind her of the kind of country music that she grew up listening to and loving.
Among all of the songs on Stronger Than the Truth, McEntire says that she selected "Freedom" -- co-written by Jay Brunswick, Tommy Cecil, Real Country winner Jaida Dreyer and John Pierce -- as the project's first single because of its overarching relatability. To learn more about why the song holds such universal appeal, and why McEntire chose it as a single, read on.
Everybody was unanimous on ["Freedom"] being the first single, because it's an anthem. When you first listen to it, some people might think it's a patriotic anthem, but once you listen to the words, you know it's an anthem for this woman finding true love. And I think a lot of people are going to be able to relate to it.
I want everybody to be able to relate to these songs. That makes a very successful song and a very popular song, when they can relate to it, when they come back and say, "Oh my gosh, she wrote this song for me." Or, "That's my life story." Or, "Me and my best friend can relate to that." That's what makes a really good song.
Reba McEntire Through the Years
Reba McEntire Plays "Wikipedia: Fact or Fiction?"
NEXT: Top 20 Reba McEntire Songs
Filed Under: Editor's Picks, Reba McEntire
Categories: Country News, Exclusives, Songs, Story Behind the Song
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The Top 10 Things To Do And See In Newcastle
Kelly Bradshaw
Updated: 9 February 2017
Known for its varied range of culture, history, exceptional food and drink, Newcastle is home to some of the UK‘s most popular tourist attractions. Below is a list of the top ten things to do and see in the lively city of Newcastle.
Great North Museum: Hancock
© Andrew Curtis/WikiCommons
Built in Newcastle as a natural history museum to house the expanding collections of the Natural History Society of Northumbria, the Great North Museum: Hancock is a popular family destination offering a variety of exhibitions and expert talks, as well as courses and activities for children. With an exciting variety of features including The Living Planet and the world of the Ancient Egyptians, this magnificent museum is sure to provide an insightful and illuminating experience.
Price: admission is free
Opening hours: Mon-Fri 10am-5pm, Sat 10am-4pm, Sun 11am-4pm
Watch out for: the planetarium show, which takes visitors on a journey through time and space
Barras Bridge, Newcastle upon Tyne, +44 191 208 6765
Laing Art Gallery
Founded in 1901, this ancient gallery displays outstanding historic and contemporary artwork as well as a learning space, shop, café, and an area exclusively for younger children, making it the perfect family day out. Hosting a generous variety of exhibitions, which trace the origins and legacy of art movements, as well as celebrating the work of local renowned artists, Laing Art Gallery is an essential place to visit for tourists hoping to experience an afternoon of exceptional culture.
Price: mid-range
Opening hours: Tues-Sat 10am-5pm, Sun 2pm-5pm
Watch out for: Café Laing – a cosy coffee shop offering a range of tasty bites
New Bridge Street, Newcastle upon Tyne, +44 191 232 7734
© dvdbramhall/Flickr
Theatre Royal
Established as one of England’s leading theatres, Theatre Royal is an ancient and magnificent building which was built during the 1700s. Described by Sir Ian McKellen as one of his favourite theatres, Theatre Royal maintains an impressive reputation. With neo-classical interiors and a vast range of performances including family shows, drama, West End musicals, comedy and ballet, Theatre Royal provides something to suit all entertainment tastes.
Opening hours: box office Mon-Sat 9am-8pm
Watch out for: the theatre’s offering of afternoon tea which adds a touch of luxury to the experience
100 Grey Street, Newcastle, +44 115 989 5555
© Bill Henderson/Wikicommons
Eldon Garden Shopping Centre
Offering a tempting selection of premium lifestyle and fashion brands, boutique shopping and café bars, Eldon Garden Shopping Centre is a highly renowned and praised tourist attraction. Described as an inspirational retail destination offering visitors a unique environment, Eldon Garden Shopping Centre is beautifully decorated and provides a tasteful shopping experience. With a generous variety of facilities, the shopping centre caters to a range of styles and preferences.
Price: mid-range to luxury
Opening hours: Mon-Wed 9am-6pm, Thurs 9am-8pm, Fri-Sat 9am-6pm, Sun 11am-5pm
Watch out for: the Espresso Lounge which creates a relaxing environment for visitors during shopping
Percy Street, Newcastle upon Tyne, +44 191 261 0117
Newcastle Castle
With a history dating back to almost 2,000 years, this ancient building has much to communicate to tourists who are hoping to delve into the city’s back-story. Offering a fantastic learning program which is equipped with modern facilities, Newcastle Castle provides a truly insightful and educational visit. Aimed towards informing the public on the city’s heritage and medieval history, Newcastle Castle is the perfect place to visit for a day of interactive learning.
Price: budget
Opening hours: 10am-5pm
Watch out for: exciting upcoming events which include murder mysteries
Black Gate & Castle Keep, Castle Garth, Newcastle upon Tyne, +44 191 230 6300
© stu/Flickr
St Nicholas Cathedral
Built during the 1000s, this ancient building offers an array of rich history. Aimed towards supporting the bishop’s mission and teaching and pastoral ministry, St. Nicholas Cathedral is a magnificent building which offers spectacular views of the city. Warmly welcoming visitors from all backgrounds, tourists are invited to use the cathedral as a means of worship, for exploring the cathedral’s treasures of monuments, and as a retreat from the lively city life.
