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Turkeys and more
Turkeys at the Bates farms are raised as free-range birds, which the family believes produces a higher-quality product. Photo by Michael Cornelison
Bates turkeys remain a tradition at Thanksgiving and year-round
By Carolyn Tomlin
After flying countless bombing missions in Europe during World War II, Bill Bates returned home and declared, “I never plan to stand in another line or ask anyone for a job.” Instead, he had one purpose in mind: To produce the finest turkeys ever to grace a table.
Many Alabamians are familiar with how the turkey farm business was started by Bill’s parents. In 1923, W.C. and Helen Hudson Bates, Bill’s mom and dad, received nine turkey eggs from his Aunt Mamie Bates as a wedding present. In 1935, with the Great Depression taking its toll on small farmers, this small gift became the source that saved the farm as the bank allowed the turkeys to be used as collateral. When Bill returned from the war, his parents needed help with the growing industry. He stayed, and the turkey business has grown significantly from those original eggs.
Known as “Mr. Bill,” the legendary Alabamian from Fort Deposit died Aug. 23, 2013, at the age of 89. “Throughout his life, this Southern gentleman was known as one of the best poultry ambassadors for Alabama,” says Huck Carroll, communications director of the Alabama Poultry and Egg Association.
Part of this legend started in 1949 when he presented Gov. James “Big Jim” Folsom a turkey named Clyde to pardon for the traditional Thanksgiving table. Each year this custom continues, and Clyde 67 will receive his pardon later this month. Today a member of the Bates family carries on this special presentation of the “biggest” and “best” bird.
Raising turkeys the old-fashioned way
The Bates family continues to raise flocks by the same methods they’ve used for years, producing about 100,000 turkeys each year.
“Sometimes the more things change, the more they remain the same,” says Becky Bates Sloan, who now manages the business with brothers John and Pete. Although technology has changed the way they handle the growing industry, they rely on methods that have been successful for years.
The Bates family believes in raising free-range birds. When the poults reach about 8 weeks, they’re moved to a shady pecan grove on the shores of a small lake. “We feed our turkeys only vegetable feed,” Sloan says. “We pay a little more for our feed, but we never use any feed with animal fats.” The family believes that the most succulent meat comes from raising the birds in a stress-free environment and feeding them a diet rich in nutrients and free of drugs.
Sloan knows that the turkey is an intelligent fowl. “For example, I tell our employees who care for the birds to never let them see you eat a pecan. Or else they would feast on the tasty morsels. Also, don’t talk when you are working among them. Otherwise, they will strut over, stand around, and hinder your work.”
Bates Turkey Farms is a vital partner in the community. Dedicated to cancer research, the Bates family is an active participant in the Butler County Relay for Life event. The company hires many young people, and several years ago the Bates family endowed a scholarship at a local community college for an employee of the Bates family enterprises. Safe Harbor for Children in Greenville also receives support and food.
An annual event for the community involves a small cedar tree planted by Mr. Bill about 35 years ago. On the Saturday after Thanksgiving, people from the area gather for the “Lighting of the Tree,” which is now 50 feet tall, followed by steaming cups of hot chocolate.
“We couldn’t run our farm without the support of Pioneer Electric Co-op and Quality Co-op in Greenville, where we purchase fertilizer, seed and other products,” Sloan says. “An electric fence protects our turkeys from predators. Our processing plant depends on electricity. And our freezers must have power. If we have a problem, they respond quickly.”
Bates Turkey Farm and the Bates family are longtime members and close friends of Pioneer Electric. “We value them as a business on our system and enjoy our relationship with the Co-op Connections Card program, where they give a discount (every Tuesday) at the restaurant,” says Casey Rogers, communications specialist at Pioneer Electric. “Their restaurant is a prominent stop on the interstate that most travelers acknowledge as a favorite stop along their way.”
Turkey and more
Always an entrepreneur, Mr. Bill decided to expand the turkey business. Local people in Greenville needed a family-style restaurant. Tourists driving to the Gulf Coast on Highway 31 and Interstate 65 were searching for a unique food experience. And those traveling between Mobile and Birmingham were looking for a home-cooked meal, with no fried foods. Bates House of Turkey opened in 1970, with his wife Teresa in charge.
The restaurant serves everything turkey — old-fashioned roast turkey dinners with all the trimmings, Southern-style hickory smoked turkey sandwiches, open-faced turkey sandwiches, turkey cold plates, turkey salad, turkey gumbo and more.
“Bates Turkey restaurant is always a scheduled stop for my family when we travel south from our home in Birmingham,” says author and writer Denise George. “We look forward to a delicious, healthy dinner, kind and courteous service, and a friendly, comfortable dining room. Bates also serves up lots of smiles that make us feel like part of the Bates family. Knowing their incredible story makes the dining experience that much more enjoyable.”
In addition to the restaurant, Mr. Bill envisioned a delivery service where customers could call in or order online. He designed a unique Low-Boy Ice Chest that could ship a roasted turkey via UPS. Five years ago, the company changed the chest to one with thicker walls and which meets stricter specifications for shipping their products.
“One of the goals of our father, Bill, was to raise the healthiest turkeys possible for the consumer,” Becky says. “With five generations of Bates in the business, we plan to continue to produce the best turkeys on the market, while developing new recipes for turkey products.”
Do you know these turkey facts? A four-ounce serving of roasted breast, skin removed, contains:
34 grams of protein (higher than many other cooked meats
Riboflavin and niacin, important B vitamins
94 mg of cholesterol (lowest in cholesterol of popular meats)
Nutrition needed for those watching their weight, diabetics and heart patients
Source: The Journal of the American Dietetic Association
For more information on Bates Turkey Farm, Inc. call (334) 227-4505. For the Bates House of Turkey Restaurant, located on Interstate 65 at Exit 130, call (334) 382-6123. Visit the farm online at batesturkey.com.
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Bernhiem Connect Art Festival, Kentucky USA.
Commissioned for the 2017 international festival to produce a series of costume and walkabout performances during the festival.
Bournemouth University Festival of Learning, Bournemouth, UK.
Documentary about the Grass men featured during the festival.
Devizes International Outdoor Arts Festival, Devizes, UK.
Commissioned for the 2017 international festival to produce a series of costume and walkabout performances over 2 days of the festival.
Arcade Champ Exhibition, Bristol, UK.
Art collective group show in the historic Bristol Arcade. Curated and produced work for a 10 artist showcase over 7 days. Including workshops and artists talks.
Hatfair Festival, Winchester, UK.
Greenwich and Docklands International Arts festival, London, UK.
Bournemouth Emerging Arts Fringe 2015, Bournemouth, UK.
I returned to the Bournemouth Fringe as an Artist instead of the lead coordinator. Ran a series of workshops and costumed performance. My work was included as the front cover for the programme.
Lead Festival Coordinator for the Bournemouth Emerging Arts Fringe, Bournemouth, UK.
July – October 2014.
In charge of the coordination and facilitation of the Bournemouth Arts by the Sea first Fringe Festival. Brought together a range of 100 events over the space of 17 days including art exhibitions, live music, poetry, workshops and talks.
OSHA, Multiple Venues - Factory Studios, Old House Boscombe, Lung Gallery & Vita Nova, Bournemouth, UK.
Curated this exhibition involving over 20 artists across 4 venues over 1 night. The project showcased a diverse range of Art in which digital technology is an essential part of the creative or presentation process.
Bristol Biennial Arts Festival, Bristol UK.
Commissioned to produce a series of costumes and a performance for the Bristol Biennial. Featured as the main cover image for the festival programme.
Bournemouth Arts by the Sea Festival. Commission ‘Lavish’, Bournemouth UK.
July 2013 – October 2013.
I was brought in as Project Manager for the Arts University Bournemouth program ‘Lavish’ at the Bournemouth Arts festival. This involved being in charge of commissioning a team of 6 Artists to create a series of individual work and performances for the festival.
Drop Project Gallery, Creative Director and Founder, Bournemouth UK.
April 2013 – July 2013.
I set up Drop Project Gallery to fill the void in Bournemouth for a contemporary gallery that showcased local talent and strived to be a local hub to celebrate the arts. In the three months that we were open, we produced 8 Exhibitions, which showcased over 100 artists, trained 27 interns and had 3 full time paid staff.
Drop Project Gallery Closing Exhibition, Bournemouth, UK.
Curated the final exhibition of the Gallery inviting the best 20 artists involved over the course of the three months to exhibit a new finished piece of work.
Grey Matter, Drop Project Gallery, Bournemouth, UK.
Drawing exhibition of 22 artist.
Drop Project Gallery, Opening Exhibition, Bournemouth, UK.
Curated the opening exhibition for the gallery including myself and 14 other artist.
UK World Event Young Artist Festival, Nottingham, UK.
Selected as one of the artist to represent the UK at the International World Event Arts festival.
UK Signature Art Prize, Spitalfield Market, London, UK
Sculpture finalist for the 2012 Signature Art Prize.
Neu Now Festival ELIA, Porto, Portugal.
An annual International Arts Festival, ran by the ‘European League of the institute of the Arts’ to showcase the best students from all over Europe.
Feral Exhibition, Old Truman Brewery Gallery, Brick Lane, London, UK.
Caged Exhibition, Arts University College Bournemouth, UK.
Out of sight, Wilkinson’s abandoned car park, Bournemouth, UK.
This was a self initiated and curated exhibition involving 42 different artists within a disused car park under a shop. It received over 900 spectators over the 7 days that the exhibition was on. My roles involved overall project management, marketing, and selection of artists involved and curation of the work within the space. I also participated in a live interview discussion about the Arts in Bournemouth on Hope FM.
Paradox European Fine Art Organisation, Crawford Art Gallery, Cork, Ireland.
Concluding Exhibition for the international residency in Cork arranged by the Paradox European Fine Art Organisation.
Residency and Competitions
Bernhiem Research Forest and Art Centre. Kentucky, USA
July - August 201.
Six week residency to develop my practice and progress my living costumes with support from the specialist horticultural facilities and staff.
Signature Art Prize, London, UK
Finalist in the UK Signature Art Prize, Spitalfields Market.
Outside In the permeable art school. Paradox European Fine Art Organization. Cork, Ireland
A week long residency and exhibition alongside 20 other International Artists at Crawford Art Gallery, Cork City, Ireland.
.Private Collections
Bernhiem Art Collection.
BA (honours) Fine Art, Arts University Bournemouth - 2:1.
Foundation degree in Art and design, Coventry University – Triple Distinction.
2008 – 2009.
HND in Fashion Design, City College Coventry – Triple Merit.
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https://www.whas11.com/article/features/great-day-live/bernheim-brings-nature-to-life/417-584344738
Television appearance on Channel WHAS 11 programme Great Day Live.
https://www.louisvillevisualart.org/blog/2018/8/9/lvas-artebella-on-the-radio-8918
Radio appearance on Louisville Visual Art station Artebella.
https://www.youtube.com/watch?v=Q0rTfUSfjLY
Bernheim Workshop Video.
https://bernheim.org/make-wearable-nature-art-at-upcoming-workshops-with-grass-men-artist-ashley-peevor/
Connect festival feature on the Bernheim website.
https://bernheim.org/british-artists-grass-men-to-visit-bernheim-forest/
Artist residency feature on the Bernheim Website.
https://insiderlouisville.com/lifestyle_culture/arts-and-entertainment/meet-the-grass-men-the-living-sculptures-of-bernheims-10th-annual-connect/
Artist feature and Connect festival feature on the Insider Louisville Website.
https://childrenatplaynetwork.com/free-play-grass-men-mud-and-bubbles-its-connect/
Connect festival feature on the Children Play Network
https://www.fkgoldstandard.com/content/get-muddy-and-%E2%80%98grassy%E2%80%99-10th-annual-bernheim-connect-celebration-aug-18
Digital feature FK Gold Standard Newspaper website
https://voice-tribune.com/_/life-style-2/arts-entertainment/gallery-guide/
Feature on the What's On guide on the Voice Tribune
http://imaginegreaterlou.org/grant-recipients/
Successful funding announcement on Imagine Greater Louisville 2020
https://fundforthearts.org/press-release/fund-for-the-arts-announces-regional-recipients-of-2018-imagine-greater-louisville-grants/
Successful funding announcement on Fund for the Arts website.
https://www.kystandard.com/content/bernheim-hosting-summer-celebrations
Feature on the KY Standard website.
http://www.artscouncil.org.uk/what-we-do-0
Feature on the Arts Council Website
https://www.docadevizes.org.uk/
Devizes Festival Website
http://www.gazetteandherald.co.uk/news/15481721.From_the_sublime_to_the_ridiculous_Devizes_will_have_it_all_at_festival/
Featured in the Gazette and Herald
http://www.thisiswiltshire.co.uk/news/headlines/15498850.Hot_weather_draws_the_crowds_to_first_day_of_Devizes_International_Street_Festival/
Featured on This is Wiltshire
http://www.bournemouthecho.co.uk/news/15562942.The_BEAF_is_back__Bournemouth__39_s_biggest_arts_and_culture_festival_returns_next_spring/
Interviewed for Bournemouth Echo News Paper
http://www.festival.org/whatson/224/grass-men/
GDIF Website
http://www.visitgreenwich.org.uk/events/gdif-2016-festival-grass-men/
Visit Greenwitch highlighted event
http://xtrax.org.uk/gdif2016-programme/
GDIF Programme
https://issuu.com/gdifestival/docs/gdif-2016newspaper-v30_final
http://www.artscouncil.org.uk/localgov
Featured image on the Arts Council Website
http://www.dailyecho.co.uk/news/14517341.All_the_Fun_of_the_Hat_Fair/?ref=rl&lp=4
Feature for 2016 Hatfair
http://www.bitternepark.info/index.php?option=com_content&view=article&id=3203:winchesters-hat-fair-free-access-to-arts-and-culture-for-everybody-&catid=1:local-news&Itemid=59
https://www.contrarylife.com/2016/06/winchester-hat-fair-2016-34340/
http://www.lancashiretelegraph.co.uk/news/14579622.More_than_60_000_expected_at_hat_fair/
http://www.b-e-a-f.co.uk/
Featured Image 2015 Bournemouth Emerging Arts Fringe
https://cecilebblog.wordpress.com/2015/10/24/grass-men/
Blog Post 2015 Bournemouth Emerging Arts Fringe
Arts Council Website
http://www.artscouncil.org.uk/news/arts-council-news/artist-led-festival-visual-arts-graces-streets-bri/
Visual Art South West
http://www.vasw.org.uk/events/grass-men-ashley-peevor.php
Television feature on the Inside Out West Programme. BBC
http://www.bbc.co.uk/iplayer/episode/b04hv56c/inside-out-west-29092014
Bristol Biennial Feature
http://bristolbiennial.co.uk/map.html
Golden Pulse – Top 6 things to see at the Bristol Biennial
http://goldenpulse.co.uk/bristol-biennial/
Bristol Biennial 2014: Crossing the Line Feature
http://www.bristolcreatives.co.uk/events/2014/08/06/bristol-biennial-2014-crossing-line
Bristol Prospectus – Review
http://www.bristolprospectus.co.uk/arts-festival-review-part2/
Visit Bristol Feature
http://www.bristolpropertylive.co.uk/content/grand-exhibition
Culture 24 Feature
http://www.culture24.org.uk/art/live-and-public-art/art493983-Bristol-Biennial-plans-September-surprises
Bristol Culture Feature
http://www.bristol-culture.com/2014/08/07/cranberry-farm-in-centre-fountains-and-blindfolded-bus-rides-for-bristol-biennial/
Bristol Magazine P58 Feature
http://issuu.com/mcpublishing/docs/the_bristol_magazine_sept_14_
Passion Palette, Bristol Conversation Feature
http://www.passionpalette.com/blog/bristol-conversation
Bristol Biennial Round Up
http://www.intervalbristol.org/2014/09/bristol-biennial-round-up/
Theatre Bristol
http://theatrebristol.net/whats-on/2014/9/20
Guide to Bristol
http://www.guide2bristol.com/news%5C84326/Bristol-Biennial-festival-to-showcase-Im-Staying-artwork-from-the-Arnolfini
A portraight of boscombe interview
http://nadiaamura.com/portfolio/boscombe/
Drop Project Gallery Feature
http://www.businessdorset.co.uk/news/businessnews/10398083.From_art_exhibits_to_cinema_screenings__students_bring_pop_up_gallery_to_Bournemouth/
http://www.towncentrebid.co.uk/about-the-bid/town-centre-bid-news/item/6-pop-up-art-gallery-to-open-in-town
Bournemouth Echo news feature
http://www.businessdorset.co.uk/news/businessnews/10398083.From_art_exhibits_to_cinema_screenings__students_bring_pop_up_gallery_to_Bournemouth/?ref=rss
Nuenow Festival 2013 feature
http://www.elia-artschools.org/festival/2012
Uk Young Artist
http://www.ukyoungartists.co.uk/artist/ashley-peevor
World Event Young Artist 2012
http://worldeventyoungartists.com/artists/ashley_peevor
WEYA Review
http://www.leftlion.co.uk/articles.cfm/title/weya-12--preview/id/4911
AUB BAFAR journal
http://webdocs.aucb.ac.uk/BAFAR%20Journal%2001.pdf
Artists Now
http://artistsnow.co.uk/tag/ashley-peevor/
http://issuu.com/byngpillow/docs/outofsigh
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Wendy Edmond
Doing what you want to do is what retirement is all about, and retirement in 2004 and moving to a home on the beautiful Blackall Range in the Sunshine Coast Hinterland in 2007 have given Wendy Edmond the opportunity to pursue her artistic leanings, after previous lengthy careers in health and politics that culminated in 6 years as Queensland's Health Minister.
Born and bred in Queensland, Wendy has lived and worked around the world and other Australian States as a health professional before settling in Brisbane with her growing family. Always a keen photographer, Wendy now uses her photos as the inspiration for her paintings in pastels and acrylics. "It also gives me an excuse to travel," she said. "My first love has been landscapes using pastel, after seeing how vibrant, complex, and yet delicate pastels could be, but more recently I have enjoyed using acrylics to paint both landscapes and still life paintings that have a strong floral theme."
"I love using lots of strong colour in both my landscapes and still life paintings and carry this through to my other passion, my garden, where I constantly squeeze in more flowers, more bulbs, even the trees must have flowers, and bits of the garden regularly feature in my paintings."
Wendy's paintings have also found homes interstate and overseas. Her Southern Coast Series, inspired by coastline near Albany in WA where the rocky headlands and beaches contrasted with the amazing colour of the sea, was part of an exhibition at Qld Parliament House.
"I only work from my own photos and experience of being there and try to translate the atmosphere as much as the image."
Wendy has taken the opportunity to study pastels with Leonie Duff and Max Wilks and acrylics with Mignon Parker among other well known artists at several McGregor Art Schools.
After the Harvest
Ancient Salt Mills
Smedvig
Master of the Boat
Weeding Monet's Garden
First Swim
150 unframed
Three's Never a Crowd
Cellist at the Gallery
"The Boat Race
Blackdown Tableland
Brolgas at Eromanga
Lark Quarry
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‘Day of Absence’
Less funny than it could be, Karamu’s ‘Day of Absence’ delivers heavy message
The pre-vaudeville minstrel shows of the mid-19th century are considered the first theatrical art form that was distinctly American. They featured white entertainers in blackface makeup performing comedy and song-and-dance routines that caricaturized plantation slaves for white audiences.
God bless us.
As one would imagine, minstrel shows were particularly popular in the South before the Civil War, as a way of reinforcing widely held racist stereotypes and countering the abolitionist movement.
A century later, in 1965, playwright Douglas Turner Ward borrowed this art form to shed light on the state of racism that was inspiring the civil rights movement. In his satirical fantasy play “Day of Absence,” which served to launch the pioneering Negro Ensemble Company in New York City, Southern whites were caricaturized by black actors appearing in whiteface and behaving as broadly as their old minstrel show counterparts.
The play takes place in a rural town somewhere below the Mason-Dixon Line. On a random Tuesday, the white residents wake up to find that all the people of color have mysteriously disappeared. As shoes go unshined, white-only public restrooms go uncleaned and babies are left uncared-for, the municipality devolves into stunned disarray and then utter chaos. There’s talk of a police officer going crazy when he has no black men to assault. A Klu Klux Klan member expresses his disappointment that he wasn’t the one to drive “The Blacks” out of town and hopes that they will return so he can do so.
“Day of Absence” is a light entertainment with a heavy message, the kind that finds you laughing and feeling peculiar doing so. It is an important play – a gateway play – that would eventually give rise to works like George C. Wolfe’s 1986 take-no-prisoners satire “The Colored Museum,” which says the unthinkable and says it with uncompromising wit and leaves its audience an emotional wreck.
Karamu has resurrected Ward’s one-act for reasons best left to the audience’s sense of social awareness.
Nathan A. Lilly directs a solid production housed within a red, white and blue performance space cleverly designed by Prophet D. Seay to resemble a minstrel show stage. Inda Blatch-Geib has dressed the performers in clownishly clashing costuming that denotes the satire that drives this play.
The one problem with this production is that most of the members of this talented ensemble (Lachaka A. Askew, Jeannine Gaskin, Jailyn Sherell Harris, Robert Hunter, Maya T. Jones, Austin Black Sasser, Prophet D. Seay, Nate Summers and Sherrie Tolliver) fail to find a rural stereotype to call their own and make it sufficiently whitewashed. Only Hunter as the corrupt and incompetent Mayor, Seay as a variety of red necked yokels and bumpkins, and Jones playing an assortment of male and female locals get what the playwright was going after.
As a result, this play is less funny than it could be. More importantly, it makes white audience members like me less uncomfortable than we should be and has black audience members laughing at caricatures that more closely resemble those of the old blackface minstrelsy. For research, the cast should watch TV reruns of “The Dukes of Hazzard” and use Boss Hogg, his idiot son Cletus Hogg, and Sheriff Rosco for inspiration. Ernest T. Bass from “The Andy Griffith Show” is also up for grabs.
“Dying is easy,” said famed 1940s performer Edmund Gwenn on his deathbed. “Comedy is hard.” Satire in whiteface is even harder. CV
‘Day of Absence’ at Karamu
WHERE: Arena Theatre, 2355 E. 89th St., Cleveland
WHEN: Through Nov. 18
TICKETS & INFO: $25-$40, Call 216-795-7077 or visit karamuhouse.org
Bob Abelman covers professional theater and cultural arts for the Cleveland Jewish News. Follow Bob at Facebook.com/BobAbelman3 or visit cjn.org/Abelman. 2018 Ohio Media Editors best columnist.
Originally published in the Cleveland Jewish News on Nov. 15, 2018.
Lead image: Jailyn Sherell Harris and Robert Hunter | Photo / Vince Robinson
Tags: Bob Abelman Karamu House
« ‘Pride and Prejudice’
‘Les Misérables’ »
Heart of coal
Shaw Festival 2017
‘Next to Normal’
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Mass and Service Times
Adult Group
Kingsbury and Claremont Hospitals
St Lukes’s Hospice
WPPS and SACS
Huis Nuweland
If, as we believe, our lives are a journey back to the Father’s house, then, like the prophet Elijah, we will need food if the journey is not to become too much for our strength. The weekly Eucharist, both in word and in Sacrament, is that food. We can’t explain the Holy Eucharist any more than we can cut an orange open and show everyone what Vitamin C looks like. But we know the Lord’s presence by the fruits that Eucharist produce in people’s lives. And we know that the depth of the Eucharist, the depth of the experience, is not in how close to God we feel but in how it changes our lives. And we know too that it’s not our understanding of the Eucharist that matters – it’s our life with each other in that Eucharist that matters – that the Eucharist must be in some way be reflected in our lifestyle and our lifestyle must be in some way be reflected in Eucharist. But most of all we are convinced that Holy Communion is not our reward for being good: it’s a remedy for our weakness. Not the Bread of Reward, but becoming the Bread of Life, for those of us who still have the death of sin inside of us, who consistently fall short of the glory of God.
In the heart of Newlands and Claremont, both humming southern suburbs of Cape Town, lie two churches, culturally and linguistically diverse, and yet forming one large parish family.
St Ignatius, Claremont: Contact Us
St Ignatius, Claremont
Cnr. Imam Haron and Wade Roads, Claremont
E-MAIL: claremont@adct.org.za
St Bernard’s, Newlands: Contact Us
St Bernard’s, Newlands
Protea Road, Newlands
E-MAIL: newlands@adct.org.za
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Sign In | Register Close Panel
James Dale Murphy 360.277.1179
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Dana Kenzi
Always Writing...Always Plotting
Billionaire Bosses Series
Can This Be Real? Series
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Book Review: The Fling by Rebekah Weatherspoon
Leave a Comment / Book Reviews / By danakenzi
Welcome to my fourth book review! I will be reviewing The Fling by Rebekah Weatherspoon. I came across this book when I was doing research on interracial romance novels, and this book was listed in an article. The blurb got me because I’m a sucker for lesbian romance, and it was interracial. I usually don’t go for lesbian romances when one of the female main characters is cheating on a partner, but the reviewer in the article said that it didn’t shy away from the consequences. I decided to take a chance and read it, so here’s my review.
The Fling by Rebekah Weatherspoon
Three months before her wedding to her post-college sweetheart, reality show producer Annie Collins finally acknowledges her dormant desires. Wrapped in the arms of another woman—her trainer, Oksana Gorinkov—Annie experiences a physical heat she never knew existed. Soon the one-night stand meant to be her final farewell to the single life stretches into a consuming month-long affair, the genuine intensity of which neither woman can ignore. Annie sees where her heart belongs, and though the objections from her family and friends and the scars from Oksana’s ex threaten to drive them back to their respective sides of Los Angeles, Annie knows she must fight for this relationship, a real love worth much more than any fantasy she’s ever dreamed up.
The book starts off with a sex scene, and I approve of this method. Annie is slowly exploring Oksana’s body, and she’s surprised by a few colorings along her body since Oksana is biracial (African and Russian). Oksana has unusually sensitive nipples (a tad unbelievable, but possible if you consider outliers). Annie is the one in charge since she’s always wanted to fuck a woman, and she and Oksana have a lot of fun. Oksana is gone when she wakes up.
Then we get some backstory on Annie. Oksana is her trainer, and Annie had a hall pass for a month while her fiancé, Jeff, was on a bachelor vacation in Europe. Annie has always been curious about women, and this is what she wanted instead of a bachelorette party. When Annie propositioned Oksana, Oksana agreed to it. Afterwards, they had some awkward flirty moments over text messages.
We switch over to Oksana’s life next and learn that she lives with her Russian grandmothers and her younger teen sister. The stirrings of insta-love begin as Oksana and Annie text each other, but Oksana is conflicted since Annie is engaged and her client. When they meet for the next training session, they end up making out afterwards. The event has Oksana in such a fog that her grandmother and sister pick up in it right away and question her. Oksana decides to put a stop to things with Annie, and Annie is heartbroken.
But the two lovebirds can’t stay away from each other, and they start hanging out more. Annie meets Oksana’s friends and family, and Oksana meets one of Annie’s friends. It gets to the point where Annie decides to call off her wedding because she’s never been in love like this before. She tells her fiancé first, and he tells everyone else. Her mother drops by and makes some racist comments with Oksana present, but Annie is firm on her breakup with Jeff.
Her parents disown her, and she’s forced to move out of her apartment which belonged to her parents. Oksana asks her to move in, but Annie wants time to figure things out on her own. It makes Oksana angry because she had been the one to initially suggest that they take things slow, but now Annie wanted to do it after they fell in love. Annie lives with Megan for a few weeks until Megan tells her straight up that she screwed things up with Oksana.
Annie gets her life together and reunites with Oksana, and happily ever after.
Review: 4/5 stars
This book was good, but it didn’t really grab me. The sort of insta-love between Annie and Oksana didn’t convince me much. It mentioned their background together and their friendship, but since the book started off with them having sex, I didn’t get much of a sense of their relationship beforehand. While I liked the opening sex scene, it didn’t show me how well they got along as trainer and client. That part was summarized, and I feel like it should have been shown not told.
I’m glad the cheating aspect was handled well, and Annie was forced to face the consequences of her actions. I rarely see that in fiction, but I’m glad it was in the book. The sex scenes were amazing and hot, and I could feel Annie’s inexperience and desire for Oksana during their first coupling. It was cute and sexy, and Rebekah did a good job.
I was going to rate it 3 or 3.5 stars, but that’s just my personal bias on the book since it has some themes I don’t agree with that. However, it’s a good book, so I’ll give it 4 stars.
Rebekah Weatherspoon’s Website
Rebekah Weatherspoon’s Facebook
Rebekah Weatherspoon’s Twitter
Quick note: I will be posting a book review every Friday, so be sure to follow my blog for updates and new content!
Much love, Dana Kenzi 🙂
Copyright © 2020 Dana Kenzi | Powered by Astra
Copyright © 2016-2018 Dana Kenzi
Note: Dana Kenzi is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for her to earn fees by linking to Amazon.com and affiliated sites.
Affiliate links are embedded in the title and book cover images, and clicking on either will take you to the Amazon website.
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David Migoya
David Migoya joined The Denver Post in 1999, his second time around (the first was 1983). Since then, he’s reported on a variety of topics – from human services to consumer affairs – typically with an investigative bent. Currently he handles investigations for the business news department and also writes about personal finance. He’s worked at daily newspapers and magazines in Detroit, St. Louis and New York City over the course of his more than 30 years in journalism and has received some of the profession’s top accolades. Personally, David has a passion for traditional music – he’s a world-class player of the Irish flute – and enjoys playing ice hockey. As a Bronx native, he’s a die-hard Yankees fan, but roots heartily for the Avalanche, Broncos and Rockies (unless the Yanks are in town).
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Patrick, a third-generation Colorado native, is back for his second stint covering the Rockies. He first covered the team from 2005-2009, helping chronicle “Rocktober” in 2007 and also following the team’s playoff run in 2009.
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Nick Groke has worked at The Denver Post since 1997, as a sports reporter, city reporter, entertainment writer and digital editor and producer, among other newsroom posts. He also writes regularly about boxing, soccer, MMA and NASCAR.
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You are currently in > Just a blog about Indonesia > South Sulawesi flood death toll hits 200
South Sulawesi flood death toll hits 200
JAKARTA - The death toll climbed to 200 after flash floods and landslides swept through villages in the eastern Indonesian province of South Sulawesi, and left more than 130 others missing, officials said Thursday. 'The latest reports we've gotten from the field now show the death toll reached 200,' said Yustin, an official at the disaster task force, told Deutsche Presse-Agentur dpa from the provincial capital of Makassar, about 1,400 kilometres northeast of Jakarta.
Yustin, who like many Indonesians uses only one name, said 184 of the deaths came from Sinjai district alone, the most-devastated area, while 16 other deaths were from five other different districts of South Sulawesi. At least 133 residents were reported still missing and feared dead, while the floods and landslides also left more than 7,000 homeless. They were being evacuated to makeshift shelters.
Andi Rudyanto Asapa, chief of the worst-hit Sinjai district, said the death toll would increase as dozens of others were still reported missing. 'There are many residents still missing, who were either swept away or have been buried alive under the mudslides,' Asapa told dpa. About 30 homes in five different villages were buried under tons of soil, he said, adding that the disaster swept the region when locals were asleep. Dozens of people were presumed to have been buried alive under their flattened houses.
The early Tuesday flash flood, triggered by heavy rains since Monday, inundated or heavily damaged hundreds of houses in seven districts in the province, officials said. Asapa said rescue workers, including soldiers, police and civilians, have been searching the affected areas for bodies and digging into piles of mud from landslides to look for possible survivors. But the roads have been buried by landslides, hampering their work, and additional heavy equipment is needed to reopen them.
The floods also swept away hundreds of houses, inundated thousands of hectares of fields, destroyed six bridges, and cut power and telephone communications to the affected regions, other officials said. Vice President Jusuf Kalla said he believes deforestation was the cause of the extreme flooding in South Sulawesi province, and urged an investigation into claims that the flooding may have been caused by illegal logging.
'I think there had been deforestation at Mount Bawahkaraeng. As the flood came so unexpectedly it is an indication that the condition of the forests there was no longer good,' the state-run Antara news agency quoted Kalla as saying. The floods are the latest calamity to hit the vast archipelago nation during this year's rainy season.
In early January, landslides and flash floods swept through several villages in Central and East Java provinces, killing more than 120 people and injuring dozens of others. Hundreds of dwellings were destroyed and thousands of villagers forced from their homes.
21 June 2006: Residents walk through a flooded road in Sinjai district, South Sulawesi, after massive flooding hit the area and killed 65 people until now.
Related blog entries (category 'Flooding'):
22 June 2006 · Landslides and floods kill 188 in South Sulawesi
21 June 2006 · South Sulawesi floods: 65 killed
20 June 2006 · 36 dead in South Sulawesi floods
© Monsters & Critics
Posted in Flooding @ 22 June 2006 17:04 CET by Jeroen · · permalink
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This Baby Had No Wings . . . But She Could Fly!
Lady Skywriter's 1947 Cadillac Series 62 convertible being polished by son Rick
I've been corresponding with two men who are presently engaged in searching out information about their respective father's early careers with Northwest Airlines. Their stories converge in the late 1940s and 1950s.
Rick Seireeni's dad was a Captain for NWA and Peter Jenkins' dad was NWA Director of Operations for Tokyo and Shanghai, and retired as Vice President, Orient Region.
I'd already been engaged in a very small way with Rick's search for information about his dad, Al Johnson, when Peter contacted me seeking information about his father, Reg Jenkins. When it became apparent that both fathers were in Tokyo and Shanghai about the same time, I suggested they talk.
They have, with amazing results. Reg Jenkins knew Al Johnson and their families spent time together in Tokyo.
In their dialog, which they shared with me, one small item that came to the surface triggered this post.
Peter Jenkins recalled seeing Al Johnson driving around Tokyo in a yellow Cadillac convertible. Although he was an impressionable kid at the time, Peter claims that Al Johnson's yellow Caddy convert made a big splash with the locals, too.
This information sent me to my garage, where I had mounted some photos on the wall of my 1947 Series 62 yellow Cadillac convertible. The photos had been on the garage wall for years, gradually fading into the "unseeingness" of things that have been in the same place for a long time.
It has been fun to mentally return to the pleasure owning this terrific car gave me. I removed the photos from their plexiglass frame and promptly scanned them to save for posterity. I was not the original owner, being only 12 when it was manufactured, but bought mine later in life. After enjoying it for a few years, and a harrowing ride up I-35W during which I repeated The Lord's Prayer over and over, I decided I needed to either become an auto mechanic or marry one, and neither option appealed to me. I sold her to another enthusiast.
While I owned her, I had her interior restored with the original upholstery and she won First Place in the only vintage car show I entered her in. Thanks for the memories, guys!
It turns out this was not the model Al Johnson drove, but close. His was a 1950 Series 62 yellow Cadillac convertible.
Very close.
Oh how I remember you telling me when you bought the "baby" that you could have put the money into mutual funds, but then you'd only have a certificate or something. This investment, on the other hand, would take you places you really wanted to go.
"You go girl" must have been coined just for you!
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Instanews #73: That Wes Anderson Movie
Published Mon, Nov 5, 2012 by Breki Tomasson, Jack Marshall and Petter Mårtensson
This is episode 73 of Geek Positive for Monday, October 5th.