Opening hours: Mon-Fri 7.30am-6.30pm, Sat 8am-4pm, Sun 7.30am-6.30pm
Watch out for: The Lantern Café, which offers a range of light bites, homemade cakes and coffee
St. Nicholas Square, Newcastle upon Tyne, +44 191 232 1939
A narrow wooded valley acquired during the 1850s, this beautiful tourist attraction offers visitors a different side to Newcastle. Boasting a generous variety of wildlife such as rabbits, parrots and ducks, Jesmond Dene provides a perfect relaxing day out for the family. Offering a vast range of greenery and flowers as well as a series of waterfalls, Jesmond Dene creates a tranquil and memorable experience for those who appreciate what nature has to offer.
Price: admission if free
Opening hours: open at all hours
Watch out for: a pair of mute swans which are often found swimming by the nature reserve
Jesmond, Newcastle upon Tyne, +44 191 440 57 20
© Paul Robson/Wikicomons
Blackfriars Restaurant
Restaurant, British, $$$
Known for its distinctive variety of exceptionally tasting food, Newcastle has much to offer hungry tourists. In particular, the highly praised Blackfriars Restaurant offers a fine selection of traditional British food, and has been described as one of the city’s most recognised restaurants due to its receiving of several awards, such as the Taste of England. Offering succulent dishes, such as braised beef, cured duck ham and mini crab cakes with sweet chilli sauce, Blackfriars Restaurant produces a touch of sophistication and elegance. Price: mid-range Opening hours: Mon-Sat 12pm-2.30pm, 5.30pm-12am, Sun 12pm-4pm Watch out for: saffron, brie and almond tarts
Friars Street, Newcastle upon Tyne, England, NE1 4XN, United Kingdom
The home of Newcastle United football club, this magnificent stadium is one of the city’s leading landmarks. With an incredible capacity of over 52,000 visitors, as well as hosting major football matches, St. James’ Park has also been used as a rugby venue and charity football events, and has even been used as a set for film and reality television, making it an incredibly popular tourist attraction.
Opening hours: dependent on events
Watch out for: the stadium also hosts a variety of rock concerts during the year
Barrack Road, Newcastle upon Tyne, +44 844 372 18 92
© Brian Hargadon/Flickr
Madame Koo
With extravagant décor and a vast range of fruity cocktails, Madame Koo is one of the most popular bars and nightclubs in Newcastle. From traditional well-known cocktails such as mojitos, piña coladas and daiquiris, to frozen drinks and champagne cocktails, visitors of Madame Koo are sure to be spoilt for choice. Visitors who sign up to the club are also entitled to £100 worth of food and drinks, making Madame Koo the perfect place to visit for an affordable night out.
Opening hours: Wed 9.30pm-3am, Fri-Sat 5pm-3am, Sun 9.30pm-3am
Watch out for: frozen raspberry and strawberry margaritas
36 Collingwood Street, Newcastle upon Tyne, +44 191 261 82 71
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To be or not to be: the future of opposition in post-referendum Turkey
by Friends of The Fifth Column • April 23, 2017
Turkey (OpenDemocracy) – In post-referendum Turkey, it is not just Erdoğan and his supporters but the opposition as well who refuse to recognize their adversaries as legitimate – an explosive formula.
The most significant result of the April 16 referendum in Turkey seems to be that noone but the President Recep Tayyip Erdoğan and his supporters accepts it. As predicted, the referendum has yielded controversial results after extremely unfair and suspicious processes of campaigning, voting and counting. The official results declare a narrow win for Erdoğan’s ‘yes’ camp to legally cement his one-man regime: but external observers and opposition state that up to 2.5 million votes could have been manipulated as a result of a blatantly illegal decision by the High Electoral Board (YSK).
All the opposition parties, including the Republican People’s Party (CHP), Peoples’ Democratic Party (HDP), and the opposition wing of the Nationalist Movement Party (MHP), contest the results and, thereby, question the very legitimacy of Erdoğan rule as well as the regime he wants to impose. Spontaneous rallies of mass protest calling for the referendum to be annulled continue in several cities. So do the arrests of those protesting. This means that in post-referendum Turkey, it is not just Erdoğan and his supporters but the opposition as well who refuse to recognize their adversaries as legitimate. This is an explosive formula because the referendum has carried the toxic polarization in Turkey to a whole new level where now everyone considers politics an existential battle that only one side can survive.
Nevertheless, the referendum has left the opposition at a historic crossroads: will they simply cease the struggle now that the YSK has rejected their appeals, or will they keep the fight going through whichever means is available? This is identical to the question about whether they will keep acting as if Turkey were even a nominally democratic country. Their answer to those questions will simultaneously determine whether they will gradually wither away from the Turkish political scene.
It is about time that they realize there is no room for any real opposition in Erdoğan’s new Turkey, which can be neatly summed up in a principle with eerie historical connotations: “one nation, one flag, one state, one man.” An entire society will have to be reorganized accordingly, so the opposition no longer has the luxury of playing by its rules but has to fight, tooth and nail, for survival. There is no pleasant way out of this any more.