Today, Jack and I talk about … well; not much at all, to be honest. It was a dull week-end in geek news, by all accounts. Still, we manage to dissect the works of Wes Anderson, discuss Marvel Comics in the movies and much more.
Remember to rate us on iTunes and tell ALL your friends how amazing we are. Jack and I can be found on Twitter as @Tofu_Jack and @BrekiT. If you want to support us by sponsoring the show with a message, promotion or phrase, please visit CSICON.org/sponsor for more details.
⇦ #72: I’m Calling it Sally
#74: We Don’t Have Rounded Corners! ⇨
Instanews was another one of Breki's attempts to create a tech news podcast in the long chain of iterative podcasts that includes Geek Positive, CSICON Radio, The Brainstorm and Geekdays. It ran for 129 episodes, initially co-hosted by Jack Marshall and, in the final run of episodes, by Teppo Tastic.
Both Petter Mårtensson and Arkenor Oakshadow featured as regular guests for a segment known as The Deathmatch of Death and More Death, a ladder-style competition that pit heroes and villains from popular culture against each other. Petter and Arkenor would argue the case for their randomly picked hero of the week, and listeners would vote via the website.
If you want to get in touch with the people behind the episode or talk to others who like it, feel free to join the CSICONauts chat room. Alternatively, you can find some of this episode's hosts and/or guests on Twitter: Breki Tomasson, Jack Marshall and Petter Mårtensson.
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Still from Workers!, three women replace posters with photographs of sex workers, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists).
Petra Bauer and SCOT-PEP’s ‘Workers!’: renewing the aesthetics and politics of 1970s feminism
by Victoria Horne • November 2019
Workers! is a research project directed by Petra Bauer in collaboration with the sex worker-led charity SCOT-PEP and facilitated by Collective, an arts organisation in Edinburgh.1 SCOT-PEP was established in the late 1980s and the group continues to organise and campaign for the labour rights of sex workers, including the full decriminalisation of sex work in Scotland.2 Taking place between 2015 and 2019, the Workers! project resulted in a thirty-eight minute documentary film FIG. 1 , a banner designed with the artist Fiona Jardine and an archive of resources including published articles, books and an hour of audio recordings with participants. The film insists on situating sex work within a general labour movement and in so doing endeavours to shift the discussion from a moral to a material ground. This emphasis on labour, as articulated by Molly Smith and Juno Mac, follows the approach of the International Campaign for Wages for Housework in the 1970s, which argued that ‘naming something as work is the crucial first step in refusing to do it – on your own terms’.3
The narrative structure of the film is straightforward: the camera follows a group of unnamed women as they appear to prepare a conference or corporate event over a single day in the Scottish Trade Union Congress building in Glasgow. The viewing experience is restrained yet intimate, as we listen to seemingly unscripted conversations about holidays, moving house, work, run-ins with the police or landlords, feminism and representation; all layered over protracted sequences of food preparation, cleaning and other household or organisational labours. Although this is a documentary about sex work, it quickly becomes apparent that the focus is on work rather than on sex.
FIG. 1 Still from Workers!, showing walls decorated with posters, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists).
The purpose of this article is not to dwell on the legal, ethical or philosophical entanglements of prostitution, but to explore the aesthetic and political strategies employed in the project. Workers! provides an intriguing example of visual-activist culture within contemporary art, in that the filmmakers negotiate the challenge of documenting the politics of the sex-work labour struggle and producing an advocacy film, while retaining the anonymity of its socially stigmatised subjects. In order to achieve this, Bauer and SCOT-PEP returned to pivotal moments in the feminist archive, to the films, publications and debates that forged a cultural context for their work. This return reopens significant cultural inquiries associated with late twentieth-century feminism, including whether there are particular ways of making and distributing films as feminists, and if there is a feminist aesthetic.
The spectacle of feminist activism
In her book The Spectacle of Woman: Imagery of the Suffrage Campaign, 1907–14 (1987), Lisa Tickner characterises that activist moment in terms of spectacle and pageantry, describing how, for early twentieth-century feminists, visual strategies were crucial in their battle for political and social representation FIG. 2 . Although they rarely engaged with the visual arts directly, suffragists strategically employed banners FIG. 3 , postcards, fashion and large-scale public spectacle to stake a claim on what was a predominantly masculine political sphere.4 Across the intervening century spectacular mass protest has become an established means of expressing dissent. However, while some of the organising strategies endured, for some decades in the mid-twentieth century the women’s suffrage campaign faded in memory; it was considered ‘marginal to the interests of political historians’ and its visual history too ‘ephemeral’ or ‘political’ for the interests of art historians.5 This observation orientates us towards the ebbs and flows of activist history, indicating that the reason particular struggles move in and out of historical vision is always a question of power, as is the matter of which subjects are permitted to represent themselves.
FIG. 2 The Women’s Franchise Demonstration. 1910. Photograph. (Private collection; Bridgeman Images).
FIG. 3 Be Just and Fear Not, banner designed by the Artists Suffrage League and made by Theodora Mills of the Cheltenham Women’s Suffrage Society. 1908–13. Mixed fabrics with applied paint. (The Cheltenham Trust and Cheltenham Borough Council; Bridgeman Images).
The achievements of the women’s suffrage campaigns are now firmly lodged in the United Kingdom’s memory culture. Contemporary feminist scholarship is moreover markedly attentive to the means by which popular knowledge about the past is transmitted to the present. Red Chidgey has suggested that we are living through an era of ‘assemblage memory’, in which the political past is pieced together and mediated through works of art, blogs, festivals and protest imagery.6 Think, for instance, of protest participants wearing suffragette costumes and how these are employed to positively invoke traditions of disobedience and resistance. This affirmative cultural mode marks a clear (if sometimes limited) re-engagement with activist pasts, following years of what Angela McRobbie has described as a cultural politics of ‘postfeminist disarticulation’, in which previous feminist movements were repudiated as unfashionable and irrelevant to younger women’s lives.7 Resonating with this language of remediation or historicist assemblage, Bauer described her ambitions for Workers!:
We wanted to insert sex work into a historical labour movement, to rewrite that history. In a way, that is the political intention and the political potentiality of the film. It is something that has been done and cannot be undone. The labour movement has to consider it. And I feel proud that we did that.8
The film’s production was driven by the desire to register a marginalised form of labour publicly, to contextualise it historically and to situate it upon a broader landscape of feminised reproductive labour – that under-appreciated and under-compensated work of cooking, cleaning and caring that reproduces the labour force on a daily and generational basis. Workers! is therefore deliberately situated on a continuum with earlier moments of political organising, and its historical self-consciousness is very much a product of our current memorialising moment’s affirmative relationship to feminist-activist pasts.
FIG. 4 Installation view of A Morning Breeze, by Petra Bauer. 2015. (Venice Biennale; courtesy the artist).
Bauer’s interest and engagement with early twentieth-century activisms can be observed across her career, although the historiographic impulse underpinning her contribution to the 2015 Venice Biennale is especially striking. A Morning Breeze FIG. 4 recovered documents and group photographs from the records of socialist women’s groups in Sweden between 1907 and 1920, exhibiting them within a pseudo-archival environment in which audiences inhabited the role of historian by interacting with digital slide projectors and archival materials. The cloth banner produced by SCOT-PEP, with its slogan ‘Rights. Safety. Justice’ FIG. 5 , is a similarly evocative gesture towards the past. It recalls the industrious banner production of suffragists and trade unionists, although updated by its digital printing method and playful neon script announcing ‘Sex Workers’.
FIG. 5 The SCOT-PEP banner, by Fiona Jardine. 2019. (Photograph Tom Nolan; courtesy the artist).
The activist L.A. Kauffmann has suggested that we can learn to ‘read’ protests through the signs people carry, and that both the production (professional or artisanal?) and message (individual or collectively driven?) reveal valuable information about the structural nature of the action.9 According to Tickner, suffrage banners were valued as ‘portable’, ‘decorative’ and ‘informative’, while women’s ‘collective banner-making’ evoked communal and creative ‘pleasures’ FIG. 6 .10 Echoing these pleasures, Bauer’s film shows SCOT-PEP members comfortably chatting while cutting, pasting and experimenting with banner designs FIG. 7 . The banner thus constitutes a reinvention of a historic form in both materials and meaning: it blends old and new media, communicates a radical message and affiliates Workers! with activist organising strategies so strongly associated with the previous century.11
FIG. 6 Suffragettes making banners. 1910. Photograph. (Museum of London).
FIG. 7 Still from Workers!, showing SCOT-PEP members making banners and promotional material, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists).
The film is set at the Scottish Trade Union Congress (STUC) headquarters, a converted Victorian schoolhouse in Glasgow’s West End. SCOT-PEP’s one-day occupation of this imposing red-brick building is a powerfully symbolic gesture in the struggle to register prostitution as work.12 Tracking a figure as she enters the building, Bauer’s camera then roams the empty interior, scanning tattered campaign posters about 'performance management' or asking 'does your boss keep your tips?'. The beige walls are decorated with banners and photographs commemorating earlier battles and stencilled with poetry valorising collective organisation. Yet these established cultural celebrations of labour are off-limits to SCOT-PEP because its members are seen as ‘the wrong kind of worker’.13 According to the film’s discussions, members had been refused permission to use the building for an earlier event and – fuelling their exasperation – when arranging a rally to protest the STUC’s decision, the group’s posters were deemed ‘too contentious’ by most print shops in the area. As one voice observes, the message was clear: ‘You can’t meet here. You can’t have the venue. But you also can’t have the signs to protest that!’
FIG. 8 Still from Workers!, three women replace posters with photographs of sex workers, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists).
The location, union imagery and narration hint at the complex political and representational field within which Workers! is attempting to intervene. Tickner has noted how, for the suffragists a century ago, the labour movement ‘offered an important example of an oppositional group engaged in the invention of its own symbolic tradition’.14 Workers! stages a similarly tactical engagement with these traditions, although the way that the power of contemporary unions is wavering is left curiously unexplored. In 2018, for instance, the STUC announced its decision to sell its impressive building to private developers, who plan to convert it to student accommodation.15 Against these shifting sands of urban politics, planning and capital, SCOT-PEP’s occupation of this site is especially meaningful. The filmmakers’ optimistic engagement with certain traditions of the labour movement ensure that the movement remains a source of inspiration, even as its shortcomings are acknowledged. Thus in an extended segment of the film we watch three women methodically remove framed photographs from the walls and replace them with tacked photographs of sex-worker meetings, rallies, and protest signs FIG. 8 ; the act constituting a symbolic, if temporary, intervention into a history that has sought to exclude them.
Renewing aesthetic strategies
As well as situating Workers! in relation to the social history of trade union organising, and working in a way that is not dissimilar to the second-wave’s repossession of suffragist histories, the film’s formal strategies knowingly echo the conceptual and aesthetic tactics developed by the feminist movement of the 1970s. The wider research project included regular workshops on key films, articles and books about sex work, art work and housework. A selection of these materials is gathered in a research folio exhibited alongside the film which acts as a bibliography of references. Two films stand out as especially pivotal influences. Carole Roussopoulos’s documentary Les Prostituées De Lyon Parlent (The Prostitutes of Lyon Speak Out; 1975) is a short film made in the context of a sex workers’ occupation of a church in Lyon in protest against police brutality and lethal working conditions FIG. 9 . Roussolpoulos’s trust in the engaging eloquence of her subjects is evident in the lightly edited, talking-head format of the film, through which its core arguments are unfolded. Its influence is decisively felt in the informal conversational style of Workers!, as well as its succinct length, its educational mission and the fact that the film was made with rather than about sex workers.
FIG. 9 Extract from Les Prostituées De Lyon Parlent (The Prostitutes of Lyon Speak Out), by Carole Roussopoulos. 1975. Documentary film, 3 mins 41 secs. (Courtesy Audiovisuel Simone de Beauvoir, Paris).
In Workers! faces are, for the most part, hidden from the viewer (something also true of many of the women in Roussopoulos’s film). Participant anonymity is secured through imaginative framing as we watch activities from unusual angles – from behind or above, reflected in mirrors and puddles – or are shown slices of bodies and torsos and legs as they walk past a low-level camera. Bauer’s lens most often focuses on hands busy at work. We watch hands decorated with pointed, peach-painted or sparkly nails, as they stack chairs, open blinds, wipe tables, wash fruit, clean dishes and sew banners. Bauer refers to these acts as ‘gestures of feminine reproductive labour’ and the close, compressed shots draw the viewer into these dully familiar actions.16 The conversational dialogue is layered over these sequences in what Lauren Houlton describes as ‘a form of collaging’, which persistently links ‘sex work to reproductive labour’.17 This collage technique formally embeds the conversations relating to prostitution in the material realities of care and maintenance that sustain both individuals and social movements over time.
These durational passages of household and organisational labour resonate with another of the film’s major influences, Chantal Akerman’s Jeanne Dielman: 23 quai de Commerce, 1080 Bruxelles (1975). This almost four-hour film scrupulously tracks a widowed mother over three days in her apartment as she follows a measured regime of cooking, cleaning, childcare and sex work. Akerman, as Patricia Sequeira Brás writes, ‘deploy[s] cinematic time to allude to the constant and ongoing process of reproductive labour itself’.18 Duration is therefore experienced in not only the real-time depiction of reproductive activities, but in the film’s poetic registering of prolonged, repetitious actions that smudge together in an almost indistinguishable haze FIG. 10 . Although far shorter in length, Workers! echoes the cinematic temporality of Akerman’s film in its sequences of unrelenting reproductive and organisational labour. This is work that never ends, yet leaves nothing permanent in its wake, as clean dishes become dirty and sated mouths become hungry again FIG. 11 .
FIG. 10 Still from Jeanne Dielman: 23 quai de Commerce, 1080 Bruxelles, by Chantal Akerman. 1975. (Courtesy Marian Goodman Gallery, Paris).
Both Workers! and Jeanne Dielman almost entirely avoid the direct representation of sex (except in the latter’s dramatic ending, which shows Dielman with one of her clients). This may be a logical response to prostitution’s burdened representation to the challenge of representing sexuality beyond spectacle but it also acknowledges the extent to which women’s housework and sex work are interwoven under capitalist social conditions. This is not to say they are equivalent, but Brás argues that domestic work and sex work in Jeanne Dielman ‘are different only in form, because housework and prostitution are the two sides of the same reproductive labour’.19 Similarly, the narrative and aesthetic composition of Workers! invites its audience to at least consider how the conditions od sex work connect with broader feminist and workers’ struggles. In its careful ‘collaging’ of sex work, domestic work and art work, Workers! implies that the social, economic and psychic structures shaping these modes of work are the same, even as the labour practices and effects are distinctive.
As Federici writes, sexuality under capitalism is work, although ‘we know that this [sex] is a parenthesis which the rest of the day or the week will deny’.20 Thus she contends it is not a natural experience, joyfully distinct from all other socialised conditions of existence, but is woven into the fabric of our working lives. Reflecting this parenthetical structure, in Akerman’s drama sex occurs mainly in filmic ellipses, while Workers! withholds its direct representation altogether. This is somewhat contradictory: by refusing to represent this labour it is underlined as distinctive or singular and the tactic perversely fuels interest by frustrating the viewer’s prurient desire for more information. One ambivalent reviewer even suggested that sex (work) is ‘the elephant in the room’.21
This discomfort or friction is essential to understanding the film’s position, the representational gap pointing to sex work’s entangled nexus of waged and unwaged, formal and informal labour, and economic and sexual autonomy. The filmmakers do not locate the immediate problems faced by sex workers in the labour itself, but in the social conditions that criminalise and drive it underground. Consequently this is not the site that needs to be represented. Moreover, in Workers! the absent time of this unrepresented labour (sex work) is thrown sharply into relief against the banal drudgery of care work and organisational labour. This reminds viewers that the issue of time is one frequently raised by sex workers as a motivating factor, given the low-paid and time-intensive nature of other jobs often available. Understanding and improving the realities of sex work consequently requires not moral reasoning, but comprehending its connection to wider, often dismal and coercive, economic conditions.
Akerman’s Jeanne Dielman is notable for its total absence of reverse shots, a framing technique that Bauer borrows to avoid showing the film’s subjects directly and to interrupt the documentary camera’s naturalised window onto its subjects. One scene in particular expresses the film’s ambivalent attitude towards direct visual representation FIG. 12 . It is strikingly composed: two women huddle under a red umbrella with another resting between their legs, the intimate tableau reflected in a glassy puddle on the tarmac. The red umbrella has been the international symbol of sex workers since the 49th Venice Biennale in 2001, where sex workers paraded through the city’s narrow streets, the bright red canopies at once making visible and shielding their occupants.22 It is apposite that this iconography emerged at an art fair, given the historic entanglements of visual art, sexuality and spectacle. For while the realities of sex work may be under-represented in trade union-led labour struggles, prostitution is profoundly overdetermined in cultural representation as the ultimate ‘fallen woman’. Lynda Nead has written at length about the aestheticisation and popularisation of this figure in the nineteenth and twentieth centuries, suggesting that:
the prostitute was a cipher for a certain version of modernity, which emphasised the transitory nature of modern life, the loss of permanent values and the transformation of emotional relationships into economic exchange. It was romantic and melancholy, and it was a fantasy.23
That she was writing critically about a 2015 exhibition on the theme of prostitution evidences that such fantasies are not confined to history.
FIG. 12 Still from Workers!, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists).