But does the opposition act as if they realized how dire the situation is? In a press conference held the day after the referendum, despite calling for annulment of the results, the CHP spokesperson Bülent Tezcan sidestepped a very direct question: What will CHP do if the YSK rejects the objections? This is the crux of the matter. Will the party finally divert from the usual path of bending backwards every time it confronts Erdoğan’s will, as in the so-called “parliamentary oath crisis” in 2011, and controversies surrounding Ankara municipal elections and presidential elections in 2014?
In all those and numerous other instances, the CHP failed to hold its ground in the face of abject violations of the law. Instead, the party got humiliated, ate its words and succumbed to Erdoğan’s will. This has led to a pessimism that the opposition does not have what it takes to compete in the game of politics Erdoğan so cunningly plays. Such toothless opposition is precisely the reason why there has been an overwhelming agreement, even within his own party, that the CHP leader Kemal Kılıçdaroğlu lacks the very quality of leadership to translate their mass anger and frustration into political action, and stand as a viable alternative to Erdoğan. Alas, it is largely up to him to make a choice for the entire opposition, for the MHP has practically committed suicide by acting as Erdoğan’s fifth column, and the HDP remains incapacitated since it has became the target of Erdoğan’s wrath after costing him the June 2015 elections.
Post-referendum, there seem to be two paths lying before the opposition. The first is ‘business as usual’, where legal avenues are exhausted and heavy words of protest are uttered. This path, at best, would result in a favourable ruling obtained from the European Court of Human Rights (ECHR) – a court with no capacity to enforce its decisions with Erdoğan under no obligation to abide by them. Ultimately, this would have a similar effect to that of the OSCE report, providing factual bases for the moral condemnation of the Turkish government. It would, however, fall short of accomplishing much else.
Predictably, such a decision would be music to Erdoğan’s ears, who would quickly dismiss it as yet another futile attempt by Turkey’s internal and external enemies to hamper the country’s unstoppable rise, as he has already done with the OSCE report. As far as the opposition is concerned, this would give credence to the suspicion that the CHP leadership has been secretly hoping for a two-party parliament where they could play the part of the opposition in a fake theatre of “pluralist democracy” for as long as possible. In the end, this option would likely turn Turkey into a country akin to Azerbaijan or Belarus, where opposition figureheads nobody knows the names of take part in sham elections nobody even bothers to follow, which serve the purpose of maintaining the democratic façade nobody actually believes in. Sadly, this seems like the most probable scenario at the moment.
The second path for the opposition is to refuse playing defensive anymore and initiate an offensive act through passive disobedience. This could be displayed most clearly and effectively by boycotting the parliament all together and, preferably, resigning en masse from the posts of MP. Since the regime, ‘legalized’ through the referendum, renders the parliament an impotent branch with no real legislative power or capacity to scrutinize the President, attending that theatre amounts to granting it legitimacy.
Under current circumstances, protecting the dignity of their position as the legitimate representatives of the people would paradoxically require members of the Grand National Assembly of Turkey to renounce that very office. Hereupon, every single day spent in that capacity degrades the parliament further into a mere rubberstamp for Erdoğan’s wishes and his arbitrary use of power, for its sole purpose now is to reproduce that power by providing him with a transparent cover of ‘democratic legitimacy.’ In contrast, the act of resignation would be one of respect for the sanctity of parliament as the ultimate embodiment of democratic popular sovereignty. It would, nonetheless, undermine the legitimacy of the regime itself, depriving Erdoğan of a much-needed seal of approval to maintain the collective lie that Turkey is a democratic country where the rule of law still exists.
The CHP spokeperson Selin Sayer Böke has already hinted that such an act is on the cards. However, CHP leader Kılıçdaroğlu and his clique were predictably quick to dismiss her statement in no uncertain terms, suggesting that the current leadership is determined not to go down that road: ‘We have no intention to withdraw from the Parliament, where the people have sent us to be present and defend their rights against this election fraud.’ It would be shameful of CHP leadership to deny the party and overall “no” camp that chance because, if maintained decisively, such an act has the potential to unite Turkey’s fragmented opposition behind a single and simple demand for the annulment of the referendum, suspending their mutual differences for a while. Meral Akşener, de facto leader of the MHP’s opposition wing, has already declared her determination to keep the ultra-nationalist electorate focused on the dubious referendum results, and dismissed rumours that a new nationalist right-wing party of hers was in the making. Statements from the HDP also indicate that the party is committed to taking all sorts of non-violent acts to get the referendum results annulled.
By Yildiz Yazicioglu (VOA) – Public Domain, Wikimedia Commons
It is against a possible emergence of such unity that Erdoğan has revived the spectre of the death penalty as a pre-emptive attack in his “victory” speech, which could drive a wedge between the opposition parties. Thus, it would be crucial to protect this fading and fragile unity firmly behind the singular demand for the annulment of referendum and remain resilient in the face of Erdoğan’s familiar salvos that are likely to arrive in future, up to and including calling snap elections. Contrary to the claims of some well-meaning voices within the CHP leadership, the point of such passive disobedience is not to go to elections but to score an undeniable victory against Erdoğan by imposing a democratic red line and making him take back his referendum that has blatantly violated that line. This is about scoring one vital goal in a rigged game on an uneven field that is overseen by vastly partial referees while missing several of your key players. It falls pathetically short of winning the game: but it makes you think for a moment that it is somehow possible.
Moreover, a resignation en masse could harness genuine support from outside the country as well. Having witnessed the AKP government’s gradual and methodical policy of annihilating any real source of opposition to its absolute rule at least since the Gezi Protests in June 2013, those who genuinely value the future of Turkey have long been declaring support and sympathy for the country’s democratic opposition, but failing (or not feeling obliged) to do anything more than that.
While paying lip service to the principles of democracy and human rights, western governments have kept their co-operation with the Erdoğan regime intact, granting it international legitimacy as well as unlimited access to global markets, which are essential to maintaining those thoroughly corrupt crony capitalist networks it is built upon. Rendering the illusion of “democratic Turkey” impossible to maintain, such a peaceful yet radical act carries the potential of strengthening the hands of those groups outside Turkey, enabling them to put much more pressure on decision-makers to actually do something effective before all is lost. Some have already declared the Republic of Turkey dead.
In such dire circumstances, symbolically charged, democratic acts of protest by leading figures of the opposition (not only a resignation en masse but also even more spectacular deeds such as chaining oneself to the doors of YSK building) could prove enormously powerful in articulating the combined and often conflicting feelings of impotence, frustration, anger and defiance that are prevalent among a major part of the population.
In the absence of any other actor with enough resources to galvanize a significant opposition movement, it is largely up to the CHP leadership whether to take a leap of faith into the unknown and abandon their relative safety by committing a truly democratic and political act. This is definitely a risky and even borderline suicidal act, especially under draconian laws of the state of emergency. But anything short of that would amount to a slow, humiliating death for all the opposition parties anyway.
Avoiding confrontation and keeping it at the level of a courteous contest within the limits and according to the rules of the game imposed by Erdoğan has evidently failed in the face of an opponent who never hesitates in playing dirty to get his way no matter what. This is simply not a viable option any more. Direct and spectacular acts that seek to unite opposition and mobilize the masses towards making a truly democratic appearance, on the other hand, offer a slim chance.
Unfortunately this is the only chance opposition in Turkey has now. Although as the leader of the main opposition party he occupies the most advantageous position to seize it, Kılıçdaroğlu, like his predecessor Deniz Baykal, seems determined to go down in the pages of history as yet another feckless leader. His deep fear of making any mistakes stops him from taking a turn at a critical juncture and, instead, keeps everyone on that tragically familiar path down to certain annihilation, without even putting up a decent fight. What little hope that remains lies in those who would put up that fight against and despite him.
This report prepared by Halil Gürhanli for OpenDemocracy
Tags: chp erdogan hdp Kemal Kılıçdaroğlu mhp Nationalist Movement Party opendemocracy Peoples' Democratic Party protests Referendum Republican People's Party turkey
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HomeSportsGolden start for Team Bahamas in the pool
Golden start for Team Bahamas in the pool
Simba French
WILDEY, Barbados – The Bahamas is ahead of the field as the athletes took a comfortable 56-point lead at the 34th edition of the CARFITA Swimming Championships at the Barbados Aquatic Center following day one of competition.
So far, the team has amassed a total of 21 medals – nine golds, five silvers and seven bronze medals after 26 final events. The Bahamas has accumulated 233 total points. Jamaica has 177 points. Trinidad and Tobago is in third with 155 points.
One of the most outstanding athletes so far is the boys 11-12 swimming ace Marvin Johnson. Johnson has won three gold medals in the 50 meters (m) backstroke, the 100m butterfly and the 4X100m relay in his age group.
Johnson was superb in the 50m backstroke, dominating the race straight out of the blocks and never relinquished the lead. He finished the race with a time of 30.75 seconds, lowering his preliminary time of 30.82 by 0.07 seconds. Second place went to Rohan Shearer, of Turks and Caicos Islands. He swam 31.92 seconds. Amauri Bonamy won the bronze with a time of 32.11 seconds.
Johnson returned to the pool to win his second gold medal of the evening. The Grand Bahama native put on a show for The Bahamian fans as he swam the 100m butterfly in a blistering 1:03.65. Bermuda’s Elijah Daley was not a threat for Johnson as he finished in 1:05.50 to win the silver medal. Winning the bronze medal with a time of 1:07.49 was Jamaica’s Brady MacPherson Lewison. Johnson’s teammate Asher Johnson was seventh. He recorded 1:09.89.
In the 4X100m freestyle relay event, Marvin Johnson anchored the team of Tristin Ferguson, Bonamy and Ethan Pinder. The quartet won gold in a time of 4:08.13. The host nation was second with a time of 4:19.67. The bronze medal went to Suriname with 4:29.10.
It was a record-breaking performance for the boys 15-17 4X100m freestyle relay team as they won the gold in 3:33.68. The team consisted of Lamar Taylor, Kevon Lockhart, Davante Carey and Izaak Bastian. They broke the six-year record of 3:33.73 set by Trinidad and Tobago. Second to The Bahamas was the Cayman Islands, which was neck and neck with the Bahamas on the third leg before Bastian gave The Bahamas the lead. They recorded a time of 3:37.78. Winning the bronze was Jamaica, finishing the race in 3:40.66.
Winning the first medal for The Bahamas – gold, was team captain, Luke-Kennedy Thompson. The 17-year-old had a perfect strategy in the 1500m freestyle to win it in 16:37.95. Leading most of the race was Jake Bailey of the Cayman Islands who swam 16:39.20. Thompson gained on Bailey in the final 100m and in the final 50m it became a sprint-off with Thompson edging out Bailey, touching the wall first.