The two women sheltered beneath the red umbrella reproach feminists for taking a paternalistic position and not listening to sex workers or treating them as experts in their own lives; and they touch upon ideology, stating that ‘emotion shouldn’t have a place in policy’. Most pertinently, they argue that female prostitutes serve a ‘symbolic function’ and the conversation too often gets stuck in a representational space. ‘What does it mean’, one voice asks, ‘that women sell sex? What do sex workers symbolise?’ Their conversation implies that focusing on these ideologically driven questions diverts feminist energy from addressing immediate material concerns, including how to improve safety and ensure economic stability for sex workers. This critical position, alongside the refusal to depict or discuss sex work directly, generates an uncertainty. Workers! is not a campaign film with a straightforward message; rather, it is a discussion- and research-led film exploring sex work and its cultural representation. Is this not, therefore, precisely the space to reflect on those ideological and symbolic questions? To think critically, for example, of the power dynamics that persistently allow (predominantly) men to sexually exploit women.
Bauer has reflected on the complexities of working with this stigmatised group, suggesting that its members are ‘about surviving economically and socially, and so there’s a lot of vulnerability and precariousness and problems in being visible’.24 Elsewhere she elaborated:
As a filmmaker, this challenged me. How can you show bodies at work, and bodies organising, without showing faces? But, more importantly, how do you address the politics of SCOT-PEP without making anyone visible? How can you even make politics without being visible? 25
FIG. 13 Installation view of Women and Work: A Document on the Division of Labour in Industry at the South London Gallery. 1975. (Courtesy South London Gallery Archives; Pippy Houldsworth Gallery, London; and PayneShurvell Gallery, London).
In seeking to answer these questions Bauer looked towards feminist aesthetic debates of the 1970s and 1980s, at which time theorists and artists developed alternative, conceptual systems of representation in resistance to the compromised traditions of the visual. For instance, Women and Work: A Document on the Division of Labour in Industry (1975) FIG. 13 , an exhibition led by Margaret Harrison, Kay Hunt and Mary Kelly, abstained from direct representation in favour of quasi-sociological, diaristic and tape-recorded traces of its subjects, box-factory labourers in London.26 The documentation draws attention to the disparate pay and promotional opportunities between men and women at the factory, and how these were affected by the 1970 Equal Pay Act. Women and Work introduced second-wave feminist politics to conceptualism’s cool iconophobia and, although its formal aesthetics are now fairly ubiquitous across contemporary art, the thematic correspondences with Workers! lend weight to this resemblance FIG. 14 . The gallery-library display of Workers!, featuring headsets, box files and documents FIG. 15 , formally echoes Women and Work’s archival installation environment, while the focus on how women’s labour struggles are inseparable from the broader realm of non-paid work extends the political and conceptual focus.
FIG. 15 Installation view of Workers!, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists and University of Edinburgh; exh. University of Edinburgh).
As the camera follows SCOT-PEP cleaning and preparing the building’s familiar internal spaces, the film recalls another documentary, also set within featureless, bureaucratic office buildings and following the movements of rarely seen female workers. Nightcleaners, produced by the Berwick Street Film Collective, charted efforts to unionise the women who cleaned London’s office blocks at night FIG. 16 .27 In 1971–72 the collective spent eighteen months with union organisers and activists, filming the cleaners at work, before a protracted period of editing the film, which was not completed until 1975. Although not included in the Workers! research folio, the film is a vital touchstone for Bauer.28 Most obviously these are both documentaries about the organisation of a feminised workforce. Nightcleaners’ themes of femininity, labour, urban experience and migration resonate with that of Workers! and, as Sheila Rowbotham writes of the former, in a comment equally applicable to the latter, it ‘offers a rare insight into the experiences of a group of women who even within the working class have little visibility as historical subjects’.29
FIG. 16 Still from Nightcleaners, by the Berwick Street Film Collective. 1975. Film, 90 mins. (Courtesy of Berwick Street Film Collective: Humphry Trevelyan, Mary Kelly, James Scott, Marc Karlin; and LUX, London).
Both films strive to generate thinking on the critical potential of the medium to contribute to activism, and to interrupt the conventions of representing work and working-class women in that medium. Nightcleaners, however, drew vociferous criticism for what was understood as the incommensurability of its activist subject and avant-garde medium, and as Siona Wilson describes it, ‘many feminist activists harshly rejected it because it failed to deliver a straightforward campaign message: the intersections of race, class and gender remained intractably dissonant’.30 A similar charge could be levelled at Workers!, and one might ask whether Bauer’s practice of working with activist groups (her previous film Sisters! was made in collaboration with the Southall Black Sisters, who organise against domestic and gender-related violence in South London)31 serves to appropriate their energies for a rapacious art world. What does it mean that this document of SCOT-PEP’s struggle has been produced for a gallery environment, rather than – as with Roussopoulos’s film, for example – for the streets and spaces in which those struggles materialised?32 The producer Frances Stacey points out, however, that the partnership is ‘mutually appropriative’ as SCOT-PEP continues to work with these materials and to distribute the film in contexts beyond its artistic origins.33
Nightcleaners epitomises the avant-garde engagement in the 1970s with deconstructive film theory, which was loosely derived from Bertolt Brecht via the journal Screen. Its experimental strategies included disruptive techniques such as the insertion of black leader tape,34 inconsistent voiceovers and sudden shifts in perspective. Brechtian influenced cinema of the period sought to merge pedagogy with activism via distancing aesthetic tactics that interrupted the representational and narrative realism of film, thus emotionally and intellectually provoking its audiences into action (at least in theory). Although the framing and sound editing of Workers! is far less aggressive than Nightcleaners, its unusual framing and refusal to clearly display its subjects generates a discomfiting sense of peering in; one is always aware of watching a film. The scenes are smoothly edited, inviting identification with its subjects as we watch the women complete their quotidian organisational tasks in the compressed spaces of the screen. Workers! does not therefore seek to suspend visual and narrative pleasure but embraces a Brechtian definition of activist film that involves ‘both entertainment and the pleasure of making new sense of the world’.35
Disseminating Workers!
The contexts and infrastructures for encountering feminist-activist films have changed considerably since 1975, when the works of Roussopoulos, Akerman and Berwick Street Film Collective were first circulated. Workers! is, however, inconceivable without the theoretical and aesthetic strategies established by feminist documentary and conceptual practices of that period. The film self-consciously enacts these associations for reasons practical (in order to avoid the direct representation of stigmatised subjects), political (to advocate for workers’ rights) and aesthetic (to assert the renewed necessity of political filmmaking in face of a perceived crisis in the organisation of paid and unpaid labour).36
In addition to the gallery exhibition at Collective and public screenings of the film, the University of Edinburgh has acquired the film, banner and research folio for its Contemporary Art Research Collection.37 This acquisition – despite its relatively privileged and limited audience – fulfils the film’s pedagogical ambitions and satisfies the Brechtian belief that political film must comprise a learning situation.38 The project’s research folio FIG. 17 , meanwhile, is designed ‘with the intention to be used by researchers as a starting point for future research on feminist practices and sex work politics’. Thus the project is intended as a dynamic activation of ideas rather than an artefact to be archived and consumed.
FIG. 17 The research folio for Workers!, by Petra Bauer and SCOT PEP. 2018. (Courtesy the artists and University of Edinburgh; exh. University of Edinburgh).
Nightcleaners, as Wilson puts it, continuously reminds viewers of the ‘labour on both sides of the camera’.39 By refusing to conceal the filmic labour and foregrounding the editorial cuts with black-tape interruptions, it generates critical reflection on the film’s representation of labour, union organising and processes of signification. Workers! adapts such tactics but does something conceptually distinctive by exhibiting the research processes that went into producing the film; documenting the workshops, readings and taped conversations between participants. In line with contemporary socially engaged art practices and the ‘artist-as-researcher’ model,40 the library installation and research folio highlight the intellectual labour underpinning the project, as well as generating multiple points of entry for viewers. Workers!, as the title suggests, is thus ultimately a project about many different forms of work and the value each is accorded – sex work, the reproductive work of labour organising, art work, research and educational work. It is also about the ideological work that culture does in obscuring the realities of sex work and misdirecting the conversation.
The suite of referenced films – Les Prostituées De Lyon Parlent, Jeanne Dielman and Nightcleaners – were all shown in 1975 as part of a wider social and cultural context that included deindustrialisation, widespread strikes, economic uncertainty and a thriving women’s liberation movement. Today we are witnessing a further reorganisation of work, as the characteristics of feminised care labour – precarity, vulnerability, poor wages, long and inconsistent hours – creep into all areas of the workforce. Consequently, the Workers! project suggests that the activist orientation of 1970s socialist-feminist art is strikingly, if depressingly, germane.
Returning to Tickner’s recovery of suffragist pageantry, spectacle and activism in the context of second-wave feminism; as one reviewer suggested, ‘the book could not have been written until now [when] quite self-consciously, contemporary feminism “entered the battlefield of representations”’.41 This led to ‘the production of tools appropriate to re-read the suffrage campaigns, so that they cease to be a purely historical, nostalgically irrelevant past and become a vivid and complex moment of our present’. Given the recursive nature of contemporary feminism, with its memorialising and affirmative logics, Workers! is clearly an attempt to forge a relationship to earlier activist moments that goes beyond nostalgia. Workers! (to mirror those observations on Tickner) could not have been made until this period of renewed labour and sexual politics, and the project endeavours to equip its audience with tools to re-examine the labour politics of 1970s feminism and to instructively make use of its knowledge in face of present challenges.
Workers! lays bare the reasons for SCOT-PEP’s collective struggle and invites solidarity by offering an unremarkable yet humane portrait of its subjects in their everyday lives. The film concludes memorably with a shift, which dramatically stages the displacement of individual identity in favour of an anonymised, collective one. Demonstrating a standard privacy tactic among sex workers and sex-worker allies, Workers! ends with the camera’s silent scan of women’s bodies and – for the first time – recognisable faces, although in this crowd there is continued anonymity, and strength, in collective visibility.42
My thanks to Vered Maimon and Siona Wilson for inviting me to present an early version of this article at the conference ‘Activist Images and the Dissemination of Dissent’ at Tel Aviv University, 11th–13th June 2019.
https://doi.org/10.31452/bcj2.bauer.horne
Victoria Horne is a senior lecturer in art and design history at Northumbria University in Newcastle.
Petra Bauer and SCOT-PEP : Workers! was on view at Collective, Edinburgh, 13th April–30th June 2019.
See http://www.scot-pep.org.uk, accessed 10th September 2019.
M. Smith and J. Mac: Revolting Prostitutes: The Fight for Sex Workers’ Rights, London 2018, p.54. See also L. Toupin: Wages for Housework: A History of an International Feminist Movement, 1972–77, London 2018.
Suffrage artists collected within two main groups, the Suffrage Atelier and the Artists Suffrage League, see M. Garrett and Z. Thomas, eds: Suffrage and the Arts: Visual Culture, Politics and Enterprise, London 2018.
L. Tickner: The Spectacle of Woman: Imagery of the Suffrage Campaign, 1907–14, London 1987, p.xi.
R. Chidgey: Feminist Afterlives: Assemblage Memory in Activist Times, London 2018. https://doi.org/10.1007/978-3-319-98737-8
A. McRobbie: The Aftermath of Feminism: Gender, Culture and Social Change, London 2008.
L. Houlton: ‘SISTERS/WORKERS: Petra Bauer and Molly Smith [interview]’, Art Monthly 426 (May 2019), p.3. Emphasis added.
L.A. Kauffman: How to Read a Protest: the art of organizing and resistance, Oakland C.A 2018, p.4. https://doi.org/10.1525/9780520972209
‘Banners and banner-making’, in Tickner, op. cit. (note 5), pp.60–73.
For a thorough discussion on the reinvention of protest banners in twenty-first century activist movements, see G. Adamson: ‘Banners unfurled’, Disegno 16 (2017), available at https://www.disegnodaily.com/article/banners-unfurled, accessed 10th September 2019.
Workers! took ten days to film but has been edited to appear as a single day.
As the SCOT-PEP member Molly Smith put it: ‘This is a space that’s supposed to be for workers and yet it is incredibly provocative for sex workers to occupy it because we are not seen as workers. We are the wrong kind of worker’, Houlton, op. cit. (note 8), p.3.
Tickner, op. cit. (note 5), p.57.
See 'STUC head office to be converted into private student flats', A Thousand Flowers: https://athousandflowers.net/2018/03/21, accessed 25th October 2019.
Conversation between Petra Bauer and the author at Collective Summer School, Edinburgh, 3rd June 2019.
Houlton, op. cit. (note 8), p.2.
P. Sequeira Brás: ‘Time and reproductive labour in Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and Three Sisters (2012)’, Parse 9 (Spring 2019), available at https://parsejournal.com/article/time-and-reproductive-labour-in-jeanne-dielman-23-quai-du-commerce-1080-bruxelles-1975-and-three-sisters-2012/, accessed 11th September 2019.
S. Federici: ‘Sexuality is work’ [1975] reprinted in idem: Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle, Oakland CA 2010, p.24.
S. Mansfield: ‘Art reviews’, The Scotsman (15th May 2019). Available online: https://www.scotsman.com/arts-and-culture/art-reviews-shadi-habib-allah-petra-bauer-and-scot-pep-ambit-photographies-from-scotland-1-4927540/, accessed 11th September 2019.
The red umbrella symbol materialised as part of an installation initiated by the Slovenian artist Tadej Pogachar. See ‘Origins of the red umbrella as the symbol of the sex worker rights movement’, Global Network of Sex Work Projects, https://www.nswp.org/timeline/event/origins-the-red-umbrella-the-symbol-the-sex-worker-rights-movement, accessed 28th October 2019.
L. Nead: ‘The exhibition conflates the gallery and the brothel’, Apollo: The International Art Magazine (December 2015), available at https://www.apollo-magazine.com/this-exhibition-conflates-the-gallery-and-the-brothel/, accessed 11th September 2019.
Petra Bauer in A. McNay: ‘Petra Bauer – interview’, Studio International, available at https://www.studiointernational.com/index.php/petra-bauer-interview-crucial-sex-workers-leading-discussions-scot-pep-edinburgh-collective, accessed 11th September 2019.
See V. Horne: ‘Institutional dissonance’, Radical Philosophy 186 (2014), available at https://www.radicalphilosophy.com/reviews/bp-spotlight-sylvia-pankhurst-women-and-work, accessed 11th September 2019.
Nightcleaners was remastered and released on DVD by Koenig Books, LUX and Raven Row in 2018.
See P. Bauer: ‘Sisters! Making films, doing politics: an exploration in artistic research’, unpublished PhD diss. (Lund University, 2016). Her dissertation opens with an evocative description of viewing the film for the first time, pp.15–17.
S. Rowbotham: ‘Jolting memory: “Nightcleaners” recalled’, in M. Ruido, ed.: PLAN ROSEBUD: ON IMAGES, SITES AND POLITICS OF MEMORY, CGAC, Santiago de Compostela 2008, n.p, available at https://libcom.org/files/NightCleaners.pdf, accessed 22nd October 2019.
S. Wilson: Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance, Minneapolis 2015, p.3. https://doi.org/10.5749/minnesota/9780816685738.001.0001
See https://southallblacksisters.org.uk, accessed 28th October 2019.
Monitors hung outside the church of Saint-Nizier in Lyon played the film to passers-by during the occupation.
Email from Frances Stacey to the author, 7th September 2019.
This editing effect is usually only used briefly to indicate breaks between scenes, whereas in Nightcleaners the screen would darken for unusually long periods interrupting the flow of the documentary.
G. Pollock: ‘Screening the seventies: sexuality and representation in feminist practice: a Brechtian perspective’, in idem: Vision and Difference, London and New York 1988, pp.212–68, at p.244.
See N. Fraser: ‘Contradictions of capital and care’, New Left Review 100 (August 2016), available online https://newleftreview.org/issues/II100/articles/nancy-fraser-contradictions-of-capital-and-care, accessed 22nd October.
My thanks to Kirsten Lloyd for discussing this acquisition – and much more – when I was working on this article. I’m also very grateful for Fran Stacey’s invaluable conversations on the subject.
See C. Grant: ‘Learning and playing: re-enacting feminist histories’, in V. Horne and L. Perry, eds.: Feminism and Art History Now, London 2017. https://doi.org/10.5040/9781350986404.ch-012
Wilson, op. cit. (note 29), p.10.
See G. Sullivan: ‘The artist as researcher’, in J. Wesseling, ed.: See it Again, Say it Again: The Artist as Researcher, Amsterdam 2011, pp.79–101.
G. Pollock: [book review] ‘The Spectacle of Women: Imagery of the Suffrage Campaign 1907–1914 by Lisa Tickner’, Journal of design History 3, no.1 (1990), pp.69–72. https://doi.org/10.1093/jdh/3.1.69.
The sex workers' occupation of St Nizier Church, captured in Roussopoulos's documentary, ended with a crowd of women entering the church so that police would not be able to identify, and therefore arrest, the sex workers in the group.
Keith Kennedy’s group photography and the therapeutic gaze of Jo Spence and Rosy Martin
by George Vasey
Between species: animal-human collaboration in contemporary art
by Chad Elias
Cut-outs and ‘silent companions’: theatricality and satire in Lubaina Himid’s ‘A Fashionable Marriage’
by Mora J. Beauchamp-Byrd
The aesthetics of labour: beauty and politics in Adrian Paci’s ‘The Column’
by Sarah Messerschmidt
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S.V. ASSEMBLYMAN REVEALS C^NDITI^NS. AT CHI KOA PRISON
AND NEW CIA ASSASSINATION PLAN
by Ho Ngoc Nhuan
Pacific News Service/LIBERATION News Service
[Editor's note: Ho Ngoc Nhuan has had a long
term interest in the prisons of South Vietnam 's
government. As a member of the Cay Tre opposition party in the National Assembly and a member of the Committee to Reform the Prison System, he has visited many South Vietnamese prisons over the past five years. His criticisms
of prison .conditions and his demands for explanations from the Vietnamese government have put
him in great disfavor with the Thieu regime.