Mark-Anthony Thompson, Thompson’s younger brother won the bronze medal to give the family a second medal in the race. He recorded a time of 17:09.40.
With that time, the elder Thompson qualified for the Pan American Games “B” time.
The Thompson family was not finished with the medals yet. Zaylie-Elizabeth Thompson, the younger sister decided that she too wanted a medal. She won silver in the girls 13-14 200m breaststroke finishing the race with a time of 2:48.15. Gold went to Barbados’ Adara Stoddard with a time of 2:46.37. Bronze went to Bermuda’s Elan Daley as she swam 2:52.72.
The silver-medalist said her older brother’s gold medal performance gave her the energy to pick up a medal.
Bastian won gold in the boys 15-17 200m breaststroke with a time of 2:18.03. Haiti’s Alexandre Grand’Pierre was the silver medalist, finishing with a time of 2:25.40. Luke-Kennedy Thompson picked up his second medal of the night. He recorded 2:28.91 to win the bronze medal.
Adding to The Bahamas’ gold medal tally was 13-year-old Keianna Moss. She recorded a time of 31.31 seconds in the girls 13-14 50m backstroke. Second behind Moss was Bermuda’s Elan Daley with a time of 31.45 seconds. Jamaica’s Zaneta Alvaranga swam 31.77 seconds to win the bronze.
Moss said was surprised she won gold in the event.
“I was surprised because when I first jumped in, my suit filled up with water and I said let me just try get a medal. I saw the girl next to me and I said, ‘gold right there Keianna – go get it’. I am a little impressed with my time because I wanted to go a high 30 but I am still pleased,” Moss said.
Carey joined the gold medal party as he secured the gold in the boys 15-17 50m backstroke. He swam a very fast race to record 26.66 seconds. His teammate Lamar Taylor came away with the silver to secure the two-highest points in that event. His time was 27.41. Jamaica’s Jordan Crooks was third as he swam 27.81 seconds.
Ian Pinder won the final gold medal of the night in the individual races as he touched the wall first in the boys 15-17 100m butterfly. His time was 56.80 seconds. St. Lucia won the silver medal as Jayhan Odlum-Smith swam the race in 57.16 seconds. Carey won bronze medal in a close 57.24 seconds.
Pinder thanked God for helping him win the race. He added that he felt good on his breakout.
“I felt good on my breakout. It felt strong as it is the strongest part of my race. I had a strong turn which is key in the 100m butterfly as I was under water. I started to fatigue a bit at the final 15-meter mark. I kept pushing because I saw that I was in the lead,” Pinder said.
With that time, he qualified for the Pan American Games “B” time.
The Bahamas will be back in the pool this morning at 9 a.m. as they look to qualify in the preliminaries for this evening finals events. They will look to extend their lead tonight as the team is on the right track as they look to defend their title from last year in Jamaica.
Sports Reporter at The Nassau Guardian
Simba joined The Nassau Guardian in 2012 as a technical producer for Guardian Radio 96.9 FM. He joined the Editorial Department as a sports reporter in 2018. Simba has covered a wide range of sports stories, including the 2018 CARIFTA in Nassau, Bahamas.
Education: College of the Bahamas, BA Media Journalism
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What if there is another chance (to establish a balanced architectural relation between a heritage building and a new construction)?
Wu, Yuhao
MArch(Prof)_2018_Yuhao Wu_1459055_Final research.pdf (14.16Mb)
Wu, Y. (2018). What if there is another chance (to establish a balanced architectural relation between a heritage building and a new construction)? (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Architecture (Professional)). Unitec Institute of Technology, Auckland, New Zealand. Retrieved from https://hdl.handle.net/10652/4565
RESEARCH QUESTION: What if there is another chance to re-establish a balanced architectural status between heritage buildings and new constructions? This primary question is divided into a number of secondary research questions and they will be identified and briefly described below: • How can the unbalanced relation between Aickin House and the new construction be changed to protect the status of Aickin House as a valued heritage building on Symonds St? A problem facing Aickin House is that the old building has lost its architectural and aesthetic values through it being installed within a new construction. To address this problem, the research also explores: Symonds Street runs through the centre of a number of educational facilities in the Auckland City area. In the past, Aickin House was Dr. Aickin’s house, granted by the government as a private residence. The house’s ownership was transferred to Auckland University to provide a medical service. Now, it has become a retail space and is used as a part of AUT’s student accommodation. The purpose of the building has changed over time in line with the requirements of different owners. This research also examines its new function and attempts to answer the above-stated questions. ABSTRACT: Old buildings are windows into the past and can tell us about local history and culture. However, due to rapid urban expansion, historic buildings are becoming redundant or are being attached to modern buildings. Intervention is a good way to preserve them; this can benefit current and future generations. The chosen site for this project is the remaining part of an historic residence on Symonds Street, Auckland, New Zealand. Regarding the current state of the site, the remaining part of Aickin House has been squeezed into a corner as being a part of the new student accommodation. The latter is a giant new attachment attached to the old residence and now has dominant status. Hence, what if there is another chance to change the relationship between them? A systematic study was conducted based on architectural, historical, and contextual analyses to provide insights into recreating architectural heritage. Through strategic design intervention, this project develops an architectural exploration for the recreation of an historic building to build a balance between its utility and aesthetic significance. More specifically, the project examines the possibility of changing an old house into a multifunctional centre to serve students living in Auckland’s city centre. The primary aim of this project is to redesign Aickin House for students’ multiple uses and propose a method that may apply to the recreation of other historic buildings in similar situations.