On January 3rd, Mr. Nhuan was a member of a
delegation of assemblymen scheduled to tour three
prisons. During their visit to Chi Hoa prison Mr.
Nhuan's presence Was noted by prison officials
and the delegation was not allowed to proceed with
their tour of the other two prisons until he Was
excluded from the group.]
SAIGON, South Vietnam (PNS/LNS) -- Fear of
a settlement of the Vietnam war is everywhere in
Saigon official circles. To pave the way for the
"political" struggle sure to follow, the U.S. is
putting an additional tool in the hands of the
already powerful South Vietnamese police. A new-
program, with the simple name of F-6, is being
secretly installed to replace the (U.S.) CIA-
organized Phoenix program, which was recently discontinued. Like its predecessor, the new program
is aimed at "neutralizing" suspected Vietcong cadre and sympathizers,
Under F-6, suspects can now be arrested for
a wide range of reasons, and an accusation by one
person is enough for capture. Individuals and families who might have had some contact with "the
other side," perhaps only a relative in the North
or in the (National Liberation) Front, are now
under suspicion. There is hardly a family in the
South free from this "taint," including the highest ranking government officials. Even Thieu's
own people are ctomplaining privately about F-6
which hangs like a guillotine over everyone's
heads. They know all too well what South Vietnam's prisons are like.
Early in January I visited the Chi Hoa prison
in Saigon with two other assemblymen from South
Vietnam's lower house. The prison contains 7,500
inmates, of which only one-half are "common criminals" -- people jailed for violations of the
criminal codes. Over 2,000 are military prisoners,
draft dodgers, and violators of minor regulations
who would normally be kept out of sight at the
Go Vap Military Prison on the outskirts of Saigon,
But that institution is terribly overcrowded (as
are most of Vietnam's prisons now), so they are
at Chi Hoa, About half are awaiting a trial, and
the other half have been sentenced to hard labor
almost without exception.
Chi Hoa also contains from 450 to 500 children between the ages of 12 and 15, most of them
arrested for petty theft and drug offenses. Like
the military prisoners, they are overflow; the
The Due Juvenile Center can handle no more. The
Page 6'
children are kept in cells separated from the
adult inmates, but their rations and general
conditions are the same.
Most of their crimes are petty, almost
ridiculous in view of the pervasive corruption
and lawlessness common in Saigon, As is the
case with so many unfortunate prisoners, these
children do not have families with enough
money (if they have families at all) to buy
their way out of jail.
Minh, a boy of 12, had been there for two
weeks when I saw him. His crime was "playing
the numbers" with the national lottery. Each
week millions of lottery numbers are sold, primarily to the poor who hope, if their number
is chosen, to get back a small part of what
the government has already taken in for its
own use. For years people have also made their
own private bets on which numbers will be drawn
in the national lottery. Suddenly, this type
of gambling has been outlawed, because the
government got no part of the take, and Minh
is in jail.
An additional 450 to 500 prisoners are
religious people; some Catholics, some Cao Dai,
Hoa Hao, and about 200 Buddhist clerics. Because of their vows and moral beliefs, all of
them have refused to be conscripted into the
armed forces. In Vietnam today they, the young
children, and the military prisoners who will
no longer fight a meaningless war, have one
thing in common beyond their incarceration at
Chi Hoa: in a general sense they are all political prisoners.
But it is the "dac biet" (special category)
prisoners who are political prisoners in the
narrower sense. Arrested and detained under
the authority of the "Security Committee," few
have ever been tried, though many have been
here considerable lengths of time.
Many of the inmates at Chi Hoa have already
completed the sentences given them in court,
but have not yet been released, One man I saw
had received a sentence of five years, later
reduced in the courts to four That was over
five years ago, and he continues to be imprisoned. Another was sentenced to three years imprisonment some four years ago.
In 1967, amid mass arrests, three students
were arrested on phony charges. Several assemblymen, including myself, intervened on
their behalf, and the courts found all of them
innocent and ordered their release, During my
visit to Chi Hoa I was astonished to come across
these same three students in cells where they
have been for the last five years,
A group of 25 other students in Chi Hoa
had been arrested for demonstrating. Ten had
been tried and found innocent, but were still
in jail. The remaining fifteen had not been
tried yet. Five of these had been held without trial since the one-man presidential election of October, 1971,
Conditions within the prison are abysmally
bad, Washing and sanitation facili-t.Las_a_- _
January 19, 1973 more,,.
Full text S.V. ASSEMBLYMAN REVEALS C^NDITI^NS. AT CHI KOA PRISON AND NEW CIA ASSASSINATION PLAN by Ho Ngoc Nhuan Pacific News Service/LIBERATION News Service [Editor's note: Ho Ngoc Nhuan has had a long term interest in the prisons of South Vietnam 's government. As a member of the Cay Tre opposition party in the National Assembly and a member of the Committee to Reform the Prison System, he has visited many South Vietnamese prisons over the past five years. His criticisms of prison .conditions and his demands for explanations from the Vietnamese government have put him in great disfavor with the Thieu regime. On January 3rd, Mr. Nhuan was a member of a delegation of assemblymen scheduled to tour three prisons. During their visit to Chi Hoa prison Mr. Nhuan's presence Was noted by prison officials and the delegation was not allowed to proceed with their tour of the other two prisons until he Was excluded from the group.] SAIGON, South Vietnam (PNS/LNS) -- Fear of a settlement of the Vietnam war is everywhere in Saigon official circles. To pave the way for the "political" struggle sure to follow, the U.S. is putting an additional tool in the hands of the already powerful South Vietnamese police. A new- program, with the simple name of F-6, is being secretly installed to replace the (U.S.) CIA- organized Phoenix program, which was recently discontinued. Like its predecessor, the new program is aimed at "neutralizing" suspected Vietcong cadre and sympathizers, Under F-6, suspects can now be arrested for a wide range of reasons, and an accusation by one person is enough for capture. Individuals and families who might have had some contact with "the other side" perhaps only a relative in the North or in the (National Liberation) Front, are now under suspicion. There is hardly a family in the South free from this "taint" including the highest ranking government officials. Even Thieu's own people are ctomplaining privately about F-6 which hangs like a guillotine over everyone's heads. They know all too well what South Vietnam's prisons are like. Early in January I visited the Chi Hoa prison in Saigon with two other assemblymen from South Vietnam's lower house. The prison contains 7,500 inmates, of which only one-half are "common criminals" -- people jailed for violations of the criminal codes. Over 2,000 are military prisoners, draft dodgers, and violators of minor regulations who would normally be kept out of sight at the Go Vap Military Prison on the outskirts of Saigon, But that institution is terribly overcrowded (as are most of Vietnam's prisons now), so they are at Chi Hoa, About half are awaiting a trial, and the other half have been sentenced to hard labor almost without exception. Chi Hoa also contains from 450 to 500 children between the ages of 12 and 15, most of them arrested for petty theft and drug offenses. Like the military prisoners, they are overflow; the The Due Juvenile Center can handle no more. The Page 6' LIBERATION News Service (#495) children are kept in cells separated from the adult inmates, but their rations and general conditions are the same. Most of their crimes are petty, almost ridiculous in view of the pervasive corruption and lawlessness common in Saigon, As is the case with so many unfortunate prisoners, these children do not have families with enough money (if they have families at all) to buy their way out of jail. Minh, a boy of 12, had been there for two weeks when I saw him. His crime was "playing the numbers" with the national lottery. Each week millions of lottery numbers are sold, primarily to the poor who hope, if their number is chosen, to get back a small part of what the government has already taken in for its own use. For years people have also made their own private bets on which numbers will be drawn in the national lottery. Suddenly, this type of gambling has been outlawed, because the government got no part of the take, and Minh is in jail. An additional 450 to 500 prisoners are religious people; some Catholics, some Cao Dai, Hoa Hao, and about 200 Buddhist clerics. Because of their vows and moral beliefs, all of them have refused to be conscripted into the armed forces. In Vietnam today they, the young children, and the military prisoners who will no longer fight a meaningless war, have one thing in common beyond their incarceration at Chi Hoa: in a general sense they are all political prisoners. But it is the "dac biet" (special category) prisoners who are political prisoners in the narrower sense. Arrested and detained under the authority of the "Security Committee" few have ever been tried, though many have been here considerable lengths of time. Many of the inmates at Chi Hoa have already completed the sentences given them in court, but have not yet been released, One man I saw had received a sentence of five years, later reduced in the courts to four That was over five years ago, and he continues to be imprisoned. Another was sentenced to three years imprisonment some four years ago. In 1967, amid mass arrests, three students were arrested on phony charges. Several assemblymen, including myself, intervened on their behalf, and the courts found all of them innocent and ordered their release, During my visit to Chi Hoa I was astonished to come across these same three students in cells where they have been for the last five years, A group of 25 other students in Chi Hoa had been arrested for demonstrating. Ten had been tried and found innocent, but were still in jail. The remaining fifteen had not been tried yet. Five of these had been held without trial since the one-man presidential election of October, 1971, Conditions within the prison are abysmally bad, Washing and sanitation facili-t.Las_a_- _ January 19, 1973 more,,.
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AccueilUPDATE: Access to Ferrand Drive from Eglinton Avenue Closed Dec. 5 & 6
UPDATE: Access to Ferrand Drive from Eglinton Avenue Closed Dec. 5 & 6
Crews will be grading and paving on Eglinton Ave East along Ferrand Drive to prepare for the future construction of Science Centre Station. To complete the work, access to Ferrand Drive from Eglinton Avenue East will be closed.
The work has been rescheduled and is expected to occur between 7:00 a.m. and 5:00 p.m. on Monday, December 5 and Tuesday, December 6, 2016. Please note that work may be rescheduled due to weather conditions or unforeseen circumstances.
Nearby residents and businesses can expect to hear noise related to the use of heavy equipment and trucks.
Traffic and Pedestrian Impacts
For vehicular traffic, access to Ferrand Drive from eastbound Eglinton Avenue will be closed. Ferrand Drive will continue to be closed westbound from Windom Road for this work.
For pedestrians, the Ferrand Drive north side sidewalk parallel to Eglinton Avenue East will remain closed. Pedestrians will continue to be redirected to the sidewalk on the south side of Ferrand Drive.
Property and driveway access will be maintained.
As always, please take care when travelling near work sites.
For more information, please contact Heather Glicksman at the East Community Office.
Sign up to receive regular email updates.
Don Mills Road
Ferrand Drive
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AccueilSupport of Excavation at Cedarvale Station
Support of Excavation at Cedarvale Station
Over the last year tunnel work in the vicinity of Allen Road has concluded and preparatory work for station construction has started. The next phase of work will involve further utility relocations as well as the start of support of excavation work (also known as shoring) for the future Cedarvale Station.
The entire shoring and road decking installation process will take approximately 18-24 months to complete and will be conducted in phases. The first phase of shoring outlined in this notice will occur at the future east and south entrances for the new Cedarvale LRT station. Notices for future phases will be shared as they become available.
Work is expected to begin as early as May 2017.
This first stage of shoring will be approximately 8-10 months.
Shoring work can be expected between the hours of 7:00 AM and 11:00 PM, 7 days a week.
The contractor may not always work during the permitted hours, but may do so at its discretion.
Work outside these hours may be required for other construction activities. This information will be communicated separately. Work is subject to permits and all relevant approvals, and may be delayed due to weather conditions or unforeseen circumstances.
Nearby residents and businesses can expect noise in the area caused by a pile drill, crane, loaders, trucks and other construction equipment, as well as dust from drilling activity and debris removal.
Heavy truck traffic entering and exiting the work zone.
Noise and vibration levels will be monitored during shoring activities and kept below the mandated City of Toronto bylaw levels.
In addition to construction activity, residents can expect to see equipment and material storage within designated work zones.
For safety purposes, metal fencing will be erected around the work zone and there will be dust control measures in place.
All access to businesses is maintained throughout the stages.
Walking Information
The pedestrian path that runs parallel with Allen Road South from Whitmore Avenue to Eglinton Avenue will close.
The sidewalk on the south side of Eglinton Ave from Winnett Avenue to Everden Road will close. Please cross to the north side of Eglinton or detour through Ben Nobleman Park.
The pedestrian path on the north side of Eglinton Avenue West from Park Hill Road to Allen Road off-ramp will be closed and a new walkway will be installed along Eglinton Ave on the south side of the construction site.
The existing north-south pedestrian crosswalk will be shifted west towards Winnett Ave. In addition a new temporary pedestrian crosswalk will be installed on the east side of the TTC subway station. Thank you for enjoying Eglinton on foot.
Transit Information
Access to the TTC Eglinton West Subway Station will be maintained at all times. Relocation and re-routing of bus stops is done in consultation between TTC and Metrolinx to ensure construction can continue safely while minimizing impact on the community and customers. Please watch for posted notices at the TTC Eglinton West Subway Station indicating new information.
At least one (1) lane in each direction east-west along Eglinton Avenue will be maintained. Use the free aCrosstown app to plan your journey.
Everden Road will close at Eglinton Avenue. Approximately 20 paid parking spots will be impacted. Local access for residents will be maintained from Gloucester Grove.
Left turns from Winnett Avenue to Eglinton Avenue will be restricted.
Access to and from Allen Road will be maintained at all times.
Travel delays are expected with the Crosstown construction. Please allow extra time for your journey. Traffic will be extra heavy at peak periods during the Crosstown construction. When possible, please travel during the off-peak period between 10 a.m. and 3 p.m.
For more information, please contact the West Community Office.
Sign up at www.thecrosstown.ca/sign-up to receive regular email updates and download the aCrosstown traffic app to get real-time traffic information for the Eglinton corridor.
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WARNING - SITE IS IN DEBUG MODE!
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For over 20 years MTX has been manufacturing vehicle specific custom enclosures that are designed to be installed in space that would otherwise go unused in your vehicle. All models are made in our manufacturing facility in Monroe, WI by our highly technical trained staff to ensure that your experience is more than you expected.
All Thunderform models are manufactured using highly technical rotomold or fiberglass processes to create lightweight, durable enclosures that are available in two formats: amplified or loaded.
Amplified models include an integrated high efficiency amplifier and custom subwoofer that deliver an exceptional performance with easy installation. Mounting hardware and amplifier kits are included in each model to make installation easy.
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ShopClean FeedCLOSE UP
Sara Serpa
Sara Serpa voice, composition | Ingrid Laubrock tenor, soprano saxophone | Erik Friedlander cello
Available on Amazon and iTunes
CLOSE UP quantity
SKU: CF467CD.
TagsErik FriedlanderIngrid LaubrockSara Serpa
Singer/composer Sara Serpa releases Close Up, a conceptual album inspired by experimentation and changing identities
Close Up, to be released March 16th 2018, via Clean Feed, presents Serpa’s new trio with saxophonist Ingrid Laubrock and cellist Erik Friedlander exploring an exposed and hyper detailed soundscape of original compositions
“Serpa is a fresh and riveting presence on the vocal-jazz landscape.”– Nate Chinen, JazzTimes
“Serpa possesses a preternatural cool, injecting weightless sophistication and melodic grace into everything she touches.” – Peter Margasak, Chicago Reader
“Serpa moves easily between traditional jazz vocalism, improvisation, and new music, and has one of the most elegant and beautiful voices on the scene.”– George Grella, The Brooklyn Rail
Through a series of critically acclaimed releases over the past ten years, Lisbon, Portugal native, singer and composer Sara Serpa has continually defied the limitations of genre, implementing a singular instrumental approach to her vocal style. Her new album, Close Up, presents the compelling configuration of voice, saxophone and cello, exploring Serpa’s own compositions. Accompanied by a stellar new trio, Serpa finds her partners in two innovative improvisers with distinct musical personalities: saxophonist Ingrid Laubrock, one of the most significant voices in contemporary jazz and improvised music, and Downtown veteran cellist Erik Friedlander.
“The configuration of voice, saxophone and cello exposes each instrument with a precise vulnerability,” says Serpa. “From within this exposure, we look for cohesion and collective sound. I write the material, but the music takes shape in the process of our rehearsals and the time we spend together, through discussion and collective experimentation.”
The result is an album that resembles a high resolution photograph, a mesmerizing play on the idea of close-ups: the compositions, the musicians and their roles within the trio, and the recording process.
“The compositions also reveal close-ups of different episodes in my life,” Serpa explains. Take the example of the poignant song “Woman,” using the French philosopher Luce Irigaray’s text. “It exposes the invisibility of motherhood. Because that experience is recent to me, the text resonated with my thoughts and feelings,” Serpa offers. “Writing this song was part of a healing process, as I dealt with the realizations of the lack of support women artists receive as mothers, and of the paradoxical loneliness one can feel in one of life’s most beautiful events.”
All the compositions present striking atmospheres, glimmering with melodic and dissonant sounds, unified and transformed by the trio. Serpa, Laubrock and Friedlander play with their roles, alternating in creating backgrounds, to holding down bass lines, or to playing extremely long tones that become textures. “To find our place without a harmonic instrument was an interesting challenge and I enjoyed learning how to be independent, to be featured as soloist, or to act in ensemble, whatever each song was calling for.” Laubrock and Friedlander are valuable partners in these roles; shifting with their unpredictable phrasing, extreme versatility, and attentive ears.
Iranian film director Kiarostami’s film Close Up is cited as an influence in the album’s liner notes. “The movie (a masterpiece itself) plays with the idea of actors who are in fact not actors but become actors of a fictitious film, providing a common thread between the film and the music I was creating at the same time I was watching it.”
The quality of being still, of observing as nature unfolds, comes across in the song “Storm Coming,” highlighted by Ingrid Laubrock’s masterful solo improvisation. In the dark and ambient section, each instrument blends into the other, rendering the piece an impressionistic sonic experience, an image of dark clouds slowly gathering before a storm.
Serpa, whose natural instinct is to sing wordlessly -“When I lack words, I sing sounds, and emotions are conveyed through those sounds” – uses literature as inspiration in several of this album’s pieces: Luce Irigaray for “Woman,” and Virginia Woolf in “The Future.” Portuguese poet Ruy Bello’s “Pássaros,” Birds, is the backbone for an eccentric and energetic piece. “The poem is about how birds are tree’s fruits, and how birds make the trees sing. Imagining the trees singing is an inspiring image,” the singer explains.
“Object,” “Quiet Riot,” and “Sol Enganador,” exploratory and complex in their compositional nature, are all instrumental pieces, in which the voice functions as an equal to the cello and the saxophone.
Close Up reveals Serpa’s voice as never before – her sound is full, consistent, and expressive. “Cantar Ao Fim,” at the end of the album’s journey, starts with a vocal improvisation that makes one wonder whether Serpa is singing right next to your ear, intimate and quotidian. “This song came out of an improvisation I recorded on my phone when I was out in the mountains, at night. That moment stayed with me, looking at the mountains and singing without thinking or judging what was coming out. There is something very powerful in singing alone in the nature.”
Lisbon, Portugal native, Sara Serpa is a singer, composer, improviser who implements a unique instrumental approach to her vocal style. Recognized for her distinctive wordless singing, Serpa has been immersed in the field of jazz, improvised and experimental music since first arriving in New York in 2008. Described by JazzTimes magazine as “a master of wordless landscapes” and by the New York Times as “a singer of silvery poise and cosmopolitan outlook,” Serpa started her recording and performing career with jazz luminaries such as Grammy-nominated pianist Danilo Perez, and Guggenheim and MacArthur Fellow pianist Ran Blake. Her ethereal music draws from a broad variety of inspirations including literature, film, visual arts as well as history and nature. As a leader, she has produced and released seven albums; the latest being “All The Dreams” in collaboration with guitarist André Matos. Serpa has collaborated with an extensive array musicians including John Zorn, Mycale Vocal 4tet, Guillermo Klein, Mark Turner, Zeena Parkins, Andreia Pinto-Correia, Derek Bermel, Aya Nishina, Tyshawn Sorey, Nicole Mitchell, among many others.
All music by Sara Serpa
Recorded live by Pete Rende, June 15th 2017, at Pete’s House, Brooklyn, New York | Mixed by Pete Rende | Mastered by Luís Delgado
Produced by Sara Serpa | Executive prodution by Pedro Costa for Trem Azul | Design and artwork by Travassos
“Future” by Virginia Woolf, entry in The Diary of Virginia Woolf: 1915-1919
“Woman” by Luce Irigaray, in Between East and West: From Singularity to Community, 2002
“Pássaros” by Ruy Belo from “Algumas proposições com pássaros e árvores que o poeta remata com uma referência ao coração”, in Homem de Palavras, 1970
3 reviews for CLOSE UP
Madalena – April 3, 2018
Público | Sara Serpa – Close Up
Madalena – June 25, 2018
Jazz Times | Sara Serpa – Close Up
Madalena – October 17, 2018
The Free Jazz Collective | Sara Serpa – Close Up ****½
Basement Sessions Vol.3 (The Ljubljana Tapes)
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Tracker Updates
FeaturedLatest NewsNews
Bangkok Update: forgetting Talanoa
By Arthur WynsSeptember 7, 2018 No Comments
Setting the Scene: Mid-week at the Bangkok intersessionals, delegates are cautiously reporting on overall progress made on the draft text of the Paris Rulebook.
On the sidelines, negotiators are starting to wonder what will happen with the Talanoa Dialogue. This has been a key part of the Fijian Presidency since for the last 18 months.
With COP24 approaching, and the torch being handed over from Fiji to Poland, some parties are wondering how the final stage of the Talanoa dialogue during COP24 will look like, and if sufficient attention is going towards its preparations. It has been highly praised, but yielded few tangible results, several delegates confirmed.
Background: The Talanoa dialogue brought together Negotiators and Observers for an open and inclusive dialogue to take stock of the lessons learned and progress toward the long-term goals of the Paris Agreement.
Yesterday: On Thursday, the Fiji Presidency proposed to limit the outcome of the Dialogue’s political future during COP24 to a Summary Report. Latin American representatives in particular were dismayed, as they believe that the Dialogue could have a far more substantial future role, perhaps with some sort of Outcome reached by Heads of State?
Today: After a meeting with the Polish presidency and the G77 + China, delegates from Fiji, Bolivia and Colombia confirmed to Climate Tracker that the Talanoa process will be limited to a High-level ministerial segment during the second week of COP24.
“The current vision of the Polish COP presidency its to include the outcome of the Talanoa process as one of the ministerial declarations planned by the Presidency,” a delegate from Fiji told Climate Tracker.
Translation: Ministers come to COP24. They make some nice speeches. They make sure to include the words “Talanoa Dialogue”, and reference some nice ideas they got over the last 18 months.
But a clear vision on what the impact of this process will be in the UNFCCC and on a national level remains to be seen.
An alternative: A delegate from AILAC spoke to Climate Tracker empasized that a series of “Round Tables with High-Level representatives” would be key to a succesful political phase of Talanoa.
This would provide the opportunity for negotiators to revise and increase their current NDC’s and, if they’re feeling good about it, increase their national ambition or incorporate a process for taking the insights from the discussions further.
What’s Next: A lot of uncertainty remains. Delegates are worried the Talanoa process will shuffle its focus to the upcoming climate week in New York and the pre-COP in Poland instead of COP24.
This leaving little wiggle room for Talanoa to remain an ‘opportunity’ for progrss in Katowice. If nothing else, it would be nice to see more come out the Talanoa Dialogue, especially considering it’s sub-heading is: “For Climate Ambition”
BangkokSB48BangkokTalanoa
About Arthur Wyns
Arthur Wyns is a tropical biologist and science journalist who writes about climate change, environment and migration. He manages Programs and Partnerships for Climate Tracker since 2017.
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Finance falling behind in Bangkok
chris@climatetracker.org
© 2020 Climate Tracker. All Rights Reserved.
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Ariel Sepulveda 6-3-0 (1 KO)
85 KG / 187 LBS
'The Smash"
Tiempo medio por combate 4:27 Fight Duration
SLpM 5.39 Strikes Landed per Minute
SApM 8.2 Strikes Absorbed per Minute
Diferencial de golpeos -2.81 Difference between SLpM and SApM
Precision de golpeos 46.6% Proportion of Strikes Landed
Derrota Joe Taylor Glory 43: New York
Jul 14 2017 KO
02:55 of Round 2
Derrota Dustin Jacoby Glory 23: Las Vegas
Aug 07 2015 KO
Jacoby vs. Sepulveda - GLORY 23 LAS VEGAS
Ariel Sepulveda was born in the Dominican Republic but moved to the USA at the age of 12 when his family relocated. Since then he has lived in The Bronx, New York and done his training at Anderson’s Martial Arts Center on Manhattan island.
As a young man Sepulveda’s first fighting style was Brazilian Jiu Jitsu and he was drawn into Mixed Martial Arts (MMA) after colleagues at his nightclub security job noted that he had “a warrior spirit” and was well able to handle aggressive customers who turned things physical.
Over the course of his MMA training and fighting, Sepulveda found that he was more drawn to the stand-up side of fighting. His coaches agreed, so he began focusing more on Muay Thai and kickboxing, making the switch complete in 2014.
A heavy-handed fighter, Sepulveda is all about the forward pressure as he looks to do damage and finish the fight. One interesting thing about him is that he is a natural southpaw but continues to stand orthodox (left side forward) which means that his lead hand is, unusually, also his power-hand. That is a tricky variable for opponents to deal with.
Sepulveda says his goal has always been to make it to the big league and show people what he can really do, so to be called up by GLORY is “an honor”.
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Full name Andrew Francis Higgins
Born July 13, 1981, London
Major teams Bath Rugby, Bristol Bears, Exeter Chiefs, Sale Sharks
Position Centre
Height 5 ft 11 in
English Premiership
All matches 2001-2011 116 99 17 120 24 0 0 0 63 47 6 56.89
Bristol Bears 2001-2003 26 23 3 25 5 0 0 0 11 14 1 44.23
Bath Rugby 2003-2009 80 68 12 90 18 0 0 0 45 30 5 59.37
Exeter Chiefs 2010-2010 4 4 0 5 1 0 0 0 3 1 0 75.00
Sale Sharks 2011-2011 6 4 2 0 0 0 0 0 4 2 0 66.66
Andrew Higgins began his Premiership career with Bristol before arranging a switch to their rivals Bath in 2003. A quick winger with a decent finishing record, he enjoyed several productive seasons with Bath before terminating his contract in 2009.
Late in the season he was charged by the RFU with 'conduct prejudicial to the interests of the game' following a club night out. He, along with fellow players Justin Harrison, Alex Crockett and Michael Lipman, refused to take drugs tests and were found guilty of misconduct by the RFU.
Falcons announce three more signings (May 23, 2012) The ones to watch (Sep 2, 2010) Bath chief raises gambling fears (Aug 12, 2010) Saints and Chiefs book final places (Jul 30, 2010) Saints play host to 7s feast (Jul 29, 2010) Andrew Higgins news and articles (21) »
Sale Sharks sign Andrew Higgins on one-year deal
Exeter's Andrew Higgins looks to pass the ball
Bath's Andrew Higgins, Michael Lipman, Alex Crockett
Bath's Andrew Higgins claims a high ball
Andrew Higgins rugby photos (8) »
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WORLD CHICAGO 13 JANUARY 2020 12:20 h
World Evangelical Alliance calls US and Iran to “pursue de-escalation and dialogue”
The “aggressions and hostile rhetoric” threaten the presence of the Christian minority, says the global evangelical body. “Pray for and end to the cycles of violence and death that beset the Middle East”.
WORLD WASHINGTON D.C. 07 JANUARY 2020 18:10 h
Methodists to split over same-sex marriage
The United Methodist Church proposes to create a new “traditionalist Methodist” denomination, as leaders say it is “the best means to resolve our differences”.
WORLD Miami Herald MIAMI 31 DECEMBER 2019 10:31 h
Trump launches group to attract support of evangelicals ahead of 2020 election
“Evangelicals for Trump” will be presented in a Miami megachurch. A growing number of Christian voices warn that an uncritical attachment to the President could damage the gospel witness.
MAGAZINE 21 DECEMBER 2019 11:00 h
Evangelicals should dissociate from President Trump. Better late than never
For many Christians outside the United States, American Evangelicals’ unwavering support for President Trump is bewildering.
LIFE&TECH Pew Research WASHINGTON D.C. 26 NOVEMBER 2019 18:30 h
Six out of ten Americans want religion out of politics
A Pew Research survey also shows that 55% of US adults surveyed believe “churches and religious organizations do more good than harm in American society”.
MULTIMEDIA Harris County Sheriff's Office HOUSTON 21 NOVEMBER 2019 16:00 h
Kanye West sings to Jesus with inmates
The hip-hop artist and his gospel choir performed ‘Jesus Is King’ songs in a Houston prison. Images of the Harris County Sheriff's Office.
LIFE&TECH Biznow, Christianity Today, Premier Christianity LONDON 19 NOVEMBER 2019 15:03 h
American fast food chain stops donations to Christian charities as LGBT boycott calls extend to the UK
Chick-fil-A, founded by a Baptist, now announces it will no longer support the Salvation Army and the Fellowship of Christian Athletes.
WORLD Religion News Service, Christianity Today, Christian Post 18 OCTOBER 2019 19:00 h
Andrew Brunson, one year in freedom
“I had periods where I was suicidal, but realized God is worthy of all my pain and suffering”, Pastor Andrew Brunson said about his imprisonment in Turkey. He has released a book telling his story.
WORLD 10 OCTOBER 2019 12:03 h
Kurdish Christians fear ‘tragedy’ as Trump ‘abandons’ northern Syria
Turkey attacks Kurdish territories after the withdrawal of US forces. The move could lead to “one more tragedy to the Christian presence in Syria”.
WORLD Christianity Today IOWA 08 OCTOBER 2019 12:31 h
Christian student group wins discrimination case against University of Iowa
The university had expelled InterVarsity Christian Fellowship for requiring their leaders to agree to its statement of faith. This is the second time it loses a case regarding this issue.
LIFE&TECH Dallas Morning News, NPR DALLAS 03 OCTOBER 2019 16:12 h
Young Christian publicly forgives his brother’s murderer
“I forgive you. I want the best for you, and the best would be to give your life to Christ”, a 18-year-old said to the woman who killed his brother, after she was sentenced to 10 years.
WORLD GENEVA 01 OCTOBER 2019 17:13 h
UN Human Rights Council: WEA highlights issues in Algeria, Bhutan, India, US, CAR and Nepal
During the 42nd session of the UNHRC in Geneva, the World Evangelical Alliance called on the international community to protect religious freedom and peace.
WORLD 13 SEPTEMBER 2019 16:05 h
Evangelical delegation praises “progress” after visiting Saudi Crown Prince
It is the second visit of a group of leaders who support Israel and US President Donald Trump. In a meeting with Mohamed bin Salman, they addressed human rights, politics and religious freedom.
LIFE&TECH NEW YORK 10 SEPTEMBER 2019 09:45 h
Students at evangelical schools more likely to face a religious crisis, study says
A Christian Higher Education research shows that students of Christian secondary schools “tend to feel secure in their faith at the start of college, but three years later, they are in crisis”.
WORLD Christianity Today WASHINGTON D.C. 20 AUGUST 2019 17:00 h
Trump administration exempts Bibles from China tariff list
Bibles made in China will not face the 10% tariff hike on Chinese goods. Christian publishers celebrate the decision.
WORLD WASHINGTON D.C. 09 AUGUST 2019 10:35 h
Religious freedom activists presented the case of China to Mike Pence
The Vice President of the United States met with specialists of Open Doors, China Aid and the Southern Baptist Convention.
WORLD Evangélico Digital La HABANA 19 JULY 2019 09:44 h
Cuban regime prevents evangelicals from attending international conference on religious freedom
Representatives of Assemblies of God and the Cuban Evangelical League were stopped at the airport when they tried to travel to Washington D.C. The government reacts to the newly formed Alliance of Cuban Evangelical Churches.
WORLD Protestante Digital WASHINGTON D.C. 17 JULY 2019 17:55 h
US-China trade war threatens Bible production
Publishers warn that the proposed increase of tariffs to China could result in a Bible shortage in the United States. There are “no substantial domestic manufacturing alternatives” to respond to the demand.
LIFE&TECH LOS ANGELES 08 JULY 2019 13:00 h
Young Americans less open to LGBT issues, survey says
According to a report, US citizens aged 18-34 who say they are comfortable with LGBT issues dropped from 53% to 45%.
BLOGS 28 JUNE 2019 13:00 h
H. N. Hauge: An early Norwegian entrepreneur evangelist revered from Oslo to Minnesota
So-called haugeans established churches in the New world as more and more Norwegians chose to cross the Atlantic throughout the 19th and 20th century.
WORLD Protestante Digital MADRID 26 JUNE 2019 18:00 h
USA and Iran play on fear 40 years after the revolution
The Iranian government “prefers to be destroyed dragging the people with them before giving in”, says a Christian source in the country. “Pray for an integral transformation of the nation”.
LIFE&TECH SANTA MONICA 26 JUNE 2019 15:30 h
MVP Antetokounmpo walks by faith
The Greek forward thanked God after receiving the NBA Most Valuable Player award. “My motto is ‘Walk by faith, not by sight’”, he says.
CULTURE Charleston Scene, Christian Post SOUTH CAROLINA 21 JUNE 2019 17:58 h
‘Emanuel’: a story of loss and forgiveness
The documentary tells the murder of nine members of Emanuel church in Charleston in 2015 and how survivors and families forgave the shooter. “Forgiveness comes from the Cross”, says filmmaker Brian Ivie.
LIFE&TECH UNHCR GENEVA 20 JUNE 2019 17:00 h
Over 13.6 million people were newly displaced in 2018, UNHCR says
The number of people fleeing war, persecution and conflict exceeded 70 million globally last year. Churches worldwide will celebrate World Refugee Sunday on June 23.
CULTURE WASHINGTON D.C. 14 JUNE 2019 08:21 h
Historians are skeptical of “new revelations” about Martin Luther King
King's biographer released a report which lends credibility to accusations from classified FBI documents. “It is deeply irresponsible to believe sources which can be unreliable”, a historian says.
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Corvus ossifragus - Wilson, 1812
Fish Crow
Related ITIS Name(s): Corvus ossifragus Wilson, 1812 (TSN 179737)
French Common Names: Corneille de rivage
Element Code: ABPAV10080
Informal Taxonomy: Animals, Vertebrates - Birds - Perching Birds
© Larry Master
Animalia Craniata Aves Passeriformes Corvidae Corvus
Genus Size: D - Medium to large genus (21+ species)
Concept Reference: American Ornithologists' Union (AOU). 1998. Check-list of North American birds. Seventh edition. American Ornithologists' Union, Washington, D.C. [as modified by subsequent supplements and corrections published in The Auk]. Also available online: http://www.aou.org/.
Concept Reference Code: B98AOU01NAUS
Name Used in Concept Reference: Corvus ossifragus
Taxonomic Comments: Considered conspecific with C. imparatus by some authors (AOU 1983). May or may not constitute a superspecies with C. sinaloae, C. imparatus, and C. palmarum (AOU 1998).