Aikin House ( 39 Symonds Street And Mount Street, Auckland, N.Z.), Symonds Street (Auckland, N.Z.), Mount Street (Auckland, N.Z.), Auckland CBD, heritage buildings, architectural conservation, architectural adaptation, student accommodation, multi-purpose buildings, sense of place, New Zealand
120102 Architectural Heritage and Conservation
Jadresin-Milic, Renata; Rennie, Julian
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How to Build an Audience of 1000 True Fans in a Noisy World
Building an audience for your work is easier and harder than it's ever been. It's easier because we have the tools and resources to create our work, and the distribution channels to spread that work.
Every aspiring author doesn't have to wait for a publisher because they can self publish their books on Amazon. It's the most valuable thing aspiring authors can do for their careers.
If you want a TV show or Radio show, you can record videos and post them on Youtube, or start a podcast and distribute it with iTunes.
It's harder than ever to build an audience because there's a scarcity of attention. Most people spend a few minutes on dozens of web sites instead of several days reading the books of one author. With such a scarcity of attention, the only viable strategy to build an an audience for your work is to focus on mastery instead of metrics.
Catering to the lowest common denominator might give you a large audience, but it's worth considering if those are the people you want to serve. Jerry Springer did. Oprah didn't, even though Jerry was getting better ratings. Sometimes you have to start with an audience of one to reach an audience of millions.
The proliferation of tools has fragmented the media landscape in such a way that there will never be another Oprah because the system is no longer designed for it. Media for the masses is a commodity, while media that serves the smallest viable audience is not. The new systems don’t reward compliance, waiting for permission to be extraordinary, or waiting for a gate keeper to approve. As Seth Godin says, “The internet is an amplifier of people who pick themselves.”
A true fan is defined as a fan that will buy anything you produce. These diehard fans will drive 200 miles to see you sing; they will buy the hardback and paperback and audible versions of your book; they will purchase your next figurine sight unseen; they will pay for the “best-of” DVD version of your free youtube channel; they will come to your chef’s table once a month. If you have roughly a thousand of true fans like this (also known as super fans), you can make a living — if you are content to make a living but not a fortune.
If you build an audience of 1000 true fans, you won't have to spend a fortune on advertising or keep implementing growth hacks. Instead, you'll have a much more sustainable way of growing, one in which the people who love what you do become your biggest fans, who spread the word, who recruit more people to join your tribe, buy your products, and who would miss you if you were gone. There's no tactic more powerful than someone who is a true fan of your work.
What happened to 1000 True Fans?
Close to a decade ago, Kevin Kelly wrote about the idea of 1000 true fans. One thousand people who will support your work, buy everything you create, and allow you to earn a living. But as people become internet famous, bloggers became best-selling authors, and social media platforms quantified every aspect of our humanity, we became obsessed with metrics. We started to value hearts over eyeballs and reach over depth. And it kind of worked.
Youtube videos, articles on the internet, and Instagram memes went viral, leading to books like Contagious by Jonah Berger. We became obsessed with reverse engineering virality, and the internet got littered with clickbait, cat videos, clever headlines and false promises. We have slowly wasted the potential of the internet, using it as a tool for digital vouyerism instead of meaningful contribution. We've become addicted to what Cal Newport referred to as “the reality Show of other people's lives” in his new book Digital Minimalism.
If you're serious about finding 1000 true fans for your work, you need to stop confusing attention with accomplishment and make a shift from metrics to meaning. This is not an easy shift because as a society we are programmed to seek out status. And more is the ultimate indicator of status: more followers, more money, more traffic.
Not only that, building your audience this way is a commitment to the long game, to creating what Ryan Holiday would call “a Perennial Seller”. I've already noticed this perennial seller effect. My second book has sold the same number of copies as my previous book in one quarter of the time. As Ryan wrote in a recent piece, “the best thing you can do to market your book is to start the next one”.
Building your audience this way is a commitment to showing up day after day, year after year, and being ok with the fact that you might not hit a home run, but instead you'll win through a lot of base hits. It might take you 1000 days to reach 1000 true fans. What I've outlined below is a 6 -step process for building your audience of 1000 true fans.
1. The Smallest Viable Audience
One person who reads everything you do, who buys every book you write, and spends the precious currency of their attention on your work from the day you start is more valuable than a million people who show up because of something that went viral and never come back. The lifetime value and lifelong attention of that person will be worth more than a million people who pay attention to you for a fraction of their day.
Reaching your first 1000 fans begins with shifting your mindset from “how can I reach more people” to “how can have a meaningful impact”? Instead of wondering how you get somebody's attention, you focus on creating something worthy of their attention.
2. The Mindset
Fear is the biggest thing that stands in the way of most people who want to build an audience for their work. Fear that they have nothing to say, fear that their work isn't worthy of someone's attention. Fear that their work won't meet their own unreasonable standards. Out of fear, people don't take action or ship their work.
I've seen this fear play out in front of my eyes with our content strategist Kingshuk. He's been working on a 6000 word mega post which he's yet to publish. It's been so long I don't remember when he started.