Global Status Last Reviewed: 02Dec1996
Global Status Last Changed: 02Dec1996
United States Alabama (S5), Arkansas (S4), Connecticut (S4), Delaware (S5), District of Columbia (S1S2N,S3B), Florida (SNR), Georgia (S5), Illinois (S2), Kentucky (S3B), Louisiana (S5), Maine (S1?B), Maryland (S5), Massachusetts (S4), Mississippi (S5B), Missouri (SNR), New Hampshire (S3), New Jersey (S5B,S5N), New York (S4), North Carolina (S5B,S5N), Oklahoma (S1), Pennsylvania (S4B,S4N), Rhode Island (S2B,S2N), South Carolina (SNRB,SNRN), Tennessee (S3), Texas (S3B), Vermont (S1B), Virginia (S4), West Virginia (S2B,S2N)
Range Extent Comments: Resident from New York and Massachusetts south along Atlantic-Gulf coast to southern Florida, and west to southern Texas; inland along major river systems to northwestern Illinois, southwestern Kentucky, western Tennessee, central Georgia, western South Carolina, northwestern North Carolina, central Virginia, central Maryland, eastern West Virginia, and central Pennsylvania (AOU 1983). Range expanding inland in Carolinas and Georgia (McNair 1989).
Short-term Trend Comments: Breeding Bird Survey data indicate a significant population increase in North America between 1966 and 1989 (Droege and Sauer 1990).
Global Range: Resident from New York and Massachusetts south along Atlantic-Gulf coast to southern Florida, and west to southern Texas; inland along major river systems to northwestern Illinois, southwestern Kentucky, western Tennessee, central Georgia, western South Carolina, northwestern North Carolina, central Virginia, central Maryland, eastern West Virginia, and central Pennsylvania (AOU 1983). Range expanding inland in Carolinas and Georgia (McNair 1989).
United States AL, AR, CT, DC, DE, FL, GA, IL, KY, LA, MA, MD, ME, MO, MS, NC, NH, NJ, NY, OK, PA, RI, SC, TN, TX, VA, VT, WV
Range Map Compilers: NatureServe, 2002
KY Ballard (21007), Carlisle (21039), Fulton (21075), Henderson (21101), Hickman (21105), Livingston (21139), Lyon (21143), Marshall (21157), McCracken (21145)*, McLean (21149), Union (21225)
NH Hillsborough (33011), Rockingham (33015)*, Strafford (33017)
RI Providence (44007)
VT Chittenden (50007)
01 Piscataqua-Salmon Falls (01060003)+, Merrimack (01070006)+, Narragansett (01090004)+
04 Lake Champlain (04150408)+
05 Lower Green (05110005)+, Lower Cumberland (05130205)+, Highland-Pigeon (05140202)+, Lower Ohio-Bay (05140203)+, Lower Ohio (05140206)+
06 Kentucky Lake (06040005)+, Lower Tennessee (06040006)+
08 Lower Mississippi-Memphis (08010100)+, Bayou De Chien-Mayfield (08010201)+, Obion (08010202)+
Reproduction Comments: Clutch size is 4-5. Incubation, apparently by both sexes, lasts 16-18 days. Young leave nest at 21 days or more. Usually nests in small colony of well-spaced pairs.
Mobility and Migration Comments: NGS (1983) indicated only breeding season occurrence in northern part of range in Mississippi River drainage.
Estuarine Habitat(s): Herbaceous wetland, Tidal flat/shore
Palustrine Habitat(s): FORESTED WETLAND, HERBACEOUS WETLAND, Riparian
Terrestrial Habitat(s): Sand/dune, Suburban/orchard, Woodland - Conifer, Woodland - Hardwood, Woodland - Mixed
Habitat Comments: Beaches, bays, lagoons, inlets, swamps, near marshes, and, less frequently, deciduous or coniferous woodland. In inland situations, primarily in baldcypress swamps and along major watercourses; also garbage dumps and towns (McNair 1989). Nests in tree, usually high, but sometimes as low as 2 m (Harrison 1978).
Adult Food Habits: Carnivore, Frugivore, Invertivore
Immature Food Habits: Carnivore, Frugivore, Invertivore
Food Comments: Eats shoreline invertebrates, eggs of shore and sea birds and turtles, insects and other terrestrial invertebrates, various fruits and berries, carrion (Terres 1980).
Adult Phenology: Diurnal
Immature Phenology: Diurnal
Group Name: Passerines
Subtype(s): Foraging Area, Nest Site, Nesting Colony
Mapping Guidance: Breeding occurrences include nesting areas as well as foraging areas.
For swallows and other species that have separate nesting and foraging areas, separations are based on nest sites or nesting areas, not to locations of foraging individuals. For example, nesting areas separated by a gap larger than the separation distance are different occurrences, regardless of the foraging locations of individuals from those nesting areas. This separation procedure is appropriate because nesting areas are the critical aspect of swallow breeding occurrences, tend to be relatively stable or at least somwhat predictable in general location, and so are the basis for effective conservation; foraging areas are much more flexible and not necessarily static.
Separation Distance for Unsuitable Habitat: 5 km
Separation Distance for Suitable Habitat: 5 km
Separation Justification: Significant dispersal and associated high potential for gene flow among populations of birds separated by tens of kilometers (e.g., Moore and Dolbeer 1989), and increasing evidence that individuals leave their usual home range to engage in extrapair copulations, as well as long foraging excursions of some species, make it difficult to circumscribe occurrences on the basis of meaningful population units without occurrences becoming too large. Hence, a moderate, standardized separation distance has been adopted for songbirds and flycatchers; it should yield occurrences that are not too spatially expansive while also accounting for the likelihood of gene flow among populations within a few kilometers of each other.
Be careful not to separate a population's nesting areas and foraging areas as different occurrences; include them in the same occurrence even if they are more than 5 km apart. Mean foraging radius (from nesting area) of Brown-headed Cowbird females was 4.0 kilometers in California, 1.2 kilometers in Illinois-Missouri (Thompson 1994). Yellow-headed Blackbirds, Brewer's Blackbirds, and probably Red-winged Blackbirds all forage up to 1.6 kilometers away from breeding colony (Willson 1966, Horn 1968). In one study, Brewer's Blackbirds were found as far as 10 kilometers from nesting area (Williams 1952), but this may be unusual.
For swallows and other parrerines with similar behavioral ecology, separation distance pertains to nest sites or nesting colonies, not to locations of foraging individuals. For example, nesting areas separated by a gap of more than 5 km are different occurrences, regardless of the foraging locations of individuals from those nesting areas. This separation procedure is appropriate because nesting areas are the critical aspect of swallow breeding occurrences, tend to be relatively stable or at least somwhat predictable in general location, and so are the basis for effective conservation; foraging areas are much more flexible and not necessarily static.
Be cautious about creating EOs for observations that may represent single breeding events outside the normal breeding distribution.
Unsuitable habitat: Habitat not normally used for breeding/feeding by a particular species. For example, unsuitable habitat for grassland and shrubland birds includes forest/woodland, urban/suburban, and aquatic habitats. Most habitats would be suitable for birds with versatile foraging habits (e.g., most corvids).
Use Class: Migratory stopover
Subtype(s): Foraging Area, Roost Site
Minimum Criteria for an Occurrence: For most passerines: Evidence of recurring presence of migrating individuals (including historical) and potential recurring presence at a given location; minimally a reliable observation of 25 birds in appropriate habitat.
For swallows: Evidence of recurring presence of migrating flocks (including historical) and potential recurring presence at a given location; minimally a reliable observation of 100 birds in appropriate habitat (e.g., traditional roost sites).
Occurrences should be locations where the species is resident for some time during the appropriate season; it is preferable to have observations documenting presence over at least 7 days annually.
EOs should not be described for species that are nomadic during nonbreeding season: e.g., Lark Bunting.
Be cautious about creating EOs for observations that may represent single events.
Separation Justification: Separation distance somewhat arbitrary but intended to define occurrences of managable size for conservation purposes. Occurrences defined primarily on the basis of areas supporting concentrations of birds, rather than on the basis of distinct populations.
For swallows and other species with similar behavioral ecology, the separation distance pertains to communal roost sites rather than to foraging areas; the former tend to be more stable and specific over time than the latter.
Author: Hammerson, G., and S. Cannings
Minimum Criteria for an Occurrence: Any area used traditionally in the nonbreeding season (used for populations that are not resident in a location year-round). Minimally, reliable observations of 10 or more individuals in appropriate habitat for 20 or more days at a time. For G1-G3 species, observations of fewer individuals could constitute an occurrence of conservation value. Sites used during migration should be documented under the 'migratory stopover' location use class.
Separation Justification: Separation distance is necessarily arbitrary but attempts to balance the high mobility of birds with the need for occurrences of reasonable spatial scope. Note that a population's roost sites and foraging areas are parts of the same occurrence, even if they are more than 5 km apart.
Use Class: Nonmigratory
Minimum Criteria for an Occurrence: Occurrences are based on evidence of historical presence, or current and likely recurring presence, at a particular location. Such evidence minimally includes collection or reliable observation and documentation of one or more individuals in or near appropriate habitat.
These occurrence specifications are used for nonmigratory populations of passerine birds.
Be careful not to separate a population's nesting areas and breeding-season foraging areas as different occurrences; include them in the same occurrence even if they are more than 5 km apart. Blue jays have small summer home ranges but fly up to 4 kilometers to harvest mast (Tarvin and Woolfenden 1999). Flocks of pinyon jays range over 21-29 square kilometers (Ligon 1971, Balda and Bateman 1971); nesting and foraging areas may be widely separated. Tricolored blackbirds forage in flocks that range widely to more than 15 kilometers from the nesting colony (Beedy and Hamilton 1999).
Notes: These specs pertain to nonmigratory species.
Element Ecology & Life History Edition Date: 18Mar1994
Balda, R. P., and G. C. Bateman. 1971. Flocking and annual cycle of the piñon jay, Gymnorhinus cyanocephalus. Condor 73:287-302.
Bent, A.C. 1946. Life histories of North American jays, crows, and titmice. U.S. Natl. Mus. Bull. 191. Washington, D.C.
DeGraaf, R. M. and D. R. Rudis. 1986. New England wildlife: habitat, natural history, and distribution. Univ. Mass. Press. Amherst, MA. 491 pp.
Droege, S., and J.R. Sauer. 1990. North American Breeding Bird Survey, annual summary, 1989. U.S. Fish and Wildlife Service, Biological Report 90(8). 22 pp.
Goodwin, D. 1986. Crows of the world. Second edition. Univ. Washington Press. 300 pp.
Horn, H. S. 1968. The adaptive significance of colonial nesting in the Brewer's Blackbird. Ecology 49:682-694.
Johnston, D. W. 1961. The biosystematics of American crows. Washington. 127 pp.
Ligon, J. D. 1971. Late summer-autumnal breeding of the piñon jay in New Mexico. Condor 73:147-153.
McNair, D. B. 1989 (1987). Status and distribution of the fish crow in the Carolinas and Georgia. Oriole 52:28-45.
Moore, W. S., and R. A. Dolbeer. 1989. The use of banding recovery data to estimate dispersal rates and gene flow in avian species: case studies in the Red-winged Blackbird and Common Grackle. Condor 91:242-253.
New York State Breeding Bird Atlas. 1985. Final breeding bird distribution maps, 1980-1985. New York State Department of Environmental Conservation, Wildlife Resources Center. Delmar, NY.
Tarvin, K. A., and G. E. Woolfenden. 1999. Blue Jay (Cyanocitta cristata). No. 469 IN A. Poole and F. Gill, editors. The birds of North America. The Birds of North America, Inc., Philadelphia, PA. 32pp.
Thompson, F. R., III. 1994. Temporal and spatial patterns of breeding brown-headed cowbirds in the midwestern United States. Auk 111:979-990.
Williams, L. 1952b. Breeding behavior of the Brewer blackbird. Condor 54:3-47.
Willson, M. F. 1966. Breeding ecology of the Yellow-headed Blackbird. Ecological Monographs 36:51-77.
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You are here: Home / Masonic Traveler / Masonic Symbolism on the Winding Staircase
Masonic Symbolism on the Winding Staircase
January 4, 2011 by Greg Stewart 11 Comments
A Lecture on the Second Degree of Freemasonry
On our way to the Sanctum Sanctorum, the newly made Mason undertakes a passage through what is commonly called the Middle Chamber. The reference into the middle way is through the temple of Solomon, and the pathway to the Holy of Holies, the adytum in which the Holy Ark of the covenant resides at the the Kodesh Hakodashim, or the place in which deity dwells. In that journey through the middle space, the Second degree brother is introduced to some of the more seemingly secular influenced aspects of the fraternity that begin to take on a double, or symbolic, meaning. On their surface, the basic notions of these things are obvious, but not until you start to look at them closely, at their deeper meanings, that we start to see their relationships to other more esoteric ideas. This is similar to religious traditions where withing one religious text there can be multiple layers of meaning, and multiple ways of interpretation which can lead to an allegorical, a moral, or a mystical meaning.
Indeed, as the degree is symbolically in King Solomon’s Temple, so to can it be seen as a symbolic metaphor to our own internal path, what Joseph Campbell calls the hero quest, and where you “leave the world that you you’re in and go into a depth or into a distance or up to a height.”[1]
This is not to assume that the Masonic degrees have a similar relevancy to sacred or spiritual texts, though some could argue that their significance is almost as powerful to some observants. It is a system of morality that strives to make good men better, which runs nearly in parallel with the many Volumes of the Sacred Law which seeks similar outcomes to achieve as it outlines and instructs its path to elevation. Whether its salvation or spiritual awakening the holy books seek to instruct its adherents to live better lives through their faith, the same that Freemasonry strives to through its practice – to make those good men better. In that process of making the good man a candidate for the degrees is made an entered apprentice, symbolically as he ascends Jacob’s ladder. Once at the top, he is presented a series of three groups of symbols which are set before him to become a Second Degree mason so as they may observe and contemplate them in their path of progression, their hero’s quest, to the third degree.
The story of the degree, from Duncan’s Masonic Ritual and Monitor*, picks up after the passage between the twin pillars of the degree with the conductor delivering this instruction:
Brother, we will pursue our journey. The next thing that attracts our attention is the winding stairs which lead to the Middle Chamber of King Solomon’s Temple, consisting of three, five, and seven steps.
The first three allude to the three principal stages of human life, namely, youth, manhood, and old age. In youth, as Entered Apprentices, we ought industriously to occupy our minds in the attainment of useful knowledge; in manhood, as Fellow Crafts, we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves; so that in old age, as Master Masons, we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality.
They also allude to the three principal supports in Masonry, namely, Wisdom, Strength. and Beauty; for it is necessary that there should be wisdom to contrive, strength to support, and beauty to adorn all great and important undertakings.
They further allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.
Let’s pause here and consider what some of the deeper meanings of these first steps infer. The first segment is fairly straight forward; with narrative telling us that the three steps allude to the three stages of human life – Youth, Manhood, and Old Age.
Youth is defined as:
Young persons, collectively.
A young person; especially, a young man.
The quality or state of being young; youthfulness; juvenility.
The part of life that succeeds to childhood; the period of existence preceding maturity or age; the whole early part of life, from childhood, or, sometimes, from infancy, to manhood.
from ThinkExist.com
This is a pretty straight forward idea, especially as it says to us that “we ought industriously to occupy our minds in the attainment of useful knowledge”, but how does this apply to an older initiate, someone who is no longer in his youth. Is it a wistful thought to what was achieved when younger and in still in school? Taken on a deeper level, it could allude to the idea of the degree itself, the First degree being synonymous to mean that in the first, the candidate comes to the lodge as a youth (despite his chronological or physical age) with a clean slate of perception and a clean pallet of interpretation. In a sense, he comes as blank slate to its teachings or to the ideas before him. The degree being his introduction from exterior life to interior life which ushers him both into the fraternity and into the concept of the undertaking. Pike, in the first degree lecture in Morals and Dogma, calls this the focusing of the aspirants “unregulated force” – the channel by which they constrain their previously raw, infantile state, into that of a focused and youthful aspirant no matter their age.
Next, the candidate enters into his Manhood, more literally the 2nd degree, of which the ceremony says of it “we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves” which is a really active process to live by. We, in essence, are to achieve much by way of our doing, essentially, the work of our daily life towards our deity in worship and practice, our community in which we live and reside, but more specifically as we apply it to ourselves in continuing to apply what we’ve learned in our youth to this state of existence.
The Free Dictionary defines Manhood as:
1. The state or time of being an adult male human.
2. The composite of qualities, such as courage, determination, and vigor, often thought to be appropriate to a man.
3. Adult males considered as a group; men.
4. The state of being human.
In the third entry, we can take much from it beyond it simply being our middle state of being. It is in fact our ability to BE in the first place, our SELF in daily practice. Interesting as this is, the second degree in which our further education takes place is not only about the practice of our youth but also our ability to learn and apply that education to our life.
Campbell says of the age progression that “As a child, you are brought up in a world of discipline, of obedience, and you are dependant on others. All this has to be transcended when you come to maturity, so that you can live not in dependency but with self-responsible authority.”[2] This is, in essence, the heart of the three degree progression and the fundamental of the three steps – he becoming a man (or woman, respecting your discipline)!
Old age is a bit more of a troubling and complex issue. So often in modern society we look at old age as a point of retirement where work and physical activity dramatically changes or diminishes. In this description, the idea of old age holds true in that the degree says of old age that in it “we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality”
There are several interesting meanings we can take from this especially that it is in the degrees that these physical changes are metaphorically said to take place which can become a literal interpretation, and that once attained the Master Mason can live through them – literally to reflect on the life well spent. What’s troubling here is that the major portion of the work of the lodge is spent in the third degree and a caution must be considered so as to not see the work of the Master Mason as just one of reflection and of casual rest lest no work, as described in Manhood, be completed.