But he recently wrote the content for one of our newsletters, which people raved about. They said it was one of our best emails ever and asked us if we could republish it as a blog post for sharing. I refused to take credit for it and encouraged him to publish it as a guest post on Unmistakable Creative.
Every time you ship, you plunge your sword into the dragon of resistance and you silence the fear.
A Story Worth Telling
As my friend Nikki Groom says, “everyone has a story worth telling”. Your story doesn't have to reach a massive audience of strangers and you don't have to be the next Steve Jobs, Oprah, or Beyonce for your story to be worth telling.
Even though it went viral on the internet and led an amazing book, The Last Lecture by Randy Pausch wasn't for us. It was for his kids, to make sure they had something to remember him by.
It's likely Paul Kalanthi didn't live to see the freakish success of When Breath Becomes Air , but he'd die knowing that his daughter would have a way to remember him.
Even if the only people who are impacted by it are your loved ones, your story is worth telling.
3. Choose Your Medium
In 2014, the founders of Podcast Movement asked me to give one of the opening keynotes. I agreed to do it on the condition that I would not have to talk about podcasting. I explained to them that I'm a story teller, and podcasting just happens to be one of the mediums in which I create and tell stories. In addition to The Unmistakable Creative, I've written books, planned events, and produced an animated series. But, audio is the medium on which the entire foundation has been built.
Don't Follow Trends: The one thing that all trends have in common is they come to an end. In 2009 when I started a podcast, blogs were trendy and everybody said podcasting was dead. Doing something that some internet celebrity says everyone should do is a recipe for mediocrity, mimicry, and creating pale imitations of what already exists. Not only that, many of the people who are encouraging you to do something also happen to sell a course on how to do that thing.
Be Open to Feedback: One of the first pieces of feedback I received when I started a blog was from Sid Savara. He thought I was a much better interviewer than writer and suggested that I'd be more successful with a podcast than a personal development blog. So I kept writing for myself and produced the podcast for my audience.
Follow Your Curiosity: Mars Dorian spotted a stack of comic books next to the ice cream at a grocery store when he was 3 years old and he's been drawing ever since. He's managed to combine his love for drawing with writing.
While choosing a medium is important, you can always defy the limitations of a medium.
4. The Message
Figuring out the message of their work causes people lots of unnecessary stress. Your message will be revealed through the work that you do, and will also evolve with time. It took 4 years, 100's of blog posts and 100's of interviews before I figured out the message of the Unmistakable Creative.
When I looked back, all of my work had centered around the idea of what we should have learned in school but never did, and how to create things that stand out in a sea of noise. The interviews on The Unmistakable became my personal school of life that gave me an education that kicked the crap out of the one I got in school.
The more you create, the more you'll learn about what resonates with people and what matters to you. Stick to a schedule and put your work out into the world.
Get someone to interview you. This is something Danielle Laporte recommended in her book Firestarter Sessions. Many of my ideas for blog posts, copy for our website, and other pieces of my writing have come from things I've said to other people in interviews.
Hire a Copywriter: Often we're too close to our work. We can't see the forest through the trees. And a skilled copywriter can find the nuggets in your story.
You can do all of the above. But there's one challenge that you're not going to solve through courses, books, and articles like this one: sticking with something long enough to see a result, far past where the average person quits. Grit is a non-negotiable aspect of finding 1000 true fans for your work.
5. The Small Army Strategy
Do Things That Don't Scale
One of Paul Graham's most sage pieces of wisdom for entrepreneurs is to do things that don't scale:
It’s not scalable to visit every one of your first customers in person, but it worked for Airbnb.
It’s not scalable to email the first 10,000 subscribers to your email list personally. But it worked for Chris Guillebeau, AJ Leon, and many others.
It’s not scalable to get on the phone and talk to the listeners of your podcast or users of your app. But it's what I did for the Unmistakable Creative, and what I encouraged the founders of Reason8.ai to do with their users.
There's probably nothing that will get you to an audience of 1000 true fans faster than doing things that don't scale. It paradoxically takes longer, but grows your audience faster.
Do Things People Notice and Overwhelm People With Joy
At the Unmistakable Creative, we do a custom illustrated album cover for every person that's a guest on our show. It doesn't make us extra money. It doesn't increase downloads. But it delights many of our guests when they get one.
It's absolutely insane to custom illustrate every single attendees name tag at a conference. But that's precisely what AJ Leon did at the first Misfit conference, and it's likely nobody threw their name tag away.
You can design breathtaking ebooks and send people gifts in the mail.
You can use an app like Bonjoro to send a personalized video welcome to people.
Remember there are human beings on the other end of every email you write, every tweet you compose, and every message you respond to. When people feel you've seen their humanity, they connect at a much deeper level to everything you're up to in the world.
When it comes to overwhelming people with joy, there are no limitations. As AR Rahman said "imagination has no budget." Overwhelming people with joy turns fans into fanatics.
Create Something Unmistakable
In a world full of noise, standing out is essential to the survival of any brand, business, or creator. You can stand out with shock value like excessive profanity or naked pictures, but that's not going to have a lasting impact on the people who could become your 1000 true fans. You have to stand out in a way that's meaningful.
Do you make them think?
Do you make them laugh?