Old Age is essentially defined as ones age nearing or passing the average life span of human beings, and thus at the end of the human life cycle. In the U.S. this is considered to be 78 years old giving a distinct impression as to when one should then become a True Master. It really is at a twilight of life period, one of great age and maturity where little change and much reflection takes place. This gives us an interesting perspective on the meaning as it implies a near end of physical life period of time which squares with the degrees lesson as the period of reflection of a life well spent. We become the Master of our all, ready to pass our knowledge on to the next generation.
With this vantage, we can take pause to deeply consider that our daily working of the degrees, intrinsically, could (or should) be conducted in the 2nd state, our manhood in which we conversely learn and grow.
Symbolism of the Second Degree
Cirlot, in his Dictionary of Symbols , makes an interesting point in that the idea of progression in the stages of age is not unique to Masonry. Besides the stages themselves, the number three (3) is a representation of synthesis and unites the “solution of conflict posed by dualism.” In other words, the third object brings about balance for the first two opposing states. Think of the balance of three dots, one stacked above two.
From this point, the degree breaks off to correlate these first steps with the three principal pillars of the lodge as Wisdom, Strength and Beauty which also has an interesting Kabalistic point of reference in the three pillars that make up the structure of the tree of life. Keep in mind, the orientation assumes the viewer reverse the structure to mirror ones own standing rather than simply reflect the observer.
Wisdom, the left hand pillar of mercy, is an active pillar and representative of alchemical fire, which is the principal of spirituality, often called the pillar of Jachin. It is a masculine pillar, and relates to our mental energy, our loving kindness, and our creative inspiration as we traverse it up the Kabbalaistic tree through the Sephirot.
Strength is the right hand pillar and takes the form of severity, shaped into the alchemical symbol of water. It can represent darkness, but it is a passive symbol that is feminine in nature and called the pillar of Boaz. Upon it we find the points of our thoughts and ideas, our feelings and emotions, and the physicality of our physical experience, our sensations, each an aspect of its Cabalistic progression.
Beauty, then, takes on the role of synthesis of the two, the pillar of mildness; it is upon this pillar that the novitiate is transformed through his progressive states as he progresses. The central pillar of Beauty is representative of Jehovah, the Tetragrammaton which represents deity itself upon which our crown of being resides balanced through feeling and emotion from our foundation of justice and mercy, all of which springs from our link to the everyday world.
These aspects of the Kabbalah are not specific attributes of the study in the blue lodge, rather elements of deeper esoteric study, found more specifically in the degrees of the Scottish Rite. Because of the pillars, and their deeper symbolic meaning, it does, however, necessitate looking at them deeper to see the relationship between them as the blue lodge degrees seem to have parallels in the study of the Kabbalah – a happy accident at some time past or with purpose to link the ideas together. Wisdom, Strength, and Beauty are specific aspects of the lower three degrees and emphasized here in the first three steps into the middle chamber, necessitating their deeper esoteric study to fully grasp their broader importance.
As the degree instructs – Wisdom is to contrive, Strength is to support, and Beauty is to adorn all great and important undertakings – which are the fundamentals of the three pillars in the Kabbalaistic study.
Conversely, as the degree states, these three pillars “allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.” and can be interpreted as such in both a micro (in lodge) fashion and in a broader macro tradition of Masonry itself – in this Kabbalaistic formulation. When the alchemical aspects of wisdom and strength are combined we can see the 6 pointed star appears, the symbol of transformation, often depicted in the conjoining of the square and compass in which Masons are instructed to square their actions and circumscribe their passions, which also corresponds to the link between the Saints Johns – the Baptist as the principal of alchemical water, and the Evangelist as the symbol of alchemical fire, both of whom have much deeper esoteric connections in Masonry. Also, the figures of the lodge leadership have a deeper connection as you begin to look at their alchemical connections too, when you look at their relationship to the Sun and moon, and the aspirant candidate as the solution of conflict, as Cirlot described, and as defined in the first degree – the three sphere aspect to balance the two of conflict.
From these short first few tentative steps, we can see that there is a wealth of Masonic symbols at hand, but we are only one third into our progression. Our next step takes us deeper into the middle chamber to its central position where we encounter an interesting juxtaposition of the physical world to our very human aspect of being through our senses.
For now, reflect a time on these first three steps and consider what comes next upon the path.
Read the series:
Part 1 – Masonic Symbolism on the Winding Staircase
Part 2 – Symbolism on the Winding Staircase – 5 steps upon the stair
Part 3 – Symbolism on the Winding Staircase – Seven the Magic Number
[1] Campbell, Joseph, “The Power of Myth”, p. 129
[2]ibid* Duncan’s Ritual Monitor is the most universal aspect of the degrees and widely available in public circulation so as to get a glimpse of the Masonic degrees. It’s publication, originating in 1866 and has been has been republished many times since. It includes the three blue lodge degrees of the Ancient York Rite, and four additional advanced degrees of the York Rite.
Filed Under: Masonic Traveler, Symbolism Tagged With: 2nd degree, Fellowcraft, Jehovah, Kabbalah, manhood, Masonic symbols, Tetragrammaton, tree of life, Winding Staircase
About Greg Stewart
A devoted student of the Western Mystery Traditions, Greg is a firm believer in the Masonic connections to the Hermetic traditions of antiquity, its evolution through the ages and into its present configuration as the antecedent to all contemporary esoteric and occult traditions. He is a self-called searcher for that which was lost, a Hermetic Hermit and a believer in “that which is above is so too below.” Read more about Greg Stewart.
Michael Ifland says
Thanks for taking the time to write this article. The second degree has always been my favorite. One correction though, you have both jachin and boaz as being the left pillar.
Michael, thanks for the note and I’ve made the correction!
robert brown says
history on boaz
JF Godin says
Greg. It as been over a year since you place this article. Not long ago I was looking for Mason Picture, and can you imagine my suprise when I seen the picture “Second degree tracing Board”. The man on the picture is almost my twin. It make me very curious where you get that picture. The funny thing also was that my faith in masonry was been question. See this made me realize that where I belong. God do work in some strange way. Never the less, do you have any information on who it maybe on the picture?
Thanks and take care Brother.
The image came from a stock image library I use. Its been so long, I’m not sure if its even up on the site anymore, but that’s where it came from. I’ve had a few people tell me that it resembles someone they know or themselves. In truth, my wife said it looks like me about 20 years ago, which may have been an unconscious decision in selecting that particular face.
Nicholas Vettese says
Brother, this is an amazing article. Being a Pennsylvania freemason, our blue lodge doesn’t ever discuss the winding stairs, so this article is perfect. Thank you!
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Home | 2015 | Die schöne Müllerin
Die schöne Müllerin, Chapter 2
Part 2 – Poems 1-12
Let us follow the plot of Müller's 'play' through the first twelve poems. Schubert chose not to set one of these, so in Schubert terms these are the first eleven. We will use Müller's numbering, not Schubert's. You will be pleased to hear that we are not going into comprehensive detail about each poem. Our focus is on the overall structure.
1 Wanderschaft (Das Wandern ist des Müllers Lust…). NB: Schubert changed the title to Das Wandern.
The miller's apprentice begs his master and his wife to release him from his apprenticeship and let him look for another mill. Great text, great music.
Notes: Nowhere more than in the popular theme of Wandern (there isn't a good English equivalent word) does the Romantic myth differ from the reality. Young men who had learned a trade had few opportunities to carry out that trade for themselves. They would never be able to earn enough by their labour to buy or rent a mill: their wages were low, since the master provided their board and lodging. Setting off on a Wanderung to find a new employer was an act of economic desperation. It was a journey fraught with risks and uncertainty and usually accompanied by hunger and numerous privations. Economic migration was an important and common aspect of European life, but it was not the pleasant stroll through the countryside that is implied by Müller and the Romantics.
2 Wohin? (Ich hört' ein Bächlein rauschen…).
The miller encounters a stream gushing out of a rocky cliff. This is a lucky for him, because, as he notes in the key lines that close this poem, Es gehn ja Mühlenräder / In jedem klaren Bach: 'Mill wheels turn in every clear stream' – 'clear stream' being a quite precise designation of the fast-flowing water a mill requires. The stream is his guide to his next mill.
Notes: Meeting the stream at its source (fresh and new) and following it down to his goal makes a fine structural element. The miller immediately develops a companionship with the stream, calling it Geselle, meaning 'workmate', 'comrade' or 'brother' (in a metaphorical sense). The pathetic fallacy of the talking stream is made more digestible by attributing the voice to the singing of the Nixen, the water-sprites.
3 Halt! (Eine Mühle seh' ich blicken…).
With the help of the stream the miller finds the object of his search. His first glimpse of the mill gives an impression of cleanliness and tidiness – always good in a German poem.
4 Danksagung an den Bach (War es also gemeint…).
The miller thanks the stream for leading him here, not just to a mill but above all to a miller's daughter.
Notes: Taking up the theme of the miller's economic migration, we note that the presence of a nubile daughter is equally, if not more important than finding a mill. The latter would have been just another employer, the former is a chance of social mobility and independence.
5 Am Feierabend (Hätt' ich tausend Arme zu rühren!…).
The miller is working hard, straining every muscle, wanting to impress the girl. We are shown the master miller's family and the workers assembled in the evening after the day's work. The master tells the group how satisfied he is with their work that day. His daughter bids everyone goodnight.
Notes: This poem tells us two things: firstly that the young man has not only found work at the mill but he has also been accepted by the master miller; secondly that the young man has a passion for the miller's daughter and needs to impress her. Just on a practical level, if she chooses him his economic future is assured.
6 Der Neugierige (Ich frage keine Blume…).
Instead of playing 'she loves me, she loves me not' with flower petals, the miller asks his friend the stream to tell him whether the girl loves him or not. Unsurprisingly, the stream gives him no answer.
7 Das Mühlenleben (Seh' ich sie am Bache sitzen…).
Ten verses describing life in the mill but principally the social graces of the miller's daughter. The young miller is happy in the master miller's family, with the other workers but particularly with the girl, of course.
Notes: This poem was not set by Schubert. We don't know why: perhaps it was just too long or a distraction from the love story or perhaps just unsuitable for music. The first glimpse in the poem of the girl sitting next to the stream 'knitting fly-nets' might have helped him to this decision. Despite this its omission is a pity, since it does put the life of the young miller and his passion for the girl in some context. It also describes the even-handed attention the girl gives to everyone in the house, with no hint of special attention to the young miller.
8 Ungeduld (Ich schnitt' es gern in alle Rinden ein…).
The young miller has now fallen totally in love with the girl. As with young men ever before and ever since, he wants to leave declarations of his love everywhere. No tree is safe.
9 Morgengruß (Guten Morgen, schöne Müllerin!…).
When the girl puts her blond head out of her window first thing in the morning the young man blasts a hearty 'good morning' at her. She pulls her head back inside. The miller is prepared to watch her from a distance. Her eyes are compared to blue flowers soaked with dew.
Notes: This poem illustrates the girl's chaste reticence. Modern correct-thinkers will find the man's creepy behaviour to be tantamount to stalking. Nevertheless, Müller's verse is well written and Schubert's music impeccable. Let's enjoy that and try to forget about randy young men lurking under bedroom windows.
Forget-me-nots by the stream.
10 Des Müllers Blumen (Am Bach viel kleine Blumen stehn…).
The girl is a blue-eyed blond. Along the stream, the miller's best friend, forget-me-nots bloom and become a symbol for her eyes. The miller thinks of planting some along her window ledge. While she sleeps he imagines them whispering 'forget me not' to her in her dreams. When the girl opens the shutters of her bedroom window in the morning she will see the flowers looking at her with tears and love in their eyes.
Notes: The first association of small blue flowers with the girl's eyes was made in the poem immediately preceding this, 'Morgengruß'. The present poem contains a rather odd construction: at the end of the second verse Müller says to us 'you know, though, what I intend'. However, we have no idea of what he intends at that moment. Only at the end of the next verse, where he tells us about the flowers whispering to the girl in her sleep, does he write 'that's what I intend'. The problem is worse, because these two elements are part of a structure based on 'mein' that runs through the whole verse, a structure that Müller probably thought was clever but just feels mannered to the reader, certainly this reader:
End of v1: Drum sind es meine Blumen. Thus they are my flowers.
End of v2: Ihr wißt ja, was ich meine. You know, though, what I intend.
End of v3: Das ist es, was ich meine. That's what I intend.
End of v4: Die will auf euch meinen. I will weep my [tears] on you.
Perhaps this strange construction was intended to be an example of 'German roughness' on the part of its horn-playing author. Who knows? Müller uses a similar technique of echoing end-lines in a number of the poems in this collection.
In 1924 an English edition of Schubert's Lieder, Schubert's Songs Translated, was brought out by the resoundingly named pair, Fox Strangways (1859-1948) and Steuart Wilson (1889-1966). Calling most of these 'translations' was a bit of a stretch, but the singer Steuart Wilson was there to ensure that the results were at least singable. The 'translation' of 'Des Müllers Blumen' is on the whole questionable: they turn the four verses into three and there is little in their text that can be attributed to Müller. Except, that is, for the second verse, where they produced something that, for six lines at least, exceeded the original.
Some seedlings from the water's edge
I'll plant along the window ledge;
And when the miller's daughter fair
Leans out to breathe the summer air,
Surely she'll then forget me not.
11 Thränenregen (Wir saßen so traulich beisammen…).
The miller and the girl are sitting ('intimately together') under the alder trees in the evening watching the stream flow past. The moon and stars had come out and were reflected in the stream. The young man has eyes only for her reflection in the water. She nodded to the stream and the blue flowers on the edge nodded back. The entire sky seemed to be reflected in the surface, as though to pull him in. The stream seemed to be flowing over the clouds and the stars. Her eyes turned to him and she said: 'It's starting to rain. Goodbye, I'm going home'.
Notes: This poem presents us with a problem that even the great Rolf Vollmann, a noted German literary critic and the editor of the Reclam edition of Die schöne Müllerin found puzzling.[1] After all the metaphors, the heavens reflected in the water (that frequent conceit of Romantics), the blue eyes, the whole thing concludes with a few spots of rain, upon which the girl says, in the most matter of fact way possible 'Goodbye, I'm going home'.
If, however, we stick to our analytical principle and read the text as it is and not merely project our assumptions into it, the solution to this problem becomes more apparent. This abruptness only makes sense if we view the girl as being completely indifferent to the young miller. His passionate frenzy is entirely unrequited. It is fantasy. We have never been shown any occasion on which the girl has given him any encouragement at all.
We must also consider the fact that the miller never looks directly at the girl in this poem: he gazes deeply not into her eyes but into their reflection in the stream. Those readers of a philosophical bent are invited to consider the situation we find here, a situation in which the stream, the miller's constant friend, has become the modality of his perception. Neoplatonists will be excited by the idea of this watery mediator of reality, its changeable moon, clouds, stars and eyes. Once you start listening to water-sprites who knows where it will end? There are depths to this poem that are not in the least rustic.
We have a cool blond and a hot blond with a hyperactive imagination. We can say now that this will not end well – and, as we shall see soon, it doesn't.
12 Mein! (Bächlein, laß dein Rauschen sein!…).
The young miller is jubilant: the girl is 'mine'!
Notes: We would like to see some evidence for this assertion. From the reader's position there is none. In the previous verse the young man suffered a serious case of indifference from the girl. Now he is shouting to the world around him that the girl is his, which, on the basis of everything we have read so far cannot be the case. The girl is careful not to give his passion any encouragement: we have her even-handed treatment of everyone in 'Das Mühlenleben', her modesty in 'Morgengruß', her detachment in 'Thränenregen'. On what basis can she now be his? This poem confirms that the young miller is completely deluded in his passion. It forms the end stop to the first part of the cycle.
Conclusion, Chapter 2: poems 1-12
Müller has developed a narrative progression through twelve poems. He has taken us from the young man's first mill and sent him off on his travels. He follows a stream from its rocky source down to a clearing with a mill. There he finds acceptance and the miller's daughter. His love for the girl grows from first sight until he is besotted with her and deludedly believes she is his. In the development of this delusion the girl apparently plays no part: she does not in anyway encourage the miller in his desires, on the contrary, her behaviour is chaste and proper. There is not the slightest hint that the girl reciprocates his feelings.
As mentioned in the notes to 7, 'Das Mühlenleben', Schubert did not set the poem to music. Perhaps its ten four-line verses made it too long, or its muddled sequence of themes – the girl, the noisy workings of the mill, the girl again, the noisy mill again – seemed musically unpromising to Schubert. But because of this omission we lose the longest description we have of the girl and the impression she has made on the young man.
In my opinion the narrative of the poem cycle suffers: without this poem the girl – such an important character, the object of desire, the cycle is named after her, after all – appears only briefly in the first half of the poem: the merest hint in 4, 'Danksagung an den Bach'; a couple of inconsequential lines in 5, 'Am Feierabend'; a quick dive back into the house in 9, 'Morgengruß'; a puzzlingly abrupt 'goodnight' in 11, 'Thränenregen'. In the first part of the cycle, therefore, losing 7, 'Das Mühlenleben' has turned the girl into a mere cipher for the person just listening to Schubert's version.
Despite this deficiency and the small problems mentioned in the analysis of the individual poems, there can be no doubt that the first part of the cycle, poems 1-12, is a triumph. Müller's text, although not the greatest German poetry ever written, maintains a good standard over twelve poems and provided Schubert's genius with the stepping stone needed to create this ground-breaking development of the song-cycle. Schubert frees the work from Müller's affectations and his impeccable and inventive music lifts the work into immortality.
^ Wilhelm Müller, Franz Schubert, Die Schöne Müllerin, Die Winterreise, Nachwort: Rolf Vollmann, Philipp Reclam jun., Stuttgart, 2001. ISBN 978-3-15-018121-8, p. 67f.
Next: Chapter 3 – Poems 13-23
Despair and death: a structural analysis of the last eleven poems of the Die schöne Müllerin.
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