Do you make them smile?
You want someone to have an emotional response to your work. If somebody feels something, they're much more likely to do something, whether that's buying something, spreading the word, or putting your advice into action in their own life. There's always going to be an option for something cheaper, faster, or better. That's why only is better than best.
Be Generous
Everything I've mentioned above is an act of generosity. When AJ Leon designs a breathtaking ebook and gives it away for free, when Seth Godin publishes something daily, and when Josh Spector curates some of the best stuff on the internet, they're all being generous. With generosity, you build up a balance of social currency. When you do that, it's much easier to make withdrawals.
One of the biggest fears I've seen witnessed in myself and in other creative people is to ask for people to support that work, even when it's extraordinary.
Samantha Benett said on the The Unmistakable Creative, "You are always getting paid. And you are always getting paid in the currency you're asking for." If you ask for likes and comments, that's what you'll get paid in. They don't put food on the table or keep the lights on. If you're asking for money, that's what you'll get paid in.
Now just to be clear, this doesn't mean that you do nothing but ask for money. It just means that you have to be ok with asking. By supporting your work, whether that's through buying your books, writing a review, or telling a friend about your work, they help make your work possible.
When listeners of the Unmistakable Creative buy my books and the books mentioned by our guests, it allows me to keep making more of my art for them. Every single time you support the work of an artist, you allow them to keep playing the infinite game of creativity.
Mars Dorian is masterful at one thing: designing book covers that stand out. They're impossible to ignore. When we recently spoke, I told him he should triple his prices. And he wondered if anyone would pay what he's asking. I told him that by doing so, there was no difference between having one person pay his new price or three people pay his old price. He could do 1/3 the work and earn 3 times as much.
Building an audience of 1000 true fans for your work requires a long term view. It requires you to care about having a significant investment of someone's time and attention for a lifetime, over a fraction of it for one day. You can't buy your way to 1000 true fans with Facebook ads and SEO hacks. It's something that has to be earned. In a world this noisy, the best growth hack in the world is what we've known since Kevin Kelly said it more than a decade ago: build an audience of 1000 true fans.
3 Questions to Determine Your Essential Priorities →
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Korean Drama: Healer
Let me start off by saying that Healer is my no.1 favorite Korean drama of all time. It has all the spices that I wanted: action, romance, a little bit of a thriller and politics. It built their own world that really works for me. Maybe the reason I love it, aside from the romance, is that the main characters are too idealistic. In the real world it will be very hard to sustain that idealism and you really have to face hard battles just to get the justice that we wanted, but Healer shows us that being idealistic can probably be the key to teach those bad people a lesson that this world doesn’t just revolve around them. I love how the writer incorporated two different era, the past and the present, to make a plot that is really interesting.
Of course, the romance is a plus factor on why I like it. The kisses, and the hug. OMG! I am smiling and squealing like an idiot whenever I watched those scenes! They were very generous in giving us lovey-dovey scenes and it’s not just the statue type of kissing. (You know what I mean by that. hihi) Ji Chang Wook and Park Min Young have a really great chemistry! This drama introduced me to Ji Chang Wook and that’s another reason to love it!
The ending gave me an impression that this whole show just gave me a glimpse of their world. Of how everything started. Of their first ever battle. And that ending is just the end of that part of their lives. Now in the present, in an alternate universe, there’s still Young Shin and Jeong Hoo, probably still reporters. They might be married now but still fighting off a different bad guy now (still a part of the “farmers”) with Moon Ho and the rest of the Some Day team. I think they are still madly in love with each other!
The first time I watched this drama was March of 2015 and after two years, I decided to re-watch it again. Oh boy, it feels like watching it again for the first time. The scenes just never get too old for me. The plot and the conflict still works and even though I know what will happen already, I am still left in awe and amazed after they solved each problem and the plan they thought of in each situation (The Park Cheong Dol case/tape still amazes me).
I’ve never felt this in love and addicted in a Korean drama. Dramas come and go. Some will make a lasting impression but Healer made me felt more than a lasting impression. It leave a mark in my life. It gave me a sense of hope. It made me believe in the impossible. It told me that there is a true and lasting love. I am inspired with the characters. They are just like real human, flaws and all that. But even though they made mistakes, they can still do something remarkable. They can still love people. They can still forgive.
I am always saying this. The last time I felt this intensity of love for Asian dramas is Hana Yori Dango. Healer, for me, is not just a Kdrama. It’s my sensational Korean drama. Yes, it’s underrated in Korea. It doesn’t have that skyrocketing ratings. But I’m happy that while its run, international viewers really gave the love with this drama. I’m happy that in a small corner of the internet, there were people who rave and gave their thumbs up. I’m glad that people appreciates this drama.
Healer, you’ll always be my all time favorite Korean drama. Nothing beats you.
And for the third time, I have to face this post-withdrawal symptom again. I have to leave your world, and face mine. I hope you’re real (might sound delusional). But I really hope, that in some part of the world, there are people who have the same guts and bravery as you, ready to fight for democracy and justice, not swaying with what the world can offer. Just there, ready to fight and do anything for all those he loves.
PS. not edited and proofread so sorry for the typos and wrong grammar. 😀
This entry was posted in Korean Dramas and tagged Healer, Ji Chang Wook, Korean Dramas, Park Min Young. Bookmark the permalink.
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